Archeometre's topics - tribe.net

New Here

2008-06-23T08:16:29Z

Is anyone still active in this discussion group? Thanks.... Ann

posted in Archeometre - 1 reply

The universal symbol

2007-05-06T21:51:42Z

http://thecompletefloweroflife.blogspot.com/

posted in Archeometre - 0 replies

Tarot

2006-08-24T03:09:36Z

how does tarot correspond?

posted in Archeometre - 2 replies

Wheel of the year

2006-07-06T02:26:35Z

how do wheel of the year myths and holidays correspond?

posted in Archeometre - 0 replies

I ching

2006-07-06T02:26:03Z

how does i ching correspond?

posted in Archeometre - 0 replies

Lets get something started on topic

2006-07-05T08:25:53Z

Osiyo, Y'all,
I joined this tribe even though I saw that it had been awhile since the last post on topic, because the subject interests me. Is there anyone here? How about getting new discussions going?
Donadagohvi
--
Namaste,
Rev. John

posted in Archeometre - 0 replies

What is the Archeometre?

2006-02-11T23:27:47Z

"...The Archeometre

Archeometre
'Arch "om" tre' is the measurement of the 'Arche' (Universal Cosmic Force) of which the Hermetists speaks.

Is it a process, a 'key' which makes it possible to penetrate the Mysteries of the World.

The Archeometre' is a measuring instrument of the first (primary) principles of the manifested universe.

Alexandre Saint Yves d'Alveydre's Archeometre shows the original Atlantean alphabet translates into the material the word, form, color, smell, sound and taste, the key to all religions and the sciences of antiquity.

The Archeometre is represented by a circle, which has two scales from 0 to 360 degrees and 360 degrees to 0. It is divided into 12 ranges with 30 degrees each.

In the individual ranges are drawn in the tierkreiszeichen, planet, colors, tones and the letters of different alphabets.

The Archeometre is a universal canon (guide), which wants to point the relationship out between the astrological indications, tones, smells, letters and colors.

The musician finds therein the color of tones, the writer the character-tone of the letter.

Beside this the Archeometre also points out practical use that the religions, arts and architecture are a synthesis from different ranges to form.

The term "archeometre" originates from the Greek one and means as much as "the measure of the principle".

The system refers also to a series of symbols and meanings, which refer to the federal drawer.

Since the Mysteries of the federal drawer many are (yoda) and they differ depending upon culture/area substantially, d'Alveydre claimed that above all two traditions are to be practiced: on the one hand an ancient Hebrew tradition, after which the federal drawer is equivalent with the "drawer of the laws", which contain the animals of the Zodiacs and the other constellations, as well as the letters of the holy Alphabets, and on the other hand a tradition hindu(istischer) descent, in which the drawer is admired as "Drawer (Heiligtum) of the secrets".

Together On the disk (of the) "archeometre" are (the) different asterisks, planet, degree numbers, of musical notes above all the letters of most different alphabets.

Here the letters of most diverse languages are represented - for example the French, the Syrian, the assyris(ian)(chen), the samaritanischen, the kaldaeischen, the Arab and still some more. In addition appear the letters of the holy alphabet, which reflects the astrale alphabet.

Here d'Alveydre nineteen instead of that traditionally twenty-two letters use, since three of the Ur-letters are missing. (originates in to nineteen also from the sum of the twelve tierkreiszeichen and the seven planets.) The topic of the letters and the alphabets is therefore of so great importance, there this the condition creates for the method of the combinatorial mathematics central in so many esoterischen systems.

The numeric basis "archeometre" forms a duo dezimal system (of 12 system), brought out from a dreizahl (3 x 4).

The system "arch�om�tre" consists of different concentric zones of correspondences, which the respective meaning meanings - the colors, the planets, the tierkreiszeichen, the musiknoten, which letters and the numbers -- contain.

