Chapter 16: Chapter III: The Utterance and the Alphabets

1. 1. The Utterance and the Alphabets. — 2. The Theanthropological Utterance
2. 3. The Andrological and Cosmological Utterance — 4. The Theandrological Utterance
3. 5. The Seal of the Word
4. 6. Its Traces in the Triple Evangelical, Mosaic, and Patriarchal Church
5. 7. Consequences of Its Resurrection

The Cosmological Archeometer

Universal Regulator, Measurer, and Composer

Concerns Metrology and the exact combination of cosmological Ideas and their means of expression: Forms, Numbers, Colors, Sounds, as well as their corresponding relationships, and consequently, the Arts and Crafts that employ them.

The Archeometric Planisphere

An organic, harmonic, and symmetrical instrument, founded upon the combination of several Zones of Circles, Radii, and concentric Polygons capable of evolving around a common central point.

The said Zones comprise:

1° A dual Circle of 360° each evolving in opposite directions, such that each degree yields two numbers, their sum always being 360, and their dextrogyral or levogyral inversion permitting easy metrology in both directions;

2° A fixed duodenary Zone called Zodiac of modal Letters. It is divided into equal parts, each of 30°, further divisible into minutes and seconds. Each twelfth of this Zone contains, at its center, its morphological letter and the number of that letter within an Escutcheon bearing a precisely corresponding special color;

Total: XII morphological Letters, XII arithmological Numbers, each specific to one of them, XII Colors;

3° A mobile Zone called planetary of Letters.

This is formed by XII Angles of IV equilateral Triangles intersecting regularly. Each of the XII Angles is tangent to one of the Escutcheons of the preceding Zone and bears a morphological Letter, the arithmological Number proper to this Letter, the Color of the Escutcheon to which it is tangent, a musical staff, and a Note.

Total: XII Angles, XII Letters, XII Numbers, XII Colors, XII Notes;

4° A fixed astral Zodiacal Zone, with its XII Signs derived from the XII Zodiacal Letters. Each Sign in its Escutcheon bearing the Color of its Correspondence with the Zones above;

5° A mobile astral planetary Zone, with its VII astral diatonic Signs and all their Correspondences, each appearing in its proper Domiciles both Diurnal and Nocturnal, and bearing the Color of the planetary Letter from which its morphology derives.

Total: XII planetary Signs, of which V are repeated = VII, and XII Colors;

6° A Zone of XII angles of IV equilateral Triangles, intersecting regularly beneath the generative and metrological Triangle, corresponding, by its angles, to the Sign of Virgo, the Sign of Capricorn, and the Sign of Taurus. Each Angle bears the Colors of the Sign to which it corresponds.

Total: XII Colors, XII Angles, IV Triangles including one generative, two hexagons or two Pairs of equilateral Tangent Triangles, one Pair solstitial by its North-South Angles, the other equinoctial by its East-West Angles, all Angles of each Pair spaced apart by the length of the Radius of their tangent Circle;

7° A central Circle containing a Musical Staff, a Note at the Common Center, a morphological Letter on this Note, XII white rays forming VI white diameters, passing through the Center, one North-South, the other East-West, and all at 30° from each other on the circle.

The organic and harmonic planisphere has its Poles and Equator of Correspondences, its year, its seasons, its left-right symmetry of organicities and harmonicities either direct or interferential. It speaks precisely through all its concordant elements and through all their combinations.

The analysis of its synthesis and the laws that presided over its composition will be given after its detailed description.

Detailed Description

North Zenith

VERTICAL CORRESPONDENCES — DESCENDING

1. 1° — Degrees: 345/15 — Total 360
2. 2° — Winter Solstice, December-January.
3. 3° — Beginning of Time and the Positive Year.
4. 4° — Simple Yellow Escutcheon. 120.
5. 5° — Letter representing the Equilateral Triangle.
6. 6° — 80, Number of this letter.
7. 7° — Yellow Angle of the Equilateral Triangle of Earth. 120.
8. 8° — Letter representing the Equilateral Triangle with the plumb line of the World’s Axis.
9. 9° — 300, Number of this Letter.
10. 10° — The Note Si.
11. 11° — Capricorn and its Correspondences.
12. 12° — Saturn and its Correspondences.
13. 13° — The white ray targeting the Yellow Angle. 120.
14. 14° — The Note Mi and the Solar Letter.

South Nadir

VERTICAL CORRESPONDENCES — ASCENDING

1. 1° — Degrees: 165/195 — Total 360
2. 2° — Summer Solstice, June-July.
3. 3° — Return of Time and the Negative Year.
4. 4° — Violet Escutcheon: Blue 60, Red 60 = 120
5. 5° — Letter: a helix on a vertical.
6. 6° — 3, Number of this Letter.
7. 7° — Violet Angle of the Equilateral Triangle of Water: Blue 60, Red 60 = 120
8. 8° — Letter: a circle and its diameter representing the double hemisphere.
9. 9° — 2, Number of this double hemicycle.
10. 10° — The Note La.
11. 11° — Cancer and its Correspondences.
12. 12° — The Moon and its Correspondences.
13. 13° — The white ray targeting the Violet Angle: Blue 60, Red 60 = 120
14. 14° — The Note Mi and the Solar letter.

West

HORIZONTAL AND EQUATORIAL CORRESPONDENCES — FROM WEST TO EAST

1. 1° — Degrees: 75/285 — Total 360
2. 2° — Autumn Equinox, September-October.
3. 3° — Negative equatorial tension.
4. 4° — Green Escutcheon: Blue 90, Yellow 30 = 120
5. 5° — Letter: Balance Beam.
6. 6° — 30, Number of this letter.
7. 7° — Green Angle (B. 90, J. 30 = 120) of the Equilateral Triangle of Air.
8. 8° — Letter representing a point generating a curve.
9. 9° — 2, Number of this Letter.
10. 10° — The Note Fa.
11. 11° — Libra and its Correspondences.
12. 12° — Nocturnal Venus and its Correspondences.
13. 13° — The white ray targeting the Green Angle (B. 90, J. 30 = 120).
14. 14° — The Note Mi and the Solar Letter.

East

HORIZONTAL AND EQUATORIAL CORRESPONDENCES — FROM EAST TO WEST

1. 1° — Degrees: 255/105 — Total 360
2. 2° — Spring Equinox, March-April.
3. 3° — Positive equatorial tension.
4. 4° — Orange Escutcheon: Red 90, Yellow 30 = 120
5. 5° — Letter: extra-secting circle by two curves in Ram’s horns.
6. 6° — 5, Number of this Letter.
7. 7° — Orange Angle (R. 90, J. 30 = 120) of the Equilateral Triangle of Fire.
8. 8° — Helical letter with darting angle.
9. 9° — 20, Number of this Letter.
10. 10° — The Note Ré.
11. 11° — Aries and its Correspondences.
12. 12° — Nocturnal Mars and its Correspondences.
13. 13° — The white ray targeting the Orange Angle (R. 90, J. 30 = 120).
14. 14° — The Note Mi and the Solar Letter.

Northeast — by 30° North

NORTHEAST CORRESPONDENCES — BY 30° NORTH

1. 1° — Degrees: 315/45 — Total 360
2. 2° — Winter, January-February.
3. 3° — Orange Escutcheon: J. 90, R. 30 = 120
4. 4° — Letter: two Straight Lines in Cross.
5. 5° — 100, Number of this Letter.
6. 6° — Orange Angle (J. 90, R. 30 = 120) of the Triangle of Air.
7. 7° — Letter: Triangle with plumb line cantilevered at 30°.
8. 8° — 300, Number of this Letter.
9. 9° — The Note Si.
10. 10° — Aquarius and its Correspondences.
11. 11° — Diurnal Saturn and its Correspondences.
12. 12° — Orange Angle (J. 90, R. 30 = 120).
13. 13° — The white ray targeting this Angle.
14. 14° — The Note Mi and the Solar Letter.

