The number 153 rhombus


The Works of Jerry Iuliano
 Ancient Numbers Revealed in Scientific Formulas Compiled by Joseph E. Mason 


The Great Pyramid and the 153 Fish in the Net

According to John, Jesus performed his first public miracle at a wedding feast in Cana, when he turned water into wine (John 2:1-11). Similarly, Pagan myth records Dionysus turning water into wine at his own wedding to Ariadne (Freke/Gandy, 38). Also in John, Jesus miraculously helped his disciples catch a large number of fish at the Sea of Galilee — 153, to be precise (John 21 : 11). In the aretalogy written by Porphyry, the great mathematician Pythagoras also performed this supernatural feat. Further, the Pythagoreans regarded 153 as a sacred number due to its use in a mathematical ratio called “the measure of the fish,” which produces the mystical symbol of the vesica pisces — the intersection of two circles which yields a fish-like shape. This “sign of the fish” is, of course, still widely used today as a symbol of Christianity (Freke/Gandy, 39).

Pythagoras and his disciples established religious communities throughout the Greek world. All were strict vegetarians. Men and women were admitted equally, they took vows of celibacy and all possessions were held in common. Neophytes took a 5-year vow of silence. They rose before dawn and worshipped the rising sun as the “eye” of the Supreme Spiritual Lord who is the source of all energy and life. They spent the day in philosophical study and religious observances, then finished their day by reading scriptures at a communal (and meatless) evening meal. All wore white robes. Pythagoras himself wore both white robes and a golden coronet. He was reputed to have worked many miracles of healing, including reviving several dead people. He was said to be the son of a god, Apollo, and born of a mortal mother, who was called “Parthenesis”, which means virgin.

Most scholars believe that he obtained most of his mystical knowledge in Egypt, but recent scholarship has traced his travels through India as well. There is supporting evidence for this in the Vedic literature of India which mentions him as a great empowered guru called Yavana Acharya, which means “Spiritual Master for the Meat Eaters” (Yavanas–as the Greeks were known to the ancient vegetarian residents of India). Like another great vegetarian miracle worker, Jesus Christ, Pythagoras is strangely associated with fish. Now scholars have compared two stories told about these two mystics and concluded that neither are about real fish, but compose an allegorical code to explain a deep mathematical and mystical relationship.

The Pythagoreans had a diagram of 2 intersecting circles, one above, one below, with the circumference of one touching the center of the other. The 2 circles represented the spiritual and the material domains. The “transcendental” region where the circles intersect resembles a fish shape-exactly as used as the symbol for Christianity. The Pythagoreans called this shape vesica piscis. The ratio of the height of this fish symbol to its length is 153 : 265, which is the nearest whole number to the square root of 3 and the controlling ratio of the equilateral triangle. OK, OK, you didn’t really think you could learn about Pythagoras without plowing through some math, did you?

Anyway, remember that first number-153. Now the stories of both Pythagoras and Jesus have them telling fishermen-who have failed to catch any fish all day-to cast their nets again. Miraculously, their nets come in full of fish. Pythagoras was said to have correctly predicted the exact number of fish caught. In his story, the mystic number is not revealed, but in the Gospel story of Jesus the number of fish caught is given-exactly 153!

Also, in the story of Jesus’ feeding the multitudes with “loaves and fishes”, Christ is quoted as trying to explain to his disciples the importance of the numbers of loaves, fishes, baskets of leftovers, numbers of people fed, etc. The idea is that these stories are not about a fish eating at all but about mathematical relationships and mystical numbers that reveal, to the initiated, hidden truths about the relationship of the spiritual and material dimensions.

The Cheops Pyramid constructs can demonstrate this mystical number:



 Cheop’s pyramid height = 486.256 ft (Churchward 1910)
Cheop’s pyramid base leg = 763.81 ft
(Churchward 1910)



J. Iuliano
(Sent via e-mail September 13, 2001 )

Biblical Resources

Revised Standard Version


John 2:1-11

1 On the third day there was a marriage at Cana in Galilee, and the mother of Jesus was there;

2 Jesus also was invited to the marriage, with his disciples.

3 When the wine failed, the mother of Jesus said to him, “They have no wine.”

4 And Jesus said to her, “O woman, what have you to do with me? My hour has not yet come.”

5 His mother said to the servants, “Do whatever he tells you.”

6 Now six stone jars were standing there, for the Jewish rites of purification, each holding twenty or thirty gallons.

7 Jesus said to them, “Fill the jars with water.” And they filled them up to the brim.

8 He said to them, “Now draw some out, and take it to the steward of the feast.” So they took it. 

9 When the steward of the feast tasted the water now become wine, and did not know where it came from (though the servants who had drawn the water knew), the steward of the feast called the bridegroom

10 and said to him, “Every man serves the good wine first; and when men have drunk freely, then the poor wine; but you have kept the good wine until now.”

11 This, the first of his signs, Jesus did at Cana in Galilee, and manifested his glory; and his disciples believed in him.


John 21:1-11

1 After this Jesus revealed himself again to the disciples by the Sea of Tibe’ri-as; and he revealed himself in this way. [see note below]

2 Simon Peter, Thomas called the Twin, Nathan’a-el of Cana in Galilee, the sons of Zeb’edee, and two others of his disciples were together.

3 Simon Peter said to them, “I am going fishing.” They said to him, “We will go with you.”

They went out and got into the boat; but that night they caught nothing.

4 Just as day was breaking, Jesus stood on the beach; yet the disciples did not know that it was Jesus.

5 Jesus said to them, “Children, have you any fish?” They answered him, “No.”

6 He said to them, “Cast the net on the right side of the boat, and you will find some.” So they cast it, and now they were not able to haul it in, for the quantity of fish.

7 That disciple whom Jesus loved said to Peter, “It is the Lord!” When Simon Peter heard that it was the Lord, he put on his clothes, for he was stripped for work, and sprang into the sea.

8 But the other disciples came in the boat, dragging the net full of fish, for they were not far from the land, but about a hundred yards off.

9 When they got out on land, they saw a charcoal fire there, with fish lying on it, and bread.

10 Jesus said to them, “Bring some of the fish that you have just caught.”

11 So Simon Peter went aboard and hauled the net ashore, full of large fish, a hundred and fifty-three of them; and although there were so many, the net was not torn.

