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Deconstructing Droeshout man with Freemasonic geometry.


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On the heels of discovering some things about a pesky little elongated triangle of 18 degrees I have made a series of other observations that help to work out some other nagging questions I have which relate, in part, to the Droeshout engraving of a gentlemen I like to refer to as "geometric man". Some know him as William Shakespeare, but that is of little interest to me at this point. I am more interested in how this image was put together as a geometric composition.

I have previously showed that at the heart of the Droeshout portrait (almost perfectly centered) is a 40,60,80 degree triangle which one can equate to the Summer triangle asterism made up of Deneb, Vega and Altair who are the main stars in Cygnus, Lyra and Aquila.

The presence of the 40,60,80 triangle has been noted in an analysis of the Compass and Square representation which is treated empirically.

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It appears in rounded off fashion as triangle LIC here where the angles are (41,59,80). Of interest now is the fact that the elongated triangle CLm is part of it. It is also adjacent to the triangle ELI (27,53,100).

As previously noted elsewhere, it is my suggestion that Bacon did in fact plan symbolically using this arrangement in the selection of two great circles used for navigation on the globe and also using a Mercator map projection.

I'm going to show here that the same sort of scheme is applicable to the Droeshout portrait design. Elements in the portrait appear to confirm the scheme.

Previously, I showed this:

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What I have termed the (40,60,80) triangle comes out of two parallels involving both tips of the collar, the rounds of the eyes and the prominent button hem line across them. Here we can see that line segments drawn from periods (Ed. to TRAGEDIES.), (Copies. to the intersection of the hem), (center of the O in original to tip of collar). A similarity to the use of the point in the O as an origin is seen on the hem line. 

Notice here that the (40,60,80) triangle has been centered upon the image and that is oriented with the 60 degree angle at the top, so it is tilted compared to the C&S symbol orientation.

Simply by integrating the Compass and Square geometry to this we can proceed to build the square that contains it. That looks like this:

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abc is (41,80,59),  adb is the elongated (18, 80, 79), cbg is the elegant (27,100,53). Completing the square produces some interesting correspondences. ae projects to the bottom corner. The line originating in the O which goes through c-d-b intersects ak in the center of the square (the G in the traditional Compass and Squared depiction). Adding the blue lines to show the framing square produces the intersection at c atop the Summer Triangle. gch projects to the top of the A in Shakespeare above. Of possible interest is the new triangle ach (22, 63,95). That one contains the eye, nose, ear and mouth. We have 22 and 158 here (not quite 157, but maybe close enough to suggest it). If we project beyond ah we hit ROS and &. That's a fancy way to give Rose or Rosy. hk is, of course, perpendicular to it and gives us the Cross(ing) which we can construct a ROSY CROSS suggestion with if we want to. There's also an additional line starting from the period after "Blount." which goes through the intersection of the lines ae and hk right through R C. This forms an angle at R involving the letters C R O S and &.  In that regard the corner there gives a more direct Rosy Cross suggestion.

The frame of the image seems to have been sized with the square in mind. This can be seen by showing:

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If one encircles the Square shown in yellow the blue circle produced is of exactly the same width as the frame of the image. Centering a circle atop the frame produces small Vesica which has a divider that is parallel to adk and the arm of the framing square. That divider intersects the middle of the right eye. The circle around the yellow square also touches the edge of the page.

Alot of thought has gone into this to make all this appear. Remember that it all starts with a centered (40,60,80) suggestion that we can liken to:

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The great similarity we see with Bacon's geo planning is with the use of the triangles that play positional roles. I contend Bacon used three celestial triangle asterisms, the Summer Triangle, the Mitre of St Peter (Triangulum) and the Winter Triangle to set up a pair of Great Circles whose intersection corresponded with a Mercator map alignment from the Nile Delta through the Pillars of Hercules to NA (Alexandria to Alexandria if you want). The Droeshout portrait is is showing is a similar planning in its layout. The entire thing has parallels in the Masonic Compass and Square geometry. Bacon obviously looked into nature saw the elegant correspondences (it does not appear to be just a series of simple coincidences that fit well together). However, we have to be very cautious in attributing this portrait to Bacon. Any individual with knowledge of the Compass and Square geometry could have involved it. The compass and square were being used in printers marks at this time. Treating them geometrically and exactly, if it was already a common idea, would necessarily produce a 40,60,80 relative that can bridge us back to Bacon and an idea of celestial navigation. The Rosy Cross suggestion here is very compelling. It appears to perhaps suggest that an early ACCEPTION group called ROSY CROSS may have had a hand in the printing of the first folio. This seems at least possible. The portrait of the geometric man serves to tell us that we are likely dealing with some careful planners.

 

 

Edited by RoyalCraftiness
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I decided to attempt an overlay of the image onto the precise Geogebra file/image knowing that the result might be less than perfect due to any small page distortion in the original document (it does appear to have a taper on the page edge ever so slightly. The result is really good and it allows some more observations and possible conclusions.