Four stored equal-leg triangles in-described into a circle form its center. They form twelve points, whereby everyone comes a certain color.

In first, triangle - which corresponds to the Earth - is the point yellow, the right blue and the left red directed upward zuoberstliegenden. The lying behind, the water appropriate triangle (one considers the schematized representation next door) contains violet (as sum of red and blue) in the lower point, on the left of orange (developed from red and yellow) and on the right of green (result from yellow and blue).

From the rotation of these two basic triangles around 60 and/or 30 degrees follow air and the fire triangle. The internmediate tones, the products of the mixture of the two color neighbours are colored here.

The center forms white, the unit. Beyond the circles, which enclose the "arch�om�tre", the black is accepted, as absence of light and therefore each color. Here is the realm of the dark outside.

Astrologically follow in such a way everyone of the three fire characters (Widder, lion and contactor) in the Gegenuhrzeiggersinn one of the three earth characters (steinbock, bull and virgin).

Them per one of the air characters (balance, water man and twins) and these the water-marks (cancer, scorpio and fish) follow.

Which the allocation of the seven planets to the twelve tierkreiszeichen concerns (the so-called domiciles of the planets, into which it prevail), then comes the sun, those the day symbolized and the moon, which is assigned to the night, ever an individual domicile too (lion and cancer).

Which concerns the allocation of the planets to the indications, these divide now the animal circle into two symmetrical halves, whereby the one of the sun, which is certain of the moon others.

Like that each planet -- with exception of moon and sun -- is ruler in two tierkreiszeichen, and there is thus two colors associated to it.

There is this the colors of the oxides or salts of that metal, which is assigned to the planet, whereby each metal has in most cases two oxides.

The lunar (or nocturnal) Saturn -- in the steinbock -- corresponds to the yellow, the solar (daily -) Saturn -- in the water man -- yellow orange corresponds to that.

The lunar Jupiter -- in the fish -- corresponds to that orange, the solar Jupiter -- in protecting -- corresponds to the green yellow and so on.

From the metals the gold belongs to copper to the Venus and mercury to the sun, the silver to the moon, the lead to Saturn, the tin to Jupiter, the iron to Mars, to merkur. The traditional colors refer thus to aspects that the planets of assigned metals.

Which concerns the symbolism of the weekdays, then the sun represents Sunday, the moon Monday, Mars Tuesday, merkur Wednesday, Jupiter Thursday, Venus Friday and Saturn Saturday.

And which concerns the today valid kinds of clay/tone, then the following planets correspond to them: To C Jupiter belongs, to the D belongs to Mars, to the E belongs the sun, to the F belongs the Venus, to the G belongs to merkur, to A belongs the moon and to the H belongs to Saturn.

If one goes through the circular construction "arch�om�tre" in the way shown in this illustration, one constantly changes between day and night, beziehungweise between daily and Nachdomizil of the respective planets. The arrangement takes in three-dimensionality the form screw-shaped bodies.

The Planisphaere "arch�om�tre" is divided into seven zones, which are from the outside inward read.

The first zone consists of two annuli, which contain both degree numbers, which run however in entgegengestetztem in each case sense, so that the sum of the neighboring degree numbers of both rings always amounts to 360 degrees.

The second zone contains the modalen letters - the twelve morphologic letters, the twelve arithmologischen, the magic characteristics of the numbers of characteristic numbers and the twelve colors.

The third zone is mobile. It contains the ring with the twelve corners, which cover ever a planet, a letter from five different alphabets, a number and a color, as well as the ring colorless held with the musical notes.

The fourth, for their part fixed zone consists of the symbols representing the twelve tierkreiszeichen -- the Zodiak.

The fifth, again mobile zone covers the indications of the planets.

The sixth zone beherrbergt the twelve corners come out from four lying on top of each other, equal-leg triangles -- twelve colors, four triangles, two hexagons. In the seventh zone Mi, the central musiknote, and/or their morphologic letter lives.

