How many of these ‘ ~ ‘ notches can  we count on the circumference of this Celtic brooch?

source of image: Walter Russell

Recall that the two Platonic solids the octahedron and the cube share unique relationships with each other.

http://euler.slu.edu/escher/index.php/Spherical_Geometry

But in the Great Pyramid we encounter a 55 vs. 56 anomaly in the Grand Gallery.

Why 56?

The number 56 looks like it may have been significant to the architects:

1. 56 x 56 x 56 times the size of the Great Pyramid: Here the circumference of the earth = length of the pyramid base.
2. 1/56 of the pyramid is the size of the missing capstone described by several sources
3. 1/(56 x 56) times the size of the pyramid is the tiny one of Figure 1 with a base approx. 7 x 7cm.

• http://myweb.tiscali.co.uk/pyramidiocy/

Coinciding with the unprecedented height of Cheops’s Pyramid there is also an unprecedented feature in its inner layout,
the Grand Gallery.

The length of the Grand Gallery is 91.37 cubits or 47.877 meters.

The middle of the grand gallery is 13.79 cubits (7.22 meters) east of the pyramid’s centre axis.

The Grand Gallery has 7-step corbeled side walls, 2 RC wide at the top and 4 RC wide at the floor.

The floor has a central groove 2 RC wide, flanked by 1 RC floor-ramps on each side.
The Grand Gallery is about 18 RC high vertically, or about 16 RC high perpendicular to its floor.
It is about (200/sqrt(5)) = about 89 RC long.

The Grand Gallery contains two grooves, one in the east wall and one in the west wall. They are 7 inches high, 1 inch deep, and 5 inches up from the 3rd overlapping corbel. They run the entire length of the gallery. Click for a diagram

There are a total of 55 ramp-holes on both sides of the floor-ramps. 

Architectural Analysis of the Great Pyramid
http://www.ancient-wisdom.co.uk/Ghizaarchitecture.htm#2.25

Our Inheritance in the Great Pyramid

by Piazzi Smyth (pdf)
http://www.archive.org/stream/ourinheritancein00smytuoft#page/ii/mode/2up

Piazzi Smyth, Ramps, Ramps Holes, Well’s Upper Mouth
http://www.archive.org/stream/ourinheritancein00smytuoft#page/378/mode/2up

The absence of the twenty-eighth slot in the western banquette, whose place is now taken up by the opening of the ‘well’, serves to confirm the views expressed by Petrie; to wit, that the connection of the Grand gallery with the primitive shaft used by descending stonecutters, a hole drilled through the masonry, was a task undertaken after the pyramid had been built.

http://www.ancient-wisdom.co.uk/Ghizaarchitecture.htm#2.27

The details of the Grand Gallery are extremely important and have no parallel in any other structure on Earth*

Its geometric design predicts that sound originating within its space is focused through a passageway past the Antechamber and into the granite complex known as the King’s Chamber.
This phenomena has been noted by musicians, acoustical engineers, military scientist and laypeople alike.
Some of the more puzzling features of this architectural acoustical miracle, however, are not adequately explained by conventional literature or, indeed, in any other literature.

There are the 27 pair of slots that are cut into the ramps that traverse both side of the Grand Gallery.

* except this next image which contains 56 people of history.

In the center Plato (#1), holding the Timaeus and pointing to the heavens, speaks with Aristotle (#2), holding the Ethics and gesturing towards the earth. They are framed by the triumphal arch above as well as by barrel vaults and sky; they are also surrounded by the largest number of people (#3-10, 52-56). In addition, #11 is ascending the stairs, leaving the geometers and astronomers below, while #12 points out Plato and Aristotle to him. Figure #13 is intently writing while a friend (#14) looks on in interest. At the far right, others are coming in, the younger two (#17 and 18) looking curiously at those below. The old man (#16) is eagerly moving in a different direction, apparently towards Plato and Aristotle. Above the thoughtful old man (#15) who gestures downward like Aristotle, is the statue of Athena, goddess of wisdom, crafts, and war. She is dressed in military garb and on her shield is the terrifying face of the Gorgon. Below her is a relief of Virtue elevated upon clouds, holding one hand at her breast, the seat of valor, while extending the other toward the earth with the scepter of her empire.
http://thomasmorestudies.org/cu_history.html