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one of the first things I noticed is that some of the angle bisectors I had drawn around point I in the original Compass and Square examination correspond with the lines I had previously identified only from their prominence in the image when I located the 40,60,80 triangle. That is best seen with the main button hem line that goes through B and to the center of the O in London. Even better, the line I had observed going from the period after Ed. to the center Of the O in original is also a bisector of a 54 degree angle into two 27 degree ones. Those two lines (in grey) meet at W here just like the white lines do. Also you will notice the line HG projects to the same period after Ed. CD goes to the bottom right corner. There's another bisector in grey that captures the center of the O is copies.

The image here is not tilted a random amount either. It's tilted 60 degrees from vertical (on an incline of 30 degrees NE). That is, if you recall, the same at the tilt of the cross that is located on the Sonnets page. A 30 degree incline is typically how the cross of crucifixion is depicted the representation of the Northern Cross asterism when it is used to show it in the lap of St Helena. 

If you prefer looking at the upright image that looks like this:

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An additional angle is of interest when all this has been produced. It is the the angle at which the compass and square are pointing in the direction of (in red). This can be applied to the Summer triangle position on a celestial map. The Summer Triangle  relative positions look like this:

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On the Droeshout portrait Deneb is point (I) and Vega is point (C). The body/tail of the swan here is the line from Deneb to Albireo. In the portrait that is the line white from (I) to the button hem line. The body of Cygnus is the celestial "pointer" that gives the direction of the Milky Way. This is also Kepler's esoteric  pointer which related the position of the 3 Novas that appear over Europe in quick succession. The Compass and Square pointer in the portrait shows a heading which is perpendicular to the body of the Swan. That is to say it is parallel with the outstretched arms of Cygnus. 

What does all this tell us that we may not have known or might wanted to find out? It is my conclusion that the point of all this is to tell you exactly what the ROSY CROSS is. The Rose in the cross was the position of the Nova of 1600. It appeared near the intersection of the body and wings of Cygnus. The interpretation of the day was that is appeared in the position of heart and that it symbolized God's great love for mankind. The Rosicrucians saw this as a symbol of a New Age. The red rose, by its own right,  is the symbol of love. The red rose was the symbol of the blood shed on the cross which testified to the love of God (one only had to be reminded of death to take heart). Various depictions of the Nova of 1600 in select celestial atlases show it as a rose, so we know it was represented as that. The Cross in the sky is the Northern Cross asterism which we know as being part Cygnus. If you go back to the 4th century Christian iconography, it referred to the Northern Cross as the symbol of the cross of crucifixion.

Where this gets even more interesting is how one can relate all that back to the ground point in Mahone Bay which has a coordinates of 44.4N and 66.6 W of Paris. That sum is 111 and 111 is the magic constant for the 6x6 magic square. If we go back to our portrait, that significant line from O to I though to the point in the collar projects to the 6 below. The 6 is for the hexagon which is characterized by the 60 degree angle, which is the tilt of the image/square in the portrait.

If we start chasing these things on the globe, as one can due to the fact that all stars have ground positions, we end up discovering various symbolic points on the globe which are of likely value to the New Age believers. It is a story told in triangles by empiric Pythagoreans who loved triangles. It even worked it back to the original Greek constellation they understood as the triangle depicting the perfect square angle (Triangulum or the Miter of St Peter). That one was associated wit the Nile Delta region. From there is is only a simple observation that allows one to see right through the Pillars of Hercules on a Mercator map to the NA point of interest. By doing so one can evoke the myth of Atlantis and start referring to the New World as the New Atlantis. It is no surprise many feel Bacon is involved. It would appear that whoever is playing this game is aware of Bacon's thinking. 

 

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A closer look into Tortola as a reference point shows that it has a very historical link to Francis Drake. He frequented the area 4 times in his voyages. The last time was as a base during his most famous raid. The straits between Tortola and the smaller "virgin" islands are named Francis Drake Channel. The main highway on Tortola is named Francis Drake Highway. The place has taken kindly to its historical links with its most notable pirate. This, of course, is reminiscent of what I have noticed about the two taverns mentioned in SS for the directional guidance in acquiring the book. The "Great Turk" is one of them, and it most certainly can apply to Drake. There was no greater English pirate/privateer than he. The Spanish sure echoed the sentiment when the called him the Great Dragon (El Draque).

The circumstantial isn't the best indicator here. It turns out that there is something much more compelling for the choice of the approximate guidepost. That is best seen using Google Earth.

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No matter how you view or rotate the globe, the Great Circle involving Alexandria and the island of Tortola passes thought the Pillars of Hercules. If that Great Circle is positioned to be an equator when viewing,  it demonstrates that Alexandria (the home of Euclid and his geometry) and that location are truly aligned through the Pillars. Otherwise, there is a viewed arc that does the same thing, but it will always go through the Pillars.

This makes the terrestrial point a "twin" to the other one which is truly aligned on a Mercator map projection through the Pillars. The commonality of the points is the idea of passing through the Pillars. Doing that gets you to these places in two different schemes. Interestingly, both GCs end with a position named Alexandria on opposing ends. We can think of the two points as two pillars also, since they can be used to base a geometry applied upon the flat map of the world.