Note: Sea of Tiberias (Tibe’ri-as) was, at one time, another name for the Sea of Galilee.



17 Fish, the Bible and the Stars

The Logos and Carmen Christi

Catch of 153 Fish (Wikipedia)

The Miracle of the 153 Fish
(includes the 888 connection)

The Sea of Galilee
(and the Fishes)

Curious Properties Of 153

Properties of 153

The Symbolism and Spiritual Significance of the Number 153

10-17-06 — Something Important About To Happen

CCC Forum 17 Discussion
Meensen, Niedersachsen (Lower Saxony) 11 August 2006

Why Study Metrology?

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In the last chapter of John’s gospel, we find the story of the 153 fish in the unbroken net. This is a gematria puzzle of considerable complexity. To illustrate the point of the story, we will reproduce its key elements.

a. Peter enters the boat, then six follow him (John 21:2-3)

The Greek gematria value of Simon Peter is 1925. If a circle of 1925 circumference is drawn to represent Peter, then it can be filled with six similar circles representing the others. Each circle touches the center and the perimeter. Then a circle is drawn around all seven circles. Its diameter is 1224, which is the gematria value of “fishes” and “the net”.

b. Jesus tells the men to cast the net from the other side of the net. (John 21:6)

The net is drawn from the side of the first large circle which represents the boat. Another arc is drawn which now creates the “vesica piscis”: the measure of the fish. A large rhomboid fish is drawn into the right piscis.

c. Peter is naked. He wraps his fisher’s coat around him, and jumps into the water from the other side of the boat. (John 21:7)

Another piscis is drawn on the other side, with Peter’s circle in it to represent Peter in the water. The height of the piscis is 1060, which is the gematria value of “fisher’s coat.” A four by four net is drawn inside the large fish, and now we find the 153 fish. Each small “fish” has a width of 153, and there are a total of 17 fish: 16 small and one large. 153 is the sum of the numbers from 1 to 17.

d. For extended meanings, we now rotate the diagram so that the net is on the bottom and Peter is on the top.

We now have a diagram of the Gnostic cosmos as described by Plato in Timaeus. The net in the sea represents the shifting world of manifestation, where everything is in a state of flux and nothing forever remains the same. The upper world, the world of gods and first principles, is the Intelligible world: all of the universal laws on which manifestation is based. The middle world of Humanity partakes of both spirit and matter, the eternal and the temporal.


From: Jesus Christ, Son of God
by David Fideler

The Symbolism of Apollo at Delphi

Image: Ancient coin showing Apollo setting upon the Omphalos Stone

This diagram of the 153 fishes in the net is earlier than Christianity and is associated with the symbolism of Apollo at Delphi. Apollo is the earlier Greek personification of the Logos, the universal mediator, and it is ultimately from the mathematical symbolism of Apollo, the god of harmony, that both the diagrams of the 153 fish in the net and the feeding of the five thousand originate. Both of these diagrams are ultimately based on the numerical value of square root of 2 (1.415), the mathematical symbol of the ideal mean between unity and multiplicity, which is reflected in the title THE GOD APOLLO, 1415.

In the Christian version of John 21, the “foundation stone” of the geometry is the central circle of SIMON PETROS, 1925, the omphalos of Christianity, whose number determines the dimensions of the entire diagram. In this Christian adaptation, we start with “the omphalos” to arrive at the symbol of “the net”. Likewise, in the earlier symbolism of Apollo, his omphalos at Delphi was covered with a net, symbolizing the veil of manifestation, woven from the central source of harmony. In the earlier version, the central circle symbolizes the omphalos at Delphi, the meeting point of heaven and earth, “the golden mean” of Apollo, The number 153 also figures in Delphic symbolism, for 1530 is the sum of DELPHI, 619, and OMPHALOS, 911.

Finally, if we draw a circle around the three worlds diagram, (above) the all-encompassing sphere has the measure of 7690, and 769, is the value of PYTHIOS, Apollo at Delphi.

When Christianity began, the center represents Simon Petros as the omphalos, “the foundation stone” of Christianity.

The Sign of Simon “the Stone”

The name Simon is a Proper Name. The word Petros is a Title meaning “The Stone.” The gematria value of the name and the Title together form a Sign that is a geometric multiple of the Raised Jesus (8880). The name Simon has a gematria value of 1,100 units. The word petros is a masculine noun and takes the masculine definite article “O.” The title therefore has a gematria value of 70 + 755 = 825 units. The name and title have a combined gematria value of 1925 units. The diagram below reveals Simon Peter’s sign.

Simon Peter, the Stone 1925

simon the stone 1925

Exactly four circles, each with a circumference equal to the gematria value of Simon the Stone (1925), fit inside a hexagon inscribed in the raised Jesus (8880). The blue circle inside the hexagon represents the “Sea of Galilee.” The gematria value of Simon the Stone (1925) is a geometric multiple of this “Sea” and of the Greek word “Fishes” (1224) as can be seen in the short essay that further explains the Sea of Galilee.

Simon “the Stone” was a fisherman from Bethsaida and he and his brother Andrew were called by Jesus to be disciples at the same time as the fishermen James and John, the sons of Zebedee (Mark 1:16–20). Christianity began with the dawn of the Age of Pisces and the fact that Simon Peter, James, and John (the most trusted apostles of Jesus) were all fishermen led to the adoption of the fish as one of the most imortant symbols of Christianity. Simon Petros figures prominently in many gospel stories that were geometry riddles.


The Sacred Geometry Mysteries of Jesus Christ
All 8880 diagrams/illustrations, commentary, and Greek to English translations are
Copyright © 1998-2015 Daniel Gleason, all rights reserved

Figure 51: The Relationship between the 153 Fish in the Net and the Feeding of the Five Thousand.

This illustration shows how the mathematical progression illustrated in the previous diagram underlies the dimensions of the fish in the net geometry and the feeding of the five thousand. Both diagrams are thereby shown to be differing expressions of the same, underlying cosmological code.

The central figure is a vesica with a width of 1x the square root of 2 (1.415 = THE GOD APOLLO), which defines the diameter of the feeding of the five thousand geometry on the right.