* and except this well … and its accompanying myth regarding ‘CR’

‘Well of Initiation’, into the interior of the earth; picture shows also the Rose of the Winds over the Templar Cross, the Rose Cross, in “Quinta da Regaleira”,Sintra, Portugal (built ca. 1904-1910).

According to legend, Christian Rosenkreuz was a doctor who discovered and learned esoteric wisdom on a pilgrimage to the Middle East among Turkish, Arab, and Persian sages, possibly Sufi or Zoroastrian masters, supposedly in the early 15th century (see section below on Symbolism) ; returned and founded the “Fraternity of the Rose Cross” with himself (Frater C.R.C.) as Head of the Order. Under his direction a Temple, called Sanctus Spiritus, or “The House of the Holy Spirit”, was built.

The legend presented in the Manifestos has been interpreted symbolically (as were all hermetic and alchemical texts of those times). They do not directly state Christian Rosenkreuz’s years of birth and death, but in two sentences in thesecond Manifesto the year 1378 is presented as being the birth year of “our Christian Father”, and it is stated that he lived for 106 years, which would mean he died in 1484.^[5] The foundation of the Order can be supposed in similar terms to have occurred in the year 1407. However, these numbers (and deduced years) are not taken literally by many students of occultism, who consider them to be allegorical and symbolic statements for the understanding of the Initiated. The justification for this relies on the Manifestos themselves: on the one hand, the Rosicrucians clearly adopted through the Manifestos the Pythagorean tradition of envisioning objects and ideas in terms of their numeric aspects, and, on the other hand, they directly state,

“We speak unto you by parables, but would willingly bring you to the right, simple, easy and ingenuous exposition, understanding, declaration, and knowledge of all secrets.”

“from the year of Our Lord 1378 (in which year our Christian Father was born)“, in Confessio Fraternitatis

The significance of 137–8 and 147 is best understood if NOT taken literally, I agree … allow me to illustrate.

The metaphorical nature of these legends lends a nebulous quality to the origins of Rosicrucianism. The opening of Rosenkreuz’s tomb is thought to be a way of referring to the cycles in nature and to cosmic events; and as well, to the opening of new possibilities for mankind consequent on the advances of the 16th and early 17th centuries. Similarly, Rosenkreuz’s pilgrimage seems to refer to the transmutation steps of the Great Work.

Similar legends may be found in Wolfram von Eschenbach‘s description of the Holy Grail as the “Lapis Exillis“, guarded by the Knights Templar, or in the Philosophers’ stone of the alchemists, the “Lapis Elixir“.

http://en.wikipedia.org/wiki/Christian_Rosenkreuz

Here comes the AHA!!!

Important to note the following: Especially since I have a habit of suggesting LEvIturned upside down becomes I^37

The word EXILLIS rotated 180 degrees appears as:

SI77IX3 or 51771X3

51771 X 3

What is the significance of those numbers 157?

Jesus Mihi Omnia 157

Some occultists including Rudolf Steiner, Max Heindel^[3] and (much later) Guy Ballard, have stated that Rosenkreuz later reappeared as the Count of St. Germain, a courtier, adventurer, and alchemist who reportedly died on February 27, 1784. Steiner once identified Rembrandt’s painting “‘A Man in Armour’” as a portrait of Christian Rosenkreuz, apparently in a 17th century manifestation. Others believe Rosenkreuz to be a pseudonym for a more famous historical figure, usually Francis Bacon.

