STUDY NOTES - AND GRAPH

FOR THE CODES BOOK TO FOLLOW

Note to readers: I do not know who the original author was of the following
pages 3-57, but I could not find this on Scribd so I am reposting those pages
here along with my graph/notes and completed worksheet numbers (pages 1-2)
which is based on my review of the original document. Highlighted colors are the
Solfeggio frequency numbers.
The rest is included only for reference and is not my work. Note the spirals and looping
(1-9) numbers in the sheet. Its fascinating how these numbers appear to be mirrored.
Study Notes Cont'd - This is a picture of the Lord Pacal mask. Note the mirroring numbers from the mask.
I included this only for interesting comparison given the codes and information in the document to follow.
Picture referenced from Tutankhamun Prophecies book. Decoded composite
picture can be seen via online searches for better detail and/or in color.
Concerning matter, we have been all wrong. What we have called matter is
energy, whose vibration has been so lowered as to be perceptible to the senses.
There is no matter. Albert Einstein
For the mystery and the riddles of the Universe to be revealed and
understood I
must be able to understand them. Marion Garces
I believe the Universe is better represented by number patterns than
by mathematics or number formulas! Marion Garces
The Book o !enesis " The Book o #evelation " The Book o $ohn " %o
Beginning, no End " &n The Beginning " The 'erpent " The Tree " The Apple "
The ()r)bor)s * Temple o 'olomon " 'olomon+s ,ey " The Two -illar
s " The Emerald Tablet " The ,abala " The .erkabah " The -hilosopher
'tone/The -hilosopher+s Tone * %)merology " The 0ebrew Alphabet " The
!reek Alphabet " Egyptian .ythology " As Above 'o Below " The -yramids " 1in
and 1ang " The 2edas " .ayan .ythology" %ative American .ythology " &rish
.ythology " The 'oleggio Tones " The m)sical scale " !regorian Chants " The
2atican " The -hi 'piral " The 3,4 and 5 " (pposing 'pirals " (pposing
-ress)res " (pposing 2ortices " Coral Castle " Tor)s Coil * 2ibrations " The
.agic '6)are o the ')n " 'el 'imilarity " 'acred !eometry * Ether " The 7abric
o 'pace -article 8 Wave " 'ine Wave *Water * %ewgrange * .agnetism *
Crop Circles " .ason+s Angle 8 Compass " The 'hamir * Cymatics " 9ero -oint
7ield " Walter+s :; <imensions * Analemma " Adam and Eve " 0ermes
Trismegist)s " %icholas 7lamel "%assim 0arramein " Tibetan .onks " The
Templars " The 7reemasons/.a)rer/.oors " -ythagoras * $enkins *0ardiman "
0ans $enny * 0yperborea * Chakras " Ed =eedskalnin " %icola Tesla " .arko
#odin * &ninity " The Trinity " 0ollow Earth * !)rd>ie+s .an"eating".oon *
()spensky+s 0ydrogens * #)ssell+s (ctaves * Color 'pectr)m * Black =ight *
White =ight " #ed =ight * Bl)e =ight * 7ractals * $es)s * $ohn the Baptist *
%orth -ole * 'o)th -ole * $osh)a at $ericho * 0AA#- * Bl)e 'tar ?
E2E#1T0&%!
Call me crazy, have me committed, but I think I have stumbled upon the secret
of creation and the Universe!
To doc)ment this >o)rney o discovery & have to go back 6)ite some time, to the mid
:5@A+s, when & was abo)t B or ; years old. (ne winter aternoon, shortly beore Christmas
my brother and & were looking o)t o o)r Cth loor apartment window, waiting or snow to
start alling. &t is one o the clearest memories o my lie. The whole sky was illed with the
tiniest, s6)irming lights. Billions o themD & can see the airD & b)rst o)t witho)t thinking.
WhereE & want to see tooD, my little brother immediately demanded. .y parents
were c)rio)s at irst, b)t soon went back to whatever they were doing, shaking their heads,
where does she get this imaginationE .y grandmother wisely kept 6)iet at that point, she
knew where & got it. 7rom that point on & saw the air whenever & looked at a clear very
bright area, the sky, a patch o snow, a sheet o paper with the s)nlight alling on it, all o
them were instantly alive with tiny s6)irming points o light.
.y parents event)ally became less and less am)sed when & staked my claim to
seeing the lights and one day, 6)ite sternly, told me that & was too old or s)ch silliness. &
event)ally learned not to talk abo)t the lights anymore. B)t & have seen them thro)gho)t
all o the many years that have passed since then.
&+m a very c)rio)s person, and & love, no, & adore weird thingsD 'o thro)gho)t my lie
& have always looked or and p)FFled over strange phenomena. (ne o the strangest,
weirdest things & ever came across was Coral Castle in .iami. &n the s)mmer o GAA5 &
st)mbled across a YouTube video o the castle and its creator, Ed =eedskalnin. Ed
claimed to see beads of light, which he believed to be the physical presence of nature's
magnetism, and life force, or what we term today chi. Call it what yo) will, Ether, the 7abric
o space, & can see it. & can see it so clearly that & can+t )nderstand how anyone can not
see it.
Beore going on, let me inter>ect the second pivotal event that set me )pon my
6)est. &t happened B or ; years ater the irst. & had pretty m)ch divorced mysel rom
science at this time, beca)se & developed a mental block to )nderstanding the periodic
table. &t >)st didn+t make sense to me. When & looked at the awkward arrangements o the
elements, so dis>ointed and )nconnected & >)st elt in my bones that this was not 6)ite
right. & will shortly ret)rn to this s)b>ect. 7irst a ew more acts abo)t Ed.
( co)rse when & o)nd o)t that Ed co)ld see the lights too Hthere have been others
who can see them alsoI, & had to investigate. 7rom this point on things >)st seemed to all
into my lap. Every time & got to a seeming dead end where everything stopped, it didn+t
take more than a week o p)FFling and & st)mbled across a new piece o inormation, and
>)st the right one at that. Then & was o obsessed with working in this new ino. At one
point d)ring my investigation o Ed and Coral Castle, & came across Walter #)ssell and
The Universal One.
Accepting the act that & may well be perceived as a stark, raving l)natic, which &
can live with, let me try and retrace the neJt steps that led me to a table o the most
amaFing n)mbers. & have no do)bt that these n)mbers are very signiicant, tho)gh & am
still p)FFling over >)st how and what the signiicance is.
2
Beore & get deeper into these n)mbers, & m)st tell yo) that & believe that or the
mystery and the riddles o the Kniverse to be revealed and )nderstood & m)st be able to
)nderstand them. By this statement & mean that every average person m)st be able to
int)itively grasp the workings o it, witho)t resorting to and )nderstanding h)ndreds, or
even a hand)l o long, complicated mathematical orm)las. To >)stiy this conviction let me
re"tell a story abo)t one o the ew people & admire very m)ch, Walter #)ssellL.
Walter Russell
Walter Russell was born in Boston, .A in :;B: and died in :543. 0e was an artist,
sc)lptor, architect, m)sician, champion athlete and not least o all a polariFing ig)re in the
ields o chemistry, physics and cosmogeny 0e proposed that the )niverse was o)nded
on the )niying principle o rhythmic balanced interchange. 0e wrote several books, b)t
since he was not, according to mainstream science, an oicial scientistM his works have
been largely ignored.
=ately however, some o the more open"minded and in6)isitive scientists, s)ch as
mathematician .arko #odin and 6)ant)m physicist %assim 0aramein, have been
inl)enced by and have b)ilt )pon his work.
Walter #)ssell stopped attending reg)lar school when he was only eight. B)t Walter
did not leave learning. By the time he was :3 he had attained the position as ch)rch
organist. 0e st)died art and became a s)ccess)l portrait painter and sc)lptor. 0e worked
as an art editor at CollierNs .agaFine. As an architect he designed the 0otel des Artists, on
West 4Bth 't, in %ew 1ork, and a !othic st)dio across rom the .)se)m o %at)ral 0istory
on B5th 't, also in %ew 1ork.
As a sc)lptor, Walter created the .ark Twain mon)ment, which eat)res the a)thor
and his amo)s characters. As a scientist, Walter #)ssell st)died physics, and became a
member o the gro)p, which incl)ded 2iktor 'cha)berger Albert Einstein and %ikola
Tesla, who believed that ac6)isition o energy rom what Einstein reerred to as the Nabric
o spaceN was possible.
Walter #)ssell gave the world new theories s)ch as the )ndamental principles o
energy dynamics, the nat)re o matter and the progression o the evol)tion o matter. 0e
also depicted the )niverse as a contin)o)sly changing, creating eort, s)stained by the
systematic work o the energy o light which all matter is composed o Hhere are my wiggly
lightsI. 0is depictions o )niversal laws were eJpansive eno)gh to be considered a
complete non"standard cosmology. Today his works are known as #)ssellian science.
#)ssell portrayed the principles o the )nity o )niversal law in a way that bro)ght
many highly considered theories into direct conlict. 0e a)lted science or blindly believing
many erroneo)s theories, never having checked their acc)racy, or trying to remedy their
incompleteness. Among these were some o the )ndamental principles derived by
%ewton.
Walter #)ssell also presented a new view o the periodic table o elements that led
him to the prediction o the eJistence o pl)toni)m and several other elements, which were
still )nknown to mankind at the time. 'ome, like pl)toni)m, have since been o)nd, eJactly
where and how he described them. (ther elements he predicted are still )nknown to
mankind today. 0owever their mathematical placement in his charts makes their event)al
discovery likely. 0e also predicted the creation o heavy water, which is re6)ired or the
3
process o releasing n)clear energy.
#)ssell+s periodic table has not however been adopted )lly despite these
discoveries, as it indeed deies a great deal o c)rrent scientiic tho)ght, primarily the
nat)re o the evol)tion o matter and the )niied wavelength principle on which his table is
based.
Walter #)ssell was very spirit)al, and his attempt to )se science and !od, tho)gh
to in my opinion very s)ccess)l, this is another reason why scientists ignore his
contrib)tions. 0owever, many prominent scientists o his day, incl)ding Einstein, did
respect #)ssell+s contrib)tions. %ikola Tesla, advised #)ssell to hide his indings or a
tho)sand years )ntil h)manity was ready or them.
Books o Walter #)ssell can be o)nd at the Kniversity o 'cience and -hilosophy and
incl)deO
L The Kniversal (ne
L The 'ecret o =ight, 3rd ed., :55C
L The .essage o the <ivine &liad, vols. : 8 G
L A %ew Concept o the Kniverse
L The Electric %at)re o the Kniverse
L The 'ecret o Working ,nowingly with !od
L The 'el .)ltiplication -rinciple
L The 7ith ,ingdom .an
L The &mmortality o .an
Further reading
Clark, !lenn, The .an Who Tapped the 'ecrets o the Kniverse, Kniversity o 'cience 8
-hilosophy, :5;5 &'B% :";B54A@"AB"C
What connects Walter #)ssell to my n)mbers is his theory o the two opposing
vortices that emerge o)t o and ret)rn into the ield o e6)ilibri)m and his arrangement o
the periodic table, to which & will t)rn later. Walter+s most basic premise seems to be that
there is only one law or everything, and that trying to ind a )niying theory o everything
by leaving o)t 55P o everything is the )ltimate oolishness.
Walter says that, QThe whole Kniverse is maniested thro)gh (ne 7orce divided into
p)lsation so that it appears to be two opposing orces that contin)ally cycle in rhythmic
balanced interchange to seek o)t balance and )nity, b)t this is never the end res)lt or i it
were there wo)ld be no motion, and no lie, and no Kniverse.Q
#)ssell also states that QElectricity and !ravitation are one and the same orce as
are .agnetism and #adiation, which make )p the opposing orce. Both are evident in
every eect o motion in which they move in opposite directions against a resistance set )p
by each against the other. This is how they create a Npl)sN e6)ilibri)m condition o
increasing press)re gradient and smaller vol)me. We have come to know this as Nmatter.
They also create a Nmin)sN e6)ilibri)m condition o decreasing press)re gradient and larger
vol)me. This we know o as the NspaceN s)rro)nding matter. There are two orces, the
positive, contracting, generative, electro"gravitative orce being in the centripetal direction
o closing harmonic spiral vortices. &n these vortices all attrib)tes are endothermic. The
4
second orce being the negative, eJpanding, degenerative, magneto"radiative orce being
in the centri)gal direction o opening harmonic spiral vortices in which all attrib)tes are
eJothermic.Q
This man then, Walter #)ssell, in :53A, challenged all o science that they basically
had everything wrong. The %ew 1ork Times severely chastised him, acc)sing him o
blasphemy against science, saying how dare a non"scientist intr)de into those hallowed
halls. They called his claims abs)rd and severely misg)ided at best.
Walter responded that he was sorry that scientists were )nable to provide the
answers. 0e said & am sorry that an artist had to do it. Walter pointed o)t that 'ir (liver
=odgeLL said that no scientist co)ld make the s)preme discovery o the thing or which
science is looking and hoping, s)ch a discovery wo)ld have to be the s)preme inspiration
o some poet, painter, philosopher or saint. 0e contin)ed, &n other words, science sorely
needs the imagination o an artist or poet to synthesiFe her heterogeneo)s compleJities
and p)t her on a path o simplicity and tr)th, or nat)re is very simple in her ca)ses. 'he is
compleJ only in her repeative eectsD
'o this has become my sel"appointed mission, to make the compleJ so simple that
anyone can )nderstand it, even &. & will try to be Walter #)ssell+s artist and poet. Will & ail
miserably at itE -robablyD B)t )ntil someone else tries and s)cceeds, & will keep working at
it. Will some people take this as a challengeE & hope soD & think it is time that the wonders
o the Kniverse are simpliied so that everyone can marvel over them, not >)st a ew high
priestsD .y goal is, absol)tely no math above algebra :, and o co)rse geometry, the
sacred kind.