The height of the central vesica measures 1 x the square root of 2 x the square root of 3 (2.448 = FISHES IN THE NET), which defines the height of the 153 fishes in the net geometry on the left.

In the diagram on the left, the rhombus intersects the length of the vesica in the upper world, dividing it into three equal segments of 353 units, the value of HERMES. This represents “Thrice-Great Hermes” or Hermes Trimegistos, a personification of the Logos.

153 as the measure of “the Fish in Archimedes

Archimedes (c 287-212 B.C.E.), in his treatise On the Measurement of the Cycle, uses the whole number ratio 153:265 to accurately approximate the irrational ratio square root of 3, (265/153=1.73205…)

“the measure of the fish” or the vesica piscis.


Moreover, Archimedes uses this value in such a manner as to suggest that this approximation was well know to his contemporaries: it required no word of explanation at all.

This ratio, 153:265, precisely relates to the dimensions of the 153 “fish” in the unbroken net, for it defines the height and width of each rhombus in “the net.” Figure 52.  Since 153 was known in the time of Archimedes as “the measure of the fish” or the vesica, ancient readers skilled mathematics would have immediately recognized the allegory of the 153 fish in the net for what is it: a geometrical “story problem.”


Why Study Metrology?

One of the central ideas of ancient metrology is explained by the much read and little understood Fifth Book of Aristotle’s Ethics, in which the idea of justice is explained by referring to money and to the price structure.

This book explains why money is called by the same name that applies to civil law and to natural law (nomos) and why this term is synonymous with arithmos; metrology first developed as an attempt to assure justice in the contract of sale by mathematizing the relation.

The origins of the art of legislation and of legal science are to be found in lists that state how many measures of a given commodity would correspond to a measure of another commodity.

Once one takes this practical outlook, one can see how, in the Bible, the idea of Divine Providence is linked with the methods used in the rationing of food, of which Greek inscriptions provide the most abundant evidence.

Once one keeps in mind the metrological aspects of the idea of Providence, one can see the meaning of the word epiousios in the Lord’s Prayer, a word on the interpretation of which an entire library has been written.

One must keep in mind the ethical aspects of metrology to see in the Gospels the metrological reasons for the two miracles of the multiplication of the bread, the Feeding of the Four Thousand and the Feeding of the Five Thousand.

In metrology, one must steadily shift from metaphysical and ethical presuppositions to practical aspects. This has been the concern of Greaves and Bernard, who came to metrology from the study of cosmogony but at the same time travelled extensively in the Orient and saw the ancient system of metrology still used by the Arabs.


Sacred Geometry



Planets, colours of light. RGB or RYB (depending of substracting or adding colours)

RYB (an abbreviation of redyellowblue) is a historical set of colors used in subtractive color mixing and is one commonly used set of primary colors. It is primarily used in art and design education, particularly painting.

RGB is used in light mixing


The rainbow has only 6 colours. Newton added indigo as he believed it needed 7 colours to make light.

It turns out that the question of which colours are in the rainbow is less about scientific accuracy at Gay Pride parades, and more about how one colour never belonged there in the first place. Thats why the rainbow flag only has six colours and pink floyds album cover.

Holy numbers and PI

Pyramidion red pyramid:  1m high 1.57 (half of pi)

3.14159 26535 89793 23846 26433 83279 502 / 2= 1.570795

Miniature pyramid -> Pi and golden number.

6 / 12 / 24 / 27 / 36 / 54 / 72 / 108 / 144 / 216 / 360 / 432

666 / 24 = 27.75
108 / 6 = 18
108 / 12 = 9
108 /2 = 54


18.6 years full orbit moon
72 degrees to do 1 degree of precession. 360 x72 = 25920 / 4= 6480 summer solstices, spring equinoxes, autumn equinoxes, winter solstices
25920 / 360
25920 /24 = 1080


The following article was copied in full from:

 Related Pages.




Prehistoric Geodesy.

Harmony of the Spheres.

Geometric Alignments.

The Megalithic yard.



Index of Ancient Sites.


Ancient Wisdom Jewelry 








   Sacred Geometry:

  The cumulative effect of sacred geometry is the connection between the microcosm and the macrocosm.

Quick Links:



   What is ‘Sacred’ Geometry’ :

The synchronicity of the universe is determined by certain mathematical constants which express themselves in the form of ‘patterns’ and ‘cycles’ in nature.

The outcome of this process can be seen throughout the natural world as the following examples demonstrate:

The Passion-flower Spiral galaxy M74 Giant’s causeway, Ireland. Spiral snail shells.

These displays of mathematical and geometric constants are confirmation that certain proportions are woven into the very fabric of nature. Recognising the significance of this simple fact offers us the means to understand how and why such matters were considered sacred. They and everything around us, are the product of the delicate balance between chaos and order.

The word ‘geometry’ can be traced through its component parts:

The word ‘Geo-metry‘ comes from the Greek words Geos meaning ‘Earth’ and Metron meaning ‘To measure‘, which together literally translate as the ‘Measuring of the earth’ or ‘Earthly measurements’, an art which was traditionally restricted to the priest-hood.

Sacred geometry has existed in many forms across the ages

It is often mistakenly said that geometry began with the Greeks, but before them were the Minoans, the Egyptians, Sumerians, Indus valley, Chinese, Phoenicians and of course, the builders of the western European megaliths all of whom left clear geometric fingerprints in their greatest constructions. The Greeks may well have been the first to have offered geometry to the public at large, but they were by no means the first to realise it.


Sacred-Geometry: The First Step.

One of the most common shapes in nature is the circle, it is therefore extremely significant to understand that all other geometric shapes can be determined from a circle…with the use of only a compass (or string) and a ruler (straight edge) as the following procedure illustrates…

Starting with the Vesica-pisces…from which one is able to produce…

An Equilateral triangle, Hexagon, Pentagon, Square and so on and so on..

The Vesica Pisces is one of the key starting blocks from which sacred geometry was applied to life.

A continuation of the geometric Vesica Pisces results in the geometric matrix named Ad-triangulum…as used for the design of many of Europe’s greatest Cathedrals…


Featured Articles:

  • The Harmony of the Spheres.