Jesus mihi omnia

It is described that on the Sarcophagus in the centre of the Crypt of Christian Rosenkreutz were written, among other inscriptions the words, “Jesus mihi omnia, nequaquam vacuum, libertas evangelii, dei intacta gloria, legis jugum,” (being in translation, “Jesus is everything to me, by no means a vacuum/a vacuum by no means exists, the freedom of the good news/gospel, the inviolate glory of god, the yoke of the law”) testifying to the builder’s Christian character. Rosenkreuz’s crypt, according to the description presented in the legend, seems to be located in the interior parts of the Earth, recalling the alchemical motto VITRIOL: “Visita Interiora Terrae Rectificando Invenies Occultum Lapidem

“Visit the Interior Parts of the Earth; by Rectification Thou Shalt Find the Hidden Stone.”

157 sources:

• FRACTALS – KEYHOLE – DNA – ANKH – LAPIS EXILLIS
• 157 – Geometry of the Zeitgeist – the Maltese Cross – the Jain Matang – the Polynesian Mattang
• Marko Rodin VBM 2 Fish and 5 Loaves of Bread

Cosmology

The evolution of man is divided into seven Periods:

• involution: the Saturn Period, the Sun Period, the Moon Period;
• the Earth Period (first half still involution, second half towards evolution);
• evolution: the Jupiter Period, the Venus Period, the Vulcan Period.

We are presently in the second half of the Earth Period: we have just passed the end of our involution and are beginning our evolution, or the spiritualization of matter and our return to God our Father.

http://en.wikipedia.org/wiki/Rosicrucian_Fellowship

Note the associations above given by Rosicrucian doctrine.

What happens if we add the magic squares associated with each planet listed?

• 369 is related to involution: Saturn 3×3, Sun 6×6, Moon 9×9
• 58 is related to the Earth Period and Caput 58 the head of St. John the Baptist
• (note Rosicrucian doctrine does NOT mention Mars 5×5 and Mercury 8×8)
• 4710 is related to evolution: Jupiter 4×4, Venus 7×7, Vulcan 10  

 The above Rosicrucian cosmology bears a close resemblance to how those numbers are divided by concentric rings on the …

Sol negro

De Wikipedia, la enciclopedia libre

 

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Este artículo trata sobre el símbolo en la Alemania Nacional Socialista. Para otros usos de este término, véanse Sol negro (videojuego) y Sol negro (serie de televisión).

El "Sol Negro" similar al diseño del mosaico en Wewelsburg.

La "sala de los tenientes generales" ("Obergruppenführersaal") en la planta baja de la torre norte del castillo de Wewelsburg con el mosaico rueda solar de color verde oscuro ubicado en el suelo en el centro de la sala. Los arquitectos que rediseñaron el castillo durante la época nazi llamaron el eje de la torre norte el "Centro del Mundo". Desde 1991, de vez en cuando la incrustación de mármol ha sido llamado el "Sol Negro" - especialmente por autores de la derecha. Desde entonces, el mosaico se ha vinculado con conceptos esotéricos de un "Sol Negro", que han sido discutidos por los círculos neonazis desde los años de la posguerra.

El sol negro es un antíguo símbolo de los pueblos germánicos, que representaba el día del fin del mundo, la batalla de los dioses contra los jotuns, y posteriormente ligado a la filosofía ocultista del nazismo.^[1] En alemán, Schwarze Sonne también se refiere al término Sonnenrad (en alemán "rueda solar"), símbolo de esoterismo y de significado oculto, notable por su uso en el misticismo nazi.

El sol negro es un símbolo esotérico compuesto por dos círculos concéntricos. El círculo interior posee la forma de un sol del que parten doce rayos (que en la concepción clásica de la rueda solar representaban el movimiento del sol a través del año). Los doce rayos, en sus extensiones, alcanzan el círculo exterior, donde sus ángulos se tuercen formando a la vez dos símbolos de importancia clave en el misticismo nazi: la esvástica y doce runas Sigel, la runa de la victoria, cuya representación doble conforma el emblema de las SS. El sol negro es un símbolo utilizado hoy en día por los movimientos neopaganos.