Physical Science
.any years ater & st)mbled )nwittingly )nto this great p)FFle and ater many career
changes & became an E'= HEnglish as a 'econd =ang)ageI ed)cator at a local high
school. 'ince & am l)ent in 'panish, my >ob is to go into the dierent classrooms with the
st)dents that have recently arrived rom 'panish speaking co)ntries and have not yet had
time to learn English. & translate most o the materials and lect)res or them.
A little over two years ago, ater one o my colleag)es 6)it, & rel)ctantly vol)nteered
to go into the -hysical 'cience class. & had never been in the physical science class beore
and was prepared to either str)ggle or be totally bored. & am still s)re this wo)ld have been
the case, eJcept or the teacher who was there that year. 'he was amaFing. 'he made the
class so lively and
ascinating that even the 5th grade st)dents loved going to her class. Thank yo),
EliFabethD
& began looking or some basic books to eJpand my knowledge o physics. & had not
had any l)ckM most books that were basic eno)gh or me were also too boring. 7ate
stepped in and & o)nd mysel one $)ne day, killing time in a coee shop on 35th 'treet,
close to ,K .edical Center. Across the street rom there is the White =ight Bookstore, a
kind o *not too serio)s * new age bookstore. & can+t pass )p any bookstore, serio)s or
otherwise. ( co)rse, & went in.
&n that dimly lit, cramped establishment o re>ected secrets & came across The
7ield, by =ynne .cTaggart and bo)ght it. &t wasn+t on physics, b)t on R)ant)m -hysics,
5
=ynne+s book promised to remedy my ignorance o the s)b>ect. Thank yo), =ynne, the
promise was delivered and then some. & not only )nderstood what the book was abo)t, b)t
& became hooked on the s)b>ect and wanted more. (ne thing that .cTaggart was amaFing
at in her book is bringing in so many other disciplines and showing how they impacted
physics. This is what & had or so long believed and been looking or. The Kniverse
incl)des everything, so it m)st be eJplained with everything. 1o) can+t eJplain what
something is by leaving o)t 55P o itD Walter had it right
Reiki Session
'hortly ater & bo)ght =ynne+s book, & went with my da)ghter in law to visit a riend
o hers who does reiki sessions. We chatted a while, and & told her abo)t =ynne
.cTaggart+s books. & had by then also read SThe &ntention EJperiment. 'arah oered me
a session ree o charge and & accepted, not eJpecting m)ch o anything. &t started o)t
6)ite ordinary, tho)gh very soothingly relaJing.
The irst hint o something )n)s)al came when & elt an incredible warmth come
rom her hands, even tho)gh she never to)ched any part o my body. The heat became
even more intense when her hands rested above my neck and sho)lders and she asked
me i & had been having any problems related to this part o my body.
.any years ago & was in an accident, and & have had m)ch pain in my right neck,
sho)lder and hip ever since. Ater abo)t ten min)tes she told me to lie on my stomach. As
she worked her magic on my back & closed my eyes and listened to the m)sic playing in
the backgro)nd. Almost instantly, with shocking s)ddenness & o)nd mysel looking at a
classroom )ll o st)dents, maybe 4 or B years old. The vision was so real. &t was in 3"d,
)ll color and incredible detail. B)t the most shocking thing was that right in the ront row
was a yo)ng girl & knew.
Even tho)gh & knew that girl, &+m not totally s)re who it was. Either it was my sister
in law who had died 3 years earlier or it was & mysel at abo)t the age o ten. Anyway the
girl was trying to tell me something, b)t & co)ld not hear her. 'he did motion me as i to say
come on. & was shocked and determined to go ollow )p on the reiki sessions. 'adly with
all that & have become involved in since, & have neglected this.
David Sereda and the Harmonic Codes
0owever, shortly ater the reiki eJperience & came across a video series by <avid
'ereda on the 0armonic Codes. What he had to say was ascinating. 0is lect)res were
really easy to )nderstand, even or someone who had no backgro)nd in physics and they
made me want to know more. (ne thing that str)ck me as interesting was that he talked
abo)t complementary pairs o tones.
& recorded the lect)res and b)rned them on C<s. As & listened to them on my C@
min)te drive to work every morning and again going home. & s)ddenly and o)t o nowhere
)nderstood that the girl in my vision had been trying to tell me to ollow )p on whatever &
had beg)n in the physical science class. & went to !oogle and 1ahoo and did a search on
0armonic Codes.
6
What & got were the 4 n)mbers o the 'oleggio Tones. & had never heard o these
tones, b)t as o this writing & have a co)ple h)ndred recordings and h)ndreds o pages o
notes on them.
A Short History of the Solfeggio Tones
The irst time & came across the 'oleggios & got the ollowing siJ n)mbersO
KT * 354 0F
#E * C:B 0F
.& * @G; 0F
7A * 435 0F
'ol * BC: 0F
=A * ;@G 0F
The n)mbers are the 0ertF re6)ency val)esM the letters are letters o the m)sical scale.
%ote that there are only siJ o them. This is the soleggio scaleM the amo)s !regorian
Chants are s)pposedly based on this scale. This scale is very well adapted to vocal
vibrations. The names o the notes are taken rom the now lost, or rather hidden, 0ymn to
't. $ohn the Baptist, and stand orO
KT R)eant =aJis That yo)r servantsN voices
#E"sonare ibris may reso)nd with
.&"ra gestor)m yo)r great miracles
7A"m)li t)or)m the stains
'(="ve pol)ti cleanse rom
=A"bi ireat)m o)r poll)ted lips
'ancte &oannnes
.y knowledge o =atin is >)st what & picked )p here and there, so this may not be
:AAP acc)rate. The 0ymn to 't $ohn the Baptist, hidden by the 2atican, most
interestingD $ohn the Baptist, is one o several ig)res &+ll >)st hint at in passing here. Each
one o these s)b>ects is probably worth a whole book to itsel. &+ll >)st mention that, there is
a mystery and controversy connected to $ohn the Baptist. &t is something the Catholic
Ch)rch does not want to disc)ss. &t is also connected to 7reemasonry, !nostic !ospels
and many other things. 0ere are some links i yo) are interestedO
httpO//www.eli>a.de/dossiersTengl/mainTdossiers.htm
!odlike -rod)ctions Banner
Ksers (nline %owO G,;A: HWhoNs (nEI 2isitors TodayO :,:4;,4;A
-age views TodayO :,B:A,@;; Threads TodayO B5B-osts TodayO :3,A4C
AGO@5 -.
This site has some interesting things to say abo)t $ohn the Baptist and $es)s, here are
some eJamplesO
Knlike $es)s, we do have testimony o)tside the Bible that $ohn the Baptist eJisted.
$ohn is talked abo)t by the irst cent)ry historian $oseph)s. &ncredibly the Bible
$es)s himsel says that $ohn is the tr)e 'on o !od. This contradicts the Christian
lie that $es)s is the 'on o !od and the .essiah. This is the evidence that $ohn
was the .essiah not $es)s who was a ake having leapt on to $ohn+s bandwagon.
Anybody who was baptiFed by $ohn the Baptist became $ohn+s disciple. $es)s was
7
baptiFed by $ohn in the $ordan. 'o by accepting baptism, $es)s was declaring to
$ohn that he was learning rom him and not vice versa.
httpO//www.godlikeprod)ctions.com/or)m:/message:A5;455/pg:
httpO//www.encyclomedia.com/>ohnTtheTbaptist.html
This is some additional inormation & o)nd, b)t since & had originally no intention o
writing any o this down to share with anyone, & did not save the link, >)st copied
what seemed important or me to look into. & insert this here, beca)se it seems to it
best, even tho)gh & o)nd this some time ater a n)mber o the ollowing events
occ)rred. Everything printed in this font are notes I have inserted.
The Secret Solfeggio Frequencies Sound !i"ration Rates for Creation and
Destruction
Ta"le # The $ine Secret Solfeggio Frequencies%
:. #&' 0F U :BC U
G. ()* 0F U G;@ U oe
3. +,- 0F Kt U 354 U
C. '#& 0F #e U C:B U V HC:@ 0F to C:B 0F is a key energy balancing re6)ency rangeI
@. *() 0F .i U @G; U oe V H@G; 0F is known as the S.iracle+ 7re6)encyI
4. -+, 0F 7a U 435 U
B. &'# 0F 'o U BC: U
;. )*( 0F =a U ;@G U oe
5. ,-+ 0F Ti U 543 U
These so)nd re6)encies or electromagnetic vibrations Hprevio)sly kept secretI are most
likely to event)ally be recogniFed as the primary re6)encies associated with the matriJ o
creation and destr)ction. -lease note that all nine re6)encies are mathematically and
harmonically related. %ine is the n)mber o completion. %ikola Tesla said many times that
there is tremendo)s power in the W+s, oe+s, and X+s. ote that !hen you chant these
sounds to"ether you "et a sound very much like that of #a!eh Table : shows the
increasing re6)encies encoded in the Torah and the Bible HBook o %)mbers BO:G";3I.
&nitially encrypted by =evi priests who translated the original Torah into !reek Septuagint,
these nine re6)encies apparently possess eJtraordinary spirit)al power. &n addition to
their link to the hymn o 't. $ohn the Baptist and their likely association with creative and
destr)ctive events in the Bible, the third note "" .i or .iracles or @G; " " is the eJact
re6)ency )sed by genetic engineers thro)gho)t the world to repair <%A. ote that
there is some debate about this. I myself have not totally decided for or
a"ainst this yet 1o) can also program the ollowing ive re6)encies rom Table G and
Table 3 into the c)stom data banks.
Ta"le ( The .ey of David/The .ey of 0i"ra/The .ey of 1A0A$C2 and The 32$2S4S
Frequency%
:. +-5 0F U X V HThis is the ,ey o <avid 7re6)ency which the ancient carillon bells were
t)ned toI
8
G. *+# 0F U X V HThis is the !E%E'&' !olden 0ealing 7re6)ency given by Archangel
.ichaelI
The ,ey o <avid or The ,ey o =ibra Hknown in modern m)sic as ! or 7I is based
on the !olden 'ection or !olden .ean. &t is associated with a vibrational orm)la to bring
gits o >oy, love, and healing. -ythagoras and the 'cience o 2ibrational .edicine today
conirm the !olden meas)res o <ivine -roportion and the three witnesses o the
balancing eects on 0ealth in The ,ey o <avid. -ythagoras also theoriFed that the earth
creates a tone in space o ! or 7. %A'A astrona)ts have since proven this to be
correct )sing high"tech so)nd recording e6)ipment. We will probably know with certainty at
some )t)re time that this represents the ageless wisdom o creation.
Ta"le + The 3reat Pyramid .ing6s Cham"er Frequency7 Royal Cu"it Wave Form
Frequency7 and the Secret Concert Pitch%
3. ''# 0F U X HCC: 0F is the resonant re6)ency o the !reat -yramid ,ing+s ChamberI
C. #'' 0F U X H:CC 0F is the #oyal C)bit HGA.4G@IWave 7orm 7re6)encyI
@. '+( 0F U X HC3G 0F is a key 'ecret Concert -itch re6)encyI
4. #5) 0F U X H@C 0F is the Breath o the Earth and :A; 0F is the sacred Egyptian 7)ll
Breath 7re6)encyI
B. *5 0F U (E H@A 0F is the re6)ency that the body nerves ire at. This is a )se)l
re6)ency or pain relieI
;. &) 0F U oe HB; 0F is the re6)ency that the body )ses or the prod)ction o oFoneI
$s you read on note that %&' is one of the numbers in my table. ()*, +), ,*,
and (%% are also connected in determinin" the pattern. I have not connected
the %%( yet, but note it is the mirror ima"e of (%%. (%% or the (%%,))) -since
).s are simply i"nored/.
The Basics
<einitionsO
sola
:. the syllables do Hormerly )tI, re, mi, a, sol, la, ti Hormerly siI.
G. the )se o these syllables, as in vocal eJercises. HWebsterNs <ictionaryI
soleggio
:. a vocal eJercise in which the sola syllables are )sed.
G. the )se o the sola syllables to name or represent the tones o a melody
or voice part or the tones o the scale, or o a partic)lar series, as the
scale o C. HWebsterNs <ictionaryI
The term Qsola syllablesQ reers to the act)al syllables derived by !)ido Aretin)s Hthis will
be eJplained laterI and the term Qsoleggio scaleQ reers to the
act o singing those syllables. According to the dictionary, the term QsolaQ was probably
derived by combining the ith and o)rth syllables HQsolQ and QaQI.
We have )sed the already eJisting term o QsolaQ as an acronym or the phrase 'o)nd (
=ie 7re6)ency Att)nement.
The modern day sola scale is a series o seven ascending notes that are s)ng to the
syllables do"re"mi"a"so"la"ti.
The ancient sola scale was a series o siJ ascending notes that were s)ng to the syllables
)t"re"mi"a"sol"la.
9
&ntrod)ction
The sola syllables were originally taken rom a !regorian chant written or $ohn the
Baptist called Kt R)eant =aJis. The eJplanation o how these
syllables were arrived at will be covered in a later section.