The first confirmed record of a knowledge of the relationship between astronomy, music and geometry comes (almost predictably) from the Greeks: in particular, Pythagoras who wrote of the ‘Harmony of the Spheres’, and of whom it was said: ‘...of all men, he alone [Pythagoras] could hear the music of the spheres…’

(The Harmony of the Spheres)

  • Labyrinths:

The symbol for the Labyrinth has been found associated with ‘sacred’ places for thousands of years from all around the ancient world. More recently, more especially from the middle ages onward, it has been used as a tool for pilgrimage – representing our metaphorical path through life.

(Labyrinths Homepage)

  • The Flower of Life:

The flower of life symbol has found its way into the human consciousness, it is no more than an elaborate extension of the Vesica pisces, but one within people have found themselves lost in a state of perpetual imaginative bloom.  It is said to contain values that depict the fundamental geometry of time and space.

(The Flower of Life)


  • Spirals: Form and Function.

Spirals are one of the most a common forms of natural geometry, being a product of the sacred mean. They are associated with omphalos and earth-navels and are regularly found engraved on megaliths. Their original meaning is lost today but spiral designs at such noticeable sites as Newgrange and Chaco Canyon, has led many to believe they were primarily astronomical.

(Spirals Homepage)

  • Geodesy and the World Grid:

This section examines the theory that geometry was applied in the placement of certain prominent (sacred) prehistoric sites, based on an understanding of longitude and latitude. The ‘linear-mentality’ of our ancestors seems to have had no frontiers, but what if any, was the origin and purpose of networking sacred sites, and how

(Geodesy Homepage)

  • Petrospheres and the Platonic Solids.

Of the hundreds of small carved stone balls fond in Scotland, over 75% have been found to conform to the five Platonic solids. This remarkable discovery suggests an association as yet undetermined. Although it is generally believed that the Greeks discovered this mathematical principle, these come from over a thousand years earlier.

(Scottish Petrospheres)


  • The Myth of Precession.

It has been proposed that the understanding of sacred geometry extended into time and space, as realised through the ‘Platonic Year‘. Santillana (6) and others have shown that certain precessionary numbers were encoded into ancient sacred buildings, texts and mythologies. these same numbers appear to be reflected in  the natural geometry of the universe.

(The Myth of Precession)

Other Articles:


Sacred Geometry and the Great Pyramid of Giza:

The exterior angle of the ‘Great pyramid of Giza’ can be reproduced with the Vesica-pisces. It has been long suspected that the Great pyramid was a subsidiary of geometric knowledge. There are several other indications that sacred geometry was an important factor in the design of the pyramid.

The Sacred mean (Phi), was also recorded into the dimensions of the pyramid itself.


Pi and the Pyramid.

Egyptian mathematicians arrived at a figure of 3.16 (as shown on the Rhind Papyrus), written 600 to 800 years later and far cruder than the precise ratio the great Pyramid seems to express. The figure of Pi is recorded into the dimensions of the Great Pyramid several  times; As well as the Height/Perimeter ratio of the pyramid itself

(2∏x H = Perimeter)

The perimeter of its main compartment, the so called “King’s Chamber,” is also exactly 3.14 times its length, and the large granite coffer or sarcophagus in this room shows the same proportion. In the earlier, rhomboidal or “Bent Pyramid” at Dashur, a few miles to the south, the sides begin to ascend at the same 2-Pi angle as the Great Pyramid, then change half way up to 3-Pi (43 ½º ) ratio.

(More on the Geometry of the Great pyramid)


Pyramid Geometry and Latitude.

The exterior angle of the Great pyramid is the exact same latitude that Silbury Hill was built, and at the same time. It is perhaps no coincidence to find that exterior angle of the Silbury monument has an exterior angle of 30°, the same as the latitude of Giza.  This exact angle is also found at nearby Stonehenge in the orientation of The Avenue, which points towards the sunrise on the summer solstice. Stonehenge sits exactly 1/4 of a degree of longitude south of Avebury.

This fact is just one of many in the increasingly convincing argument in favour of the existence of applied sacred geometry in prehistory.

(British Geodesy)      (Egyptian Geodesy)

(Geodesy Homepage)



   The Sacred Mean:  ‘Phi’.

The Sacred mean – (5:8 or 1:1.618 or Φ) (The Divine Proportion, Golden Section, Golden ratio, Phi, )

One of the Key-stones of sacred geometry is the ‘sacred mean’ or ‘golden section’.


The Mathematics of the Golden Ratio (Phi).

The golden section exists between measurable quantities of any kind where the ratio between the smallest and the next size up is equal to the ratio of the sum of the first two to the third.

Mathematically, the same proportion is generated with the following formula:

√5+1 / 2

In numerical terms, the ‘Golden ratio’ was first popularised by Leonardo Bigollo Fibonacci, the founder of the  ‘Fibonacci sequence’, a numerical series which simply follows the rule that the next number is the sum of the previous two numbers.. as follows:

1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144 etc…


Vitruvian Man: Leonardo Da Vinci.

One of the fundamental products of this underlying mathematical structure is the ‘sacred mean‘, a mathematical constant which is visible across the spectrum of the natural world. The sacred mean is one of the defining geometric qualities of life itself, as it plays an integral part of the complex process of division and variation. Leonardo da Vinci illustrated both the mathematical proportions of the human body, (which are based on ratios of 1.618), and the concept of ‘squaring the circle’ with his famous drawing (right).

Da Vinci was engrossed by Vitruvius, who had written that human proportions should have a relationship in architecture. Vitruvius believed that if human proportions could be incorporated into buildings they would become perfect in their geometry.

One of Da Vinci’s greatest discoveries was the division of the body into proportions of whole numbers which he called ‘cubits‘. For example, while the body is 4 cubits high, it can be seen on the same body that 1 cubit is both the length from shoulder to shoulder and from elbow to fingertips.

According to Vitruvius, the distance from fingertip to fingertip should be the same as that from head to toe. The sacred mean can be seen in the ratios of body parts. In the arm of the Vitruvian man for example, we can see that the ratio of A is to B is the same as that of B to C. The same rules apply throughout the human body.

One of the mathematical products of the sacred mean is the spiral, commonly found in nature.

(Spirals Homepage)

The sacred mean is also found in the geometry of the pentagram and its associated pentagon, where the ratio between the sides of the pentagon and its extension into the pentagram also demonstrate a ratio of 1:1.618. In the above diagram, Phi is found in the ratios of a:b, b:c, c:d, d:e and e:f.