Southwest — by 30° South

SOUTHWEST CORRESPONDENCES — BY 30° SOUTH

1. 1° — Degrees: 135/225 — Total 360
2. 2° — Summer, July-August.
3. 3° — Indigo Escutcheon: R. 30, B. 90 = 120 of the Triangle of Fire.
4. 4° — Letter: a circular arc of 180°.
5. 5° — 9, Number of this Letter.
6. 6° — Indigo Angle (R. 30, B. 90 = 120).
7. 7° — Letter: a circular arc of 180° and its central point.
8. 8° — 50, Number of this Letter.
9. 9° — The Note La.
10. 10° — Leo and its Correspondences.
11. 11° — The Sun and its Correspondences.
12. 12° — The Indigo Angle (R. 30, B. 90 = 120).
13. 13° — The white ray targeting this Angle.
14. 14° — The Central Note Mi and the Solar Letter.

Northwest — by 60° on the Equator, 30° from North

NORTHWEST OBLIQUE CORRESPONDENCES — 60° ON THE EQUATOR, 30° FROM NORTH

1. 1° — Degrees: 15/345 — Total 360
2. 2° — Autumn, November-December.
3. 3° — Green Escutcheon: J. 90, B. 30 = 120 of the Triangle of Fire.
4. 4° — Letter: An arc and a Point.
5. 5° — 70, Number of this Letter.
6. 6° — The Green Angle (J. 90, B. 30 = 120).
7. 7° — Letter: the Point generating an angled curve on a horizontal line.
8. 8° — 4, Number of this Letter and derived from it.
9. 9° — The Note Do.
10. 10° — Sagittarius and its Correspondences (Arrow of the above Arc).
11. 11° — Diurnal Jupiter and its Correspondences (Sign derived from the Letter 7°).
12. 12° — The Green Angle (J. 90, B. 30 = 120).
13. 13° — The white ray targeting the Green Angle (J. 90, B. 30 = 120).
14. 14° — The Note Mi and the Solar Letter.

Southeast — by 60° below the Equator

SOUTHEAST CORRESPONDENCES — BY 60° BELOW THE EQUATOR

1. 1° — Degrees: 195/165 — Total 360
2. 2° — Spring, May-June.
3. 3° — Infrared Escutcheon: R. 90, B. 30 = 120
4. 4° — Letter: Circular Point generating an angled vertical.
5. 5° — 7, Number of this Letter and derived from it.
6. 6° — Infrared Angle (R. 90, B. 30 = 120) of the Triangle of Air.
7. 7° — Letter: inclined helix, with long dart.
8. 8° — 90, Number of this Letter.
9. 9° — The Note Sol.
10. 10° — Gemini and their Correspondences.
11. 11° — Nocturnal Mercury and its Correspondences.
12. 12° — Infrared Angle (R. 90, B. 30 = 120).
13. 13° — The white ray targeting this Angle.
14. 14° — The Note Mi and the Solar Letter.

Northwest — by 30° above the Equator, 60° from North

NORTHWEST OBLIQUE CORRESPONDENCES — 30° ON THE EQUATOR, 60° FROM NORTH

1. 1° — Degrees: 45/315 — Total 360
2. 2° — Autumn, October-November.
3. 3° — Green Escutcheon: B. 60, J. 60 = 120
4. 4° — Letter: the Point at the center of the straight Line.
5. 5° — 40, Number of this Letter.
6. 6° — Green Angle (B. 60, J. 60 = 120) of the Triangle of Water.
7. 7° — Letter: helical with short darting angle.
8. 8° — 20, Number of this Letter.
9. 9° — The Note Ré.
10. 10° — Scorpio and its Correspondences.
11. 11° — Diurnal Mars and its Correspondences.
12. 12° — The Green Angle (B. 60, J. 60 = 120).
13. 13° — The white ray targeting the Green Angle (B. 60, J. 60 = 120).
14. 14° — The Note Mi and the Solar Letter.

Southeast — by 30° below the Equator, 120° from North

SOUTHEAST OBLIQUE CORRESPONDENCES — 30° BELOW THE EQUATOR, 120° FROM NORTH

1. 1° — Degrees: 225/135 — Total 360
2. 2° — Spring, April-May.
3. 3° — Red Escutcheon 120.
4. 4° — Letter: Circle generating a curve.
5. 5° — 6, Number of this Letter and derived from its form.
6. 6° — Red Angle 120 of the Triangle of Earth.
7. 7° — Letter: the Point generating a Curve.
8. 8° — 3, Number of this Letter.
9. 9° — The Note Fa.
10. 10° — Taurus and its Correspondences.
11. 11° — Diurnal Venus and its Correspondences.
12. 12° — The Red Angle 120.
13. 13° — The white ray targeting the Red Angle 120.
14. 14° — The Note Mi and the Solar Letter.

Northeast — by 60° North

NORTHEAST CORRESPONDENCES — BY 60° NORTH

1. 1° — Degrees: 285/75 — Total 360
2. 2° — Winter, February-March.
3. 3° — Orange Escutcheon: J. 60, R. 60 = 120
4. 4° — Letter: Circular Point generating a straight line through its circumference.
5. 5° — 200, Number of this Letter.
6. 6° — Orange Angle (J. 60, R. 60 = 120).
7. 7° — Circular Point generating an angled curve on a straight line.
8. 8° — 4, Number of this Letter.
9. 9° — The Note Do.
10. 10° — Pisces and their Correspondences.
11. 11° — Nocturnal Jupiter and its Correspondences.
12. 12° — Orange Angle (J. 60, R. 60 = 120).
13. 13° — The white ray targeting this Angle.
14. 14° — The Note Mi and the Solar Letter.

Southwest — by 60° South

SOUTHWEST CORRESPONDENCES — BY 60° SOUTH

1. 1° — Degrees: 105/255 — Total 360
2. 2° — Summer, August-September.
3. 3° — Blue Escutcheon 120.
4. 4° — Letter: Two circular points generating two articulated curves on a semicircle.
5. 5° — 10, Number of this Letter.
6. 6° — Blue Angle 120 of the Triangle of Earth.
7. 7° — Letter: inclined helix, with long dart.
8. 8° — 90, Number of this Letter.
9. 9° — The Note Sol.
10. 10° — Virgo and its Correspondences.
11. 11° — Diurnal Mercury and its Correspondences.
12. 12° — Blue Angle 120.
13. 13° — The white ray targeting this Angle.
14. 14° — The Note Mi and the Solar Letter.

The Cosmological Archeometer

Revealer and Regulator of Higher Studies

Detailed Description

The Archeometer and Architechny

The Archeometer is thus the precision instrument of higher sciences and their corresponding arts, their cosmometric protractor, their cosmological standard, their regulator and homological revealer.

It brings them back to their single universal principle, to their mutual concordance and to their synarchic synthesis.

This synthesis, which is none other than the genesis of the principle, is the very Word, and it autographs its own name upon the first triangle of the Archeometer: SOPh-Ya, Wisdom of God.

But to make understood all possible applications of the Archeometer as experimental revealer and regulator of this genesis and synthesis would require entering into endless developments.

It would require inventorying the entire nomenclature of the quadruple hierarchy of substances, facts, and consequently of divine, angelic, human and natural sciences and arts.

Moreover, it would require indicating, while entering into the universality of consequences, all equivalences and all correspondences of these hierarchies.

We shall reach the same demonstrative goal by a swifter path—that of fact alone, of experience in all its scientific truth and consequently in all the conscientious integrity one must demand of oneself in so grave a matter.

This fact is art—but art considered as the creative and conscious utterance of science itself, no longer as the individualist manifestation of anarchy, fancy, fashion or imitation.

This is why we concentrate the Archeometer’s applications upon that Art which may become the most direct expression of Science returned to its principle—upon the art that synthesizes all sciences in action, all arts, all crafts and industries—in a word, the entire hierarchy of human labor.

This art is Architechny.

The masterwork of Architechny being the Religious Edifice—summary of the Principle of Law and of social fact—we shall apply the Archeometer to the science of religions.

Being potentially required to erect Christian cathedrals, Brahmanic pagodas^[*], Buddhist or Chinese temples, Zoroastrian fire temples or Muslim mosques, the architect will see upon the Archeometric Regulator the exact position of each of these religions within Religion—this word being used in its sense of scientific Synthesis and of Wisdom in the ancient meaning of the term.

The Archeometer will experimentally prove itself to be both Revealer and Regulator of Higher Studies—the Revealer of the Revelation foretold at the beginning of the 19^th century by the Count de Maistre.