The siJ so)nd re6)encies in the Bible in the book o %)mbers, chapter B, verses :G";5
were discovered by <r. $oseph -)leo. The re6)encies are
354hF, C:BhF, @G;ha, 435hF, BC:hF, and ;@GhF. My solfe""ios.
The eJact re6)encies )sed to sing the original soleggio scale are )nknown beca)se
thro)gho)t history dierent t)ning applications have been )sed.
The standard or t)ning or the past GAA years is 6)ite dierent rom the t)ning practices
dating rom anti6)ity thro)gh abo)t the :4th cent)ry A.<.
Ancient t)ning practices )sed a system o t)ning known as Q$)st &ntonation.Q The t)ning
practice adopted or western c)lt)res rom abo)t the :4
th
cent)ry and )sed today is know
as QTwelve"Tone E6)al Temperament.Q .)sic o modern man is basically in a boJ o
limitations.
A 6)ote rom the book, The $)st &ntonation -rimer, written by <avid B. <oty is as ollowsO
QAltho)gh it is diic)lt to describe the special 6)alities o >)st intervals to those who have
never heard them, words s)ch as clarity, p)rity, smoothness, and stability come readily to
mind. The s)pposedly consonant intervals and chords o e6)al temperament, which
deviate rom simple rations to varying degrees, so)nd ro)gh, restless, or m)ddy in
comparison.Q
QAn e6)ally serio)s problem with twelve"tone e6)al temperament is that it s)pplies
composers with an artiicially simpliied, one"dimensional model o m)sical relationships.
By s)bstit)ting twelve e6)ally spaced, iJed tones or a potentially )nlimited n)mber o
tones, interconnected by a web o s)btle and compleJ m)sical relationships, e6)al
temperament not only impoverished the sonic palette o Western m)sic, b)t also deprived
composers and theorists o the means or thinking clearly abo)t tonal relationships,
ca)sing them to con)se close relationships with remote ones and consonances with
dissonances.Q
Q$)st &ntonation has depth and breadth. &ts )ndamental principles are relatively simple b)t
its ramiications are vast. At present, the m)sical realm that comprises $)st &ntonation
remains largely )neJplored. A ew pioneering composers and theorists have sketched
some o its most striking eat)res, b)t the map still contains many blank spaces where the
advent)ro)s composer may search or new m)sical treas)res.Q
&t is important to )nderstand that so)nd re6)encies are very power)l, and intent is very
power)l. When there is a marriage between certain re6)encies and certain intents, they
give birth to a living att)nement with the <ivine .ind that brings the physical and the
etheric bodies into a balanced resonance.
1alance is the key to 8ell9"eing.
10
Historical Figures
Pythagoras :c% *-, 1C ; c% '&* 1C<
-ythagoras was born in !reece on the island o 'amos. 0e is described as the irst
p)re mathematician. 0e o)nded a society known today as the -ythagoreansM they were a
very secretive society that lived in comm)nal conditions. They adhered to a strict code o
secrecy. A ew o their belies wereO
All reality is mathematical in nat)reM the so)l can rise to )nion with the divineM certain
symbols have a mystical signiicance.
The -ythagoreans were not like the mathematicians o todayM they were not interested in
trying to orm)late or solve mathematical problems, rather, they were interested in the
concepts or mystical 6)alities o n)mbers and mathematical ig)res, s)ch as a triangle,
s6)are, heJagon, circle, etc. 0hey looked at patterns, 1ust as I.
(ne o the mystical concepts developed by this society was the red)ction o a n)mber to a
single digit. 7or eJample, :@U:Y@U4 or G34UGY3Y4U:: and ::U:Y:UG. This concept will
be reerred to later. 0his is called Gematria.
According to an article in 1oga $o)rnal written by #ichard =eviton, -ythagoras believed
that Qthe mathematical ratios between the vibratory rates o the notes on a scale relect a
)niversal law o harmony, -look at my table and see this incredible harmony
bet!een every number in every direction/ descriptive o planetary motions, the laws
o m)sic, and the inner lie o the so)l. A single stretched and vibrating string ill)strates
both the )ndamentals o m)sical harmonics and the laws o the cosmos. N't)dy the
monochord,N advised the !reek philosopher, Nand yo) will know the secrets o the
)niverseN.Q &t sho)ld be noted that the -ythagoreans were amo)s or their m)t)al
riendship, )nselishness, morality, and honesty.
St% 3regory the 3reat or Po=e 3regory 4 :*'5 AD ; -5' AD<
!regory was born in #ome to a noble and wealthy amily. As a yo)ng ad)lt he held
government oice and was beloved and respected by the people. At abo)t age 3@ he had
a spirit)al awakening. 0e reno)nced worldly possessions and o)nded seven monasteries.
0e converted his amily home in #ome into a monastery and became a simple monk.
Event)ally, he was chosen as secretary to the -ope. When the -ope died o the plag)e,
!regory was press)red into accepting the oice, altho)gh he did not want it. At the time he
became -ope he likened the ch)rch to an old ship that was shattered, decayed, and )ll o
leaks. -ope !regory labored Fealo)sly to improve the condition o the ch)rch and was
known or his brilliance, as"well"as, his compassion and charity. 0e o)nded a school or
singing and established a new way o chanting rom which we have derived the name
!regorian chants.
#ealiFing that monks and n)ns had devoted their lives to !odM b)t also that the mind
wanders and the body is weak, chanting was )sed as a tool or intensiying the oc)s o
mind and body. Chanting was eective at almost any moment, be it ormal rit)als or daily
chores.
11
-arts o a monastery were set aside or visitors. #e)ge co)ld be taken by pilgrims, the ill,
the aged, etc. They co)ld hear the monks chanting ro)nd the clock. The chant was
believed to have a rhythmic p)lse that was a )ndamental order o the )niverse. The chant
was believed to have healing 6)alities.
Paul the Deacon aka Paulus Diaconus :c% &(5 9 c% &,,<
-a)l the <eacon was born at 7ri)li. 0e was a descendant o a noble =ombard
amily. -a)l was a medieval historian and one o his most important works was the history
o the =ombards, a !ermanic tribe that established a kingdom in northern &taly. !regory
the !reat is also mentioned in his writings.
According to the historian, <)rand)s, the hymn Kt R)eant =aJis was composed by -a)l
the <eacon on a certain 0oly 'at)rday when he o)nd himsel s)ering rom hoarseness
o voice beore having to chant the EJs)ltet. &t has been spec)lated that the hymn was
written in honor o 'aint $ohn the Baptist while -a)l the <eacon was relecting on the
restoration o the voice o 9acharias, the ather o $ohn the Baptist.
3uido Aretinus aka 3uido d6Are>>o :c% 5,,* AD ; c% #5*5 AD<
!)ido was born in -aris, 7rance. 0e was a Benedictine monk and traveled to the
city o AreFFo in &taly aro)nd :AG@. 0e was a m)sic theorist and wrote a theoretical work
entitled .icrolog)s. 0e was the a)thor o m)ch o o)r present day m)sic notation. 0e also
developed what we know as sola syllables or the soleggio scale, which is a tool )sed by
singers to learn chants and songs more easily.
Today we know the soleggio scale as seven ascending notes assigned to the syllables
<o"#e".i"7a"'o"=a"Ti. The original scale was siJ ascending notes assigned to Kt"#e"."
7a"'ol"=a. The syllables or the scale were taken rom a hymn to 't. $ohn the Baptist, Kt
R)eant =aJis.
!)ido may have been inl)enced by Boeth)is, a mystic o the 4th cent)ry, beca)se he is
mentioned in .icrolog)s. Boeth)is had also written ive books on m)sic )ndamentals. 0e
divided m)sic into three parts. usic of the cosmos!world * m)sic related to astrology and
n)merology, usic of humanity * m)sic related to the body and so)l and usic of
instruments * m)sic prod)ced by instr)ments or the h)man voice.
The study of Boethuis warrants further examination. This would be a good adjunct
for anyone interested in furthering their understanding of the effects of sound
frequencies.
Who is Dr% ?ose=h Puleo@
<r. -)leo is a nat)ropathic doctor c)rrently living in northern &daho. Thro)gh a
series o )n)s)al circ)mstances beginning in :5BC, <r. -)leo has been g)ided into the
)nraveling o certain vibrational re6)encies and other mysteries encoded in the Bible. 0e
was introd)ced, thro)gh an open vision, to the -ythagorean method o n)meral red)ction.
Ksing this method, he discovered siJ so)nd re6)encies coded into the book o %)mbers,
chapter B, verses :G";5. These re6)encies are 354hF, C:BhF, @G;hF, 435hF, BC:hF, and
;@GhF. The act that these are vibrational re6)encies was )rther conirmed when it was
discovered that the re6)ency o @G;hF is )sed in the restoration o <%A. &t has a power)l
12
eect )pon the water molec)les that s)pport the <%A heliJ Haccording to <r. =ee
=orenFen, -h.<.I.
0ere is a 6)ick synopsis o how the re6)encies were deciphered. &n the Bible, in the book
o %)mbers, chapter B, verse :G we ind a reerence to the irst day. .oving down 4
verses, to verse :;, we ind a reerence to the second day, contin)ing down siJ more
verses, to verse GC, we ind a reerence to the third day, and so orth )ntil the inal
reerence in verse B; which is speaking o the twelth day. What these verses have in
common is a reerence to a similar idea.
To arrive at the irst re6)ency the act)al verse n)mbers are added )sing the -ythagorean
method o red)cing a n)mber to a single digit. Th)s, 2erse :G is :YGU3, verse :; is
:Y;U5, verse GC is GYCU4, verse 3A is 3YAU3, verse 34 is 3Y4U5, verse CG is CYGU4, etc.
)ntil verse B;. The pattern here is 354, 354, 354, etc. This is the irst re6)ency.
The neJt re6)ency is o)nd by looking at verse :3 which is speaking o an oering. 'iJ
verses down, which is verse :5, the same oering or idea is repeated, siJ verses down at
verse G@ there is another repeat, etc. Th)s, by )sing the -ythagorean method o red)ction,
again we ind a pattern developed. This pattern is C:B, C:B, C:B, etc. %ow we have the
second re6)ency. The remaining re6)encies are arrived at in the same manner. When
all is complete the re6)encies are 354, C:B, @G;, 435, BC:, and ;@G.
Translation o QKt R)eant =aJisQ
TH2 S2CR2T W4TH4$ TH2 AR434$A0 SA0FA SB00A102S
The original !regorian chant was written in =atin. The sola syllables were taken
rom the irst stanFa. Each line was divided in hal and the irst syllable o each hal line
was )sed.
Kt 6)eant laJis
#esonare ibris
.ira gestor)m
7am)li t)or)m
'olve poll)ti
=abii reat)m
'ancte &ohannes
0iteral translation
&n order that the slaves might resonate Hreso)ndI
the miracles HwondersI o yo)r creations
with loosened HeJpandedI vocal chords.
Wash the g)ilt rom
Ho)rI -oll)ted lip.
'aint $ohn.
2C=anded translation
We, as prisoners,
are crying o)t or release
rom o)r spoken eJpression
o limited conscio)sness
so that we might resonate
13
with yo)r eJpanded creative vibrations.
2nlarged translation
The <ivine .ind needs an )nconined and reely moving relationship with )s
that will resonate o)r speech, or the very iber o o)r being,
to prod)ce a miracle o comm)nication,
which will solve, dissolve,
and release the restrictions o o)r speech.
The -ower o &ntent and &nt)ition Applied with 'o)nd
Definitions
intent
:. Act o stretching o)t.
G. 0aving the mind, attention, or will concentrated on something or some
end or p)rpose.
intuition
:. R)ick perception o tr)th or knowledge witho)t conscio)s attention
or reasoning.
G. That which is perceived or known int)itively.
"alance
:. A state o e6)ilibri)m or e6)ality.
G. E6)ilibri)m o the body.
3. .ental or emotional stabilityM sanity.
C. 0armonio)s proportion, as in the design or arrangement o parts.
What is the 4ntent 1ehind the Solfa Sylla"les@
Kt " preparatory tone to prepare the body, so)l, and spirit to receive the intent o the neJt
ive tones Hin order to receiveI
#e " tone to begin resonance with the <ivine Hreso)nd or balance re6)enciesI
.i " tone to begin remarkable and eJtraordinary changes HmiraclesI
7a " tone to seek o)t limitations imposed )pon )s Hslaves to mindsetsI
'ol " tone to loosen, release, )nbind, )ntie, open, ree Hsolve, resolveI
=a " tone to open the vocal chords Hrelease the lipsI
Food for Thought
QWhen we encode the siJ ascending re6)encies discovered in the Bible into the
hidden matriJ o the siJ sola syllables, oc)sing o)r intent )pon creating a resonance with
the divine mind, we release o)r own conscio)sness rom the prison o tho)ght restriction.Q
Q.y intention is to balance and my int)ition will g)ide me there.Q
14
2eep in mind that, at the time I refer to here I !as not yet in possession
of the above material. 'o these then are the things & have read, st)died and p)FFled
abo)t over the years, and & mention them now only to give an idea why & became so
intrig)ed by these n)mbers. They to)ched almost every deep )niversal mystery across
belies and c)lt)res. When & began listening to the 'oleggio harmonics on 1o)T)be, &
o)nd that each one o them corresponds to a 'acred Chakra color. Each one o the tones
also is said to have speciic healing properties. 7or instance, .& " the @G; re6)ency, is
s)pposedly )sed by geneticists in order to repair damaged <%A. & o)nd all o this
inormation and wrote it down. 0owever, it was not )ntil m)ch later that & o)nd other and
even more amaFing connections between these s)b>ects and the 'oleggios. 7or instance
& o)nd that the ch)rch, s)pposedly and intentionally, hid additional lost 'oleggio tones.