Here twelve white jets are and six dia. meters.

Alexandre Saint-Yves d'Alveydre -1842-1909. He is buried in the cemetery at Notre Dame.

Saint-Yves d'Alveydre, together with contemporaries like Eliphas Levi, Maitre Philippe, and Fabre d'Olivet, belonged to the most influential spiritual teachers/philosophers of France in the 19th century. Saint-Yves may be looked upon as a 19th century profound thinker, philosopher and mystic.

Being an occultist/alchemist, Saint-Yves believed in the existence of spiritually superior beings. These 'beings' could be contacted telepathically. Apparently Saint-Yves claimed that he was in touch with these 'superiors' himself, as a matter of fact the principles of 'Synarchy' were partially received telepathically from these 'Masters'.

According to Saint-Yves these 'Masters' with whom he claimed to be in contact lived in the mysterious underworld realm which is known as "Agartha". Saint-Yves d'Alveydre was the man who introduced the concept of "Agartha" to the Western world, "Agartha" ( the myth of "Agartha" is also known as "Shambhala", as it was known in India), the underworld realm peopled by initiates and lead by 'the Masters", Masters who are the Spiritual leaders of humanity.

Agartha is the great Asian University of the Initiates of the Greater Mysteries. Their 'Mahatma' ('Great Soul') plays the part of the supreme spiritual leader of humanity.

According to Saint-Yves the secret world of "Agartha" and all of its wisdom and wealth "will be accessible for all mankind, when Christianity lives up to the commandments which were once drafted by Moses and Jesus, meaning ' When the Anarchy which exists in our world is replaced by the Synarchy".

Saint-Yves gives a 'lively' description of "Agartha" in this book as if it were a place which really exists, situated in the Himalayas in Tibet.

Saint-Yves' version of the history of "Agartha" is based upon ' revealed' information, meaning received by Saint-Yves himself through 'attunement'. However, several French 'reliable' sources state that Saint-Yves was NOT a medium. We've seen that Saint-Yves used a medium, a certain Marie Victoire, when he wrote the "Arch�om�tre". It seems that "the sources" disagree with each other when it comes to Saint-Yves' 'gifts'.

Saint-Yves d'Alveydre was incredibly influential in the development of 19th century occultism. The concept of Agartha and its 'Masters' had a big influence on the teachings of i.a. H.P.Blavatsky, founder of the Theosophic Society . Blavatsky also 'promoted' one of Saint-Yves' other concepts, namely the idea of 'root races' ; a 'root race' dominated a long period in history, "destined to be supplanted by the next superior race ". The concept of "root races" can also be found in the writings of Alice A.Bail, Rudolf Steiner and Max Heindel.

Another of Saint-Yves' idea's was that in the reconstruction of the history of mankind Atlantis was an advanced superior civilization. According to Saint-Yves the Sphinx was built by the Atlanteans, many thousands of years before the rise of Egypt. Saint-Yves placed the downfall of Atlantis at around 12,000 B.C.

Another source of inspiration for Saint-Yves were the medieval Knights Templar, which he regarded as the ultimate Synarchists in history. After all, the Knights Templar exerted control over the political, financial, and religious life of medieval Europe. These three pillars of medieval society corresponded with Saint-Yves' model of Synarchy.

Saint-Yves was influenced by the many neo-Templar societies that were flourishing in his day. He incorporated many of their ideas, in particular from a Masonic-Templar order called "the Rite of Strict Observance", which was founded around 1740-1750 by German Karl von Hund. Saint Yves borrowed the concept of "Unknown Superiors" from Von Hund , however he expanded the concept into "spiritually advanced beings that lived in a remote part of Tibet", aka "Agartha".

In his youth Saint-Yves (who was of Breton origin) apparently was not easy to handle and because of his "insubordination" he was, at the age of 13, taken under the custody of 2 professors, Fr�d�ric-Auguste of Metz and the Abbot Rosseau. Encouraged by his teachers, he started to read Joseph de Maistre and learned about Fabre d'Olivet.