The Archeometric Principle being the Utterance, the architect will first use the double zone of letters, and this will simultaneously provide him with all its equivalences in sonometric numbers, colors, notes, musical modes, and consequently morphological forms.

He will only need to pass from the World of Glory to that of the astral Heavens to obtain the cosmological correspondences resulting from the preceding angelic and divine ones.

Crown of 360 degrees or 36 decans

The number 36, in decimal Sanskrit letters, is written: GO.

In the Veda, it signifies Heaven itself. The number 360, in Adamic numerical letters, is written: ShaS. It signifies the sexennial power 6 × 6—that which precisely corresponds to the measurement of the circle by the hexagon.

We shall later see the importance of this relation to the very Principle. The latter has, as its characteristic, the Trinity determining its direct instrumentality in sexenniality: 3…6; the equilateral trigone determining the hexagonal star.

This double circular protractor with inverse progression, regarding degrees, has a function of considerable practical verification—as facts will later attest—particularly concerning colors, the luminous Equivalents of the Utterance: Rays and colors.

Let us recall here, for the record, that the Gospel of Saint John, read in Aramaic Syriac, states: “The Principle is the Utterance, the Word.” In patriarchal Greece—or rather in Slavic Balkans—Orpheus, according to traditions collected by the Church Fathers, had left among his numerous canonical books a work entitled: The Utterance or the Sacred Word. Likewise in patriarchal Italy, that of the Etruscans.

One need only explore antiquity somewhat across all parts of the world to find certain traces of the importance of human Utterance, considered as a reflection of the divine Word.

Undoubtedly, from India to China, from Slavdom and Scandinavia to ancient America, from Syria and Chaldea to Egypt, erudition can only reach the superstitious and magical remnants of the ancient science of this primordial Utterance and its alphabets.

Yet these very relics bear witness to this lost science.

To its ancient alphabets of XXII letters,

Circumference Length

Arithmology of the XXII Letters

469 - 4 + 6 + 9 = 19 _ 1 + 9 = 10 - Y _ 565 - HOH _ Y . HOH = YHOH, the Absolute Being יהוה

Circumference Length

Law of π
22 ÷ 7 = 3.1428
0.1428 × 22 = 3.1416

Solar Cosmology of the XXII Letters

Circumference Length

The Syrian Church attributes a liturgical value to each letter—a divine functionality, a hieratic significance.

In this respect, this religious University stands closer to true ancient science than the magical interpretations accessible to the erudition of decadent antiquity.

The Alphabets

Among ancient alphabets predating the anarchistic Greco-Latin civilizations, we classify those with 22 numeral letters as typical equivalents of the Utterance.

We name them Solar and Solar-Lunar, with the understanding that these astral names are merely signs of correspondence between the World of Glory and the astral World.

It is through forgetting this distinction—taking effect for cause, consequence for Principle—that certain ancient Universities fell into the worship of astral Powers, Angels and demons; into Sabaeanism, even into fetishism; and that, a century ago, Dupuis plunged lower still into the crudest astronomical materialism.

We classify as Lunar the alphabets of 28 letters, as Zodiacal Horary those of 24, as Zodiacal Monthly those of 30, as Decanic those of 36, etc.—always under the aforementioned reservations, and relating all these numbers to XXII as the Standard.

The alphabet of the first Patriarchs is that which we employ upon the Archeometer, for the following reasons.

It is morphological—that is, more than geometric; and through its rigid or flexible forms at will, it depicts the object it names, or names its form, according to rules unnecessary to expound here.

The Zodiacal and Planetary Signs derive from it, as does the construction of the sphere or planisphere containing these signs.

Consequently, the cosmological function and position of each letter are determined by its formal kinship with the astral signs, whose placement is itself determined astronomically.

It follows that since letters position themselves thus and not by human hand, their placement, their binary and ternary groupings, all their interrelations are autological rather than anthropological. We join to these, upon the Archeometer, the Syrian, Assyrian (so-called Hebrew), Samaritan and Chaldean alphabets—all Solar or Solar-Lunar, with XXII literal and numerical equivalents.

So that when the resemblance between the Archeometric letter and its corresponding Zodiacal sign leaves some visual uncertainty, this is dispelled by the analogous letter in other alphabets—principally the Samaritan.

Morphological Alphabet of the First Patriarchs

Here then is the graphic of the first Patriarchs’ alphabet, employed upon the circular escutcheons and angles of the Archeometer’s trigones.

The description contained therein is that of the Brahmins and not our own.

The Brahmins make great mystery of this alphabet, which is certainly the Aryan prototype of all those of this kind—called Semitic but better termed schematic.

Its exceptional quality lies in being morphological—prototype of Vedic and Sanskrit letters—and in most certainly linking the Brahminic University, so ancient, to the primordial Universities of the first Patriarchs.

It derives from the point, the line, the circumference, the equilateral triangle and the square; and though the Brahmins name it “Vattan,” it signs itself: “Adam, Eve and Adama” through these five forms, mothers of morphology:

— : Adam;    O : Eve;    □ : Adama.

The astral, zodiacal, and planetary signs undoubtedly derive from this alphabet, as do most of the more or less altered letters and numerals that have come to us from a pure common source, through diverse and more or less muddied streams.

It follows—we repeat this deliberately—that since each letter’s position is determined by that of the zodiacal or planetary sign derived from it, the Archeometric Utterance is autological, as are all its equivalents.

This schematic alphabet is referenced by Moses in verse 19, chapter II of his Sepher Berashith.

The words “magic” and “arcane,” used by the Brahmins in their above description, inevitably awaken in the Christian scientific mind two synonyms:

Superstition and ignorance

Superstition: the decadence and super-station of archeological elements and more or less altered formulas, which a thorough study can sometimes—as is the case here—link to an earlier, scientific and conscious teaching, neither metaphysical nor mystical.

Ignorance, greater or lesser, of the facts, laws, and principle that constituted this primordial teaching. Never have magic and arcana more solicited minds toward the vertigo of all unknowns and all abysses than during eras of disbelief, anarchy, and decadence: India, Egypt, Chaldea, Persia, Greek Empire, Roman Empire—and this precisely from the very need for faith, principle, and restoration. But what will save European Christendom is the rectitude, the integrity that Science imposes upon conscience and vice versa, whether concerning Religion, Art, or Life.

Zodiac of the Utterance — Solar Alphabet of the XXII Letters

The Brahminic description above thus reveals a time of decadence: that of the universal Empire of the Patriarchs, begun with the Kali Yuga, nearly four thousand years before the Christian Era.

This is why we have taken the opposite approach to the very precise yet inaccurate indication contained in this description.

It attributes to zodiacal and planetary correspondences the added vowels—or rather their aggregate of vowels and superimposed diphthongs.

But this quasi-prehistoric Massorah^[*] originally pertained only to the solfeggio of hymns. Now, the alphabet of 22 letters that we have substituted for these Solfeggio signs contains within itself all the vowels comprised by its organic series and its cosmological-solar and luni-solar numeration.

The number XXII, in Adamic letters, is written: Ka-Ba. If one adds to this name the letter La, which signifies Power, one obtains the Power of the XXII.

Such is the famous ancient Kabbalah, of which the Jews possessed only the Babylonian superstition—the decadent, sterile, magical Quabalab.

The Science of the XXII, on the contrary, is a true Science, in the full rigor and integrity of the term. It is the Science of solar cosmological Utterance, creative and infinitely fruitful, as shall be seen.

Saint Paul makes a manifest allusion to it: First Epistle to the Corinthians, chapter 1, verses 7, 8, 9.

Saint John speaks of it even more manifestly at the beginning of his Gospel, referencing the first word of Moses’ Genesis: The Principle ⁽¹⁾.

We must add here that since Yodhisthir, the point of departure and return of the cosmological series of letters has been transposed by the Vedic-Brahminic University—from the letter Y, first of the Triangle of Jesus, to the letter M, first of the Triangle of Mary; from the Substance called Earth of Immanence to the Substance called Living Waters or of Emanation.

This transposition, which characterizes Brahmanism, appears entirely systematized in the accompanying table of Vedic signs derived from the point of AUM, AVaM—which the Brahmins also treat as a great mystery (See p. 153).