Dy Solfeggios
As & was writing the inormation in a notebook, something odd str)ck me abo)t the
n)mbers. & noticed that there were 3 sets o two n)mbers that )sed the same digits, so &
wrote the n)mbers in a dierent orderO
354 * 435
C:B * BC:
@G; * ;@G
'taring, at the n)mbers & noticed two additional things. (ne o those things )nort)nately
seemed to negate the other. The irst pattern was that rom C:B to ;@G the dierence
between any two consec)tive n)mbers is :::. 0owever the 354 did not it into that theory.
& kept staring at the n)mbers or several days and event)ally something else hit me. These
n)mbers are in pairs and so the harmonic pairs <avid 'ereda, had been talking abo)t
came immediately to my mind.
B)t again, as soon as & recogniFed this pattern & also saw that the n)mber sets were
not complete. &t seemed obvio)s that some n)mbers were missing. & had 4 n)mbers, b)t
there sho)ld act)ally be more n)mbers. Each set was missing a third n)mber and sho)ld
beO
:BC " C:B * BC:
G;@ * @G; " ;@G
354 * 435 " 543
C:B * BC: * :BC
@G; * ;@G * G;@
not harmonic pairs, harmonic triplets. & was ready to orget abo)t .r. 'ereda.
& was going to orget .r. 'ereda or the moment, beca)se something else str)ck
me, the n)mbers still did not look 6)ite right. The moment & was going to orget <avid+s
harmonic pairs however, beca)se there were none, & realiFed that there were harmonic
pairs.
The 'oleggios were a set o :; n)mbers, like thisO
:CB * :BC G@; * G;@ 345 * 354
C:B * CB: @G; * @;G 435 * 453
B:C * BC: ;G@ * ;@G 534 * 543
3 sets of or sets of 3 or ! sets of " or ! #airs$
15
Enco)raged by this small tri)mph, & began looking again at the n)mbers and again &
noticed almost immediately, that p)t in a certain order, & had two sets o 5 n)mbers that
increased by ::: rom one to the neJt, like thisO
:CB * :BC
G@; * G;@
345 * 354
C:B * CB:
@G; * @;G
435 * 453
B:C * BC:
;G@ * ;@G
534 * 543
There were two eJceptions, between 345 and CB: and between 435 and BC:. 'o
once again & re"arrangedO :CB * G@; * 345 * CB: ahaDDD E)rekaDDD & remembered the
Pythagorean Skein :1ase , ignoring 5<7 .a"ala ; $umerology7 He"re8 and 3reek
0anguage7 no 5D 345 Y ::: U the 3 becomes C, the 4 becomes B and the 5 becomes :A,
b)t since A is not )sed it becomes : U CB:. Th)s it works o)t this wayO
:CB * G@; * 345 *
CB: * @;G * 453 *
B:C * ;G@ * 534 *
(ne set o the 'oleggio Tones.
7or the second set & started again with the lowest n)mber
:BC * G;@ * 354 *
C:B * @G; * 435 *
BC: * ;@G * 543 *
The Gnd set o the 'oleggio Tones.
By now, do yo) notice what & noticedE &n the :st set the neJt n)mber in the
se6)ence that begins with :CB and goes on to 534, will again ret)rn to :CB, the last
n)mber ret)rns yo) to the :st n)mber, 4nfinityE This is also tr)e or the Gnd set o
n)mbers, 543 will give :BC as the neJt n)mber in se6)ence )sing the -ythagorean skein.
This was too m)ch o a coincidence, so & decided & now had the se6)ence right. &
looked at the n)mbers to see what else was hidden in them, b)t or a co)ple o weeks & got
absol)tely nowhere. Then it hit me, base 5, %ikola Tesla, the 3, 4 and 5D & tho)ght & had the
5M so where were the 3 and the 4E
& saw several n)mbers with the digits o 3,4,5, and then & realiFed that these
n)mbers are all divisible by Hor m)ltiples o I 3. & checked all the other n)mbers and some
can be divided by 4 and 5, b)t all can be divided by 3. AhaD
& was elated, beca)se & had a good p)FFle on my hands, b)t & had no idea what to
do with the p)FFle. & p)t the n)mbers or each set o the 'oleggios in order. & had already
noticed the act that between each n)mber in the set was a dierence o :::, so the most
logical neJt move was to ig)re o)t the dierence between the n)mbers in order. This is
what & gotO
16
:BC G;@ 354 CB: @;G 453 BC: ;@G 543
:CB G@; 345 C:B @G; 435 B:C ;G@ 534
(& (& (& *' *' *' (& (& (&
)' )' (# *& *& (# )' )'

:BC " :CB U GB
G@; * :BC U ;C
G;@ * G@; U GB
345 * G;@ U ;C
354 * 345 U GB
C:B * 354 U G:
CB: * C:B U @C
@G; * CB: U @B
@;G * @G; U @C
435 * @;G U @B
453 * 435 U @C
B:C * 453 U G:
BC: * B:C U GB
;G@ * BC: U ;C
;@G * ;G@ U GB
534 * ;@G U ;C
543 * 534 U GB
&+m not s)re what meaning this has. The only thing & have been able to come )p
with so ar is that the s)m o GBY;CU:::. 'o we have ::: twice on each side o the center
@C. The real n)meric dierence or the G: is :::, which gives )s that n)mber 3 times on
each side. %ow the remaining n)mbers GBY@BY@CY@BYGBU GGG * ::: on each side or a
total o ; times :::. & may be way o on this, b)t it seems there is some connection. B)t
what did s)ddenly strike me was, that the original 4 n)mbers & had were ater all 0F
vibrations or o)r m)sical scales, and that <avid 'ereda, had talked abo)t harmonic pairs.
There certainly seems to be a certain harmony in the arrangement i o these notes.
& started searching on !oogle again, this time or base 5 and other n)mber
systems that do not )se A. & came across the amaFing .arko #odin and his tor)s"shaped
)niverse. While & was watching his videos, & noticed that one o the images & had o the
'oleggio Tones, had them arranged aro)nd a circle. This arrangement perectly matched
the angles o the windings o .arko+s tor)s coil. &t also so happened that they matched the
angle o the 7reemason+s compass. B)t m)ch more, & co)ld hardly keep )p with the
connections at this point.
To begin with, notice that .arko #odin+s
manner o winding his wire is >)st an ininity symbol
with s6)ared edges instead o ro)nded ones. B)t
more so, notice the n)mbers and how they match.
17
These frequencies do seem
to have a harmonic wave to
them, increasing and
decreasing in a ver
harmonic !attern"
#s a$ove, so %e&ow' (a&ter )usse&&*s
o!!osing vortices
+ote, the difference of 21 is
rea&& a difference of 111"
The !old n)mbers are .arko+s. %otice the center n)mber o the 'oleggio Tones matches
.arko+s n)mber.
When it gets to a do)ble digit n)mbers, i.e. :4 and 3G, notice that :Y4 U B which is
the middle digit o the 'oleggio :BC, 3YG U @, which is the middle digit o the 'oleggio
;@G. & ollowed this pattern, going aro)nd the circle a co)ple o times, and it contin)es to
work o)t the same way with all o the n)mbers.
%ow ta&e the other ! numbers and #ut them in the same #ositions. %ext based on
the center number draw the '("()(*('( etc. connections of Rodin and the 3((!
angle. +u#erim#ose the two and see what you
ha,e.
This is also works with the other set o 5
'oleggio n)mbers. & we keep in mind, that .arko
#odin+s tor)s coil is not a G dimensional ig)re, b)t
a 3 dimensional ig)re, then it m)st have another
side to it. 7ig. G shows the backside o the tor)s
coil. &t works the same way, b)t the ininity loop
now starts at the C position instead o the :. This
was way too m)ch o a pattern or me to believe in
coincidence. B)t & have not even started yet with
the patterns. %otice, the red/black open triangle is
the same as the angle o the 7reemasons+
compass.
<oes the second ig)re remind yo) o somethingE =ike the acets on a diamond
HcrystalI. 7ormation or maniestation o matter by so)ndD & now started looking into
Cymatics% & recommend starting with <r. 0ans $enny. & will not go into it hereM & am still
too m)ch o a novice to try and eJplain it to someone else. B)t wo)ld it work with 3 circles
alsoE As yo) can see with the line")p below, it does not work. When it gets to the @G;, it
will not a)tomatically ret)rn to the neJt n)mber, which is 453.
-.m getting these images tattooed on my arms$
The neJt thing & did was look at the n)mbers themselves. All o them res)lted in
either 3, 4 or 5, when & red)ced them all the way down to their single digits. Tesla+s 3,4
and 5 again. Back to s)ring the wwwD Knort)nately at this time & had two comp)ters, and
the one & o)nd the neJt, and perhaps the most important site, died shortly aterwards and &
can not go back to it. What & o)nd was incredible, b)t there was not a lot o
doc)mentation either. &t looked like someone had started and then given )p and let the
barely beg)n pro>ect o)t in the www ether Ha prophetic term & thinkI.
Anyway, d)ring one o the searches & came across a site where & o)nd a 5J; H5
rows, ; col)mnsI table. .ost o the boJes were empty, b)t a hand)l were illed in. Three
o the n)mbers given happened to be my 'oleggios. The center col)mn had a n)mber in
the :
st
and the 4
th
row, ::: and 444 respectively. &t seemed obvio)s where to start. & illed
in all o the n)mbers in the center col)mn. And yes, & did notice the 444D
18
-ig" 1
::: :G3 :3@ :@5
GGG
333
:BC CCC
G;@ @@@
354 444
BBB
;;;
555
The red numbers are the ones that were filled in when - found the table.
'tep two was easy also, & illed in the rest o my 'oleggios in the way that seemed
most logical, the ones rom the G
nd
set o the 'oleggios. Conveniently there were 5
n)mbers " perect since there were 5 slots. At that point & was st)ck or a moment. Then
the brainstorm came. & noticed that the :::, :G3 and :3@ made a pattern. Take ::: and
:G3O the irst digit stays the same, the second digit increases by : and the last digit
increases by G. This same pattern holds tr)e going rom :G3 to :3@. There is an
arithmetic pattern also, it t)rns o)t that each cell increases by :G over the previo)s one.
b)t & noticed the other pattern irst, beca)se it is an obvio)s vis)al pattern, ::: :G3, etc.
BC: ::: :G3 :3@ :@5
;@G GGG
543 333
:BC CCC
G;@ @@@
354 444
C:B BBB
@G; ;;;
435 555
The neJt n)mber was missing, b)t ass)ming that & had o)nd the pattern it sho)ld
be :CB. To check i & was right, all & had to do now is compare the :CB and the neJt
n)mber, which was given, :@5. E)reka, it workedD 7rom here it was easy to ill in the rest
o the n)mbers on the right side o the center col)mn.
"#$ ::: :G3 :3@ $#" :@5
%&' GGG G3C GC4 '&% G4:
()* 333 3C@ 3@B *)( 3BG
$"# CCC C@4 C4; #"$ C;3
'%& @@@ @4B @B5 &%' @5C
*() 444 4B; 4;: )(* 4:@
#$" BBB B;5 B5G "$# BG4
&'% ;;; ;5: ;:3 %'& ;3B
)*( 555 5:G 5GC (*) 5C;
B)t now & was aced with the other sideD & tried to work it backwards, no go. The
problem here was that & had a speciic set o n)mbers & had to match the others to. 'o &
st)died the completed side some more. &t didn+t take me long to notice the 3
rd
col)mn,
they were some more o my 'oleggios. =ooking at the let side o the table & noticed that
the original 'oleggios were in the 3
rd
col)mn rom the center. 'o the rest m)st go into the
19
3
rd
col)mn rom the center on the let side also. %ow - had '* +olfeggios and in my
order.
An (.! momentD =ooking at the 'oleggios & now had on both sides it >)mped at
me. As Above, 'o BelowL
L
. .&##(# &.A!ED %otice the 'oleggio col)mns the one
closest to the center on the right is :CB, G@; and so on, the one closest to the center on
the let is BC:, ;@G etc. .&##(# &.A!ED 7rom that it was easy to ill in the other n)mbers
as well. The let side was a mirror image o the right side.
5@: BC: @3: 3G: ::: :G3 :3@ :CB :@5
:4G ;@G 4CG C3G GGG G3C GC4 G@; G4:
GB3 543 B@3 @C3 333 3C@ 3@B 345 3BG
3;C :BC ;4C 4@C CCC C@4 C4; CB: C;3
C5@ G;@ 5B@ B4@ @@@ @4B @B5 @;G @5C
@:4 354 :;4 ;B4 444 4B; 4;: 453 4:@
4GB C:B G5B 5;B BBB B;5 B5G B:C BG4
B3; @G; 3:; :5; ;;; ;5: ;:3 ;G@ ;3B
;C5 435 CG5 G:5 555 5:G 5GC 534 5C;
(ne evening, sitting in ront o my comp)ter with a bottle o wine, & got o)t the
n)mbers and stared at them again. & tho)ght why not see where the se6)ence takes me.
& contin)ed on the right side and was st)nned when & ended with the table looking like this.