   The Flower of Life:

The Flower of Life symbol is considered to be sacred among many cultures around the world, it is considered by some to be an ‘Akashic Record’.


The Flower of Life is the modern name given to a geometrical figure composed of multiple evenly-spaced, overlapping circles. They are arranged to form a flower-like pattern with a six-fold symmetry, similar to a hexagon. The centre of each circle is on the circumference of six surrounding circles of the same diameter.

The earliest confirmed example of the pattern can be seen in the Assyrian rooms of the Louvre museum in Paris. The design forms part of a gypsum or alabaster threshold step measuring 2.07 x 1.26 meters (6.8 x 4.1 feet) that originally existed in one of the palaces of King Ashurbanipal, and has been dated to c. 645 BC. (7)


The Osireion, Abydoss:

There are five possible ‘Flower of Life’ patterns on one of the granite columns and a further five on a column opposite of the Osireion. Some are very faint and hard to distinguish. They have not been carved into the granite but been drawn in red ochre with careful precision.

Recent research suggests that these symbols can be no earlier than 535 B.C., and most probably date to the 2nd and 4th century AD, based on photographic evidence of Greek text, still to be fully deciphered, seen alongside the Flower of Life circles and the position of the circles close to the top of columns, which are over 4 metres in height. This suggests the Osireion was half filled with sand prior to the circles being drawn which was therefore likely to have been well after the end of the Ptolemaic dynasty.

(More about Abydoss and the Osireion)




The Hebrew ‘Tree of Life’

The Tree of Life is most widely recognized as a concept within the Kabbalah, which is used to understand the nature of God and the manner in which he created the world. The Kabbalists developed this concept into a full model of reality, using the tree to depict a “map” of creation. The tree of life has been called the “cosmology” of the Kabbalah.

The Flower of life and the Platonic Solids

The ‘Platonic Solids’ are the names given to the five “perfect shapes” formed when dividing a sphere into three-dimensional forms, with each division having the exact same shape and angle.

The Greeks taught that these five solids were the core patterns of physical creation. Four of the solids were seen as the archetypal patterns behind the four elements (earth, air, fire, and water), while the fifth was held to be the pattern behind the life force itself, the Greeks’ ether. These shapes predominated in the hundreds of carved prehistoric petrospheres found in Scotland with over 75% representing one of the Platonic Solids.

They came from a time over a thousand years earlier than the Greeks. These same shapes are now realised to be intimately related to the arrangements of protons and neutrons in the elements of the periodic table. (5)

(More About the Scottish Petrospheres)


Stonehenge and The Flower of Life

The geometry of the ‘Flower of Life’ was recognised in the dimensions of Stonehenge.

Image Credits: Andrew Monkman. (The World Grid: The invisible Made Visible)

(The Geometry of Stonehenge)




   Celestial Geometry – Sacred Astronomy:

The mathematical harmony of the universe is visible in the proportions of the planets of our own solar system as the following examples illustrate:


The diameter of the sun (864,000 miles) is the same as the perimeter of the square of the moon (4).


Sacred Venus :  ‘The Synodic Cycle’

The ratio of the ‘Sacred mean’ can also be seen in the rotations of Venus and the Earth around the sun so that for each five years that Earth rotates around the Sun, Venus manages to rotate it eight times).


Venus orbits the Sun in 224.701 Earth days ( ~.615 Earth years ), moving slightly faster than Earth. Because of the two different orbital rates of Venus and Earth, Venus must orbit the sun 2.6 times while Earth orbits 1.6 times before the two planets align. This period (583.92 Earth days) is called the Earth-Venus synodic cycle (synod means “place of meeting”). (3)

The result of this motion is that Venus ‘draws’ a pentagon around the sun every eight years.

Bode’s law:  Shows the simple mathematical relationship for the distances of the planets from the our sun.

Planet                                 Formula Distance from Sun (Millions of Km’s)     
Bodes prediction Actual
Mercury     0 + 4 / 10 = 0.4    60      58
Venus     3 + 4 / 10 = 0.7   105 108
Earth     6 + 4 / 10 = Au   150 150
Mars   12 + 4 / 10 = 1.6   240 228
(Asteroid belt)   24 + 4 / 10 = 2.8   420 550 wide
Jupiter   48 + 4 / 10 = 5.2   780  779
Saturn   96 + 4 / 10 = 10  1500 1427
Uranus 192 + 4 / 10 = 19.6  2940 2869
Neptune 384 + 4 / 10 = 38.8 5820 4496
Pluto 768 + 4 / 10 = 77.2 11580 5899

In addition to which…


Keplers 3rd Harmonic law – Kepler initially used the geometry of the Platonic solids to calculate the distances of the planets from the sun. In doing so, he attempted to revive the ancient tradition of Sacred Geometry with astronomy. Although this met with reasonable success, proving the ancient systems to be accurate, he eventually determined that the period of a planet or comets orbit is relate to its distance from the sun in the following simple mathematical equation:

(p² = a³)

( Where p = period of revolution and a = the distance from sun in astronomical units ‘Au’).

Kepler furthered the research of Aristotle who first realised the concept of the Harmony of the Spheres in which the planets positions and ‘noise’ were predicted according to musical harmonic ratios.



Sacred Geometry and the Harmony of the Spheres.

The theory of the ‘Harmony of the Spheres’ was originally proposed by Plato, in which he envisioned the five ‘perfect’ solids to be enclosed within imaginary spheres, each placed within the other. He proposed that the distances of the planets from the sun showed similar ratios from each other as the spheres surrounding each solids did. Modern science has indeed shown that planets have unique ‘vibrations’, or ‘sounds’ supporting Plato’s conjecture.

(More about the Harmony of the Spheres)



   Sacred Geometry in Architecture:

What Happens when geometric constants are placed into the dimensions of buildings.?

Some of the best examples of the application of sacred geometry can be seen in constructions from the ancient world.

It has been shown (1), that ancient sacred and ceremonial sites were invariably built with dimensions that incorporate mathematical figures such as infinite numbers, astronomical or mathematical constants (such as Pi or the ‘sacred’ mean), and the use of geometry (3:4:5 Pythagorean triangle etc). The application of ‘sacred’ geometry in our most important buildings is a reflection of the importance attached to it, but exactly how early was such information realised?

