​​​​​​​The Temple of Man




'Music is liquid architecture and Architecture is frozen music'.




Johann Wolfgang von Goethe
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Part One




A Beginning





In [a] beginning when God created the heavens and the earth, the earth was a formless void and darkness covered the face of the deep, while a wind from God swept over the face of the waters. Then God said, ‘Let there be light’; and there was light. And God saw that the light was good; and God separated the light from the darkness. God called the light Day, and the darkness he called Night. And there was evening and there was morning, the first day.

And God said, ‘Let there be a dome in the midst of the waters, and let it separate the waters from the waters. ‘So God made the dome and separated the waters that were under the dome from the waters that were above the dome. And it was so. God called the dome Sky. And there was evening and there was morning, the second day.

And God said, ‘Let the waters under the sky be gathered together into one place, and let the dry land appear.’ And it was so. God called the dry land Earth, and the waters that were gathered together he called Seas. And God saw that it was good. Then God said, Let the earth put forth vegetation: plants yielding seed, and fruit trees of every kind on earth that bear fruit with the seed in it.’ And it was so. The earth brought forth vegetation: plants yielding seed of every kind, and trees of every kind bearing fruit with the seed in it. And God saw that it was good. And there was evening and there was morning, the third day.

And God said, ‘Let there be lights in the dome of the sky to separate the day from the night; and let them be for signs and for seasons and for days and years, and let them be lights in the dome of the sky to give light upon the earth." And it was so. God made the two great lights - the greater light to rule the day and the lesser light to rule the night - and the stars. God set them in the dome of the sky to give light upon the earth, to rule over the day and over the night, and to separate the light from the darkness. And God saw that it was good. And there was evening and there was morning, the fourth day.

And God said, ‘Let the waters bring forth swarms of living creatures, and let birds fly above the earth across the dome of the sky.’ So God created the great sea monsters and every living creature that moves, of every kind, with which the waters swarm, and every winged bird of every kind. And God saw that it was good. God blessed them, saying, ‘Be fruitful and multiply and fill the waters in the seas, and let birds multiply on the earth. And there was evening and there was morning, the fifth day.

And God said, ‘Let the earth bring forth living creatures of every kind: cattle and creeping things and wild animals of the earth of every kind.’ And it was so. God made the wild animals of the earth of every kind, and the cattle of every kind, and everything that creeps upon the ground of every kind. And God saw that it was good. Then God said, ‘Let us make humankind in our image, according to our likeness; and let them have dominion over the fish of the sea, and over the birds of the air, and over the cattle, and over all the wild animals of the earth, and over every creeping thing that creeps upon the earth.’

So God created humankind in his image, in the image of God he created them; male and female he created them. God blessed them, and God said to them, ‘Be fruitful and multiply, and fill the earth and subdue it; and have dominion over the fish of the sea and over the birds of the air and over every living thing that moves upon the earth.’ God said, ‘See, I have given you every plant yielding seed that is upon the face of all the earth, and every tree with seed in its fruit; you shall have them for food. And to every beast of the earth, and to every bird of the air, and to everything that creeps on the earth, everything that has the breath of life, I have given every green plant for food.’ And it was so. God saw everything that he had made, and indeed, it was very good. And there was evening and there was morning, the sixth day.

Thus the heavens and the earth were finished, and all their multitude. And on the seventh day God finished the work that he had done, and he rested on the seventh day from all the work that he had done.'[1]

[1] The Holy See, Vatican Archive. The Book of Genesis: Chapter 1. Accessed 22 Jul. 2022.






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‘The Earth was a stationary plane void of any motion or curvature, flat across its entire expanse…The North Pole was the magnetic mono-pole centre-point…with Polaris, the North Pole star situated directly above.’




Eric Dubay




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Tera Mater 





From the beginning of recorded history, and for thousands upon thousands of years, cultures across the entire world all believed the Earth was flat. Their cosmologies and cosmogonies* differed in slight ways but their overall geographies and astronomies were incredibly consistent and in fact virtually identical.