Lunar alphabet: Vedic signs derived from the point of AUM

After having deeply studied for several years the oral teachings of their most learned pontiffs, we have therefore also rejected their transposition from Y to M, basing this on our personal study of their mysteries and on very precise indications contained in the Gospels and Epistles.

(1) See La Théogonie des Patriarches by Saint-Yves. 1 handsome vol. large quarto. ↩

Construction of the Archeometer as a double semi-circular protractor, with all equivalents of the Utterance, the Sanskrit letters corresponding to the Adamic.

Here is how we have employed the XXII letters in constructing the Archeometer. Of these XXII, III give the centers of each semicircle, the diameter, and the circumference presented as a double semicircle.

The Gospel contains this key: “I am the Aleph and the Thau,” which has been translated into Greek as: “The Alpha and the Omega.”

This translation shifts the mystery from the real to the mystical, the Greek language being a Sudra, Prakrit or mongrel tongue, not archeometric.

In Assyrian script called Hebrew, the A consists of a crossbar and two points ·/·.

In Adamic morphological script, the bar indicates the radius or diameter, and alone constitutes the letter A; in the same script, the two points indicate a doubled center and the letter S; the Th indicates a doubled circumference in two inverted semicircles thus: ℤ

This is why, considering the Aleph as a doubled diameter, its two points as centers, the Thau as a double semicircle, we have assigned these three morphological letters to the Construction of the figure that bears the name ‘Zodiac of the Utterance’ as a double protractor.

Here is this form: ℤ ⁽¹⁾.

It is the Brazen Serpent of Moses, to which allusion is also made in the Gospel. It is the Orphic Caduceus.

These three Adamic letters A, S, Th, these two Assyrian letters A, Th, thus signify the Triple Divine Power constituting the Universal Type; the Circle signifies the Infinite; the Center, the Absolute; the Radius or diameter their manifestation, their interrelation.

Thus, of XXII letters, III pertain to the constitutive Power. The remaining XIX refer to the distributive Powers of universal harmonicity and organicity.

Of these XIX, XII are involutive, VII are evolutive, in the World of Glory or of the Word, and consequently in that of the astral Heavens.

In other words, XII letters are zodiacal, VII are planetary—or rather VI planetary evolving around a solar one—which Jews and Greeks were unaware of.

It remains to determine the point of departure and return for involution and evolution.

To ascertain this, one need only sum XIX, yielding 1 + 9 = 10. Now, 10 is the equivalent of the letter Y, first in the name IEVE and of Jesus the Word, IShO, YPhO.

(1) See Fig. page 150. ↩

Here now is the design of our articulated dual-protractor construction of the Archeometer.

Arabic WAVM ١١١١ 177 SHADAI Hebrew

At the base of the figure, one will note an ancient ratio of 7 to 22 = 3.1428571, approximating the number π transmitted by Euclid, though empirical and uncertain.

Zodiacal Crown of the Utterance

Beginning with the letter Y, I or J, every 30°, the zodiacal crown of the Utterance comprises the letters: L, M, W, Ph, K, R, E, O, Z, È, T.

V H

The homologies of these letters, at 180° apart—that is, at the two extremities of the diameter—are: YR, — LHa or LHe, — MŌ, — WZ, — PhÈ, — KT, and conversely RY, — EL, — OM, — ZWou, — ÊPh, — TaK.

This yields two hexads of autological names—radical or monosyllabic root words.

IR, IRâ, means in Sanskrit: Utterance, the Divinity of Utterance.

La or Le means: King of the Heavens, Lord of Swarga or Paradise, Indra, one of the twelve Adityas, and likewise the inner master, the soul, the conscience.

MŌ, root of MŌX and MŌXA, means: Deliverance, salvation, liberation from bodily bonds and life’s miseries.

WZ, or OUZ, recurs as US and means, in the Veda: Ardor and luminous splendor.

PhÊ, Pa, the Governing Power,

KT. The letter K signifies the Soul; the letter Ta signifies Ambrosia, the immortal essence.

Inversion

RY or RâJ, To be king, to reign.

EL, AL, To contain (Hebrew). Salvation, glorification, exaltation.

ŌM, the AŪM.

ZWou, SWa, Goods.

ÊPh (Hebrew), That which covers and protects, guarantee, security.

TaK (Hebrew), To bear, to sustain; (Chaldean), Seat, throne.

To gradually accustom the architect to reading these signs and their equivalents, we shall take from the Zodiac of the Word the letters indicated by the angles of the first two Trigones—that of Jesus and that of Mary.

Here we shall limit ourselves to homologous letters—those whose colors reconstitute the white ray and which consequently form binary couples, combinations wherein each element is 180° distant from the other.

The utility of the Crown of Degrees will thus be verified, alongside the autology of the zodiacal crown of letters.

We have previously justified our choice of the letter I, Y or J as the point of departure and return for the harmonic and organic series of the Utterance and its equivalents.

The equivalents of I are: the emissive and remissive blue ray, the number 10, the sonometry and resulting harmonic forms, the sign of Virgo, the Wisdom or Queen of the Heavens of the ancient Patriarchs, the thrice-great Mercury at the feet of Virgo, the thrice-great Raphael of the ancient Patriarchs, the Vedic-Brahminic Buddha, etc…

The 12 zodiacal letters.

The homologue of this letter is R, whose correspondences the reader will find for themselves on the Archeometer.

This binary combination yields an Archeometric radical name, a monosyllabic autological root.

We need only open a Sanskrit dictionary—we adopt this Devanagari language, language of Divine City or Civilization, because it was articulated upon an archeometric temple language: the Adamic whose alphabet we have chosen.

Thus shall the Word itself declare whether we were right against our Brahmin friends in taking, as the starting point of Creative Utterance, the letter I rather than the letter M.

IR, IRÂ, means in Sanskrit: “Utterance, the Divinity of Utterance.”

The response is divinely conclusive. Without departing from the base of Jesus’ Trigone, we shall refer to the letter O, whose equivalents are:

The color red, the tongues of fire of the Holy Spirit, the red Dove, the number 6—sonometric generator of the perfect minor chord we call the internal organic, likewise generator of the beauty forms resulting from this chord—the sign of Taurus, the sign of celestial Venus and of Ionah. The binary combination is given, at 180° distance, on the inverted base of Mary’s triangle, by the letter M, first in that name and in that triangle.

We leave the reader to discover for themselves the equivalents of the letter M, and we open the Sanskrit dictionary.

ÔM, the Brahmins’ “AÛM,” the esoteric Koranists’ “AVAM,” the “AM,” the “Ave Maria” of the first Patriarchs and of Christians today.

By meditating with the Archeometer in hand upon the recombination of the white ray through complementary or rather homologous colors O and M, and by observing the homologies of these two letters’ other equivalents, Orientals shall know scientifically the origins of their AÛM. They shall know why this Name, when sanctified and precisely pronounced at the appointed hour, launches their life into the other life—that of the Trigone of Living Waters—and toward the central, enharmonic source of Light.

We shall now take the letter Ph or P, that of God’s Gate and of the Angels. Its equivalents are: the photogenic yellow ray, the Christmas of Glory, of the astral Heavens and of the incarnate Word, the number 80, its musical sonometry, the beauty morphology generated by this sonometry, Capricorn and its angel, Saturn and its angel, etc.

The homologue is Ê or H—the violet ray, the number 8, the note la, the musical and morphological sonometry of 8, the lower Gate of the Kingdom, the superterrestrial Gate of man, the descent and reascent of souls in earthly generation and celestial regeneration, the throne of the Angel Gabriel, the angel of the Annunciation and of the Ave Maria, the angel of the sign of Cancer and of the Moon.

Upon the vertical of the Solstices of the World of Glory and the astral World, the white ray reconstitutes itself at the archeometric center through the North-South combination of yellow and violet. This coupling yields the letter couple PhÊ, Pa-H.

Let us open the Sanskrit dictionary: Pa-H, “The Power that governs organic life.” We have seen that this power seizes this universal governance by passing from the triangular letter P, Δ, to the triangular letter armed with a bisector representing the World’s axis: Δ, Sh.