The intersection of the two great circles happens at two nodes. One is in the Middle East and the other in the South Pacific. The Ground point location for the latter corresponds with the tail of Hydra on the celestial sphere. The Constellation of Hydra was know to the Greeks as the great serpent. This flying great serpent got equated to the dragon in myth. The position is not far from the viewed location of the Nova in Serpens Ophiuchus. This we can consider in light of the fact that one of these great circles is also going through the position of the Nova in Cygnus. It would appear that this symbolic intent was also appreciated.

Anyway, The two points serve to generate the 18 degree angle which is of use to produce the elongated triangle on the Mercator map.

The other thing I have not yet pointed out is that TT should probably be thought of as "Three" to the power of "Three" or 27. That seems to be the angle that gets exploited to anchor the composition of the Droeshout portrait. Where there is 108 split apart and where there is 54 bisected is where things are anchored. The whole thing can be equated with the perfect square ashlar of dimension 27x27 and perimeter of 108. It makes the ROSY CROSS more Masonic than Rosicrucian, IMHO.

 

Edited by RoyalCraftiness
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A few more words about the scheme being described...I've highlighted in yellow the cross suggestion in the Droeshout portrait which includes the heading of the Compass and square pointer and am showing the celestial positioning next to it.

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The cross in the Droeshout is tilted 60 degrees, or 30 degrees depending on what line we are considering in relation to vertical or horizontal. Cygnus in nature is not fixed at any tilt. It is circling the pole star and will find itself in this precise orientation only once a day. The effort which was made in the Portrait is therefore based on a symbolic convention and in a desire to involved the 60 degree value.

This is an excellent opportunity to point out that the position of the Nova of 1600 occurred at what was assumed to be a celestial declination of +40 degrees (a sighted inclination of 40 degrees to the horizon).  This is the modern convention when giving out Cygnus' general coordinates also (in truth it is spread out).  The declination of Albireo should not be overlooked either it is +27 degrees and change. What are purely empiric numbers born out of observation do figure in what the symbolic numbers are in the scheme. 60 for the 6 (the monad number) is paired with 40 and are the beginning of the 60,40,80 triangle. Does this mean that at the core of the Masonic Square is an idea solely from astronomy? Not exactly. I demonstrated before how the numbering game, if it played to full effect, relates back to the Tetractys and the Holy Royal Arch.

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40 is the side (edge value) of the "divine" or "the good". On it are the powers of 3 (3^0 , 3^1, 3^2 and 3^3).  That includes 27. 6 is in the central monad number position here. On the side of the "earthly" are the powers of 2 (2^0 , 2^1 , 2^2, 2^3). This we are encountering in many occasions with the pairing of "twin" ideas of with the idea of the half/quarter/eight. It has never really occurred to me until now to consider it's value, fifteen, but it is worth pointing out that 15 degrees is what is the unit of degrees which represents one hour of time in the terrestrial rotational system. That is to say every hour of right ascension (or longitude is equated to a slice of 15 degrees of the globe). This divides the 360 degrees in a day into 24 hours (and 24 time zones). 15 is very much at the core of the system of time measurement we employ mechanically too. It is 1/4 of an hour in minutes represented by a circle, the quarter being related to the powers of 2 as opposed to 3. What is material is divided in two and in four and in 8. Incidentally that is probably why there is a Great pyramid with a square base that represents half of the octahedron. In the pyramid are married the powers of 2 and of 3. Such a "thing" or "spiritual machine" was envisioned to transition souls from the Earth to the heavens, symbolically speaking.

An important symbolism is likely being used in this which heavily employs two white birds (the swan and the dove) in the pair of points used.  It is possible that two other black birds are involved also. Certainly the raven, who is the symbol of Apollo and of misfortune, appears in the stories. He is also there in the Hebrew stories describing King Solomon and in the end of times person of the  prophet Elijah. Elijah is the Greek "Elias" and he was the herald that everyone seemed to be waiting for to announce the pre-messianic age. Hermeticists called him "Elias Artista". He was their Elijah. 

There is a contrast here with the black and white. The men who looked West were not at all focused on the black bird as a symbol of impending doom. They were thinking they were on the cusp of a glorious 1000 year age of God's reign and not to any soon to follow end times. You will find that startling difference in the Rosicrucian point of view, as opposed to the Lutheran Protestant one. The focus on the white bird is the hope of new start or the crossing of an age. In all intent and purpose it was that. Reason was to come and bury the idea that there was ever any such prophecy with any bearing on the world to begin with. Men could make their own destiny by simply leaving the myths behind them and be guided by their experiences and observations. 

 

 

 

 

Edited by RoyalCraftiness
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An informative video I just watched deals with the mythology of the Library of Alexandria. I think it is useful to understand that there is a mythology here that is as important as the Atlantean one when it comes to Bacon and other Europeans of his day. The Library in the stories represents the idea of the repository of all human knowledge.  