* the branch of astrophysics [the branch of astronomy concerned with the physical nature of stars and other celestial bodies, and the application of the laws and theories of physics to the interpretation of astronomical observations] that studies the origin and evolution and structure of the universe, especially the solar system.

The Earth was a stationary plane void of any motion or curvature, flat across its entire expanse except of course for hills, mountains and valleys. The North Pole was the magnetic mono-pole centre-point of the flat Earth with Polaris, the North Pole star situated directly above. Polaris was the only motionless star in the heavens with all the other constellations revolving perfect circles over the Earth every night. The stars were divided into two categories known as the fixed stars and the wandering stars.

The fixed stars were so-called, because they were observed then as we can observe today, to stay fixed in their constellation patterns night after night, year after year, century after century, never changing their relative positions. The wandering stars, what are today referred to as ‘planets,’ were so-called because they were observed then as we can observe today: to wander the heavens taking their own unique spirograph-like patterns making both forward and retrograde [backwards] motions over and around the Earth during their cycles.

The Sun and Moon were both of equal size, and they too, revolved over and around the motionless Earth, as immortalised in the Chinese Yin Yang symbol: opposite or contrary forces, in the natural world, that interact to form a dynamic system in which the whole is greater than the parts.[1] The Sun and Moon were much closer to Earth than supposed nowadays, and each shined with their own unique opposite lights. The Sun’s being warm, golden, drying, preservative and antiseptic, and the Moon’s light being cold, silver, damp, putrefying and septic.

The Sun and Moon, as though connected to a magnetic maypole made alternating spiral journeys over and around the Earth every year. The Sun began its journey at the Tropic of Capricorn at the Winter Solstice where it made its fastest and largest circle over the Earth. The Moon had a similar yearly path revolving over and around the Earth but unlike the Sun, which constantly changed its speed to keep a consistent 24 hour day, the Moon’s speed never changed so depending on its latitude the Moon was observed then as we can observe today to take approximately 24.7 – 25 hours per cycle. 

So for ancient man, Earth and Polaris were the two immovable centre-points of the Universe around which the Sun, Moon and other stars all revolved in a dome-like shape. Some cultures believed in a literal, physical…firmament to which the fixed stars were bound. Other cultures mythologised the World Tree, with Polaris at the centre, and all the other constellations forming the branches.[2]

[1] Georges Ohsawa [1976]. The Unique Principle: The Philosophy of Macrobiotics. George Ohsawa Macrobiotic Foundation.
[2] Eric Dubay [2020]. Flatlantis. p3. ISBN: 978-1-71672-860-0.






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'In the ancient world as today, the heavens displayed the mysterious presence of forces so beyond our capacity to fathom we had no choice but to recognise the work of divine power. This presence must be intelligent on account of the intelligence that has come from it, and the intelligence required to define it.'





Collin Conkwright





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Astrotheology





The fascination with the celestial vault has been regarded as an important element in human life, their future, and history. Generations of stargazers and skywatchers carefully tracked the motions of celestial objects in order to understand how to conduct the affairs of human life on earth. From the stars in the sky, and from naked eye observations, they gained practical knowledge of their natural environment, transforming physical surroundings into meaningful ‘lifeworlds,’ or ‘familiar worlds of everyday life.’[5]

What influence do the orbs of the night sky have on myths and religious beliefs? It is not only in the earliest texts but in the earliest monuments that we find connections between the heavenly gods and the earthly beings that worship them. Above us all and unending in every direction is the incomprehensible space of which we occupy but an infinitesimal fraction.

In the ancient world as today, the heavens displayed the mysterious presence of forces so beyond our capacity to fathom we had no choice but to recognise the work of divine power. This presence must be intelligent on account of the intelligence that has come from it, and the intelligence required to define it. It is wise on account of the wisdom it must have taken to create it. It is good, because the good that we can aspire to resembles a state of being that nature has conspired to make beautiful.