The young Alexandre wanted to study literature, but his father decided otherwise; His son should aim for a career in the military.

At a naval-academy in Brest, where he studied medicine (which his professor, Fr�d�ric-Auguste of Metz, had advised him to do), he contracts the blackpox (or "black variola") and he leaves for Jersey to recover from the disease. On Jersey he meets Pelleport and Victor Hugo.

It is said that Victor Hugo, a famous French 19th century novelist, was involved with a group of "Rose-Croix" (rosicrucians) of which Maurice Barres (a later member of the "Ordre Kabbalistique de la Rose+Croix" and of the Supreme Council of Papus' Martinist Order) was also a member.

Around this time Saint-Yves d'Alveydre also visited London for the first time . In 1870 Saint-Yves, still on Jersey, joined the 171 "bataillon de Marche". In 1871 he accepted a post at the Ministry of Home Affairs.

It is stated by an unknown biographer that Saint-Yves at his stay on the isle of Jersey, received from a relative of Fabre d'Olivet several of his manuscripts which apparently made a huge impression on Saint-Yves. The works of Fabre d'Olivet exerted a major influence on the development of Saint-Yves' philosophy.

In 1877 Saint-Yves met Countess Marie de Riznitch-Keller, a relative of Honor� de Balzac, novelist and a member of the 'original ' Martinist Order. Saint-Yves married the Countess, a decision which made him financially (in)dependent. He could afford it to spent almost all of his time doin' research in libraries in France and abroad. In 1880 Saint-Yves obtains the title of "Marquis", a title which was confered to Saint-Yves by the Vatican. Saint Yves had an excellently connected circle of acquaintances through his marriage with the Countess.�

Saint-Yves published 4 books between 1882 and 1887, about the concept of 'Synarchy'.

In the year 1885 Saint-Yves was visited by a group of Eastern Initiates, one of them being named prince Hardjij Scharipf. Their mission was to inform Saint-Yves on 'AGARTTHA' , a spiritual and political organization. Their visit lead to his publication, titled "Mission de l'Inde en Europe, mission de l'Europe en Asie. La question des Mahatmas et sa solution". Saint-Yves dedicated this work to the "Sovereign Pontiff who wears the tiara of the seven crowns of modern Brahatmah in the ancient Paradise of the Cycle of the Lamb and the Ram". But Saint-Yves did not publish the book but decided to destroy the work and tore it apart. According to Saint Yves he acted under orders of the Brotherhood.

The wisdom revealed would not be understood and therefore a publication would be like casting pearls before swine. Other sources state that Saint-Yves decided not to "expose the life of a saint" to the outside world, the saint being "Guru Pandit", the Eastern initiate who'd visited Saint-Yves. Apparently Saint-Yves overlooked one copy of the manuscript which fell into the hands of Count Alexander Keller, son of Countess Marie de Riznitch-Keller.

This copy of� Saint-Yves "Mission de l'Inde en Europe�" was published (posthumous) in a limited edition in 1910 by the publishing firm of Dorbon-A�n�. During the Second World War the Gestapo seized all the publications of this book that were known to exist. According to Dr.Philippe Encausse, Papus' son, the original copy belonging to Count Keller was given to Papus. After the death of Papus in 1916 it was donated to the Library of Sorbonne.

After his wife's death in 1895, Saint-Yves started to work on his last work, an enormous work called the "Arch�om�tre ", a book published in 1903.

The "Arch�om�tre" 'intended to be a comprehensive key permitting a survey of ancient culture'. The book 'explores' the value of various philosophical, scientific, occult and religious systems 'and its place in the universal tree of science or tradition'. "Arch�om�tre" is derived from the Greek meaning roughly "the mass of the principle".