 

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  • 2 weeks later...
On 8/31/2023 at 5:27 AM, RoyalCraftiness said:

A closer look into Tortola as a reference point shows that it has a very historical link to Francis Drake.

How did I miss these posts a couple weeks ago??

Synchronicity I saw them now with Francis Drake!! LOL

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On 9/14/2023 at 8:14 PM, Light-of-Truth said:

How did I miss these posts a couple weeks ago??

Synchronicity I saw them now with Francis Drake!! LOL

You saw the other thing I posted, no?spacer.png

Point E is the Tortola location suggestion after reconsidering the Google map data. Point E is a on a straight line (a Great Circle) from Alexandria through the pillars). Point D (what I have called he "Hobson's Nose" point or the "Mahone Bay" point are twins in that they both involve passing through the pillars.  Not shown here is the fact that Alexandria to Alexandria Virginia is a Great Circle going through the Mahone Bay point where the lat. and long. (from Paris) sum to 111 and display the 3/2 Pythagorean harmonic ratio.  The angle I noticed translated to the 1.11 ratio is 48 degrees. This is pleasingly evocative of the 18 and 30 where 18 is the elongated triangle and 30 is the depicted incline of the Rosy Cross. Incidentally, it is also the given incline of Nolan's Cross on OI. That much seems to have been preserved by the Mason who suggested it to egg people along in some direction. 

I understand that I have been reprimanded and labelled a troll by the fold in a group gesture. I will take the hit. I will cease and desist in my criticism of gematria schemes and attempted "proofs" using them. But I will ask that people feel comfortable in criticizing what I say and show. I feel I require the criticism to help in reasoning things out. I'm interested in how others may have been thinking, so don't feel bashing an idea will be taken personally by me. The thinking may be bad and be someone else's bad thinking. 

So you won't miss it I'll pass on what I found in examining the RC Cola logo and its impressive relationship to the Kepler/Penrose tiles.

First, about the inventor of the beverage. Very little can be gleaned about him from looking around the net. We know he was a pharmacist, so that helps to explain some things. He named his first attempt at a soft drink Chero Cola. The name is odd, but it has some possible interesting features. The prefix "chero" is from the Greek Kheiros which means "hand". A chemistry related word we know which uses it is "chiral", and there is also "chiropractor".  "Chiral" relates to spatial geometry and symmetry. It is the "handedness" of something. For example, your opposing hands are chiral opposites. One is the mirror image to the other.  Physical reality is chiral. In electromagnetism, for example, the "hand rule" or hand gesture is used to orient electric fields and magnetic fields in space. The "hand" can be considered as being the hand that signals in Freemasonry.  "Chero Cola" did not last. "Coca Cola" sued the creator for infringement of its brand. Another beverage of his doing which surfaced later was called "NEHI", and that is even stranger sounding. It was pronounced KNEE-HIGH. The only root is from the Biblical name "Nehemiah". He stands out for having been responsible for the building of the Second Temple in Judea. This does allow us to perhaps think the individual in question has some links to Freemasonry. RC Cola gives Royal Crown as the meaning of RC. The Royal Crown is the symbol of he resurrection for the Holy Royal Arch Masons. You see it depicted in their emblem. We can consider that the 72 and 108 degree involving shape is another example of Masonic signaling. 108 is that perfect square stone ashlar of side 27 unites in length.

The RC logo expressed as the combined Penrose tiles is:

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I've tiled them in way that 5 of them combine to go around a central point. The resulting geometry is heavily relaying the 5 pointed star shape. The symbolism of the five pointed star in Freemasonry is that of the 5 points of the fellowship. It is present at the Master Mason degree.

Not to be outdone in elegance is another diamond + wedge tile combo I have hanging around in my back pocket. It is one that is found associated with OI. It's called Nolan's Cross, but it is better treated as a wedge tile also. The top part of it is this:

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Missing here is an additional point under the bottom one which Amundsen identified from excavating a flat stone with a triangle inscribed on it (at what he called he kingdom spot, aka the center). The resulting shape one gets when it is included involves three "tiles" merged into one shape. That tile can be arranged around a point to give a 9 pointed star geometry or a nice church window, if I may add.

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That 9 pointed star, if you are not familiar with it, is the symbol for the 32nd degree of Scottish Rite Freemasonry. The suggestion of it is there on an island that was planned and surveyed by a Freemason, Charles Morris, in 1761-1762. It contained 32 lots each with boundaries oriented 20 degrees E of N. The point of this shape is 40 degrees in sweep. Morris' beloved guru was Erasmus James Philips, Master Mason and man responsible for bringing Freemasonry to Nova Scotia sometime after 1742. If the thing was envisioned at the time of the planning of the island layout that would have occurred the year following Philips' sudden death. There is an idea of signaling and paying homage that one can take from this. Whether it is actually there or not does not change that we were given it in number by someone who likely appreciated the geometry.

