|
|||||||
|
|
|
|||||
|
|
|||||||
Below is a print from the Rosicrucian publication, Speculum Sophicum Rhodo-Stauroticum (Mirror of the Wisdom of the Rosicrucians), written by Daniel Moegling and published in 1618 under the pen name Theophilus Schweighardt.
Having already discovered a basic star shaped geometry
in the 1640 Poussin Shepherds of Arcadia painting, although not
yet having established the exact angles of this star, I happened
upon this print. The numerous lines in this print suggested to me
that there may be concealed geometry within it as well. This
proved to be the case.
Since this print is from a book, albeit a rather short book, we should look for clues in its text to confirm that there may be some hidden elements contained in the print so that skeptics have something more than their own eyes to convince them of this fact. It isn't hard to find. Here are two pertinent quotes regarding this particular print: (1) "Contemplate my figure properly and well, the most important thing is hidden therein and it is impossible to indicate it more clearly. No father would place it more clearly before the eyes of his son than I have done before thee, wherefore I beg and enjoin thee (lest thou desire aught more useful and profitable to find in this) : let this figure be highly and well recommended to thee, observe it, contemplate it, examine it not once but often, for there is nothing included in it in vain, but can be seen with our open eyes, that thou mayest boldly believe, for I am not here as a deceiver but as a brother and friend, wherefore I have not minced my words but spoken everything freely, openly and roundly, against the will and good opinion of many". (2) "Use the figure as an aid, and whether thou straightaway gettest the long desired treasure into thine arm and power, so be mindful at all times of this: O Jehova thou gavest, may the praise be unto thee". END QUOTES. Yeah, I'd say we have some reason to believe that something important is hidden in this print and at least part of it is clearly indicated, just as the author stated. In fact, they actually gave us two of the lines of the geometry as I will explain. Indeed, it would be "impossible to indicate it more clearly".
Before I show you this hidden geometry, which I call the "Da Vinci Star", I will draw your attention to the two six-pointed stars at the upper left and right of the print which represent what were thought at the time to be two new stars being born in 1604 and 1600, respectively. These were actually a supernova (1604) and a nova-like outburst of a variable star (1600). The left star represents the supernova in the constellation Ophiuchus, "The Serpent Holder", as clearly shown by the figure of a man holding a serpent right beneath it. Discovered on October 11, 1604, and visible for about 18 months, this was known then as "Kepler's Star" and today as SN 1604. The right star represents a variable star in the constellation Cygnus, "The Swan" (as indicated by the figure of a swan beneath it), also called "The Northern Cross". This star is now known as P Cygni. It experienced a nova-like outburst on August 8, 1600 which was visible for several years.
These two stars were believed by the Rosicrucians to herald something of great significance. This was mentioned in the Confessio Fraternitatis (which is easy to find in a web search) in this quote: "yea, the Lord God hath already sent before certain messengers, which should testify his will, to wit, some new stars, which do appear and are seen in the firmament in Serpentano and Cygno, which signify and give themselves known to everyone, that they are powerful Signacula of great weighty matters".
Although I believe the double star figure was designed by Leonardo a Vinci to represent the "two stars" of alchemy as mentioned in Basil Valentine's "twelve Keys of Philosophy", I think the Rosicrucians also connected the the two nova-like stellar events with the double star figure after 1604 because these stars were in the Hercules group of constellations and the labors of Hercules have been used as an analogy for alchemical processes as written in Hercules Piochymicus, by Pierre Jean Fabre, 1624. Other constellations have also been used in alchemical analogies, including Virgo which is the basis for the "shepherdess" in Poussin's Shepherds of Arcadia paintings.
Below is the Da Vinci double star figure shown as I
believe it to have been concealed within the features of the
print so that it could be rediscovered centuries later when fate
deemed it appropriate, which apparently is now. This image shows
the figure in a light blue color.
Two of the lines in the print are at the same angle to each other as the lower right arm line and outer right leg line of the large star of the double star figure. In other words, they actually gave us part of the figure itself, but you have to do a little adjusting of the orientation of the print in order for them to be positioned exactly the same as in the Da Vinci Star figure. These are the line connected to the anchor and the line connected to the kite (which I will refer to the winged placards as) bearing the words "Nostro T.S.", respectively. By combining this information which gives us the angles of this part of the star with the information in the 1640 Poussin painting, which gives us the information about the rest of the star and the fact that there are actually two stars of different sizes rather than a single star, it is possible to deduce the entire double star figure. The really hard part is to figure out how this peculiar star figure was arrived at in the first place. If you are able to figure that out then you can work out the exact multi-decimal angles of all points of the star figure through trigonometry.
Below; We must rotate the image so that the staff held by the man at the left edge of the print (with a pack on his back) is perfectly horizontal to obtain the proper orientation of the Da Vinci Star. I show this horizontal reference line in green in the image below. All of the paintings in this website also have references for true horizontal (the tops of the left and right staves in the case of the 1640 Shepherdess painting, for instance), as would obviously be required to deduce the geometry with any great degree of precision.
The below image shows the Da Vinci Star with the
addition of the Oak Island Cross, shown in dark blue. The Oak
Island Cross is explained on a separate web page which is linked further down on this page. Also shown are several
magenta lines showing how this Cross figure is very precisely
coordinated with the Da Vinci Star figure, making coincidence
extremely unlikely.
The light blue lines from the edges of the two kites at the left of the building converge at the intersection point of the extended right sides of the pentagons surrounding the two stars. As you can see, this intersection is not at the right arm point of the large star as might appear to be the case in the Poussin painting. The precise size and position of the small Da Vinci Star is derived from certain parts of the other figures through a process which I am keeping to myself so that nobody else can precisely replicate the Da Vinci Star geometry.