::: :G3 :3@ :CB :@5 #-( #&' #)- #,) ###
GGG G3C GC4 G@; G4: (&+ "*/ (,& (#, (((
333 3C@ 3@B 345 3BG +)' 3! +#) +(# +++
CCC C@4 C4; CB: C;3 ',* )'0 '(, '+( '''
@@@ @4B @B5 @;G @5C *#- /"* *+# *'+ ***
444 4B; 4;: 453 4:@ -(& 3! -'( -*' ---
BBB B;5 B5G B:C BG4 &+) 0)' &*+ &-* &&&
;;; ;5: ;:3 ;G@ ;3B )', */" )-' )&- )))
555 5:G 5GC 534 5C; ,*# !3 ,&* ,)& ,,,
The se6)ence ret)rns to the beginning n)mber.
( co)rse & immediately inished the other side o the table. There were no
s)rprises this time, as & got eJactly what & s)spected. The se6)ence on the let side o the
center ::: col)mn too, ret)rned to its beginning, the ::: col)mn H& let them o here, or
lack o spaceI.
),# -)# '&# (-# 5@: BC: @3: 3G: ::: :G3 :3@ :CB :@5 #-( #&' #)- #,)
,#( &,( *)( +&( :4G ;@G 4CG C3G GGG G3C GC4 G@; G4: (&+ "*/ (,& (#,
#(+ )#+ -,+ ')+ GB3 543 B@3 @C3 333 3C@ 3@B 345 3BG +)' 3! +#) +(#
(+' ,(' &#' *,' 3;C :BC ;4C 4@C CCC C@4 C4; CB: C;3 ',* )'0 '(, '+(
+'* #+* )(* -#* C5@ G;@ 5B@ B4@ @@@ @4B @B5 @;G @5C *#- /"* *+# *'+
'*- ('- ,+- &(- @:4 354 :;4 ;B4 444 4B; 4;: 453 4:@ -(& 3! -'( -*'
*-& +*& #'& )+& 4GB C:B G5B 5;B BBB B;5 B5G B:C BG4 &+) 0)' &*+ &-*
-&) '-) (*) ,') B3; @G; 3:; :5; ;;; ;5: ;:3 ;G@ ;3B )', */" )-' )&-
&), *&, +-, #*, ;C5 435 CG5 G:5 555 5:G 5GC 534 5C; ,*# !3 ,&* ,)&
.
/ee 0g!tian 1tho&og 2The 0mera&d Ta$&et3 of 4ermes Trismegistus
20
=et+s look at the completed table, maybe there are other oddities hidden in the
n)mbers.
.&##(# &.A!EM
#ow #ight 'ide =et 'ide
All All n)mbers U 3, 4 or 5 when the digits
o that n)mber are added together
All n)mbers U 3, 4 or 5 when the digits
o that n)mber are added together
: All n)mbers start with : All n)mbers end with :
G Center digits range in order rom : to
5
Center digits range in order rom : to 5
3 =ast digits increase by G starting with
odd n)mber ending with even, wo)ld
ret)rn to irst odd n)mber in neJt step
7irst digits increase by G starting with
even n)mber ending with odd, wo)ld
ret)rn to irst odd n)mber in neJt step
Col)mn
All To be a 'oleggio re6)ency the digits
o the n)mber m)st give the single
digit 3,4,or 5
To be a 'oleggio re6)ency the digits
o the n)mber m)st give the single digit
3,4,or 5
Center :::, GGG, 333, CCC, @@@, 444, BBB,
;;;, 555
:::, GGG, 333, CCC, @@@, 444, BBB, ;;;,
555
: 7rom top to bottom all digits :"5
present in each position in the
ollowing orderO
irst digit in order rom:,G,3, etc. :"5
second digit in order G,3,C, etc. G":
third digit in order 3,C,@, etc.3"G etc.
7rom top to bottom all digits :"5
present in each position in the ollowing
orderO
third digit in order rom:,G,3, etc. :"5
second digit in order G,3,C, etc. G":
irst digit in order 3,C,@, etc.3"G etc.
G %ow we go to the G
nd
col)mn to
the right o the center and we keep )p
the same pattern. The irst series is :"
5. The second series now starts with
3 and ends with G and then the 3
rd
series starts with @ and ends with C.
(n this side o the center col)mn all
col)mns start with the :"5 se6)ence.
%otice that on the other side o the
center col)mn the pattern is the same,
all se6)ences go thro)gh all the digits
in order, depending on which one they
start with

(nce & was done with veriying that all the col)mns ollowed this pattern & noticed
the most awesome thing o the whole table. At least & tho)ght so at the time. As & >)st
pointed o)t, to the right o the center col)mn, looking at the last n)mber in the row, the
neJt n)mber in this se6)ence wo)ld be ::: again, in the G
nd
row it wo)ld be GGG again,
and in the third 333, etc. WeirdD B)t it gets weirderD To the let o the center col)mn, ater
;5: the neJt n)mber wo)ld also give yo) :::, GGG, etc. again. &n each row, on either side
the end leads yo) to the beginningD &t doesn+t matter what col)mn yo) start with, yo)
always will end )p in the same place again.
B)t there is >)st one more step o weirdnessD When yo) apply the same scheme to
each col)mn the res)lt is the same. The last n)mber in each col)mn will bring yo) to the
irst n)mber again i yo) ollow the se6)ence. What we have is a pattern o ininity,
beca)se in either direction each end simply starts over again, and again?
21
.
;5: 4;: CB: G4: 5@: BC: @3: 3G: ::: :G3 :3@ :CB :@5 :4G :BC :;4 :5;
5:G B5G @;G 3BG :4G ;@G 4CG C3G GGG G3C GC4 G@; G4: GB3 '%& G5B G:5
:G3 ;:3 453 C;3 GB3 543 B@3 @C3 333 3C@ 3@B 345 3BG 3;C *() 3:; 3G:
G3C 5GC B:C @5C 3;C :BC ;4C 4@C CCC C@4 C4; CB: C;3 C5@ #$" CG5 C3G
3C@ :3@ ;G@ 4:@ C5@ G;@ 5B@ B4@ @@@ @4B @B5 @;G @5C @:4 &'% @3: @C3
C@4 GC4 534 BG4 @:4 354 :;4 ;B4 444 4B; 4;: 453 4:@ 4GB )*( 4CG 4@C
@4B 3@B :CB ;3B 4GB C:B G5B 5;B BBB B;5 B5G B:C BG4 B3; "#$ B@3 B4@
4B; C4; G@; 5C; B3; @G; 3:; :5; ;;; ;5: ;:3 ;G@ ;3B ;C5 %&' ;4C ;B4
B;5 @B5 345 :@5 ;C5 435 CG5 G:5 555 5:G 5GC 534 5C; 5@: ()* 5B@ 5;B
*!' *' )0' "' !/' 0)' /3' 3"' ''' '"3 '3/ ')0 '/! '" '0) '* '!*
%ow &+m not a religio)s person, act)ally & try to keep religion o)t o my lie and as ar
away rom me as possible. 0owever, didn+t the Bible say !od has no beginning and no
end, a concept most o )s str)ggle with. & can s)ddenly see how this is possible, and &+m
beginning to think that the Bible may well be a book written in a code that no one has yet
discovered. &n the book o $ohn it also says that in the beginning was the word, now
what is a wordE &t is so)ndD And what is so)ndE &t is vibrationD And what are these
n)mbers, they are harmonic vibrations. And what does vibration doE &t maniests matterD
1re you with me here2
Beore & go on, let me tie these n)mbers to .arco #odin. .arco #odin is an
amaFing mathematician who )ses a n)mber system closely based on the -ythagorean
skein. 7or more inormation, which & highly recommend, go to 1o)T)be and look or
.arco #odin, Tor)s .ath, Tor)s Coil or #odin Coil. .arco demonstrates Hby )sing a
mindboggling, ingenio)sly simple mathematical systemI how the )niverse is a tor)s Ha
don)t or inner t)be shapeI. 'o how does my table connect with all o thisE
-)t the table on a sheet o paper. #oll the paper )p so that the top row connects to
the bottom row, and yo) will have a t)be. Connect the ends o the t)be to one another
yo) get 1 T3R4+$ 1o) can keep adding tables both vertically and horiFontally and yo)
will always keep that tor)s shape, >)st like in a globe. Act)ally i yo) look at o)r terrestrial
globe and pict)re the %orth and 'o)th -oles as the AJis .)ndi, going right thro)gh the
center o the ball and meeting in the middle at the core, yo) have a tor)sD Act)ally, i yo)
look at an apple and pict)re the core going thro)gh the whole r)it, yo) have a tor)s. 5ust
what was it that dawned on 6,e when she bit into the 1##le222
%o, &+m not done with patterns yet, b)t let+s >)st review here or a momentO
:. the dierence between the n)mbers in the rows is ::: or all rows
and in each col)mn.
G. all o the n)mbers are divisible by 3 Hm)ltiples o 3I.
3. All n)mbers will red)ce to the single digits o 3, 4 or 5.
C. %o A is )sed.
@. %o n)mber has G or more identical digits, eJcept the center and end col)mns.
4. The last n)mbers in both the rows and in the col)mns connect back
to the irst n)mber again.
B. the n)mbers on the let side are mirror images o the n)mbers on the
right side.
22
;. Every col)mn cycles thro)gh the digits :"5 three times in varying orders, b)t
always in se6)ence
5. The center and end col)mn has the n)mber 444
:A. Col)mns 3 and 4 on either side o center hold a copy o the 'oleggios
::. The 2atican wo)ld like to keep some secret connected to the 'oleggios secret.
:G. The dierence between the 'oleggios have a very rhythmic, harmonic pattern
:3. The 'oleggios are 0F re6)encies
:C. 7re6)encies are so)nd
:@. 'o)nd is vibration
:4. 2ibration maniests matter
:B. The Bible says everything came into eJistence thro)gh the Word
Hso)nd/vibrationIA
%ow to some additional odditiesO
YB;A Y@BA Y34A Y:@A Y;CA Y43A YCGA YG:A Y:G YGC Y 34 YC; Y4A YBG Y;C Y54
;5: 4;: CB: G4: 5@: BC: @3: 3G: ::: :G3 :3@ :CB :@5 :4G :BC :;4 :5; :::
G:A GGG :G GGG
34A 333 BG 333
CGA CCC GC CCC
@BA @@@ ;C @@@
43A 444 34 444
B;A BBB 54 BBB
;CA ;;; C; ;;;
:@A 555 4 555
7irst notice the two odd increases, 4A on the right and :@A on the let. %otice that i
we ignore the A+s we have 4 on the right and :@ on the let * 4U4, :Y@U4. Both sides
matchD
%eJt notice how harmonio)sly the n)mbers increase. The col)mns on either side o
the center col)mn UO
:
st
# Y:G, = YG:A U GGG
G
nd
# YGC, = YCGA U CCC
3
rd
# Y34, = Y43A U 444
C
th
# YC;, = Y;CA U ;;;
These are the even n)mbers and it is pretty easy to see how this works. With the )neven
n)mbers :::, 333,@@@,BBB and 555, it is trickier. =et+s take the hardest one, beca)se in a
very neat way they too match
@
th
# Y 4A, = Y:@A UG:A since we don+t )se A, we have GY: U 3 or :::
4
th
# Y34A, = YBG U C3G U CY3UBYGU5 U 333
B
th
# Y@BA, = Y;C U 4@C U 4Y@U::YCU:@U@@@
;
th
# YB;A, = Y54 U ;B4 U ;YBU:@Y4UG:UBBB
- am still #u77ling o,er the !!!( though - am sure it is in there somewhere.
23
=et+s look some more. We have looked at the relationship between each col)mn and the
neJt one, b)t now lets look at the relationship between the col)mns on either side o the
center one.
:. ::: Y ::: U GGG
G. 3G: Y :G3 U CCC
3. @3: Y :3@ U 444
C. BC: Y :CB U ;;;
@. 5@: Y :@5 U :::A U:::
4. G4: Y :4G U CG3 U C":U3 GY:U3 3U3 U333
B. CB: Y :BC U 4C@ U 4":U@ CY:U@ @U@ U@@@
;. 4;: Y :;4 U ;B4 U ;":UB 4Y:UBUB BUBBB
5. ;5: Y :5; U :A;5 U :A":U5 ;Y:U5 5U5 U 555
B)t let+s >)st look at the n)mbers in the second row o each set o col)mns.
:. GGG Y GGG U CCC
G. C3G Y G3C U 444
3. 4CG Y GC4 U ;;;
C. ;@G Y G@; U :::A U :::
@. :4G Y G4: U 3GC U C":U3 GY:U3 3U3 U 333
4. 3BG Y GB3 U 4C@ U@@@
B. @;G Y G;@ U ;4B UBBB
;. B5G Y G5B U :A;5 U 555
5. 5:G Y :G5 U :AC: UGGG
The GGG is moved rom the top o the col)mn to the bottom. This will contin)e thro)gh all
nine rows. &t is sort o like a wave constantly disappearing and recreating itsel * S20F
S4D40AR4TB%
This pattern works all the way across the table. Also notice that it does not matter in this
table where yo) start, yo) will always ret)rn to the same position. (nce yo) know the
most basic pattern, yo) can give someone any one o these n)mbers, >)st one, and that
person will be able to constr)ct the whole table in as long as it will take to write the
n)mbers. (nce yo) have one n)mber, yo) have them all.