Thus if there is any repeatable sign in the heavens and we can account for a repeatable change in our environment or our psyche [the human soul, mind or spirit] during such a sign, it would work in our benefit to understand the differences between the signs and the changes; to figure out what utility they have and ascribe a meaning to them which satisfies our curiosity. Our most practical example of the sun’s mastery over our lives is the necessity for sleep. Light is wakefulness, intelligence. Darkness is rest and unknown. 

As the giver of life, the sun’s position in the hierarchy of celestial objects is always at the pinnacle. It is the crown object, as it were, which is why its outer atmosphere is a corona, and the rulers of nations have received their corona-tion when they take power.

[4] Astrotheology is an attempt to identify the relationship between spiritual reality and the stars, planets, and celestial energies. It is both the realisation of the work of God in the cosmos and the recognition of our place inside of it as a reflective unit of a whole, which maintains, on account of its own existence, the divine patterns of nature.
[5] Alfred Schutz, Thomas Luckmann [Oct. 1989] The Structures of Life-World: Studies in Phenomenology and Existential Philosophy. Northwestern University Press, pp. 25-29.





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'All around the world the ancients were aligning their monuments with solsticial and equinoctial dates, requiring a level of patience, attention, and precision that requires us to reconsider how they interpreted their spiritual place in the cosmos. To say nothing at the moment about how some of these megalithic stones were cut, moved, and positioned, we are still left with the fact that the earliest calendars were immortalised in stone and left behind as marvels for the modern world.'




Colin Conkwright




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Archaeoastronomy




Once upon a time there was little separation between magic and religion, and religion and lifestyle. The gods and spirits existed in all things including the cosmos, the structure of governments, the sanctuaries of temples, and the makeup of our emotions. Thus when the gods of a pantheon corresponded with celestial objects, it was only fitting to bind them to an architecture not only built in their honour but designed in a way to mimic their prowess.

As we see with the Babylonian ziggurats described by Herodotus - pyramidal temples dedicated to particular deities and reserved for an exclusive priestly class - it was a common result of a nation’s religious fervor to erect massive structures to the gods. These are bridges to the heavens; high places like Mt. Olympus where the twelve gods dwell, suspended above the world like the twelve zodiacal segments of the ecliptic.

The Etemenanki in Babylon is perhaps the most famous ziggurat, dedicated to Marduk, the king of the gods and patron god of Babylon. Etemenanki means 'the temple of the foundation of heaven and the earth'. This is relevant to the inscription on the seven-terraced ziggurat of Borsippa by Nebuchadnezzar II, who calls the ziggurat 'the house of the seven lights of the earth', doubtlessly a reference to the seven spheres from which we derive our days of the week, which in the ancient world were always: the Moon [Monday], Mars [Tuesday], Mercury [Wednesday], Jupiter [Thursday], Venus [Friday] Saturn [Saturday], and Sun [Sunday]. 

Whatever planetary correlation the Babylonian, and later the Akkadian, and Assyrian gods were given, existed in some form among the early Celts and Egyptians, and became a tradition carried on by the Greeks and Romans. But the idea that this astronomical wisdom wasn’t bestowed from an even early period in civilization, say 12,000 years ago or earlier, is becoming more and more something to reconsider. With the finding of sites like Gobekli Tepe and Karahan Tepe in modern Turkey, and with the movement to redate the construction of the Egyptian Sphinx, we will be moved to consider a much earlier beginning to humanity’s astrotheological bent if the apparent solar alignments of these sites stand the tests of scrutiny.