These direct responses leave nothing to be desired. But as divine Reason, far from fearing human reason, wishes to possess it wholly in the plenitude of its admiration and adoration, we shall revisit each of these binary words and interrogate their inversion.

YR yields RY; — RY, in Sanskrit, yields RĀJ: to be King, to reign.

By joining both senses—direct and inverted—we thus have: the Word, the God of Utterance, the King of the eternal Kingdom.

ŌM yields MŌ in Sanskrit, MŌx, MŌxa, “Deliverance, salvation, liberation from bodily bonds and the miseries of physical existence.”

Combining both meanings: the AŪM, “the Expansion of the soul of life in adoration, the impregnation by the living waters of celestial life, giving a foretaste of salvation, deliverance, liberation from bodily bonds and the miseries of physical existence.”

PaH or PhĒ yields, in Hebrew, ÊPh, the Providence that guarantees, protects, and shelters in Security.

Combining both meanings: The Governing Power that rules life, protects it, shelters it, and ensures it, when this life restores itself to itself.

Having assisted the reader in interrogating these homologous letters upon the Star of the Solstices of the Word, we shall limit ourselves, concerning the Equinoctial Star of the Angels, to conducting the same experiment along the horizon line.

Let us therefore position ourselves between the two angles I and M of Jesus’ and Mary’s Trigones.

There we shall find the letter L, upon the Trigone of divine Ether. Its equivalents are: the azure green, the number 30, its musical and morphological sonometry, the Archangel Saint Michael, the horizontal and Western Gate of the Angels, of the ALaHIM appointed to provide all mental, loving, or corporeal life with its nourishment and elements, the Autumn Equinox, the sign of Libra and Judgment, nocturnal Venus, etc…

The homologue, at the starting point of the Trigone of Fire, letter E or H, has as its equivalent the Lamb of God, Agnus Dei, the Agni of the Vedic-Brahmanists, the Paschal Lamb of the Jews, divine Love unto the absolute sacrifice of Self, Easter, the Crucifixion of the incarnate Word and His Resurrection on the 3^rd day, the orange-red hue of blood, the Spring Equinox, the number 5, its musical and morphological sonometry, the sign of Aries and the Lamb, nocturnal Mars or the Centurion, the Sun upon its throne, etc…

The recombination of the white ray between azure-green and orange-red yields the letters LaH or LH or again Le.

The Sanskrit dictionary responds: The King of the Heavens, the Lord of Swarga, the Master of Paradise, one of the twelve Adityas, naming him “Indra,” which we accept as an epithet of Jesus, but nothing further.

It adds, passing from Theobiology to the Ontobiology of man: The inner Master of the soul, the conscience.

Conversely, Hebrew gives: EL, AL: Salvation, Exaltation, Glorification. Combining both meanings:

“The inner Master of the soul, the Lord of human conscience, crucified for its salvation, exalted and glorified with His primal glory as the Word, is the Lord and King of Paradise.”

Planetary Crown of the Utterance

The same experimental proof, sought from the planetary crown of the Utterance, would yield other responses equally marvelous.

For now, we shall limit ourselves to the preceding examples, which conform to the law of homologies and the rule of their binary combinations, for reading Archeometric Mantras^[*] of this order.

Planetary and zodiacal.

To further certify the exact autology of the Archeometer, we shall take, from each angle of Jesus’ and Mary’s Trigones, the binary combination of the zodiacal letter and the planetary letter of the angle, then their reversal or inversion.

We shall use only the Sanskrit language and standard dictionaries, to once more prove the Aryan reference of the Archeometer to the ancient patriarchal Universities.

At the starting point of Jesus’ Trigone, the two letters Ya Tsa yield the word Ya Ça.

Ya Ça means: Emission of Glory and splendor.

ÇI, reversal of the preceding word, means: Remission, rest, sleep.

Thus, for the angle of the letters’ point of departure and return, there is perfect concordance between this binary combination and that which we have characterized as homological.

Ph Sh, the two letters of the Northern angle. They coincide with Capricorn and Saturn, at the point of Christmas, our December 24th, Midnight, when the sun begins to ascend the Ecliptic and generate the new year. Now, in Sanskrit:

PæSha means the month of December-January, absolute confirmation of all we have said regarding Archeometric autology.

Pa means: Power; Pâ means: Savior.

Sha —: Paradise.

SaP, reversal or inversion of the preceding letters, means: To adore.

Let us join the meaning of the astronomical World to that of the World of Glory, and we have:

At the starting point of the first astronomical month, there is revealed to adoration the Power of the Savior, the King of Paradise.

Having let the letters of the angle corresponding to the Father speak, and those of the angle corresponding to the Son, let us interrogate the angle corresponding to the third Person of the fundamental Trinity.

OG yields OGa which means the Power that unites and reunites, the Force that fecundates and multiplies. In Latin, Augere, to increase.

GO, inversion of the preceding word, means (in the Veda): all that tends toward union, all that is good. But, no less remarkable regarding the astronomical meaning of the December-January month, the word GO also yields in Sanskrit the zodiacal astronomical meaning of the sign corresponding to the letter O: Taurus, Ox.

MaKa, word formed by the two zodiaco-planetary letters of Mary’s Trigone’s starting angle, means: Sacrifice; MaGa, Happiness and sacrifice.

KaMa, means Love, desire, the will of which Love is the principle.

RD, at the second angle of Mary’s Trigone, forms the name RaD which means: To give, to grant.

DR, DaRa, that which bears, contains, and possesses. But here again, an astronomical meaning is given by DRu: that which flows, liquefies and dissolves, or runs swiftly in water, corresponding to the sign of Pisces.

HB, at the southern angle of Mary’s Triangle, yields: the word HÉBÉ who pours drink for the gods, in Orphic mythology derived from the Vedic-Brahmanic.

In Sanskrit, this name decomposes into Ka, Ethereal Water or Vaporous Air, and Ba, urn, which astronomically accords with Cancer—a water sign—and with the correspondence between the Moon’s course and the state of all sublunary fluids and liquids.

BH, inversion of the preceding word, yields BaHu, the Hebrew BoHu, fluid mass, whence BaHuKa, cistern, which again accords with the astronomical meaning of the sign.

Morphological and Arithmological Letters

I term as zodiaco-solar those organic Alphabets of XXII Letters, such as liturgical Syriac, the Assyrian of the Jews, Samaritan, etc. I have chosen this type of alphabet because it is scientifically regular as a process of letters and corresponding numbers, to which any empirical or vulgar alphabet may also be reduced. And within this alphabetic type, I have selected the most ancient—the Adamic—unknown in Europe but preserved by the Brahmins under the name Vattan. I adopted it because it is exact, not only as a process of letters and numbers, but also as a process of Forms. It is a morphological Alphabet, or more precisely one that speaks through its Forms, all generated from the Point, the Line, the Angle, the Circle, and the Square:

The sciences and arts relating to the application of Forms to Uses—Architecture, Statuary, Ornamentation of every kind—will find in these Letters, restored by me to their exact points of Correspondence upon the pantographic Cosmometer, a speaking morphology.

In Architecture alone, a new genre—the Speaking Style—derives from this through Correspondence with the Colors of the Pantograph.

This Style consists in the use of Iron or any other metal and of colored Glass—Iron serving not only as Framework but also for the speaking Setting of walls made of colored Glass, just as Gold, Platinum, and Silver serve for the setting of precious stones.

We shall see later why, from the Alphabet of XXII Letters, I extract three Letters:

— A, in number 1,   • • S, in number 60,   Ɔ, Th, in number 400, that is: the Generative Ray, the Points, and the Sign uniting the Zones.

There remain XIX Letters—XII Modal, VII Diatonic. I have drawn up a table of the following morphological Correspondences: 1° between the XII Modals and the XII Zodiacal Signs; 2° between the VII Diatonics and the VII Planetary Signs.

Comparison shows that these astral Signs derive from these Letters, and this fact alone refers them to a patriarchal University era preceding Paganism, Sabaeanism, Anthropomorphism, and Zoomorphism. This is why I call these XXII-Letter Alphabets zodiaco-Solar, and those of 28, 29 and 30 Letters—such as Musnad and Coreïsh—zodiaco-Lunar.