;5: 4;: CB: G4: 5@: BC: @3: 3G: ::: :G3 :3@ :CB :@5 :4G :BC :;4 :5;
:::
5:G B5G @;G 3BG :4G ;@G 4CG C3G GGG G3C GC4 G@; G4: GB3 '%& G5B G:5
GGG
:G3 ;:3 453 C;3 GB3 543 B@3 @C3 333 3C@ 3@B 345 3BG 3;C *() 3:; 3G:
333
G3C 5GC B:C @5C 3;C :BC ;4C 4@C CCC C@4 C4; CB: C;3 C5@ #$" CG5 C3G
CCC
3C@ :3@ ;G@ 4:@ C5@ G;@ 5B@ B4@ @@@ @4B @B5 @;G @5C @:4 &'% @3: @C3
@@@
C@4 GC4 534 BG4 @:4 354 :;4 ;B4 444 4B; 4;: 453 4:@ 4GB )*( 4CG 4@C
444
@4B 3@B :CB ;3B 4GB C:B G5B 5;B BBB B;5 B5G B:C BG4 B3; "#$ B@3 B4@
BBB
4B; C4; G@; 5C; B3; @G; 3:; :5; ;;; ;5: ;:3 ;G@ ;3B ;C5 %&' ;4C ;B4
;;;
B;5 @B5 345 :@5 ;C5 435 CG5 G:5 555 5:G 5GC 534 5C; 5@: ()* 5B@ 5;B
555
24
#emember @@@ Y @@@ U :::A U :::, 444 Y 444 U :33G U 33H:YGI3, etc.
;5: ::: :5; :::
GGG GGG
333 333
CCC CCC
@@@ @@@
444 444
BBB BBB
;;; ;;;
:A;
5
555 :A;
5
::J
55
555
;5: ::: :5; :::
B5G GGG G5B GGG
453 333 354 333
@5C CCC C5@ CCC
C5@ @@@ @5C @@@
354 444 453 444
G5B BBB B5G BBB
:5; ;;; ;5: ;;;
:A;
5
555 :A;
5
555
4;: ::: :;4 :::
GGG GGG
333 333
CCC CCC
@@@ @@@
444 444
;4B BBB ;4B BBB
;;; ;;;
555 555
4;: ::: :;4 :::
@;G GGG G;@ GGG
C;3 333 3;C 333
3;C CCC C;3 CCC
G;@ @@@ @;G @@@
:;4 444 4;: 444
5;B BBB B;5 BBB
;;; ;;;
555 555
& yo) add the two mirror image n)mbers on the diagonal they will always add to the
same n)mber.
CB: ::: :BC :::
GGG GGG
333 333
CCC CCC
4C@ @@@ 4C@ @@@
444 444
BBB BBB
;;; ;;;
25
555 555
CB: ::: :BC :::
3BG GGG GB3 GGG
GB3 333 3BG 333
:BC CCC CB: CCC
5B@ @@@ @B5 @@@
;B4 444 4B; 444
BBB BBB
;;; ;;;
555 555
G4: ::: :4G :::
GGG GGG
CG3 333 CG3 333
CCC CCC
@@@ @@@
444 444
BBB BBB
;;; ;;;
555 555
G4: ::: :4G :::
:4G GGG G4: GGG
543 333 345 333
;4C CCC C4; CCC
B4@ @@@ @4B @@@
444 444
BBB BBB
;;; ;;;
555 555
5@: :::
A
::: :::
A
:@5 :::
GGG GGG
333 333
CCC CCC
@@@ @@@
444 444
BBB BBB
;;; ;;;
555 555
5@: ::: :@5 :::
;@G GGG G@; GGG
B@3 333 3@B 333
4@C CCC C@4 CCC
@@@ @@@
444 444
BBB BBB
;;; ;;;
555 555
%otice the pattern on he diagonalO on the right side o the center col)mn * starting with the
n)mber in the irst row * the s)cceeding n)mber adds : to the irst digit and s)btracts one
rom the second digit, the center digit stays the same. (n the let side the irst digit
increases by one, the last digit decreases by one, the center digit stays the same. This will
26
always ret)rn to the center col)mn to the same triplet n)mber as the s)m o the three
individ)al digits. EJ. B@3 * the neJt n)mber on the diagonal is 4@C * BY@U:GY3U:@ :@
divided by 3 H3 digitsI U @ U @@@. %ow take 4@C or C@4 applying the above diagonal pattern
both n)mbers will give @@@ as the neJt se6)ence. And tr)e to the pattern, the neJt and
center n)mber is ///. This works or all diagonals, and it works whether yo) divide by 3 or
B"GU@ 3YGU@ and @ U@ HB@3I U @@@.
BC: ::: :CB :::
GGG GGG
333 333
CCC CCC
@@@ @@@
444 444
BBB BBB
;;; ;;; ;;; ;;;
555 555
BC: ::: :CB :::
4CG GGG GC4 GGG
@C3 333 3C@ 333
CCC CCC
@@@ @@@
444 444
BBB BBB
;;; ;;;
555 555
@3: ::: :3@ :::
GGG GGG
333 333
CCC CCC
@@@ @@@
444 444
BBB BBB
;;; ;;;
555 555
@3: ::: :3@ :::
C3G GGG G3C GGG
333 333
CCC CCC
@@@ @@@
444 444
BBB BBB
;;; ;;;
555 555
3G: ::: :G3 :::
GGG GGG
333 333
CCC CCC
@@@ @@@
444 444
BBB BBB
;;; ;;;
555 555
27
::: :::
5:G GGG G:5 GGG
;:3 333 3:; 333
B:C CCC C:B CCC
4:@ @@@ @:4 @@@
@:4 444 4:@ 444
C:B BBB B:C BBB
3:; ;;; ;:3 ;;;
G:5 555 5:G 555
::: :::
GGG GGG
:G3 333 3G: 333
CCC CCC CCC CCC
@@@ @@@
444 444
BBB BBB
;;; ;;;
555 555
::: :::
GGG GGG
:G3 333 3G: 333
5GC CCC CG5 CCC
;G@ @@@ @G; @@@
B4G 444 4GB 444
4GB BBB BG4 BBB
@G; ;;; ;G@ ;;;
CG5 555 5GC 555
%otice that when marking the n)mbers across the rows HhoriFontallyI the pattern moves
towards the center. %ow, marking the n)mbers down the col)mns HverticallyI, they move
away rom the center.
::: :::
GGG GGG
333 333
G3C CCC C3G CCC
:3@ @@@ @3: @@@
534 444 435 444
;3B BBB B3; BBB
B3; ;;; ;3B ;;;
435 555 534 555
%oticeO the neJt n)mber in se6)ence ater 534/435 wo)ld be :3@/@3:. Where are
:3@/@3:E &t is in the neJt col)mn in at the top. The neJt se6)ence on the diagonal wo)ld
then be G3C/C3G, and "2(&=A " so it is.
@3: ::: :3@ :::
C3G GGG G3C GGG
333 333
G3C CCC C3G CCC
:3@ @@@ @3: @@@
534 444 435 444
;3B BBB B3; BBB
28
B3; ;;; ;3B ;;;
435 555 534 555
Truly Harmonic 8airs$
There are more patterns. The neJt pattern became clear when & looked at the
dierence between the matching col)mns. The dierence between each set o mirror
image col)mns is a m)ltiple o 55 rom :J to :AJ, working o)t to G,C,4, and ; J 55 in the
innermost sets and :,3,@ and B J 55 in the o)ter C sets. The o)termost set U :A J 55 i the
tr)e se6)ence n)mbers are )sed.
::: J 5 U 555
GGG J 5 U :55; U :Y;U5 55
333 J 5 U G55B U 555
CCC J 5 U 3554
@@@ J 5 U C55@
444 J 5 U @55C
BBB J 5 U 4553
;;; J 5 U B55G
555 J 5 U ;55:
& am a long way rom being done with inding patterns. & yo) add the mirror image
col)mns in the ollowing manner yo) will also getO
:5;Y;5:U555
:;4Y4;:UBBB
:BCYCB:U@@@
:4GYG4:U333
:@5Y5@:U:::AU:::
:CBUBC:U;;;
:3@Y@3:U444
:G3Y3G:UCCC
:::Y:::UGGG
%otice that these n)mbers also make .&##(# &.A!E pairsD
:55; ;55: GGG 555
G55B B55G 333 ;;;
3554 4553 CCC BBB
C55@ @55C @@@ 444
%otice something elseE
G Y 5 U ::
3 Y ; U ::
C Y B U ::
@ Y 4 U ::
%otice something elseE
GGG Y 555 U :GG: U GGG
333 Y ;;; U :GG: U GGG
CCC Y BBB U :GG: U GGG
@@@ Y 444 U :GG: U GGG
There is always >)st one more pattern to be o)nd. %otice that all triple n)mbers can be
evenly divided by 3B, starting with 3Z3B, 4Z3B, 5Z3B aha, .r. Tesla again.
29
We are not done. %otice that each col)mn adds )p to the same total, C55@. And
notice too that CY@U5 U555. And notice too that * 'K#-#&'E " C55@/5U@@@, the center
n)mber o the table.
;5: 4;: CB: G4: 5@: BC: @3: 3G: ::: :G3 :3@ :CB :@5 :4G :BC :;4 :5;
5:G B5G @;G 3BG :4G ;@G 4CG C3G GGG G3C GC4 G@; G4: GB3 '%& G5B G:5
:G3 ;:3 453 C;3 GB3 543 B@3 @C3 333 3C@ 3@B 345 3BG 3;C *() 3:; 3G:
G3C 5GC B:C @5C 3;C :BC ;4C 4@C CCC C@4 C4; CB: C;3 C5@ #$" CG5 C3G
3C@ :3@ ;G@ 4:@ C5@ G;@ 5B@ B4@ @@@ @4B @B5 @;G @5C @:4 &'% @3: @C3
C@4 GC4 534 BG4 @:4 354 :;4 ;B4 444 4B; 4;: 453 4:@ 4GB )*( 4CG 4@C
@4B 3@B :CB ;3B 4GB C:B G5B 5;B BBB B;5 B5G B:C BG4 B3; "#$ B@3 B4@
4B; C4; G@; 5C; B3; @G; 3:; :5; ;;; ;5: ;:3 ;G@ ;3B ;C5 %&' ;4C ;B4
B;5 @B5 345 :@5 ;C5 435 CG5 G:5 555 5:G 5GC 534 5C; 5@: ()* 5B@ 5;B
C55@ C55@ C55@ C55@ C55@ C55@ C55@ C55@ C55@ C55@ C55@ C55@ C55@ C55@ C55@ C55@ C55@
At this point & came across Walter #)ssell, whom & introd)ced at the beginning and &
began to believe in a higher hand messing with my lie, or at least my mind. & can+t
remember which n)mber & typed into the www, or i it was !((!= or 1A0((, b)t typing
in each one o the center n)mbers :::, GGG, etc. the problem was that when & was
working on these n)mbers at that time, & wo)ld >)st type in the irst word, and then click on
the irst interesting thing that came )p and then on the neJt one. When & inally o)nd
something & was 3@ links away rom where & started . B)t anyway, like on $e <)nham+s
show, on one o them, Walter popped )p.
'ince the very irst time & ever looked at the periodic table & have had the eeling, no
the deep belie, that the order in which we have the elements listed is very awkward and
does not make sense. & can+t eJplain why, b)t all the gaps in the arrangement have never
seemed logical to me.
Among the many things Walter did so amaFingly well, is drawing incredible
diagrams and schematics. 0ere is one o them, it is his (ctave Table o the Elements. &t
looks like he based the order on how stable the elements are, and perhaps on hardness,
which means spin, which means vibration. What str)ck me, is that i yo) straighten this
horseshoe shape, it looks pretty m)ch like my table.
Besides re"arranging the periodic table, Walter #)ssell also proposed that there are
not 3 or C dimensions, b)t :; o them, he listed them in his book The )niversal (ne
These are
Walter+s <imensionsM
L The irst <imension is Q=engthQ.
L The second <imension is QBreadthQ.
L The third <imension is QthicknessQ.
L The o)rth <imension is QTimeQ.
L The 7ith, QseJQ
L The siJth, Qpress)resQ
L The seventh, QpotentialsQ
L The eighth, Qtemperat)reQ
L The ninth, QioniFationQ
L The tenth, QcrystalliFationQ
L The eleventh, QvalenceQ
30
L The twelth, QaJial rotationQ
L The thirteenth, Qorbital revol)tionQ
L The o)rteenth, QmassQ
L The iteenth, QcolorQ
L The siJteenth, QplaneQ
L The seventeenth, QtoneQ
L The eighteenth, QellipticQ
%eJt & looked at each individ)al n)mber. & started with the irst row. & looked to see
i & co)ld ind that same n)mber repeated anywhere. ')re eno)gh, & o)nd every n)mber
in the irst row repeated. The irst oddity & noticed was the act that each n)mber was
indeed repeated, b)t it was repeated on the opposite side o the ::: center col)mn. &
began marking the position o each n)mber and ended )p with the most amaFing pattern.
7ollowing is a printo)t o the pattern. The small one at the top is o one individ)al table,
the larger one is what emerges as & str)ng several tables together, both vertically and
horiFontally. =ooking at the pattern horiFontally it looks like a %ava>o &ndian blanket,
looking at it sideways & see a harmonic sine wave.
All o the above makes a weaving pattern, which gives the term 7abric o the
Kniverse a literal meaningD %ow look at the pattern and imagine a slight twist to it. <oes it
remind yo) o something elseE 0ow abo)t the <o)ble 0eliJ * <%A * The B)ilding Blocks
o lie itselD & will shortly show more evidence o this connection.
31
32
This is what Walter #)ssell Was talking Abo)t when he Wrote The Kniversal (ne
The moment - saw this chart( it clic&ed$
33
%ow )nbend the chart, so that instead o a horseshoe shape yo) have a table.
,eep in mind that at #)ssell+s time not all elements we have today had been discovered.