In early civilization, we find forms of nature worship at the forefront of religious development, with their highest incarnations beginning and ending with the sun and its stellar colleagues. Whoever the early inhabitants of the Nile Valley truly were, they were undoubtedly skilled in mathematics and astronomy and maintained a form of ‘sun worship’ that left room for a plethora of other gods and goddesses, each ruling over a distinct power in the heavens. But the most preeminent event in daily life was, of course, the dawn, worshiped under many names and not only by the Egyptians.

Beyond the symbolic function of the Egyptian deities and their relationship to the placement of the sun and stars, we are further compelled to notice the astrotheology in the layout of their temples. Whether the building plans correspond to the sun’s rising at the equinoxes, like the Pyramids at Giza, Memphis, Tanis, Sais, and Bubastis, or they correspond to the sun rising or setting at the solstices like the temples at Karnak, we can find plenty of examples to lend weight to equinoctial and solsticial building plans.

However, to mark an equinox or solstice wouldn’t have required the level of astronomical knowledge that, say, lining up the three Pyramids of Giza to the constellation of Orion’s Belt would have. Alas, we will leave the theory of the Orion correlation to a later time. To conclude this general overview, let’s gloss over a few more examples around the world of monuments aligned to one or another solar event.

It is now a non-controversial fact that Stonehenge is aligned with the rising sun on the summer solstice, just as the Pyramid of Chichen Itza in Mexico, and the so-called Aztec Ruins National Monument of New Mexico, or the solsticial alignments of the Temple of the Sun at Machu Pichu in Peru, the Mnajdra Temple in Malta, and the Newgrange monument in Ireland.

All around the world the ancients were aligning their monuments with solsticial and equinoctial dates, requiring a level of patience, attention, and precision that requires us to reconsider how they interpreted their spiritual place in the cosmos. To say nothing at the moment about how some of these megalithic stones were cut, moved, and positioned, we are still left with the fact that the earliest calendars were immortalised in stone and left behind as marvels for the modern world. [6]

[6] American Esoteric, Colin Conkwright [31 Mar]. Astrotheology: An examination of Early Astrotheological Concepts among the Babylonians and Egyptians. Accessed 19 Jul. 2022.






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'As above, so below.'or 'That which is in the lesser world [the microcosm] reflects that of the greater world or universe [the macrocosm]’.




Hermes Trismegistus





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Sacred Geometry




Our interest is, however, in the principles of sacred geometry which underlie the structure of the pyramids, with the Great Pyramid seen as the apex [the highest point of achievement] of this tradition.

Geometry exists everywhere in nature: its order underlies the structure of all things from molecules to galaxies, from the smallest 'virus' to the largest whale. Despite our separation from the natural world, we human beings are still bounded by the natural laws of the universe. The unique consciously-planned artefacts of mankind have, since the earliest times, likewise been based upon systems of geometry. These systems, although initially derived from natural forms, often exceeded them in complexity and ingenuity, and were imbued with magic powers and profound psychological meaning.

Geometry, literally ‘the measuring of the earth’, was perhaps one of the earliest manifestations of nascent civilisation. The earliest religions of humanity were focused upon those natural places at which the numinous [strong religious or spiritual] quality of the earth could be readily felt: among trees, rocks, springs, in caves and high places.

The function of the priesthood that grew up around such sites of natural sanctity was at first interpretative. Priests and priestesses were the specialists who could read meaning into auguries [omens] and oracles, storms, winds, earthquakes and other manifestations of the universe’s energies. The arts of shamanism that the earliest priests practised gave way with increasing sophistication to a settled ritual priesthood that required outward symbols of the faith. No longer were unhewn boulders and isolated trees the sole requirement of a place of worship. Enclosures were laid out, demarcated as special holy places separate from the profane [that which is not sacred or religious; secular] world. In the ritual required by this laying-out, geometry became inseparably connected with religious activity.