Getting back to the 18 degree wedge, it's a bit of the same if you ask me. There are twenty (TT) of those going arounda circle. It can be treated as an integral part of a Masonic geometry that can be developed and discovered to be of meaning to the membership. It will possibly involve geographic points of interest which may have received later treatment in history to pay homage. The difference is that there is a suggestion that the thing was done on a Mercator map as opposed to a sphere and by using concepts involving Greta Circles pn spheres. What we can discover will only likely strengthen the suggestion that brothers with a plan for the New World were signaling again. It is the familiar idea that Herge re-exploited with Tintin with his tale of the discovery of the lost inheritance when he chases the Unicorn's secret (essentially Britain's ties to Freemasonry if you ask me).

The works are clever, but no so clever as to not be teased out empirically if one focuses on the demonstrable. This is my area of interest. There is evidence in this that Bacon may very well have been a man with ties to very early speculative Masonry. I categorical reject any idea that a treasure not in heaven is being spoken of, lol. We know what the Holy Royal Arch Masons considered the greatest treasure of all, and they also warned to not waste one's life in the pursuit of less important things. Remember death Rob! The shepherd is supposed to come as find the lost sheep.  The winds are howling and the power is still up.

 

Edited by RoyalCraftiness
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25 minutes ago, RoyalCraftiness said:

So you won't miss it I'll pass on what I found in examining the RC Cola logo and its impressive relationship to the Kepler/Penrose tiles.

Some years ago I learned how to convert English to Arabic when I was working on some of RC Cola's web content for the other side of the globe where words read right to left. It was an interesting challenge that was dropped in my lap with a deadline that I could not refuse. I did not work directly for RC Cola, but am the guy their advertising firm used for weird web stuff when nobody else could do or had time to do.  🙂

A new strange alphabet with rules I never could have imagined? It was like cipher work. I cannot read or write in Arabic, but I might be able to convert something from English to Arabic using my tools and make it legible to anyone who reads Arabic. I know what it looks like now. 😉

First time you, CJ, used the RC Cola logo in your member icon it made quite a ripple through my brain. I never thought of Rosicrucian during my work with RC Cola, even though I was totally in my Bacon mode (long before the B'Hive). When you popped up I saw the RC logo as Rosicrucian even though you seem to deny any connection. RoyalCraftiness is RC as well, maybe a Mel Brooks kind of jest, I do not know.

173 is R(17)C(3) and already in my mind as we go from Sonnet 110 to 111.

Glad Lee weakened for you up in the storm. But I also know the "feel" of a storm and if you can go outside naked and experience the wind on you it is not the same as a typical weather front coming by. Isn't there a several hundred mile diameter of swirling wind and rain and you are in the middle of it? It's not a "Dee" storm, it is a "Lee" storm.

🙂Hope you have no damage, no expenses, and your power stays on. Hope you can go out in and stand, taking time to learn what is different. It is a BIG POWERFUL circle of weather.

image.png.79f345437fb3b07d83499dec68c32bf3.png

 

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1 hour ago, Light-of-Truth said:

Some years ago I learned how to convert English to Arabic when I was working on some of RC Cola's web content for the other side of the globe where words read right to left. It was an interesting challenge that was dropped in my lap with a deadline that I could not refuse. I did not work directly for RC Cola, but am the guy their advertising firm used for weird web stuff when nobody else could do or had time to do.  🙂

A new strange alphabet with rules I never could have imagined? It was like cipher work. I cannot read or write in Arabic, but I might be able to convert something from English to Arabic using my tools and make it legible to anyone who reads Arabic. I know what it looks like now. 😉

First time you, CJ, used the RC Cola logo in your member icon it made quite a ripple through my brain. I never thought of Rosicrucian during my work with RC Cola, even though I was totally in my Bacon mode (long before the B'Hive). When you popped up I saw the RC logo as Rosicrucian even though you seem to deny any connection. RoyalCraftiness is RC as well, maybe a Mel Brooks kind of jest, I do not know.

173 is R(17)C(3) and already in my mind as we go from Sonnet 110 to 111.

Glad Lee weakened for you up in the storm. But I also know the "feel" of a storm and if you can go outside naked and experience the wind on you it is not the same as a typical weather front coming by. Isn't there a several hundred mile diameter of swirling wind and rain and you are in the middle of it? It's not a "Dee" storm, it is a "Lee" storm.

🙂Hope you have no damage, no expenses, and your power stays on. Hope you can go out in and stand, taking time to learn what is different. It is a BIG POWERFUL circle of weather.

image.png.79f345437fb3b07d83499dec68c32bf3.png

 

Bizarre advertising campaign if you ask me... a language that nobody can speak or read... I would have loved to have been in the room when they made the pitch to the client.

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Just now, Eric Roberts said:

Bizarre advertising campaign if you ask me... a language that nobody can speak or read... I would have loved to have been in the room when they made the pitch to the client.

RC Cola International is no joke. Arabic RC products are a huge market for them, as is many other languages. 😉

 

 

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2 hours ago, RoyalCraftiness said:

Remember death Rob! The shepherd is supposed to come as find the lost sheep.  The winds are howling and the power is still up.