Saint-Yves' system is build around a series of symbols and interpretations relating to the "Ark of the Covenant". It's a very complex system which intends to be the key to all Religions and Sciences of the Ancients.

Seal of the Martinist Order

It all comes down to the same symbols
As is above - so is Below
The collapse of the twin towers
The merge of the Twin Pyramids
Hourglass - Time - Star of David- Merkabah
Spiral out of 3D - Spin - spinning

Saint-Yves d'Alveydre had many followers within the Martinist Order. Saint Yves' ideas have become part of subsequent occult "beliefs", mainly because they were also taken up and popularized by one of the most influential occultists of modern times, Helena Petrova Blavatsky-Madame Blavatsky (1831-1891), founder of the "Theosophic Society".

Blavatsky's work had an enormous impact on various esoteric organizations, mainly those which were established in the beginning of the 20th century.

For instance, many of Blavatsky's concepts were incorporated into the teachings of Alice A. Bail (1880-1949), and it is generally known that Baily's teachings have had a huge influence over the beliefs of the New Age movement of today.

Then there is Rudolf Steiner (1861-1925) who used Synarchy as a major influence when he developed his own ideas for his own organization, the "Antroposofische Gesellschaft" (established in 1913, Steiner developed a philosophy which is known as "Antrosophy").

Steiner was a former member (and high dignitary) of the "Theosophic Society" in Germany. One of Steiner's former disciples, Max Heindel (1865-1919), founded the "Rosicrucian Fellowship" in 1908. All these organizations, and I just named a few of them, propagated several of the ideas which were "introduced" by Saint-Yves in a way. The principle of "Masters" is a well known concept within many of the esoteric organizations.

The original concept did not descend from Saint-Yves, but he was probably one of the first in the West who introduced the idea of the hidden realms of these Masters, Adepts and Initiates which were situated in the East. ..."

From: http://www.crystalinks.com/archeometre.html

posted in Archeometre - 1 reply

Qu'est ce que c'est = L'archéomètre?

2005-10-03T01:58:16Z

L'archéomètre, clef de toutes les religions et de toutes les sciences de l'antiquité, St Yves d'Alveydre

L'Archéomètre est d'abord un évocateur scientifique et positif des plus grands mystères des religions antiques et dn instrument d'adaptation sociale.

posted in Archeometre - 0 replies

L'Archéomètre

2005-10-03T01:48:55Z

"...

L'Archéomètre

In 1903, the Frenchman Saint-Yves d'Alveydre published a huge work under the title L'Archéomètre.

Related systems:

Astrologische Verbindungen

Summary:

According to its subtitle, the work is intended as the key to all religions and sciences of the Antiquity. For the observer, it is a confusing, albeit fascinating, attempt to collect all the ordering systems of music, astrology, architecture, colours and linguistic symbols into one artistic discipline. In so doing, an order of such complexity has been created that it is easy for the observer to become disoriented.

Bibliography:

S. Y. d'Alveydre, L'Archéomètre, Paris 1903.

In 1903, the Frenchman Alexandre Saint-Yves d'Alveydre (1842-1909) published an enormous work intended to be a comprehensive key permitting a survey of ancient culture. "L'Archéomètre" attempts to assess the real value of each philosophical, scientific or religious system and its place in the universal tree of science or tradition. The term "archéomètre" comes from the Greek, and means "the mass of the principle" or words to that effect.

This system draws upon a series of symbols and interpretations relating to the Ark of the Covenant. On account of the many and — depending on the culture — varied mysteries surrounding the Ark of the Covenant, there are two traditions evident with d'Alveydre: an ancient Hebrew tradition on the one hand, where the Ark of the Covenant is synonymous with the "Covenant of Laws" incorporating the signs of the zodiac and the other constellations as well as the letters of the holy alphabet; and on the other a tradition of Hindu descent, in which the Covenant is honoured as the "Sanctuary of Secrets".