Sacred geometry is inextricably linked with various mystical tenets. Perhaps the most important of these is that attributed to the alchemists’ founder Hermes Trismegistus, the Thrice Great Hermes. This maxim is the fundamental 'As above, so below', or ‘That which is in the lesser world [the microcosm] reflects that of the greater world or universe [the macrocosm]’. This theory of correspondences underlies all of astrology and much alchemy, geomancy and magic, where the form of the universal creation is reflected in the body and constitution of man. Man in turn is seen in the Hebraic [of Hebrew or the Hebrews] conception of having been created in the image of God - the temple ordained by the Creator to house the spirit which raises man above the animal kingdom.

Thus, sacred geometry treats not only of the proportions of the geometrical figures obtained in the classical manner by straightedge and compasses, but of the harmonic relations of the parts of the human being with one another; the structure of plants and animals; the forms of crystals and natural objects, all of which are manifestations ofthe universal continuum.





The Principles of Sacred Geometry




The principles that underlie disciplines such as geomancy, sacred geometry, magic or electronics are fundamentally linked with the nature of the universe. Variations in external form may be dictated by the varying tenets of different religions or even political groupings, but the operative fundamentals remain constant. An analogy with electricity may be made. In order to illuminate an electric light bulb, various conditions must be fulfilled. A certain current must be fed to the bulb by means of insulated conductors with a complete circuit, etc. These conditions are not negotiable. If something is done incorrectly, the bulb will not light. Technicians throughout the world must adhere to the fundamental principles or otherwise fail. The principles transcend political or sectarian considerations. If done properly, the circuit will function equally well in a communist state, under a military dictatorship or in a democratic country...

Similarly, with sacred geometry, the underlying principles transcend sectarian religious considerations. As a technology which aims to reintegrate humanity with the cosmic whole, it will work, like electricity, for anyone who fulfils the criteria, no matter what their principles or aims. The universal application of the identical principles of sacred geometry in places separated by vast gulfs of time, place and belief attests to its transcendental nature. Thus, sacred geometry has been applied to pagan temples of the Sun, shrines of Isis, tabernacles ofJehovah, sanctuaries of Marduk, martyris of Christian saints, Islamic mosques and mausolea of kings and holy ones. In every case, the thread of immutable principles connects these sacred structures.

Nowadays, geometrical ratios are invariably expressed in mathematical terms... However, the mathematical expression of ratios like pi and the golden section are merely conveniences geared to a literate civilization schooled in figures and calculation. Being primarily concerned with ratios and relationships, geometry’s expression in terms of number belongs to a late period in its development. The complex geometry of ancient Egypt, which enabled architects and geometers to measure the exact size ofthe country, set down geodetic markers, and erect vast structures like the pyramids, was a practical art whose relationship with number was implicit. The Greek geometers, whose knowledge they admitted came from the Egyptians, likewise remained at the practical level and did not venture into the realms of complex mathematics which exist only to prove that which is already known. In fact, it was not until the seventeenth century with the rise of the peculiarly Protestant European cult of science that the precise calculation of irrational numbers became a pressing concern.




The Forms




There are but a few basic geometrical forms from which all of the diversity of structure in the universe is composed. Each form is endowed with its own unique properties, and carries an esoteric[ private; secret; confidential]  symbolism which has remained unchanged throughout human history. All of these basic geometrical forms may be generated easily by means ofthe two tools which geometers have used since the dawn of history - the straightedge and compasses. As universal figures, their construction requires no use of any measurement; they occur throughout natural formations, both in the organic and inorganic kingdoms.




The Circle



The circle was perhaps the earliest of the symbols drawn by the human race. Simple to draw, it is an everyday form visible in nature, seen in the heavens as the discs of sun and moon, occurring in the forms of plants and animals and in natural geological structures. In the earliest times, buildings, whether temporary or permanent, were mostly circular. The Native American tipi and the Mongolian yurt of today are but survivals of a universal earlier form. From the hut circles of Neolithic Britain, through the megalithic stone circles to round churches and temples .... making each building in effect a little world in itself.