Also don+t orget that #)ssell predicted and incl)ded a large n)mber o elements that even
today have not yet been o)nd.Hsee the chart here or #)ssell+s elementsI. & now predict
that we will event)ally have a periodic table with :CC HGH;J5 II elements pl)s G times 5 the
same s)bstance between the two sides. -erhaps that s)bstance will be #)ssell+s inert
gases. 1o) can see on the chart here the at dots along the center col)mn Hthere are 5 o
themI are his inert gases. Anyway & am convinced we will end )p with a total o :4G
s)bstances.
34
-roessor Willi Apel, wrote the origin of what is now called Solfeggio+arose from a
edieval hymn to ,ohn the -aptist which has this peculiarity that the first si. lines of the
music commenced respectively on the first si. successive notes of the scale, and thus the
first syllable of each line was sung to a note one degree higher than the first syllable of the
line that preceded it. -y degrees these syllables became associated and identified with
their respective notes and as each syllable ended in a vowel, they were found to be
peculiarly adapted for vocal use. /ence 0Ut1 was artificially replaced with 02o.1
H'omething to consider * there is a controversy s)rro)nding $es)s and $ohn the Baptist,
something the Catholic Ch)rch is trying to hide at all costs, b)t hints and r)mors o it are
o)nd thro)gho)t the non"traditional teJts o the !ospelsI &n the ::
th
cent)ry !)ido o
AreFFo irst adopted this scale. 'iJ h)ndred years later a 7rench m)sician, le .arie ,
added a seventh note, 'i.
,The knowledge that so)nd and vibration are the ca)se o the maniesting o all
matter was probably known to o)r earliest ancestors, b)t like so m)ch other inormation
was lost and/or hidden thro)gh the cent)ries. Then >)st a cent)ry ater le .arie, added the
additional note that knowledge re"emerged. The modern knowledge o this began with
Ernst Chladni, a !erman scientist. &n :B;B he wrote <iscoveries Concerning the Theory
o .)sic, a book abo)t his research with so)nd.
Chladni doc)mented his method o making so)nd waves Hlook into the act that
so)nd is not a wave, b)t a sphereI prod)ce str)ct)res. & yo) draw a violin bow across a
plate that has a thin layer o sand in it, the vibrations o the bow prod)ce distinct pattern in
the sand H1o)T)be again, look or CymaticsI. We call these patterns Chladni ig)res now.
%athaniel Bowditch, in :;:@, determined that the appearance o these ig)res was
beca)se o the re6)ency oscillations, which were in certain ratios to one another, eJ.:O:,
:OG, :O3, etc. A more recent researcher into the characteristics o so)nd is <r. 0ans $enny.
$enny even discovered that when he took a plate with a layer o sand, p)t it on an
oscillator and spoke the letters o s)ch ancient alphabets as 0ebrew and 'anskrit, the
sand act)ally ormed these letters.
Another modern scientist, <r. Candice -ert, -h<, said Energy and vibration go all
the way to the molecular level. 3e have "4 different receptors on the molecules and
when vibration and fre5uency reaches that far they begin to vibrate.
That so)nd has an eect on the h)man body is another eJample o knowledge that
the ancient people possessed and we today did not discover this, b)t re"discovered it. All
ancient religions and philosophies )sed so)nd to enter into spirit)al connection with their
sacred ig)res. They also )sed so)nd in healing.
& can prove that Carl $)ng+s theory o synchronicity is correct. 'ome G years ago &
bo)ght .ichael 0ayes+ book The hermetic Code in <%A thinking it wo)ld answer some o
my 6)estions. & have since orgotten what answers to what 6)estions & was searching or
at the time. The book however, did not provide the answers & had hoped to ind.
Three days ago the C)ban, a.k.a. my h)sband, a.k.a. Tito, started working or
himsel, driving a delivery ro)te halway across the S#ealm o the -eople o the West wind,
35
a.k.a. ,ansas. & decided that since & have the s)mmer o &+ll ride with him. Th)s & started
looking or reading material. 'ince my last move in .ay & have not yet )npacked the
boJes with my books. & have been reading online since the move. & started looking or
something that wo)ld allow me not to have to go to the basement, or my son+s ho)se, or
the tr)nk o my car to look or my books.
& came across 0ayes+ book again and decided to inish reading it. & started reading
where & had let o, and was st)nned, on every page there were at least a co)ple o
answers to 6)estions & have acc)m)lated since & bo)ght the book. &+ve o)nd at least a
co)ple o reerences to my n)mber table on every page. Especially connected to the
above s)b>ect is the chapter called &nner (ctaves & can only recommend anyone
interested in these s)b>ects to read this book.
Among a n)mber o incredibly interesting acts, .r. 0ayes said that )nderstanding
the theory o )ll, hal and 6)arter tones allows one to re"constr)ct the whole scale o
re6)encies and harmonies rom >)st one note. This is eJactly tr)e o the n)mbers in my
table.
(n @/:4/:: & came across this web site, httpO//www.greatdreams.com/n)mbers/CCC/CCC.htm
& think this is where the origin o the center n)mber col)mn can be o)nd. The site has a lot
o inormation that ties it to mine, b)t it is wrong on one thingO
&t is &t sho)ld be
: Z BG or G Z 34 U BG 3 Z GC U BG Y 3 Z :3 H35I U ::: or 3 Z 3B
G Z BG or C Z 34 U :CC 4 Z GC U :CC Y 4 Z :3 HB;II U GGG or 4 Z 3B
3 Z BG or 4 Z 34 U G:4 5 Z GC U G:4
C Z BG or ; Z 34 U G;; :G Z GC U G;;
@ Z BG or :A Z 34 U 34A :@ Z GC U 34A
Etc. Etc.
=ook at the table or a moment, yo) sho)ld see why & )sed GC instead o BG.
Act)ally there are several reasons, b)t the obvio)s one sho)ld be that )sing GC instead o
BG keeps with the 3, 4, 5 skip se6)ence. Think %ikolaTesla, here. %otice that GC Y :3 U
3B, thereore 3ZGCY3Z:3U3Z3BU:::, etc. %ow yo) may ask what is the signiicance o
3BE Well, since yo) asked, look at this, also rom the same web siteO
: 3@ 3C 3 3G 4
3A ; G; GB :: B
GC G3 :@ :4 :C :5
:3 :B G: GG GA :;
:G G4 5 :A G5 G@
3: G C 33 @ 34
36
This is called the .agic '6)are o the s)n. =ook at the n)mbers in the C corners
: 4
3: 34
:Y34U3B and 4Y3:U3B
:Y4UB and 3:Y34U4B, b)t BY3AU3B and 4B"3AU3B
; ::
G4 G5

;UG5U3B and G4Y::U3B
:@ :4
G: GG
:@YGGU3B and :4YG:Y3B
:@Y:4U3: and G:UGGUC3, b)t 3:Y4U3B and C3"4U3B
3@ 3G
G @
3@YGU3B and 3GY@U3B
3@Y3GU4B and GY@UB, b)t 4B"3AU3B and BU3AU3B
3C 3
C 33
3CYCU3; and 33Y3U34, b)t 3;":U3B and 34Y:U3B
CY33U3B and 3CY3U3B
37
; ::
G4 G5
;YG4U3C and ::YG5UCA, b)t 3CY3U3B and CA"3U3BM
;Y::U:5 and G4YG5U@@, b)t :5Y:;U3B and @@":;U3B
G; GB
5 :A
G;Y:AU3; and 5YGBU34, b)t 3;":U3B and 34Y:U3B
G;Y5U3B andGBY:AU3B
G;YGBU@@ and :AY5U:5, b)t :5Y:;U3B and @@":;U3B
G3 :C
:B GA
G3Y:CU3B and :BYGAU3B
G3Y:BUCA and GAY:CU3C, b)t CA"3U3B and 3CY3U3B
G3YGAUC3 and :BY:CU3:, b)t C3"4U3B and 3:Y4U3B
This works with all opposite n)mbers horiFontal, vertical and diagonal.
: 3@ 3C 3 3G 4
3A ; G; GB :: B
GC G3 :@ :4 :C :5
:3 :B G: GG GA :;
:G G4 5 :A G5 G@
3: G C 33 @ 34
What is the signiicance o these n)mbersE =et+s begin with the :
st
and last n)mbers in the
irst row and look or a pattern on the diagonal. &s there oneE 1E'D
:YBU;YBU:@YBUGGYBUG5YBU34. The same pattern works starting with the
4Y@U::Y@U:4Y@UG:Y@UG4Y@U3:.
38
: 3@ 3C 3 3G 4
3A ; G; GB :: B
GC G3 :@ :4 :C :5
:3 :B G: GG GA :;
:G G4 5 :A G5 G@
3: G C 33 @ 34
3@Y;UC3 and 3GY::UC3
G4"GUGC and G5"@UGC
: 3@ 3C 3 3G 4
3A ; G; GB :: B
GC G3 :@ :4 :C :5
:3 :B G: GG GA :;
:G G4 5 :A G5 G@
3: G C 33 @ 34
G3":BU4 and GA":CU4
: 3@ 3C 3 3G 4
3A ; G; GB :: B
GC G3 :@ :4 :C :5
:3 :B G: GG GA :;
:G G4 5 :A G5 G@
3: G C 33 @ 34
:YBU; and 4Y@U::
3@"BUG; and 3G"@UGB
;YBU:@ and ::Y@U:4
3:"@UG4 and34"BUG5
GYBU5 and @Y@U:A
G4"@UG: and G5"BUGG
: 3@ 3C 3 3G 4
3A ; G; GB :: B
GC G3 :@ :4 :C :5
:3 :B G: GG GA :;
:G G4 5 :A G5 G@
3: G C 33 @ 34
3A"BUG3 and BYBU:C
:GY@U:B and G@"@UGA
: 3@ 3C 3 3G 4
3A ; G; GB :: B
GC G3 :@ :4 :C :5
:3 :B G: GG GA :;
:G G4 5 :A G5 G@
39
3: G C 33 @ 34
GC":5U@ and :;":3U@ and GC"4U:; and :5"4U:3
33YCU3B and 3CY3U3B
: 3@ 3C 3 3G 4
3A ; G; GB :: B
GC G3 :@ :4 :C :5
:3 :B G: GG GA :;
:G G4 5 :A G5 G@
3: G C 33 @ 34
in addition notice that the n)mbers in the G center col)mns are all separated by :,
even the irst and last row n)mbers Hthey are simply switchedI 33"3C and 3"C.
%ow the 6)estion comes )p, what is the .agic '6)are o the s)n@ FThe 1ook of
Threes 9 a Su"Gect Reference 2ncyclo=ediaH L
:
has the ollowing eJplanation 0One of
the arguments the early 6hurch used to convert pagans to 6hristianity was that ,esus
6hrist had more solar attributes than any other god.1 &n the article the 6)estion is then
raised Sdid the early ollowers o Christ know some connection that wo)ld ca)se them to
ass)me that $es)s and the s)n are the sameE Again & simply 6)ote the same so)rceO
The 7magic s5uare of the sun,7 was one of the most important symbols used to
represent the sun in anti5uity because of all the symbolism it possessed involving
the perfect number 7).7 There are si. sides to a cube, the numbers $, ', an *, when
added or multiplied together are e5ual to 7),7 and the sum of all the numbers from $
to *) arranged in a ).) magic s5uare are e5ual to the number 7))).7 The s5uare is
7magic7 because the sum of any row, column, or diagonal is e5ual to the number
7$$$.7 8fter the 6hurch became the state religion of the 9oman empire, possessing
the diagram below could get you burned at the sta:e; <inally, the diagonal of each
s5uare that holds a 6hrist circle by calculation is 0)))1 units;;;
$)ly G, GA:: * The ollowing link was sent to me today on 7acebookO
htt!,55we$"mac"com5&en15516/78#9:869T:8;+T);959eonard:<":4orowit="htm&
As & was reading thro)gh it another EK#E,A moment happenedD
The 'oleggio %)mbers (nce Again " Triplets this time
=ook at the ollowing 5 sets o 3 n)mbers.
::: GGG 333 C:B @G; 435 B:C ;G@ 534
:CB G@; 345 CCC @@@ 444 BC: ;@G 543
:BC G;@ 354 CB: @;G 453 BBB ;;; 555
To begin with, these are the :; ma>or soleggio tones pl)s the 5 triplet n)mbers o my
center col)mns. 0owever, lets look at the other propertiesO
1" in the irst 3 col)mns the triplets are the :
st
n)mber.
G. &n the neJt 3 col)mns the triplets are the center n)mber
1
.htt!,55threes"com5inde>"!h!?o!tion@com:contentAview@artic&eAid@2853,theBmagicBsquareBofBtheB
sunAcatid@81,re&igionA7temid@61
40
3. &n the last 3 col)mns the triplets are the last n)mber
%eJt, look at the dierencesO
:. ::: * :CB dierence 34
G. ::: * :BC dierence 43
3. GGG * G@; dierence 34
C. GGG * G;@ dierence 43
@. 333 * 345 dierence 34
6" 333 * 354 dierence 43
7" C:B * CCC dierence GB
8" CCC * CB: dierence GB
9" @G; * @@@ dierence GB U :4G
10" @@@ * @;G dierence GB
11" 435 * 444 dierence GB
12" 444 * 453 dierence GB
13" B:C * BBB dierence 43
14" BC: * BBB dierence 34 U :A;
15" ;G@ * ;;; dierence 43 U G@G
16" ;@G * ;;; dierence 34
17" 534 * 555 dierence 43
18" 543 * 555 dierence 34
& we were to add )p the absol)te val)e o the dierences we end )p with GH3B;IU B@4 U B"
:U4, @Y:U4, 4U4 U 444. & we take the act)al val)es instead o the absol)te ones we
wo)ld end )p with A.