Arithmology of the Solar Cosmological Alphabets

The 22 letters being arithmological, we had to reconstitute their Arithmology in accordance with their point of departure and return—their emissive modulus which, being the letter Y, is the number 10, with 6 as the minor modulus. Conversely, in the Vedic-Brahmanic lunar system, the point of departure and return being the letter M, is the number 40, with 8 as the minor modulus.

It is useful here to point out to the architect that this Arithmology restores an entire lost aspect of arithmetic sciences—that of qualitative Numbers inversely proportional to quantitative numerals.

The greatest of these numbers is Unity, and all others are its internal functionalities.

Moreover, this qualitative Arithmology is physically experimental, whether upon the sonorous string or upon vibrating plates, according to the numbers and according to the equivalent forms of the plates.

It reveals there the musical quality of numbers, while the digits reveal there the quantity of physical vibrations.

This knowledge—whence results the cosmological Music of forms or Morphology—is indispensable to architecture and to all the arts it governs, to elevate the artist and the work from an unconscious state to one of full and entire science and consciousness—that is, of direct cooperation with the Metrological and Morphological Principle.

Religious Synthesis or Wisdom is thus a real and positive divine Alliance, in Science and Art as in Life, of which Science and Art are the instruments.

Finally, since numbers also constitute utterances, the architect will note that those resulting from the principal numerical series of the Adamic Alphabet are read according to the Sanskrit decimal numeration. He will readily see the importance of these revelatory utterances.

Once again, human will has no part in this autology, which will furnish us with the Criterion of certitude from the most ancient patriarchal Universities.

Criterion of Certitude

Nothing is created without conviction, without that vital power summoned within the very Word by an irresistible certitude—that light which kindles sacred warmth in the heart.

As revealer of this Revelation, the Archeometer provides this certitude and summons this vital force that will lead the architect to a real alliance and collaboration with the Principle of his art.

This is why I draw his attention, with equal gravity, to what follows: By fixing the table of the Arithmology of the 22 letters, one will see:

1° That its key is the number 10—that of the letter Y, I or J.

2° That this number 10 does not result, as in systems of decadent antiquity, from the summation of the internals of the number 4 + 3 + 2 + 1 = 10, but from the Unity of the Trinity, and from the internality of this Trinity, 3 + 2 + 1 = 6, that is, its sixfoldness.

The number 1 corresponds to the unknowable Unity of God, the number 3 to His constitutive Trinity of all manifestation, to His knowable Word. He who sees me sees the Father, says Jesus.

The number 6, which is that of the Holy Spirit, is the very internality of 3 + 2 + 1 = 6.

These three numbers—1, 3, 6—equal 10, without needing to resort to 4 to obtain the number 10 by summation.

All the above is experimentally verifiable on the sonorous string. Indeed, 1 represents the entire string, 2 its octave—but its octave on both sides, right and left of the string’s midpoint. Duality is thus not a power of opposition, but of symmetry within Unity itself.

3, on the sonorous string, yields the fifth at 2/3, but each isolated third also yields this fifth at the octave; thus 3 is autonomous within 1, as the utterance of the number 1.

4, on the contrary, is merely the sub-symmetry of 2, which is itself the symmetrical power

of 1. 4 does yield the fourth at 3/4—the geometric half of the octave—but each isolated quarter reproduces the octave itself within the double octave.

So that while 2 is the symmetrical power of unity, 4 is its sub-symmetrical or interferential power. This number is thus neither autonomous nor directly expressive, no more in Sonometry than in Morphology, as we shall see elsewhere.

6, the internality of 3, the weapon of its symmetrical power, which then becomes 3, just as 2 arms 1 with internal symmetry.

In 6, all speaks fully on the sonorous string; all is verbal and autonomous as in 3, and this utterance—which corresponds in morphology to the hexagon—gives the sound wave its perfect minor chord, which we term internal organic, with propulsion of 2 fifths in the treble, that is, double promulgation of the verbal 3.

In the few preceding words, all systems—Vedic-Brahmanic, Egyptian, Chaldean—of decadent antiquity, and a fortiori the Pythagorean dross of that antiquity, are relegated to their secondary place within the sole system that is the expression of the Principle:

1, 3, 6—Father, Son, Holy Spirit.

But Science being one and indivisible, what is scientifically true in the World of Glory cannot be false in the World of the Heavens and of physical facts, whatever those facts may be.

Sonometry has just proven this to us, and the vibrating plates of physics cabinets will prove it further when the time comes to demonstrate through other experiments the equivalence of Morphology and Arithmology.

Limiting ourselves to that of the Utterance and of numbers, let us recall that:

Of XXII letters, 3 are constitutive, 7 evolutive, 12 involutive—total XXII.

The numbers of the 3 constitutive letters are: 1 + 60 + 400 = 461.

At the center of the arithmological table, one can see that in Sanskrit decimal numeration, 4, 6, 1 yield the word DeVA, the Divinity.

The 7 evolutives yield the number 469, and in Sanskrit, 4, 6, 9 yield the word DeVaTa.

In any dictionary, DeVaTa is translated as: Divine Conditionality—that is, the Laws given by Divinity, harmonic and organic laws of evolution; and the functional masters and guardians of these laws are the judges, the angels of Light, the ALaHIM, the Devas.

The 12 involutives yield the number 565. This number 565 gives the name EVÉ, Absolute Life.

If one sums Evolution to reduce it to its point of departure and return, 4 + 6 + 9 = XIX; 1 + 9 = X; 10 = I, Y, J.

This letter, placed before the word of involution (which must not be summed), yields the name IÉVÉ: I the Absolute Life, I am the Absolute Life. This is the Criterion of the Burning Bush.

Now, all the preceding revelations are autological through numbers as through letters: they are therefore not the words of man, but Utterances of the Word, direct through experimental facts.

Let us summarize these truly wondrous facts—not to say divine, though that would be the precise term.

The numbers of the three constitutive letters say: the Divinity.

The numbers of the 12 involutives say: Absolute Life.

The numbers of the VII evolutives say: Divine Conditionality, the gift of Life and of the conditions for this divine gift.

Finally, once the Universe and the universality of existences and destinies have been produced in the World of Glory—archetype of the astral Heavens—only then do all the involutive angelic Powers unite through Creation in the Creator and in the letter I (number 10), the letter of “Consubstantialem Patri” shared by Father and Son, to pronounce the name of the Father of Life, manifested by His Word.

The foregoing autologically states that: Life produces the organism which manifests it, and not the contrary. It organizes according to the specific conditionalities of beings and substantial environments.

This name YÉVÉ—pronounced also in various ways according to the times of Adoration—is thus autological: I am the Absolute Life; as though it belonged to God alone to pronounce it in the heart of the man who prays to Him.

The incarnate Word says:

“I am the Way, the Truth, the Life.”

The Way corresponds to the letter Sh in the name of Jesus, to the point of the Eternal and temporal Christmas marking the beginning of Capricorn—called the Gate or Way of Angels—just as its homologous sign, Cancer, is called the Gate or Way of Men, guarded by the Angel of the Annunciation, Gabriel.

Truth corresponds to the letter Y and to the sign of Virgo, consecrated to divine Wisdom considered as Queen of Heaven and identified with Mary of the Assumption.

Life corresponds to the third letter in the Name of Jesus, the letter O, assimilated to the diurnal abode of Venus-Urania, to the Yonah of the Patriarchs, to the red Dove and the tongues of fire of the Holy Spirit.

Life is therefore the final word, the supreme among these three utterances of Jesus.

And indeed, at the summit of all sciences—and in science as in all things—man creates nothing, he merely observes; at the pinnacle of all phenomenal experiments, the human spirit is called to verify a universal, undeniable fact that is simultaneously an inexplicable universal miracle: Life ceaselessly renewed like the cosmic year and the terrestrial year.

This fact finds its conditions of physical evidence in cosmic organicity and its cyclical permanence, whose preservation is a continuously unfolding creation.

Now, there is no organicity without harmonicity, and if the former signifies Life, the latter signifies: the Word or Utterance.

The summation of the literal numbers of the Utterance, following the organic and harmonic series of cosmological letters, has thus autologically spoken to us the very word of Jesus, His supreme word: “I am the Life.”