The circle represents completion and wholeness, and round structures peculiarly echo this principle ... From this fundamental figure, the square may be produced, and thence the other geometrical figures ... With straightedge and compasses, all the major figures were simply and elegantly produced. These figures, the vesica piscis, equilateral triangle, square, hexagon and pentagon, all carry within themselves direct relationships with one another.




The Square




Early temples were often built foursquare. Representing the microcosm, and hence emblematical of the stability of the world, this characteristic was especially true of the artificial world - mountains, the ziggurats, pyramids and stupas. These structures symbolised the transition-point between heaven and earth and were ideally centred at the omphalos, the axial point at the centre of the world. Geometrically, the square is a unique figure. It is capable of precise division by two and multiples of two by drawing only. 

It may be divided into four squares by making a cross which automatically defines the exact centre of the square. The square, oriented towards the four cardinal points [in the case of the Egyptian pyramids, with phenomenal accuracy], may be again bisected by diagonals, dividing it into eight triangles. These eight lines, radiating from the centre, form the axes towards the four cardinal directions, and the ‘four corners’ of the world - the eightfold division of space.

This eightfold division of space is enshrined in the ‘eightfold path’ of the Buddhist religion [and] in the European tradition, emblematical of the division ofthe day and year as well as the division of the country and society. Although the eightfold division of time was gradually eliminated with the advent of the Christians’ twelvefold system, it survived in the old ‘quarterdays’ of the calendar, the traditional fire festivals of country pagans, and the masonic geometry of sacred architecture in the system acht uhr or ad quadratum.




The Hexagon 




The hexagon is a natural geometrical figure produced by the division of the circumference of a circle by its radius. The points on the circumference are connected by straight lines, making a figure with six equal sides. 

Being a function of the relationship between the radius and circumference ofthe circle, the hexagon is a natural figure which occurs throughout nature. It is produced naturally in the boiling and mixing of liquids. The French physicist Benard noted that during his experiments on diffusion in liquids, hexagonal patterns were often formed on the surface. Such tourbillons cellulaires, or ‘Benard cells’, were the subject of many experiments. It was found that under conditions of perfect equilibrium the patterns would form perfect hexagons. These patterns were likened to those of the cells which make up organic life, or the prismatic forms of basalt rocks. Being subject to the same universal forces of viscosity and diffusion, similar patterns are naturally created in a simmering liquid. 

The best-known natural hexagon can be seen in the bees’ honeycomb. This is composed of an assemblage of hexagonal prisms whose precision is so astonishing that it has attracted the attention of many philosophers, who have seen in it a manifestation of the divine harmony in nature. In antiquity, Pappus the Alexandrine devoted his attentions to this hexagonal plan and came to the conclusion that the bees were endowed with a ‘certain geometrical forethought’, with economy as the guiding principle, ‘there being, then, three figures which of themselves can fill up the space round a point, namely, the triangle, the square and the hexagon, the bees have wisely selected for their structure that which contains most angles, suspecting indeed that it could hold more honey than either of the other two.’

The hexagon’s direct relationship to the circle is allied to another interesting property in which the alternate vertices ofthe figure are joined by straight lines to produce the hexagram. This figure, composed of interpenetrating equilateral triangles, symbolizes the fusion of opposing principles: male and female, hot and cold, water and fire, earth and air, ect., and is consequently symbolic ofthe archetypal whole, the divine power of creation. Thus, it was used in alchemy and remains the sacred symbol of the Jews to this day. The dimensions of the triangles which form the hexagram are directly related to the circle which produces them, and can be made the starting point for geometrical developments.




The Vesica Piscis, the Triangle and the Platonic Solids





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Fingerprints of the Gods





Conventional wisdom has it
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CoverAdam and Eve in the Garden of Eden/ Adam and Eve in the Earthly Paradise [between 1800 and 1829] by Johann Wenzel Peter [1745–1829], oil on canvas, 247 cm [97.2 in] x 336 cm [11 ft].
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