Alongside the constellations, planets, even-numbers and musical notes, the most important symbols on the disc of "archéomètre" are the letters of a varied set of alphabets. The most diverse languages are represented, including French, Syrian, Assyrian, Samaritan, Chaldee and Arabic. Also appearing are the letters of the Holy Alphabet, reflecting the astral alphabet, although d'Alveydre uses nineteen letters instead of the traditional twenty-two — he omits three prime letters. (The number nineteen will also arise from the twelve zodiacal signs plus the seven planets.) This theme of letters and alphabets is of overriding significance because the preconditions for the combinatorial methods, central to so many esoteric systems, are thus fulfilled. The numerical basis of "archéomètre" forms a duodecimal system (system of 12) arising from a triad (3 x 4).

The system of "archéomètre" comprises different concentric zones of equivalents which each contain a respective messenger or medium of information — colours, planets, zodiacal signs, musical notes, letters and numbers. Its centre is formed by four superimposed equilateral triangles filling a circle and forming twelve tips, with each tip being ascribed a specific colour. The upward pointing yellow, the right-hand blue and the left-hand red tips are in the first, uppermost triangle — which represents the earth. The triangle beneath, representing water (see adjacent diagram) contains violet at its lower tip (as the sum of red and blue), with orange to the left (from red and yellow) and green to the right (from yellow and blue). The air and fire triangles will emerge through rotation of both these basic triangles through 60 and 30 degrees respectively. From the colour point of view, intermediate tones are located here — products of the mixture of both the neighbouring colours. White forms the centre, and thus unity. Black, as an absence of light and therefore every colour — the kingdom of the darkness beyond — is assumed to be outside the circles which surround the "archéomètre".

Astrologically, each of the three earth signs (Capricorn, Taurus and Virgo) follows each of the three fire signs (Aries, Leo and Sagittarius) counter clockwise. The air signs (Libra, Aquarius and Gemini) follow each earth sign, and the water signs (Cancer, Scorpio and Pisces) in turn follow each of the air signs. As far as allocation of the seven planets to the twelve signs of the zodiac is concerned (the so-called domain of the planets), the sun, symbolising the day, and the moon, symbolising the night, are each assigned their own domain (Leo and Cancer). With regard to the allocation of planets to the zodiacal signs, the zodiacal circle will divide into two symmetrical halves, one ruled by the sun and the other by the moon. With the exception of the moon and the sun, each planet rules over two signs of the zodiac and is associated with two colours. These are the colours of the oxides or salts of the metal associated with that particular planet, and in most cases each metal will have two oxides. The lunar (or nocturnal) Saturn — in Capricorn — corresponds to yellow, the solar (diurnal) Saturn — in Aquarius — corresponds to yellow-orange. The lunar Jupiter — in Pisces — corresponds to orange, the solar Jupiter — in Sagittarius — corresponds to green-yellow, and so forth. Of the metals, gold belongs to the sun and silver to the moon, lead to Saturn, tin to Jupiter, iron to Mars, copper to Venus and mercury to Mercury. With that, the traditional colours relate to aspects of the metals allocated to the planets. As far as the symbolism of the weekdays is concerned, the sun represents Sunday, the moon Monday, Mars Tuesday, Mercury Wednesday, Jupiter Thursday, Venus Friday and Saturn Saturday. With regard to the present-day musical notes, C belongs to Jupiter, D to Mars, E to the sun, F to Venus, G is linked to Mercury, A the moon and F to Saturn.

If the circular construction of "archéomètre" is traversed in the way shown at the illustration, night will repeatedly change to day, and back to night; in other words, the diurnal and nocturnal domains of the respective planets will be crossed. Three dimensionally, the arrangement assumes the shape of a helix.