As we transition from Sonnet 110 (and the 10th Tier), we "Die" and then are "Reborn" with Sonnet 111 (and the 11th Tier). This is one a few "Death/Rebirth" places in the Sonnets Pyramid design. I know you don't get the 14X26 table, but only because you haven't seen it yet. You dance all around it, but new ideas do take time to grow. 😉

I remember Death, tomorrow night at midnight we go through a symbolic death as we do every year. This year, though, seems like for me a few long drawn out stressful situations are finishing right now; a new roof to secure home owners insurance which in Florida is crazy and we were panicking until we got it on the day the old policy cancelled. We did a total upgrade of our 1967 electrical wiring which was aluminum because at that time they did not know aluminum heated up and stretched so much that connections began to spark and burn down homes and buildings And today I was with movers taking what my Dad will need for one of the final moves he will ever make before he dies. And so much more that I think some of us share in. And we are going from Sonnet 110 to 111 as we speak.

Your work on the SS Bacon frontpiece is in my mind as I want to try to explain what the 110>111 symbology means to me, and I no nothing.

Death is a good thing, we leave whatever we were in the past and become a new version of who we are. We as humans, businesses and organizations, I'd suggest even this B'Hive will die and be reborn as we learn and mature.

Hopefully tomorrow I will have time to share some 110>111 concepts only in the Sonnets Pyramid design.

Two Pillars and big Circle ( 1 1 0 ), then three Pillars ( 1 1 1 ). What happened to the big circle? Does it pop like a balloon?

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1 hour ago, Light-of-Truth said:

Some years ago I learned how to convert English to Arabic when I was working on some of RC Cola's web content for the other side of the globe where words read right to left. It was an interesting challenge that was dropped in my lap with a deadline that I could not refuse. I did not work directly for RC Cola, but am the guy their advertising firm used for weird web stuff when nobody else could do or had time to do.  🙂

A new strange alphabet with rules I never could have imagined? It was like cipher work. I cannot read or write in Arabic, but I might be able to convert something from English to Arabic using my tools and make it legible to anyone who reads Arabic. I know what it looks like now. 😉

First time you, CJ, used the RC Cola logo in your member icon it made quite a ripple through my brain. I never thought of Rosicrucian during my work with RC Cola, even though I was totally in my Bacon mode (long before the B'Hive). When you popped up I saw the RC logo as Rosicrucian even though you seem to deny any connection. RoyalCraftiness is RC as well, maybe a Mel Brooks kind of jest, I do not know.

173 is R(17)C(3) and already in my mind as we go from Sonnet 110 to 111.

Glad Lee weakened for you up in the storm. But I also know the "feel" of a storm and if you can go outside naked and experience the wind on you it is not the same as a typical weather front coming by. Isn't there a several hundred mile diameter of swirling wind and rain and you are in the middle of it? It's not a "Dee" storm, it is a "Lee" storm.

🙂Hope you have no damage, no expenses, and your power stays on. Hope you can go out in and stand, taking time to learn what is different. It is a BIG POWERFUL circle of weather.

image.png.79f345437fb3b07d83499dec68c32bf3.png

 

Is the RC a visual crown above the Q of Quran?

17 and 3 are 20 which is TT which is three to the power of three which is 27 which is the chiral opposite of 72. 72 +27=33x3.

The sum of all letter values up to the letter value is 6 for C, equal to the monad number. For R it is 153, equal to the perfect number. Perfection of God suggestion...

6 x 153 = 918, 9+18=27 or 91+8=99. Seems familiar...

Sometimes it can appear that someone wanted things to work out that way. Things can be that elegant.

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13 minutes ago, Light-of-Truth said:

The Beauty in the Design. Depending on how we see, we see what we see. The Design is created by Nature. We do not yet understand much at all.

 

The idea of a design is another example of us being limited by what we know. In some sophisticated primitive views "something" is simply what is defined negatively by what is not there (no-thing). We are noise in the uniformity. Complex, turbulent and full of deep rooted structure to every level we peer into. That is a property of things without design in that beautiful way of looking at it. Men were not designed. They are the Tempest brewing which can build up to a hurricane.  Taming chaos is one way of looking at Freemasonry.  To the degree that it can work it is white magic. Ordo ab chao. In the eye there is dead calm. We can think of us working back to the center as we too lose our forces.

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13 hours ago, Light-of-Truth said:

OK, what is the mathematical term of repeating patterns? I like Design, but open to a better term. 😉

 

The patterns just exist. They come out of complexity and choatic systems (dynamic systems). We can numerically model the complexity and have a peek at what structures and patterns come out of it. We observe them. We can reproduce them and build ideas with them. We experience the largest patterns on our scale as the stuff of physical reality. If there was no complexity there would be uniformity of no-thing. That no-thing could not negatively define a thing. It's more of an ancient Eastern view than a Western one.  Obviously, we don't see all the patterns. Some of them require instruments to "see" for us. Studying the patterns may not be a way back to anything because they are only meta-real. They are structures riding on noise, perturbations or whatever else we may want to call them. What do we call a perturbation of a no-thing? We can call the relationships in the perturbations chaotic interactions that allow for structure. It's unclear if there is ever anything real at any level. The perception of reality does exist. We do feel as if here are real things that are at our disposal. Certain things are allowed and others aren't, hinting that there are basic rules that allow for structure. It's impenetrable stuff, but we have ideas about because we know how to manipulate patterns. We have what is termed "symbolic culture".