Following his renowned survey of over 600 English stone circles, Prof. Alexander Thom concluded that geometry had been used in their design.

Thom also proposed that common mathematical units of measurement (the megalithic yard), had been used in order to achieve these geometric results. Surprising as this might sound, one finds that as well as working with common units of measurement, the Neolithic people were also apparently aware of geometric constants as the following examples demonstrate.

The geometric design above was discovered by Prof A. Thom to have been used as a ground-plan for many European ‘Type I’ and ‘Type II’ flattened stone circles (Such as at Avebury, England).(Note: Both type I and II circles show the application of the Vesica-Pisces and 3:4:5 triangles)

Sacred geometry, involving both astronomy and geometry appears to have been  applied to prehistoric quadrangles. It has been shown by Thom etc, that the Quadrangles at both Stonehenge and Carnac have incorporated into them geometric constants which relate to the latitude upon which they were built.

(More about Quadrangles)


The Golden section is a ratio which has been used in sophisticated artwork and in sacred architecture from the period of ancient Egypt (1).


Freemasonry and Sacred Geometry.

Following the collapse of the Roman empire, architects versed in geometry grouped together into ‘guild’s’, thus forming the roots of ‘freemasonry’. The tradition of building sacred/holy structures with applied sacred (euclidian), geometry was continued into the middle ages by the ‘Templars’, who envisioned their (mostly round) churches as ‘microcosms of the world’ (1). This idea was soon adopted by the Christian church, who began to employ ‘sacred’ dimensions into their religious buildings. These traditions were carried in the form of ‘freemasonry’ until, as Pennick aptly quotes – ‘The lodges of freemasons closed down one by one. The last to go was the premiere lodge of Europe – Strasbourg, which shut shop in 1777. From then on, the arts and mysteries of freemasonry were carried on exclusively by ‘Speculative masons’ (1).

(Chartres Cathedral and Harmonic Ratios)


A continuation of the geometric Vesica Pisces results in the geometric matrix named Ad-triangulum…as used for the design of many of Europe’s greatest Cathedrals…

We may never know for sure whether such geometry was identified first from the observation of natural formations, or whether it came as a result of an intellectual quest, but whichever, it is clear that these natural mathematical building blocks began to be used in the design of many important man-made structures.




(Harmony of the Spheres)

(Science and Technology Homepage)


1). N. Pennick. Sacred Geometry – Symbolism and Purpose in Religious Structures. 1994 Capall Bann Publ.

2). S. Skinner. Sacred Geometry: Deciphering the Code. 2006. Octopus Publ Group Ltd.


4). J. Martineau. The little book of Coincidence. 2002. Wooden Books Ltd.

5). Laurence Hecht, “The Geometric Basis for the Periodicity of the Elements,” 21st Century, May-June 1988, p. 18.

6). G. Santillana and H. Von Dechend. Hamlets mill. 1983. D. R. G. Press. 7).

Further Research:

The Fibonacci Numbers and the Platonic Solids

The 24 reduced Fibonacci numbers when placed around a circle, visibly generate the form of the 5 Platonic solids. (see previous post on blog of Paul bevan:


This time around,we are going to look closely at how this strange phenomena occurs.


In Euclidean geometry, the Platonic solids present as being regular,convex polyhedrons. Their faces are congruent regular polygons, with the same number of faces meeting at each vertex. Within classical thought,there are five solids which meet this criteria; each of which is named according to its specific number of faces.

Plato in his work ‘Timaeus’ writing around C.350 BCE, made a connection between these 5 polyhedra and the classical elements.

He equated the tetrahedron with the element of fire,the cube with that of Earth,the octahedron with Air,the iscosahedron with Water and the dodecahedron with the quintessence or the heavens and the constellations.

In terms of a connection with Lurianic qabalah,Leonora Leet,in her book ‘The secret Doctrine Of The Kaballah’,equates the 5 Platonic solids with the ‘Partzufim‘; the five faces of God; Arech Anpin,Abba,Imma,Z’eir Anpin and Nukvah-The unmanifest,the father,the mother,son and daughter. As we neither have the time or space to peruse this connection in any depth,as this presents such a complex and detailed subject-its possibly best to leave it to you,the reader to decide whether to investigate this apparent connection in any greater depth.

The Tetrahedron.


The tetrahedron is the first manifested polyhedra,believed by Plato to equate with the element of fire.

in our Fibonacci circle,it is generated by the interaction of the star configuration formed by the 3,the 6 and the 9.

In qabalistic thinking,the tetrahedron is held to self-replicate into a star tetrahedron,as a primary manifestation of duality.In the instance of our device this means that it drops below and forms another tetrahedron from the remaining 3,6 and 9.

The vertices of this emergent star tetrahedron supply all the points of manifestation of the next two solids,The cube and the Octahedron,a pairing of solids which are held to manifest coterminously with each other.

The Cube.


The cube,equated with the element of Earth,again in its generation,is a product of the 3 6 and 9 matrix. Its 6 faces provide for the manifestation of the third solid,the octahedron,within which, its vertices are located at the the point of the centres of the cubes faces.

The Octahedron.


The octahedron,with its classical connection to the element of Air,is also like its partner,the cube,generated by the same 3-6-9 template.

The Icosahedron.


We now come to the final pairing,the icosahedron (Water) and the dodecahedron (Quintessence),these differ markedly from the previous solids in that they are dependent upon a new template in order to manifest within the Fibonacci numbers.We now see that another star,one comprised of  groupings of the 1-1-1 and 8-8-8  numbers now comes into play, in order to provide the relevant energetic pathways required to generate these two solids. Having studied the Metatron cube for some time in order to understand how these polyhedra emerged,it felt to us as though they did not manifest in a way that felt to fit in naturally with the schema-there were simply insufficient co-ordinates within the structure of the Merkabah/Metatron cube,to account fully for their presence within this design.It was only when the 24 reduced Fibonacci number pattern was added to the Metatron cube in its 15 degree increments that it became patently clear that these two solids were indeed integral components of the overall design.

The Dodecahedron.