This is the religious criterion given to the most ancient Patriarchs at the zenith of knowledge—the archeometric point where divine incidence entered human reflection and, consequently, the entirety of social life, founding everything—Science, Art, and Organization—upon the Living God and His Principle of action and manifestation: the Word.

Now, the Brahmanic University holds as its sacred word the monogram of our Ave Maria: AM; AVaM, AOuM.

If the letter I in the name of Jesus corresponds to eternal Wisdom, the letter M corresponds only to the receptivity of this Wisdom in the cosmic Man, the archeometric Adam.

This receptive Power, a martial Virgin in the water sign, was called Minerva or Pallas by the pagans.

The letter M, in the secret teachings of the Brahmins, is an internal vowel, unpronounceable yet audible within the body—like the sound of the sea in a shell—when, hermetically sealing the mouth, nostrils, and ears, one exerts a vital thrust from the cerebral gland called pineal to the body’s extremities without breathing.

The Brahmanic Criterion is thus no longer cardiac and biological but cerebral and physiological, corresponding to the lunar Water Triangle—that of embryogenic Emanation and organic Origins—whereas the Triangle of living Earth, of supreme Reality, is that of Immanation in the vital, cardiac, direct, and absolute Principle: Love-Life.

Between the two letters I and M lies the difference of the I to the Me, of the vital proclaiming the verbal, to the mute mental folding back upon itself, even if in the most saintly quietist contemplation.

The names of Jesus or IÉVÉ are not in use among the Brahmins, and those of their leaders I have known certainly did not foresee that their most secret morphological Alphabet would serve me to glorify and thus prove, through undeniable experiments, absolute Life and its Word: Jesus.

But I could prove to them—even show them upon the precious stones of their Sovereign Pontiff’s breastplate, upon the breast of their Brahma who wears the tiara of seven crowns—that the name IÉVÉ is still inscribed there, unbeknownst to them. This fact dates back to the cult of IShVa-Ra, Jesus King, Word of IÉVÉ, and thus long before the Kali-Yuga and Brahmanism.

I shall complete the foregoing by explaining the word Principle, Barashith—so simple yet so little understood despite the endless debates it has provoked for millennia.

Moses, condensing the Tradition of the ancient Patriarchs, says: “Barashith, Bara, ALaHIM”; the Principle created the Angels; ATh, ha, ShaMaIM, wa ATh, ha, AReTz—living alphabet, harmonism and organism of the Heavens of Glory and the gravitating Heaven.

Saint Augustine says: “All the Heavens are before God as a single earth,” and indeed A-Retz signifies the unity of that which runs or gravitates.

Barashith is a single word, Bara, repeated in an identical verb, as Moses does when addressing an important mystery.

ShITH is a numerical affix meaning hexadic—in Sanskrit: Shath, six; Shathkona, hexagon; Bara signifies creator through the Utterance.

This name, in Hindu mythology, belongs to India’s first lawgiver and bestowed upon it the title Baravarsha or Baraversh, the Continent of the Word.

The name IÉVÉ = 10 + 5 + 6 + 5 = 26; this number is held in two Adamic letters KV. Now KaVi in Sanskrit means: the Creator through the Utterance, the Poet-God.

The word poet is taken here in its ancient sense, not that of the versifier and public entertainer—the only meaning barbarous civilizations can grasp in their profanation of God’s gifts.

This same number 26, reduced to its symmetry root of 13, translates into two Adamic letters: IG, and according to the decimal system, AG.

In Sanskrit, this is Agni, the divine Fire. Moses says: “Our God is a consuming Fire.” The foregoing already sheds much light on the word principle. Jesus provides its full illumination by saying: “I am the Principle, the Barashith.”

His beloved disciple Saint John begins his Gospel in Syriac Aramaic: “The Principle is the Word, and the Word is the ATH of the ALaHIM.”

Thus he confirms and comments upon Moses, and shortly thereafter, he recalls the criterion of certitude by saying: “Life was the Light of Men.” Thus the numerical root—or rather the only-begotten Son, the intimate asymmetry of the name IÉVÉ—is KaVi, the creative Word; Agni, the divine Fire, that of absolute Life—Love, the Fire of Self-Sacrifice, universal Priest and Victim, Creator and Preserver, Redeemer and Savior.

Such is the Barashith, the Master and Lord of the Work of the 6 days.

This work is not directed, either, by the ALaHIM, the object and not the subject of the verb Bara. The Father’s name is uttered only when living organicity and harmonicity are deployed in act within the eternal World of Glory and then in the temporal World of the astral Heavens, born from the amorphous nebula of chaos.

In the absolute Being, the Principle is to act what lightning is to thunder, what love is to the gift of Self.

There is no abstraction in God; all there is living, present, and indivisible. He is the Principle and the act.

Only the unconscious—philosophers renouncing the criterion of Life, the generative Principle, for the mental castration of Cogito ergo sum—could fashion God in the image of their impotence by separating principle from act, or rather by confounding the divine Principle with so-called natural origin.

Had the universal Principle not been the Realizer and primordial Reality of the eternal World of Glory—had realization been subjected to a secondary power like Time—this Principle would be dead, and not only would no life renew itself, but none would ever have manifested.

Now, the miracle of universal Life is the act of the living Principle—a fact as undeniable as it is inexplicable without God.

One might ask why the name IÉVÉ is pronounced on the seventh day. The number 7 on the sonic string is always a number of rest.

The number 6 yields the so-called minor perfect chord, which I term internal organic, plus two fifths in the two following octaves.

I indicate here just one of the many experimental reasons demonstrating why the act of the creative Principle—whether theogonic in glory or cosmogonic in the astral heavens—is governed by the hexad.

Its repose lies at its center or that of the hexagon. “God has placed His throne in the sun,” says the Prophet, speaking of the Sun of Glory, the Center of His hexad and double hexad.

In all that precedes, nothing has been uttered that was not the expression of an experimental archeometric fact—this being the honest character of science—and not of an arrogant and vain metaphysics.

The path of science, which is that of Truth, is at the same time the path of human humility—where the human spirit lets the law speak through fact, and the Principle through law.

It is the Lavabo inter justos manus. “I will wash my hands among the righteous”; and to be just before the universal facts that are signs of the Word, it suffices to be exact in their observation.

Science says with Jesus: Fiat voluntas tua—before the Author of facts submitted to its experimentation.

The philosopher, the mentally unconscious, always says, like the so-called qabalistic magician, “Fiat voluntas mea,” and nothing results but void.

Compared to those of science, the social products of art in this age are of pitiful poverty when not tainted by an execrable perversity and perversion.

At the pinnacle of all arts, architechny drags itself through sterility—towed along by all productive epochs—unable to generate any style or genre.

The reason for its impotence is the same as for philosophers, metaphysicians, jurists, and literati—apes and parrots of Graeco-Latin pagans. It is unconsciousness—the absence of a scientific principle demonstrable scientifically, experimentally, honestly.

Faced with the anarchy currently reigning in all things, thanks to this mental race, some have dared to declare: “The bankruptcy of science.”

No—science never goes bankrupt, for it is consciousness: an exact reflection of the Word’s Incidence.

This dual light is instrumental to Life, just as Instruction is to Education or ought to be.

But bankruptcy of a mental race—yes; bankruptcy of whim and individual anarchy; bankruptcy of Graeco-Latin secondary studies—neo-pagan instruction without education.

The Archeometer (Central Portion).

The Cosmological Archeometer

Revealer and Regulator of Advanced Studies

Definition

Planisphere of Universal Harmonicities and Organicities—a precision instrument, synthetic and analytical, for concordances, general and specific, for use in Higher Sciences and the dependent Arts and Crafts.

It is experimental in its totality and in its constituent parts. These are capable of moving mechanically around the common center.

Finally, they are homologous with one another and form the equivalents of the Utterance, which is itself the Principle of which the Archeometer is the demonstrative fact.

This archeometric Utterance consists of ancient alphabets which careful study leads me to name: “Cosmological, Solar, and Luni-Solar.”

They are composed of 22 letters, each bearing a special number from 1 to 10, then from 10 to 400 (10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400). These alphabets are:

The lunar ones, which I reserve as instrumental to the solar, derive value solely relative to the latter.