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7 hours ago, RoyalCraftiness said:

The patterns just exist. They come out of complexity and choatic systems (dynamic systems). We can numerically model the complexity and have a peek at what structures and patterns come out of it. We observe them. We can reproduce them and build ideas with them. We experience the largest patterns on our scale as the stuff of physical reality. If there was no complexity there would be uniformity of no-thing. That no-thing could not negatively define a thing. It's more of an ancient Eastern view than a Western one.  Obviously, we don't see all the patterns. Some of them require instruments to "see" for us. Studying the patterns may not be a way back to anything because they are only meta-real. They are structures riding on noise, perturbations or whatever else we may want to call them. What do we call a perturbation of a no-thing? We can call the relationships in the perturbations chaotic interactions that allow for structure. It's unclear if there is ever anything real at any level. The perception of reality does exist. We do feel as if here are real things that are at our disposal. Certain things are allowed and others aren't, hinting that there are basic rules that allow for structure. It's impenetrable stuff, but we have ideas about because we know how to manipulate patterns. We have what is termed "symbolic culture".

Yes patterns exist and I have been fascinated since I was a kid. The repeating Pi number is shared in maybe an infinite world of repeating numbers. First time I held a battery operated calculator I sat doing quick math seeing patterns repeating and crisscrossing this way and that. Geometry is a holograph of patterns.

You mentioned a hint at "Order out of Chaos."

I have been aware of that phrase, kind of understanding on a minimal basis. On September Eleven, Two Thousand One that idea came up and I listened to a teaching from a teacher as we had updates to the news all day.

But to be honest, I do not really know about the concept even when it may be happening in front of me.

What is the Sunday evening quick explanation of "Order out of Chaos"?

 

 

T A A A A A A A A A A A T
157     www.Light-of-Truth.com     287
<-- 1 8 8 1 1
O 1 1 8 8 1 -->

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On 9/16/2023 at 8:31 PM, Light-of-Truth said:

As we transition from Sonnet 110 (and the 10th Tier), we "Die" and then are "Reborn" with Sonnet 111 (and the 11th Tier). This is one a few "Death/Rebirth" places in the Sonnets Pyramid design. I know you don't get the 14X26 table, but only because you haven't seen it yet. You dance all around it, but new ideas do take time to grow. 😉

I remember Death, tomorrow night at midnight we go through a symbolic death as we do every year. This year, though, seems like for me a few long drawn out stressful situations are finishing right now; a new roof to secure home owners insurance which in Florida is crazy and we were panicking until we got it on the day the old policy cancelled. We did a total upgrade of our 1967 electrical wiring which was aluminum because at that time they did not know aluminum heated up and stretched so much that connections began to spark and burn down homes and buildings And today I was with movers taking what my Dad will need for one of the final moves he will ever make before he dies. And so much more that I think some of us share in. And we are going from Sonnet 110 to 111 as we speak.

Your work on the SS Bacon frontpiece is in my mind as I want to try to explain what the 110>111 symbology means to me, and I no nothing.

Death is a good thing, we leave whatever we were in the past and become a new version of who we are. We as humans, businesses and organizations, I'd suggest even this B'Hive will die and be reborn as we learn and mature.

Hopefully tomorrow I will have time to share some 110>111 concepts only in the Sonnets Pyramid design.

Two Pillars and big Circle ( 1 1 0 ), then three Pillars ( 1 1 1 ). What happened to the big circle? Does it pop like a balloon?

I delayed commenting on this because there's a lot to say here, and I want to do it some justice. Psalm 110 and 111 are the twin psalms. The third that gets paired with them is 117. The complimentary angle to 27 ( 3^3 ) is 63. The supplementary angle to 63 is 117.

111 is our Sun. 110, I suspect, was in one way appreciated for the 50, 40 and 20 angles that are put together to make the tiled wedge that gives the 9 (3x3) pointed star. There is an equivalence here between Sun and the symbol of the 32nd degree Freemason. In the Masonic symbol of the blazing star there are 32 rays. You can see how 110 and 111 differ by 1, and that is true of the 32 and 33 also. The stars are similar, but not quite the same. Close enough to be twins, like the points that project beyond the pillars from the home of Euclid and his geometry. The 33, being the (27+72)/3 or that part of the trinity that is giving us our light (the holy spirit).  

Some people grasped the elegance of the number relationships to express ideas they have which are based in 3. The are actually based in 1,2,3 and 4 if you involve he material word and solidity, or square nature, of it.

111 pops effortlessly in and out of being, I suppose. Life is not that rare. It would appear the things that make it up recycle to give a larger meaning to the circle.