The planisphere of "archéomètre" is divided into seven zones which can be read from the outer edge inwards. The first zone comprises two annular rings both marked in degrees of angle which run in opposing directions, so that the sum of any two adjacent markings on the two rings will always amount to 360 degrees. The second zone contains the modal letters — the twelve morphological letters, the twelve arithmological letters (the figures characterising the magical properties of the numbers), and the twelve colours. The third zone is mobile. It contains the ring with the twelve corners (each of which incorporates a planet), a letter from five different alphabets, a figure and a colour, as well as the colourless ring containing the musical notes. The fourth, in this case fixed, zone contains symbols representing the twelve astrological signs — the signs of the zodiac. The fifth, once again mobile, zone incorporates the planetary signs. The sixth zone accommodates the twelve corners made up from the four overlapping equilateral triangles: twelve colours, four triangles, two hexagonals. In the seventh zone is Mi, (the central musical note) or the morphological letters ascribed to Mi. Here, there are twelve white rays and six diameters.

© echo productions — www.colorsystem.com

..."

Source: http://www.colorsystem.com/projekte/engl/71arce.htm

posted in Archeometre - 0 replies

Archeometre Information x 1

2005-06-06T22:43:01Z

" ...

L'Archéomètre

Navigation:

red (Navigator) or bold (Explorer) = illustrations ///// blue = text

Date:

In 1903, the Frenchman Saint-Yves d'Alveydre published a huge work under the title L'Archéomètre.

Related systems:

Astrologische Verbindungen

Summary:

According to its subtitle, the work is intended as the key to all religions and sciences of the Antiquity. For the observer, it is a confusing, albeit fascinating, attempt to collect all the ordering systems of music, astrology, architecture, colours and linguistic symbols into one artistic discipline. In so doing, an order of such complexity has been created that it is easy for the observer to become disoriented.

Bibliography:

S. Y. d'Alveydre, L'Archéomètre, Paris 1903.

In 1903, the Frenchman Alexandre Saint-Yves d'Alveydre (1842-1909) published an enormous work intended to be a comprehensive key permitting a survey of ancient culture. "L'Archéomètre" attempts to assess the real value of each philosophical, scientific or religious system and its place in the universal tree of science or tradition. The term "archéomètre" comes from the Greek, and means "the mass of the principle" or words to that effect.

This system draws upon a series of symbols and interpretations relating to the Ark of the Covenant. On account of the many and — depending on the culture — varied mysteries surrounding the Ark of the Covenant, there are two traditions evident with d'Alveydre: an ancient Hebrew tradition on the one hand, where the Ark of the Covenant is synonymous with the "Covenant of Laws" incorporating the signs of the zodiac and the other constellations as well as the letters of the holy alphabet; and on the other a tradition of Hindu descent, in which the Covenant is honoured as the "Sanctuary of Secrets".

Alongside the constellations, planets, even-numbers and musical notes, the most important symbols on the disc of "archéomètre" are the letters of a varied set of alphabets. The most diverse languages are represented, including French, Syrian, Assyrian, Samaritan, Chaldee and Arabic. Also appearing are the letters of the Holy Alphabet, reflecting the astral alphabet, although d'Alveydre uses nineteen letters instead of the traditional twenty-two — he omits three prime letters. (The number nineteen will also arise from the twelve zodiacal signs plus the seven planets.) This theme of letters and alphabets is of overriding significance because the preconditions for the combinatorial methods, central to so many esoteric systems, are thus fulfilled. The numerical basis of "archéomètre" forms a duodecimal system (system of 12) arising from a triad (3 x 4).

The system of "archéomètre" comprises different concentric zones of equivalents which each contain a respective messenger or medium of information — colours, planets, zodiacal signs, musical notes, letters and numbers. Its centre is formed by four superimposed equilateral triangles filling a circle and forming twelve tips, with each tip being ascribed a specific colour. The upward pointing yellow, the right-hand blue and the left-hand red tips are in the first, uppermost triangle — which represents the earth. The triangle beneath, representing water (see adjacent diagram) contains violet at its lower tip (as the sum of red and blue), with orange to the left (from red and yellow) and green to the right (from yellow and blue). The air and fire triangles will emerge through rotation of both these basic triangles through 60 and 30 degrees respectively. From the colour point of view, intermediate tones are located here — products of the mixture of both the neighbouring colours. White forms the centre, and thus unity. Black, as an absence of light and therefore every colour — the kingdom of the darkness beyond — is assumed to be outside the circles which surround the "archéomètre".