 

Índice

• 1 El castillo de Wewelsburg
• 2 Significado
• 3 El Sol Negro en el ocultismo nazi
• 4 Referencias
• 5 Véase también
• 6 Enlaces externos

 

El castillo de Wewelsburg[editar]

El sol negro que aparece en la foto no era un símbolo usado habitualmente, pues se encontraba relacionado con el misticismo nazi al que solo accedían los iniciados de las SS. Este símbolo aparece incorporado a un mosaico u ornamento de mármol verde oscuro, en el suelo de mármol de la (foto) antigua "Obergruppenführersaal" (sala de los generales, el lugar destinado a los líderes de las SS) en la torre norte del castillo de Wewelsburg (construido 1603), cerca de la ciudad de Paderborn. Este mosaico, que puede ser visto desde el exterior de la sala a través de una puerta de celosía, parece negro por las condiciones de iluminación del lugar. En su origen, dicho mosaico poseía un disco de oro colocado en su centro. El castillo de Wewelsburg, tras su adquisición por el mando de las SS, fue rehabilitado y reformado con el objetivo de convertirse, a la vez, en el centro de control de las SS y en el corazón de una nueva religión racial. Durante el Tercer Reich el castillo se convirtió en el centro representativo e ideológico del orden de las SS. Según los arquitectos que llevaron a cabo la reconstrucción, el objetivo era que el castillo se convirtiese en el "centro del mundo".

Significado[editar]

No se sabe si las SS tuvieron un nombre especial para el ornamento, o si ellas atribuyeron un significado especial para ello. Pero la rueda solar es significativo para el misticismo germánico de la luz y del sol ^[2] que se propagó por las SS. En sus estudios sobre símbolos, el sol además fue interpretado como "la expresión más fuerte y más visible de dios", el número doce como significativo para "las cosas del destino y la perfección".

El cristianismo tradicional iba a ser reemplazado por un culto racial. En lugar del cristianismo SS-lider Heinrich Himmler quería una doctrina moral derivado de la herencia germánica pagana pre-cristiana. Ceremonias de culto y rituales formaban parte de la vida cotidiana de las SS. El Wewelsburg iba a ser un centro de una religión "raza conforme" (en alemán: "artgemäße" Religion).

El Sol Negro en el ocultismo nazi[editar]

Originalmente, el Sol Negro formaba parte de una serie de creencias englobadas en una corriente ocultista iniciática, el ocultismo nazi, fundada (o "reconstruida") por los líderes de las SS. Heinrich Himmler, gran ocultista, dio cobijo a toda una serie de movimientos reconstruccionistas de la cultura ancestral indoeuropea. De estas corrientes ideológicas surgió finalmente una corriente mística, casi una religión racial iniciática, en la cual se unían conceptos de diversas creencias y religiones a las que se agregaban la figura del Führer y la "pureza de la sangre aria". Dentro de esta religión racial, el Sol Negro representaba a un sol oculto, dador de sabiduría y que proporcionaba su fuerza superior a la raza aria. La simbología oculta en el propio Sol Negro es de una gran profundidad, pues aparte de representar la rueda solar y de ocultar en sus líneas símbolos como la esvástica o las runas nórdicas, ha llegado a ser considerado una nueva "tabla redonda", en la cual doce caballeros (el Consejo de Iniciados, los máximos líderes de las SS) rodeaban a un jefe central.

Referencias[editar]

1. ↑ Nicholas Goodrick-Clarke (2003), Sol Negro: Aryan Cults, Esoteric Nazism and the Politics of Identity, NYU Press, ISBN 0814731554
2. ↑ Drachen, Helden, Nachtmeerfahrten - Die Archetypenlehre von CG

 

https://es.wikipedia.org/wiki/Sol_negro