If anything about this appealed to Bacon it would have been the quality of the relationships in number that could be paralleled to the idea of the elegance of a plan for our reality. I feel the best way to work Bacon into the early Freemasonry is to stress how observation, which he was obsessed about, could have been guiding him to these ideas. That does not mean that this happened. It can just as easily appear to be possible, because elegance is something we can produce quite easily from careful observation.  This makes Bacon's keen interest in such observations work to suggest that he may have also loved some aspects of the storytelling of the Rosy Cross phenomena that came out of Tubingen. Kepler's works, for example seem to show the ideas have merit as long as you can account for the two "poles" in the ellipse, what we call foci. The visible Sun is in the position of one of the foci in Nature, the other is not populated by anything visible. There is a "second star" that is a focal point which guides the passenger of the Earth in his voyage.  We can only imagine what that second star was imagine to be.  The idea of the twin foci also gets elaborated on with the narrative of the Novas with the Swan and in the Serpent. There is a good or "white" flyer and there the bad and "dark" flyer. We thus are always under the influence of two forces (good and evil) in our doings. They are complimentary in that they help to define each other, and they are supplementary, because they are 180 degree apart from each other. It's an elegant narrative to put forth for Christian empiricists.

Edited by RoyalCraftiness
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1 hour ago, RoyalCraftiness said:

I delayed commenting on this because there's a lot to say here, and I want to do it some justice. Psalm 110 and 111 are the twin psalms. The third that gets paired with them is 117. The complimentary angle to 27 ( 3^3 ) is 63. The supplementary angle to 63 is 117.

111 is our Sun. 110, I suspect, was in one way appreciated for the 50, 40 and 20 angles that are put together to make the tiled wedge that gives the 9 (3x3) pointed star. There is an equivalence here between Sun and the symbol of the 32nd degree Freemason. In the Masonic symbol of the blazing star there are 32 rays. You can see how 110 and 111 differ by 1, and that is true of the 32 and 33 also. The stars are similar, but not quite the same. Close enough to be twins, like the points that project beyond the pillars from the home of Euclid and his geometry. The 33, being the (27+72)/3 or that part of the trinity that is giving us our light (the holy spirit).  

Some people grasped the elegance of the number relationships to express ideas they have which are based in 3. The are actually based in 1,2,3 and 4 if you involve he material word and solidity, or square nature, of it.

111 pops effortlessly in and out of being, I suppose. Life is not that rare. It would appear the things that make it up recycle to give a larger meaning to the circle.

If anything about this appealed to Bacon it would have been the quality of the relationships in number that could be paralleled to the idea of the elegance of a plan for our reality. I feel the best way to work Bacon into the early Freemasonry is to stress how observation, which he was obsessed about, could have been guiding him to these ideas. That does not mean that this happened. It can just as easily appear to be possible, because elegance is something we can produce quite easily from careful observation.  This makes Bacon's keen interest in such observations work to suggest that he may have also loved some aspects of the storytelling of the Rosy Cross phenomena that came out of Tubingen. Kepler's works, for example seem to show the ideas have merit as long as you can account for the two "poles" in the ellipse, what we call foci. The visible Sun is in the position of one of the foci in Nature, the other is not populated by anything visible. There is a "second star" that is a focal point which guides the passenger of the Earth in his voyage.  We can only imagine what that second star was imagine to be.  The idea of the twin foci also gets elaborated on with the narrative of the Novas with the Swan and in the Serpent. There is a good or "white" flyer and there the bad and "dark" flyer. We thus are always under the influence of two forces (good and evil) in our doings. They are complimentary in that they help to define each other, and they are supplementary, because they are 180 degree apart from each other. It's an elegant narrative to put forth for Christian empiricists.

This has sent me down the rabbit hole of wondering about chirality in Freemasonry. There is an obvious handedness to the compass and square in that it consists of two halves of the perfect square ashlar. One can think of the two intersection points which to arise in the two bottom quadrants (the points could be assumed to also be in the upper two quadrants if the figure was drawn perfectly symmetrical, but the human body is simply left/right in symmetry). The two points in the botom quadrants have this particular geometry associated with them:

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Low and behold, all the angles in this quadrant (rounded off here using the app) sum to 9 when you add their digits. All are divisible by 3. All are also chiral in that you can mirror them to find their "twin". The three digit numbers have the property that you can add either the first two or last two digits to achieve the same thing.

It is not so much 9 as the powers of 3 that seem to matter 3^1, 3^2,3^3 and 3^4 are accounted for. They were there on the right side of the Tetractys also.

There's an inclined cross in there with the intersection of BD and GH.  

What I have shown next to the geometric construction are four angles and their associates. You can consider them as four arcs. And that is evocative of what is oddly appearing in the Shakespeare plaque/monument where there are four proximal occasions of "arc" in the text that present us with a geometric suggestion in half of a square (rectangle). The geometry there is based on the hexagon and it's constituent angles which we know from the 6 pointed star of Judaism.

So, passenger, what do we make of this? Whose patronage has influenced the monument?

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