The blue colored crucifix shaped geometry shown in the Rosicrucian print Da Vinci Star image is an exact duplicate of the real Oak Island Cross, a large layout of conical ten-ton granite boulders on Oak Island which has never been officially explained, or unofficially either for that matter (other than by me). I have connected up all of the stone positions of the blue representation of the Oak Island Cross with straight lines, which produces a kite-like shape.
The orientation of the blue cross in relation to the horizontal reference line, which is an extension of the pack carrier's staff, is not the true cardinal orientation of the Oak Island Cross whose stem is actually at 30 degrees to true E/W. Therefore, the actual orientation of the Oak Island Cross must have been set for some specific purpose rather than to precisely emulate the geometry as contained in the print. I think the arms may have been set to intersect part of the star geometry in Mahone Bay, as shown on the "Oak Island" page linked at the bottom of this page, or possibly part of some other island in the bay when extended on a map. I drew a light green line from the base of the blue Cross at 30 degrees to it to show what a line representing true E/W on Oak Island would look like and it seems to align nicely with the roof of the building.
This C cross is very precisely coordinated with features in the print and also with points of the Da Vinci Star figure. I have added several lines (magenta colored) which may or may not have been purposely designed into the print. The alignments are precise enough to suggest to me that they were designed in but they are not crucial parts of the geometry itself, merely confirmations of it. The magenta lines from various points of the Cross pass through various points of the Da Vinci Star figure while also aligning with various features in the print.
The magenta line from the bottom of the cross to the top of the small Star, which I have extended to the foot of the small man next to the sword in the right of the print, is at the exact same angle as one of the lines from the top of the light green double hexagram from which the small Star is derived, which is shown in another image lower on this page. In fact, it is merely an extension of that line. Thus, not only is the cross coordinated with the small Star itself, it is also coordinated with its parent double hexagram, proving beyond doubt that both of these figures are valid and correctly positioned.
How the bottom of the cross is precisely positioned on this extended small double-hex line is something I am not revealing at this time, and which is very difficult to deduce. There is a certain geometric procedure which determines exactly how far up that line to position the bottom of the cross. Once you know this position and you know that the right arm point of the cross is at the right arm point of the small star, you can then draw the rest of the cross with perfect positioning providing you know all of its constituent angles which are obtained by a complex procedure involving the Tree of Life figure as explained in this web page- link.
The blue Oak Island Cross figure was clearly designed
as a modified representation of the Cygnus constellation, also
known as the "Northern Cross", which is crucifix shaped with an
"extra" star partway up the stem. See a photo of this
constellation immediately below. Note also the rose coloration at
the center of the Northern Cross. Cygnus may be the original
"Rose Cross", though I don't know whether the coloration would be
visible with the naked eye.
Here is an excerpt in regard to Cygnus from a webpage on constellation myths- "Christian legend: the true cross on which Christ had drawn his last breath was supposedly discovered by Saint Helena, the mother of Constantine, three centuries after the crucifixion. It is believed that the constellation represents a holy sign since it appears upright above the Western Hills at nine o'clock on the night before Christmas".
Below; Position of P Cygni (tip of arrow) in relation
to Cygnus.
Below; View from Tel Aviv, Israel (closest observatory
to Jerusalem) at nine o'clock Christmas eve in the year 1600
showing the position of P Cygni perfectly on the horizon.
You can't actually see the star P Cygni in this image because it is too small (the sky chart program doesn't actually reproduce the visual effect of the supernova, which would easily have been the brightest thing in the sky) but you know where it is in relation to the rest of Cygnus from the close-up image shown earlier and you can tell that it would be at the position of the horizon.
It was fortunate that the "nova" appeared in 1600 because had it been a few decades earlier this part of Cygnus would not have been visible above the horizon at that time and location. If you go back as far as the time of the crucifixion, the only parts of Cygnus above the horizon at 9:00 pm on December 24th were the top star and the star at the far end of the right arm . Of course, in those days December 25th would not have been considered the birth date of Jesus anyway as that date was chosen centuries later by Constantine to coincide with a Mithraic holy day.
Actually, it is rather odd that the whole Cygnus
constellation is not visible above the horizon from Israel on
that date and time as was implied in the quote about the
Christian myth. Interestingly, though, the whole constellation
is visible from the viewpoint of western Europe, as shown
in the image below.
Below; Position of SN 1604 in the heel area of the
Serpent Holder. I included this image to show where the "nova"
star was positioned in this constellation (it's marked with a
letter "N").
I will now show several images containing other parts of the total Da Vinci Star geometry.
Below; Large hex/pent figure from which the large star
is generated. Portions of the figure were cropped out for greater
clarity of the parts within the print. There aren't many
alignments between this figure and the features of the print but
there are enough to confirm it's presence such as the sword, the
church steeple next to it and the hub of the left wheel.
Below; Small hex/pent figure from which the small star
is generated. Few alignments with this figure also but nice ones
with the hat in front of the anchor, the middle shield and the
hubs of the wheels. As I often say, this ain't connect-the-dots
here. Obviously, these puzzles were not intended to be easy to
solve and you have to get by on the few reference points
provided.
Below; Tilted square/double-hex figure. Alignments
including the tip of the left palm branch, the bracket above the
SS banner, bottom edge of the tip of the trumpet, bottom of the
hand holding the right palm branch, feather near the tip of the
large right wing and the right pointed tip of the anchor. Red 8w
x 5h "Pyramid Triangle" nicely aligned with the sword.
Poussin Seven Sacraments Paintings
Copyright © 2004-2007 Brian Ettinger. All Rights Reserved.