The dodecahedron (The cosmos/Quintessence), sits comfortably within the matrix created by the 3-6-9 configuration and the 1-1-1/8-8-8 star.

Musical Frequencies And Tuning

Basic Music frequencies and relations


Just using this for relation as it depens on tuning. Interested in Schuman Frequencies

Sacred Geometery in music

Music also directly reflects the geometric structure of space-time. Here we see how the musical system called “the circle of fifths” perfectly maps to the cube octahedron, or what Buckminster Fuller called the “vector equilibrium” which is comprised of 6 pairs of equal and opposite vectors that perfectly match the 6 pairs of tri-tones (the interval that divides the 12-tone musical scale perfectly in half).

We already have the fractal geometry of the structure of the vacuum of space encoded into our musical systems!


Fibonaci and Music

There are many example of fractals throughout the musical world.  But First, The Fibonacci sequence, a fractal set in its own right cant is seen throughout the structure of the natural world. These few examples show the diversity and beauty of this one simple equation. The Fibonacci sequence can also been seen in the composition of one of the worlds most famous painting, the Mona Lisa…. Which was painted by da Vinci. The Fibonacci Sequence is an equation in which the spiral shape found in nature can be seen. It shown Below.



Musical scales are based on Fibonacci numbers

Click here for: PDF Document On Fibonacci And Music

The Fibonacci series appears in the foundation of aspects of art, beauty and life. Even music has a foundation in the series, as


There are 13 notes in the span of any note through its octave.

A scale is composed of 8 notes, of which the

5th and 3rd notes create the basic foundation of all chords, and are based on whole tone, which is 2 steps from the root tone, that is the 1st note of the scale.

Note also how the piano keyboard scale of C to C above of 13 keys has 8 white keys and 5 black keys, split into groups of 3 and 2. While some might “note” that there are only 12 “notes” in the scale, if you don’t have a root and octave, a start and an end, you have no means of calculating the gradations in between, so this 13th note as the octave is essential to computing the frequencies of the other notes.  The word “octave” comes from the Latin word for 8, referring to the eight whole tones of the complete musical scale, which in the key of C are C-D-E-F-G-A-B-C.


Musical compositions often reflect Fibonacci numbers and phi

Fibonacci and phi relationships are often found in the timing of musical compositions.  As an example, the climax of songs is often found at roughly the phi point (61.8%) of the song, as opposed to the middle or end of the song.  In a 32 bar song, this would occur in the 20th bar. Many composer such as Beethoven, Mozart and Bella Bartok have been linked to fractals within there compositions.


Musical instrument design is often based on phi, the golden ratio

Fibonacci and phi are used in the design of violins and even in the design of high quality speaker wire.


violin 3D3H 360

This Website goes into the great details of fractals in music, however its fairly complicated and hard for me with my limited musical experience. However I have included it as its very imformative!



Essentially not music based but this video of cymatics for me proves the link between sound and patterns perfectly. This video amazed me!

My Choice of Music

After Much deliberation and hours upon hours of listening to music ive research into music realting to fractals I have decided to have Tool’s Lateralus as my sound track

Firstly here are a few of the Tracks that were shortlisted for one reason or another.


What Phi (the golden ratio) Sounds Like – Micheal Blake



Bela Bartok – Music For Strings


Bence Peter – Fibonacci Piano piece

However this is my music of choice – With a very helpful video which explains all the reasons why for me!


Tool – Lateralus

Although this track is perfect it is however not to everyone’s tastes… after this troubling me for some time I’ve found a number of cover version which adhere to all of Fibonacci’s inspiration within the musical composition, whilst having a more popular appealing sound.


Rockabye Lullabies – Renditions of tool

Covered using only xylophones!


String Quartet Tribute to Tool

A Brilliant and moving cover by a string quartet!


UPDATE: I have chose the string quartet version, for me it has a much more atmospheric nature along with having more depth and layers. I will now edit the track from 9.32 in length to a more reasonable length using Audacity, ready to edit the image to.


Binaural Beats and How They Affect Your Brain

Binaural beats were originally discovered in 1839 by physicist Heinrich Wilhelm Dove. He discovered when signals of two different frequencies are presented separately, one to each ear, your brain detects the phase variation between the frequencies and tries to reconcile that difference.

In doing so, as the two frequencies mesh in and out of phase, your brain creates its own third signal — called a binaural beat — which is equal to the difference between those two frequencies.

For example, if a frequency of 100 Hz is presented to your left ear, and a frequency of 105 Hz is presented to your right ear, your brain “hears” a third frequency pulsing at 5 Hz, the exact difference between the two frequencies.

Research has proven that introducing a binaural beat will cause the brain to begin resonating in tune with that beat. By creating a binaural beat at 10 Hz — an Alpha frequency — you can trigger your brain to resonate at that same 10 Hz frequency, automatically inducing brain activity in the Alpha range. This same technique can be used to quickly and easily guide your mind into any state.

When your brain begins to resonate with the binaural beat, or “follow” the beat, this effect is called the Frequency Following Response. This phenomenon was thoroughly researched and tested in 1973 by biophysicist Gerald Oster at Mount Sinai Hospital in New York City. His research on binaural beats and the Frequency Following Response was published in Scientific American and paved the way for further development in the area of auditory stimulation to enhance brain functioning.

Since that time, binaural beat technology has been endorsed by scores of doctors and scientists around the world.

By introducing a precise harmonically layered blend of frequencies to your brain via our audio technology, you can effortlessly achieve powerful states of focused concentration, deep relaxation and more, all while stimulating parts of your brain to work together in synchronization

Schumann Resonance

33hz (note 33) is equivalent to base chakra which in turn is equivalent to Saturn… Are we being tuned to hang in the lower frequencies?


What are the Solfeggio frequencies?

Solfeggio frequencies make up the ancient 6-tone scale thought to have been used in sacred music, including the beautiful and well known Gregorian Chants. The chants and their special tones were believed to impart spiritual blessings when sung in harmony. Each Solfeggio tone is comprised of a frequency required to balance your energy and keep your body, mind and spirit in perfect harmony.

The main six Solfeggio frequencies are:396 Hz – Liberating Guilt and Fear417 Hz – Undoing Situations and Facilitating Change528 Hz – Transformation and Miracles (DNA Repair)

639 Hz – Connecting/Relationships

741 Hz – Expression/Solutions

852 Hz – Returning to Spiritual Order

They were used in over 150 Gregorian Chants

Where do these tones come from?