The Archeometer.

Summary Description

from Circumference to Center:

Crown of 360 Degrees—Differential Numerical Protractor

The first two circumferences, divided into 360 degrees and evolving by contrary motion, yield 360 through addition at any given degree. This homology enables dual verification of all positions of other constituent parts.

These two circumferences form a Differential Numerical Protractor.

Zodiacal Crown of the Utterance

The second zone is tinted orange-pink. This is the Zodiac of the Utterance.

It bears 12 letters in escutcheons spaced 30° apart, along with the number Tradition assigns to each. Moreover, each escutcheon bears a distinct color or luminous ray.

The homology of these colors in opposing pairs at 180° reconstitutes the dual white ray or diameter seen in the small central circle.

Planetary Crown of the Utterance

The third zone, with a bluish ground, is the Planetary Array of the Utterance.

It consists of four equilateral triangles dividing the Planisphere into twelve equal parts.

Two of these triangles—vertically homologous through their north and south angles—form the Star of the Hexagon, which Antiquity assigns to the metrology of the circle. For indeed, the hexagon’s side equals its radius.

This is the Star of the Solstices of the Word, the Barashitha or sixfold Utterance of ancient cosmogonies. These four triangles generate among themselves, through intersection, three interferential squares whose sides are also equal to the radius.

The angles of these four trigones bear letters, each carrying its number and a specific color—and moreover, an interferential color generated by overlap at each square’s angle.

Triangle of the Word Jesus

Land of the Living

The fundamental Triangle, morphological equivalent of the number 3, divides the circumference into three equal 120° parts. It establishes the figure’s vertical axis and fixes its north or zenith at its apex.

Its name writes itself through the identity of its three zodiacal letters with corresponding astral signs, of which they are the prototypes. This same identity is further completed by other non-escutcheoned solar alphabets.

This name is Y-Pho, Word of God, and the term PhO simultaneously signifies: Utterance, voice, sound, and light.

But upon governing the astral Circles, this same fundamental Trigone assigns to its apex the planetary letter forming a small equilateral triangle with a bisector—representing the celestial poles’ North-South axis—which finds its true vertical position only there.

Its name then becomes Y-Sho: JeShU.

Triangle of Mary

Sea of Living Waters:

The trigone homologous to the preceding has its apex at the South. It reads: MaRiaH, following the rules of the harmonic or euphonic table from Valmiki’s Ramayana regarding the descending letter R: Ri.

The hexagonal star it forms with the prior divides the circumference into six equal 60° parts.

Solstitial Star of the Word

These first two triangles in hexagonal star formation are: the cosmogonic Barashitha, the sixfold creative Utterance, the hexagonal Principle of the six days of creation.

Ancient Tradition names the first trigone: “Divine Earth” and the second: “Living Water.”

Triangle of the Ether

The third triangle has its apex at the West. It reads: “LaKaZa”, the Ether, the Etheric Power.

Triangle of the Divine Fire

The fourth triangle has its apex at the East.

It reads: HouT. The Divine Fire.

Star of the Equinoxes of the Word

of His Angels or ALaHIM:

The third and fourth trigones united form the Star of the Equinoxes of the Word. Read collectively from the Center A, westward to La, then eastward to H, ALaH, a pronoun meaning: “That One.”

The Arabs, doubling the letter L through their Lam-Alif, pronounce this pronoun ALLaH. This same hexagonal Star of the Equinoxes of the Word, referenced to the first two letters of the Solstitial Star, reads: ALaH-IM, and inversely MI-HeLa.

It is instrumental to the Barashitha, and forms with it the dodecagonal Star of the Word, dividing the Circle into twelve 30° parts.

Cosmological Musical Crown

Following the three prior zones or crowns comes a musical crown composed of a double diatonic hexad, where each note corresponds to the color, number, and letter of the same degree or decan in the aforementioned zones or crowns.

Every chord—consonant or dissonant—formed by homologous pairs of these notes at 180° from each other always has, as mediator at the solar center of the Archeometer, the central note Mi.

This musical system defines itself as diatonic, enharmonic, and chromatic transposing through the specific numbers of the letters—particularly those of the Principle, the three letters: Y-Pho, Word of God, zodiacal name of the fundamental triangle.

These numbers are: 10, 80, 6.

The Sonometry of the Archeometer is thus formed upon these numbers of the Mother Trinity. Other numbers, combined with these, constitute a qualitative arithmology presiding simultaneously over the harmonic Cycles or revolutions of the stars and over sonometry proper.

The Archeometer presents seven diatonic modes. The fundamental emissive note is Sol, corresponding to the letter Y and the color blue.

But once the circle is defined by the four equilateral triangles, its octave alone speaks planetarily, and the gravest note then becomes “Si”, the major third of the original “Sol”.

Historical antiquity wholly lost the precise notion of the fundamental “Sol” of the Virgin’s Lyre. It retained more or less clearly only that of the fundamental “Si” which, from the Archeometer’s apex to base, yields the seventh chord “Si-la” divided into two conjunct fourths by the note at the figure’s solar center: Mi.

”Si-mi-la” reads on the Archeometer: ShNaH, THE YEAR, and inversely South-North: NaHaSh: the Serpent.

Measured by conjunct thirds rather than fourths, this chord “Si-ré-fa-la” is the interferential or direct enharmonic of the diatonic musical equivalent of the interferential or diametric North-South axis.

The sonometry of the numbers 10, 80, 6 yields upon the fundamental string of Sol the archeometric gamut of 22 intervals.

Just as the numbers of the letters form a qualitative arithmology—experimental through sound—so too they determine a qualitative morphology, identically experimental, through harmonic intervals upon the string at rest or in vibration.

From this results an archeometric morphological alphabet of 22 forms.

Astral Zodiacal Crown

The astral zodiacal crown occupies an orange-pink tinted zone, with twelve escutcheons bearing the traditional signs of the Zodiac. The word “Zodiac” derives from inverted Sanskrit: Kya-Devas or Kaya-Devas—the Path of Angels.

Astral Planetary Crown

This is the bluish zone of diatonic planets in double hexad, marked with their traditional signs in diurnal and nocturnal positions, with the Sun at the Center, represented by the note Mi.

These signs—astral, zodiacal, planetary, and solar—are derived from morphological letters employed on the escutcheons and the angles of the four inscribed trigones.

Thus, these same letters, being self-positioned and not arbitrarily placed on the Archeometer, speak autologically therein—without human will introducing any caprice into this direct Utterance, provided its laws are respected.

This Utterance is translatable into the most ancient tongues called in Sanskrit: “Languages of the City or of Divine Civilization: Devanagari,” as opposed to other non-archeometric or non-archeometered languages termed Prakrits or of Savage Civilization.

Dodecagonal Crown of Chromic Circum-Solar Rays

Following these six zones or crowns comes a luminous reproduction of the World of Glory—a double hexagonal star dominated by the luminous trigone (blue, yellow, and red) corresponding to the Principle-Trinity and the three letters of its name.

I-PhO, Word of God; I-ShO, JeShU.

Crown of White Rays

This reproduction of the World of Glory surrounds the final indigo-tinted zone—the musical staff of five lines where the six diameters or twelve white rays intersect, homologizing complementary colors.

Solar Center

And finally, the note Mi representing the central Sun, which—with the semicircle above it—forms the letter Na; just as the horizontal white ray forms the morphological letter A.

Summary of the Brief Description

Dual Crown of 360 Degrees: Boundless Time, Eternity

The zone of degrees or differential homological protractor corresponds hermeneutically to Eternity or Boundless Time. The homological reproduction of 360 through addition at each degree demonstrates experimentally the omnipresence of God.

3 signifies the Word, 6 the Holy Spirit, and zero nothing by itself; yet preceded by these two digits, nothing becomes All—that is, the defined Universe: 360.

Eternal World of Glory

From the degree zone to the musical notes, there are four hierarchical intervals constituting what Tradition calls “The Glory”—the incorruptible Creation of the Word, His eternal Kingdom and that of His immortal Powers.

Temporal World of the Astral Heavens

The next two zones or crowns represent the sidereal Heaven—the temporal—in its type of harmony and organism determined by the prototype or archetype above.