Astrologically, each of the three earth signs (Capricorn, Taurus and Virgo) follows each of the three fire signs (Aries, Leo and Sagittarius) counter clockwise. The air signs (Libra, Aquarius and Gemini) follow each earth sign, and the water signs (Cancer, Scorpio and Pisces) in turn follow each of the air signs. As far as allocation of the seven planets to the twelve signs of the zodiac is concerned (the so-called domain of the planets), the sun, symbolising the day, and the moon, symbolising the night, are each assigned their own domain (Leo and Cancer). With regard to the allocation of planets to the zodiacal signs, the zodiacal circle will divide into two symmetrical halves, one ruled by the sun and the other by the moon. With the exception of the moon and the sun, each planet rules over two signs of the zodiac and is associated with two colours. These are the colours of the oxides or salts of the metal associated with that particular planet, and in most cases each metal will have two oxides. The lunar (or nocturnal) Saturn — in Capricorn — corresponds to yellow, the solar (diurnal) Saturn — in Aquarius — corresponds to yellow-orange. The lunar Jupiter — in Pisces — corresponds to orange, the solar Jupiter — in Sagittarius — corresponds to green-yellow, and so forth. Of the metals, gold belongs to the sun and silver to the moon, lead to Saturn, tin to Jupiter, iron to Mars, copper to Venus and mercury to Mercury. With that, the traditional colours relate to aspects of the metals allocated to the planets. As far as the symbolism of the weekdays is concerned, the sun represents Sunday, the moon Monday, Mars Tuesday, Mercury Wednesday, Jupiter Thursday, Venus Friday and Saturn Saturday. With regard to the present-day musical notes, C belongs to Jupiter, D to Mars, E to the sun, F to Venus, G is linked to Mercury, A the moon and F to Saturn.

If the circular construction of "archéomètre" is traversed in the way shown at the illustration, night will repeatedly change to day, and back to night; in other words, the diurnal and nocturnal domains of the respective planets will be crossed. Three dimensionally, the arrangement assumes the shape of a helix.

The planisphere of "archéomètre" is divided into seven zones which can be read from the outer edge inwards. The first zone comprises two annular rings both marked in degrees of angle which run in opposing directions, so that the sum of any two adjacent markings on the two rings will always amount to 360 degrees. The second zone contains the modal letters — the twelve morphological letters, the twelve arithmological letters (the figures characterising the magical properties of the numbers), and the twelve colours. The third zone is mobile. It contains the ring with the twelve corners (each of which incorporates a planet), a letter from five different alphabets, a figure and a colour, as well as the colourless ring containing the musical notes. The fourth, in this case fixed, zone contains symbols representing the twelve astrological signs — the signs of the zodiac. The fifth, once again mobile, zone incorporates the planetary signs. The sixth zone accommodates the twelve corners made up from the four overlapping equilateral triangles: twelve colours, four triangles, two hexagonals. In the seventh zone is Mi, (the central musical note) or the morphological letters ascribed to Mi. Here, there are twelve white rays and six diameters.

..."

From:

http://www.colorsystem.com/projekte/engl/71arce.htm

posted in Archeometre - 0 replies

If you request to join this tribe

2005-06-06T19:25:44Z

If you requested to join this tribe and your request did not go through, please resend the request. It appears there was an issue with Moderated Tribe Requests going through to various Moderated tribes over the pass few weeks.

Thanks

posted in Archeometre - 0 replies