According to Professor Willi Apel, the origin of the ancient Solfeggio scale can be traced back to a Medieval hymn to John the Baptist. The hymn has this peculiarity that the first six lines of the music commenced respectively on the first six successive notes of the scale, and thus the first syllable of each line was sung to a note one degree higher that the first syllable of the line that preceded it. Because the music held mathematic resonance, the original frequencies were capable of spiritually inspiring mankind to be more “god-kind”.

The original Solfeggio scale was developed by a Benedictine monk, Guido d’Arezzo (c. 991 AD – c. 1050 AD). It was used by singers to learn chants and songs more easily. Today we know the Solfeggio scale as seven ascending notes assigned to the syllables Do-Re-Mi-Fa-So-La-Ti. The original scale was six ascending notes assigned to Ut-Re-Mi-Fa-Sol-La. The syllables for the scale were taken from a hymn to St. John the Baptist, Ut Queant Laxis, written by Paulus Diaconus.
Guido d’Arezzo

In the mid-1970’s Dr. Joseph Puleo, a physician and America’s leading herbalist, found six electro-magnetic sound frequencies that corresponded to the syllables from the hymn to St. John the Baptist.

How were the frequencies discovered?

According to the documentation provided in “Healing Codes for the Biological Apocalypse“, Dr. Joseph Puleo was introduced, through an open vision, to the Pythagorean method of numeral reduction. Using this method, he discovered the pattern of six repeating codes in the Book of Numbers, Chapter 7, verses 12 through 83.

The Pythagorean method is a simple reduction method, used to turn big numbers into single digits. The values of all digits in the number are added up. When after the first addition the number still contains more than one digit,the process is repeated.Here’s an example:456 can be reduced to 4+5+6 = 15, and subsequently reduced to 1+5=6. So the number 456 reduces eventually to the single digit 6.
Pythagoras of Samos

Dr. Joseph Puleo found repetitions of a single issue or subject in the Book of Numbers. In Chapter 7, verse 12 he found a reference to the first day, the second day was mentioned in verse 18, the third day in verse 24, and so forth until the final reference in verse 78 which is speaking of the twelfth day.

The Pythagorean reduction of these verse numbers is:

Verse 12 = 1 + 2 = 3Verse 18 = 1 + 8 = 9Verse 24 = 2 + 4 = 6 Verse 30 = 3 + 0 = 3Verse 36 = 3 + 6 = 9Verse 42 = 4 + 2 = 6 …until verse 78

Do you see the repetition of 396? This is the first frequency.

He found the next frequency by looking at verse 13, which is speaking of an offering. Six verses down, which is verse 19, the same offering or idea is repeated, six verses down at verse 25 there is another repeat, etc. Thus, by using the Pythagorean method of reduction, again he discovered a pattern. This pattern is 417. It is the second frequency. The rest of the frequencies were found using the same method.

The secret meanings of the ancient syllables

Each tone has its own unique potential

As you already know, the syllables used to denote the tones are: Ut, Re, Mi Fa, Sol, La. They were taken from the first stanza of the hymn to St. John the Baptist:

Ut queant laxis Resonare fibris

Mira gestorum Famuli tuorum

Solve polluti Labii reatum

Sancte Iohannes

Literal translation from Latin: “In order that the slaves might resonate (resound) the miracles (wonders) of your creations with loosened (expanded) vocal chords. Wash the guilt from (our) polluted lip. Saint John.”

In other words, so people could live together in peace and communicate in harmony about the miracle in their lives, and how God blessed them to produce this “magic”, people’s true unpolluted spiritual natures required revelation. The above text seems to suggest that Solfeggio notes open up a channel of communication with the Divine.

Each syllable was thoroughly studied by Dr. Puleo and other professional researchers. David Hulse, a sound therapy pioneer with over 40 years of experience, described the tones as the following:

UT – 396 Hz – turning grief into joy, liberating guilt & fear

RE – 417 Hz – undoing situations & facilitating change

MI – 528 Hz – transformation & miracles, repairing DNA

FA – 639 Hz – relationship, connecting with spiritual family

SOL – 741 Hz – expression/solutions, cleaning & solving

LA – 852 Hz – returning to spiritual order

Click here for detailed description of each tone.

Why the modern world forgot about them

The Solfeggio frequencies were lost because throughout history different tuning applications have been used. Ancient tuning practices used a system of tuning known as “Just Intonation.” The method of Just Intonation featured pure intervals between every note that were mathematically related by ratios of small whole numbers leading to a much purer sound.

The tuning practice adopted for western cultures from about the 16th century and used today is known as “Twelve-Tone Equal Temperament”. According to Joachim Ernst-Berendt, the 12-Tone Equal Temperament mistunes all consonant intervals except the octave. Our modern scale can create situations such ‘boxed-in’ thinking, stuffed and suppressed emotions, fear-based or lack consciousness, all of which then tend to manifest into physical symptoms called ‘dis-ease’ or disease.

Our modern day musical scale is out of sync when compared with the original Solfeggio scale. If we want to bring harmony in our lives, we need to replace the dissonant western scale with a web of subtle and clear intervallic relationships of the Solfeggio music. Let the music become once again a tool to raise human nature and a method to connect you with the Source.

Your secret key to the Universe

Tune yourself back to the perfect vibrations

Nikola Tesla, the great genius and father of electromagnetic engineering, had once said, “If you only knew the magnificence of the 3, 6 and 9, then you would hold a key to the universe”. The 3, 6, and 9 are the fundamental root vibrations of the Solfeggio frequencies.

Albert Einstein stated: “Concerning matter, we have been all wrong. What we have called matter is energy, whose vibration has been so lowered as to be perceptible to the senses. There is no matter.” All matter beings vibrate at specific rates and everything has its own melody. The musical nature of nuclear matter from atoms to galaxies is now finally being recognized by science.

That is why these frequencies are so powerful. They can literally bring you back to the original tones of the heavenly spheres and put your body into a balanced resonance. Solfeggio music is the key to the Universe. You can either throw it away or you can use it to find healing and harmony, health and well-being. Just play the music!