As & am sitting here things are >)mping again.
;5: 4;: CB: G4: 5@: BC: @3: 3G: ::: :G3 :3@ :CB :@5 :4G :BC :;4 :5;
:::
5:G B5G @;G 3BG :4G ;@G 4CG C3G GGG G3C GC4 G@; G4: GB3 '%& G5B G:5
GGG
:G3 ;:3 453 C;3 GB3 543 B@3 @C3 333 3C@ 3@B 345 3BG 3;C *() 3:; 3G:
333
G3C 5GC B:C @5C 3;C :BC ;4C 4@C CCC C@4 C4; CB: C;3 C5@ #$" CG5 C3G
CCC
3C@ :3@ ;G@ 4:@ C5@ G;@ 5B@ B4@ @@@ @4B @B5 @;G @5C @:4 &'% @3: @C3
@@@
C@4 GC4 534 BG4 @:4 354 :;4 ;B4 444 4B; 4;: 453 4:@ 4GB )*( 4CG 4@C
444
@4B 3@B :CB ;3B 4GB C:B G5B 5;B BBB B;5 B5G B:C BG4 B3; "#$ B@3 B4@
BBB
4B; C4; G@; 5C; B3; @G; 3:; :5; ;;; ;5: ;:3 ;G@ ;3B ;C5 %&' ;4C ;B4
;;;
B;5 @B5 345 :@5 ;C5 435 CG5 G:5 555 5:G 5GC 534 5C; 5@: ()* 5B@ 5;B
555
=ook at the n)mbers diagonally. 'tart with the :
st
one, :G3. %eJt one down diagonally is
GC4. :G3Y:G3UGC4. %eJt one down is 345. GC4Y:G3U345. (n the other side o the
center col)mn start with 3G:. 3G:Y3G:U4CG. 4CGY3G:U543. This works with every
col)mn. & yo) determine the dierence on the diagonal starting rom the ends towards the
center yo) will always get 55. 7or eJample :5; * G5B * 354, etc. Even i we keep
eJpanding the table, the pattern contin)es horiFontally, vertically and diagonally.
:G3 J: U :G3
:G3 JG U GC4
:G3 J3 U 345
:G3 JC U C;3
:G3 J@ U 4:@ here it doesn+t work anymore beca)se the n)mber & have is @:4 W(W do
yo) see itE
41
:G3 J4 U B3; & have 435 H5":U; 4Y:UB U B3;I & wo)ld say this method is aretched, eJcept
that it works every time.
:G3 JB U ;4: & have B@3 Htake : rom the 3 to make B into ; and take another : rom the 3
to make the @ into 4 and yo) have ;4:I
:G3 J; U 5;C & have ;B4 Htake : rom the 4 to make the ; into 5 and take : rom the 4 to
make the B into ; and yo) have 5;CI
:G3 J5 U ::AB, since we don+t )se A U ::B & have 555 Htake : rom 5 to make the 5 into :A
and take : rom 5 to make the G
nd
5 into :A U :A:AB since we don+t )se A U ::BI
;5: 4;: CB: G4: 5@: BC: @3: 3G: ::: :G3 :3@ :CB :@5 :4G :BC :;4 :5;
:::
5:G B5G @;G 3BG :4G ;@G 4CG C3G GGG G3C GC4 G@; G4: GB3 '%& G5B G:5
GGG
:G3 ;:3 453 C;3 GB3 543 B@3 @C3 333 3C@ 3@B 345 3BG 3;C *() 3:; 3G:
333
G3C 5GC B:C @5C 3;C :BC ;4C 4@C CCC C@4 C4; CB: C;3 C5@ #$" CG5 C3G
CCC
3C@ :3@ ;G@ 4:@ C5@ G;@ 5B@ B4@ @@@ @4B @B5 @;G @5C @:4 &'% @3: @C3
@@@
C@4 GC4 534 BG4 @:4 354 :;4 ;B4 444 4B; 4;: 453 4:@ 4GB )*( 4CG 4@C
444
@4B 3@B :CB ;3B 4GB C:B G5B 5;B BBB B;5 B5G B:C BG4 B3; "#$ B@3 B4@
BBB
4B; C4; G@; 5C; B3; @G; 3:; :5; ;;; ;5: ;:3 ;G@ ;3B ;C5 %&' ;4C ;B4
;;;
B;5 @B5 345 :@5 ;C5 435 CG5 G:5 555 5:G 5GC 534 5C; 5@: ()* 5B@ 5;B
555
%ow the other sideO
3G: J: U 3G:
3G: JG U 4CG
3G: J3 U 543
3G: JC U :G;C & have 3;C H:YGU3U 3;CI
3G: J@ U :4A@ & have 4:@ Hwe don+t )se A U :4@ or 4:@I
3G: J4 U :5G4 & have 534 HGY:U3 U 534I
3G: JB U GGCB & have 3@B Htake : rom G to make G and take : rom G to make @ U 3@BI
3G: J; U G@4; & have 4B; Htake : rom G to make the @ into 4 and take the other : rom G
to make the 4 into B U 4B;I
3G: J5 U G;;5 & have 555 Htake the G and make the G ;s into 5sI
(n the <iagonal the increase is always :G3 on the right side o the center .aster
%)mbers or Walter #)ssell+s .aster Tones. (n the let side they all increase by 3G:.
CoincidenceE Then neJt coincidenceD 'tarting at the opposite ends * the last col)mn on
either side opposite the center one Hnow remember that between these is also a center
col)mn with the same triple n)mbersI going downwards diagonally towards the center
col)mn on the right increase by 55 and the n)mbers on the let decrease by 55, which
means they cancel o)t to A. This reminds me o Walter #)ssell+s (ctave -eriodic Table
again.
55E Where does that it inE =et+s take :::, & >)st established that :::U3J3B. 0owever,
::: also U 55Y:G or 3x3393x)
GGG also U :5;YGC or x339x)
333 also U G5BY34 or !x339!x)
CCC also U 354YC; or '"x339'"x)
@@@ also U C5@Y4A or '/x339'/x)
444 also U @5CYBG or '*x339'*x)
BBB also U 453Y;C or "'x339"'x)
;;; also U B5GY54 or ")x339")x)
42
555 also U ;5:Y:A; or "0x339"0x)
This whole table is nothing b)t trinitiesO
: Triple n)mbers in center col)mn
G All n)mbers are m)ltiples o 3
3 :G3, irst n)mber, this is Walter #)ssell+s Kniversal (ne dividing into two
opposing orces rom the still e6)ilibri)m
& noticed this a co)ple o days agoO
;5: 4;: '&# G4: 5@: &'# @3: 3G: ::: :G3 :3@ ')0 :@5 :4G #&' :;4 :5;
444 @@@ ''' 333 @@@ ''' 333 GGG GGG 333 ))) @@@ 333 ''' @@@ 444
5:G B5G *)( 3BG :4G )*( 4CG C3G GGG G3C GC4 "/* G4: GB3 ()* G5B G:5
CCC 444 *** CCC 333 *** CCC 333 333 CCC /// 333 CCC *** 444 CCC
:G3 ;:3 -,+ C;3 GB3 ,-+ B@3 @C3 333 3C@ 3@B 3! 3BG 3;C +,- 3:; 3G:
GGG CCC --- @@@ CCC --- @@@ CCC CCC @@@ CCC @@@ --- CCC GGG
G3C 5GC &#' @5C 3;C #&' ;4C 4@C CCC C@4 C4; )0' C;3 C5@ '#& CG5 C3G
333 @@@ ''' 444 @@@ ''' 444 @@@ @@@ 444 ))) @@@ 444 ''' @@@ 333
3C@ :3@ )(* 4:@ C5@ ()* 5B@ B4@ @@@ @4B @B5 /*" @5C @:4 *() @3: @C3
CCC 333 *** CCC 444 *** BBB 444 444 BBB /// 444 CCC *** 333 CCC
C@4 GC4 ,+- BG4 @:4 +,- :;4 ;B4 444 4B; 4;: !3 4:@ 4GB -+, 4CG 4@C
@@@ CCC --- @@@ CCC --- @@@ BBB BBB @@@ CCC @@@ --- CCC @@@
@4B 3@B #'& ;3B 4GB '#& G5B 5;B BBB B;5 B5G 0') BG4 B3; &'# B@3 B4@
444 @@@ ''' 444 @@@ ''' 444 ;;; ;;; 444 ))) @@@ 444 ''' @@@ 444
4B; C4; (*) 5C; B3; *() 3:; :5; ;;; ;5: ;:3 *"/ ;3B ;C5 )*( ;4C ;B4
BBB 444 *** BBB 444 *** CCC 444 444 CCC /// 444 BBB *** 444 BBB
B;5 @B5 +-, :@5 ;C5 -+, CG5 G:5 555 5:G 5GC !3 5C; 5@: ,-+ 5B@ 5;B
;;; BBB --- @@@ BBB --- @@@ CCC CCC @@@ BBB @@@ --- BBB ;;;
All the n)mbers in the table can be eJpressed as .aster TonesM or eJample
:G3 U :YGY3U4, 4/3 UG U actored as 3,G U GGG
:3@ U :Y3Y@U5, 5/3 U3 U actored as 3,3 U 333
:CB U :YCYBU:G, :G/3 UC U actored 3,C U CCC
&+m looking or a pattern in this now,
### 444 @@@ ''' 333 @@@ ''' 333 GGG ### GGG 333 ''' @@@ 333 ''' @@@ 444 ###
((( CCC 444 *** CCC 333 *** CCC 333 ((( 333 CCC *** 333 CCC *** 444 CCC (((
+++ GGG CCC --- @@@ CCC --- @@@ CCC +++ CCC @@@ --- CCC @@@ --- CCC GGG +++
''' 333 @@@ ''' 444 @@@ ''' 444 @@@ ''' @@@ 444 ''' @@@ 444 ''' @@@ 333 '''
*** CCC 333 *** CCC 444 *** BBB 444 *** 444 BBB *** 444 CCC *** 333 CCC ***
--- @@@ CCC --- @@@ CCC --- @@@ BBB --- BBB @@@ --- CCC @@@ --- CCC @@@ ---
&&& 444 @@@ ''' 444 @@@ ''' 444 ;;; &&& ;;; 444 ''' @@@ 444 ''' @@@ 444 &&&
))) BBB 444 *** BBB 444 *** CCC 444 ))) 444 CCC *** 444 BBB *** 444 BBB )))
,,, ;;; BBB --- @@@ BBB --- @@@ CCC ,,, CCC @@@ --- BBB @@@ --- BBB ;;; ,,,
43
The pattern does not emerge )ntil the n)mbers are red)ced to their single digits, then
Tesla comes into the pict)re HtableI. (ne thing that becomes obvio)s rom this is how
harmonio)s these n)mbers really are Heach one : octave higherI.
1o) can c)t the table apart and p)t it together in a dierent way, it still gives yo) a
harmonic pattern.
5 4 + 5 4 + 5 4 ::: 4 5 + 4 5 + 4 5 :::
3 5 - 3 5 - 3 5 GGG 5 3 - 5 3 - 5 3 GGG
4 3 , 4 3 , 4 3 333 3 4 , 3 4 , 3 4 333
5 4 + 5 4 + 5 4 CCC 4 5 + 4 5 + 4 5 CCC
3 5 - 3 5 - 3 5 @@@ 5 3 - 5 3 - 5 3 @@@
4 3 , 4 3 , 4 3 444 3 4 , 3 4 , 3 4 444
5 4 + 5 4 + 5 4 BBB 4 5 + 4 5 + 4 5 BBB
3 5 - 3 5 - 3 5 ;;; 5 3 - 5 3 - 5 3 ;;;
4 3 , 4 3 , 4 3 555 3 4 , 3 4 , 3 4 555
3 5 - 3 5 - 3 5 @@@ 5 3 - 5 3 - 5 3 @@@
4 3 , 4 3 , 4 3 444 3 4 , 3 4 , 3 4 444
5 4 + 5 4 + 5 4 BBB 4 5 + 4 5 + 4 5 BBB
3 5 - 3 5 - 3 5 ;;; 5 3 - 5 3 - 5 3 ;;;
4 3 , 4 3 , 4 3 555 3 4 , 3 4 , 3 4 555
5 4 + 5 4 + 5 4 ::: 4 5 + 4 5 + 4 5 :::
3 5 - 3 5 - 3 5 GGG 5 3 - 5 3 - 5 3 GGG
4 3 , 4 3 , 4 3 333 3 4 , 3 4 , 3 4 333
5 4 + 5 4 + 5 4 CCC 4 5 + 4 5 + 4 5 CCC
5 - 3 5 @@@ 5 3 - 5 3 - 5 3 @@@ 3 5 - 3
3 , 4 3 444 3 4 , 3 4 , 3 4 444 4 3 , 4
4 + 5 4 BBB 4 5 + 4 5 + 4 5 BBB 5 4 + 5
5 - 3 5 ;;; 5 3 - 5 3 - 5 3 ;;; 3 5 - 3
3 , 4 3 555 3 4 , 3 4 , 3 4 555 4 3 , 4
4 + 5 4 ::: 4 5 + 4 5 + 4 5 ::: 5 4 + 5
5 - 3 5 GGG 5 3 - 5 3 - 5 3 GGG 3 5 - 3
3 , 4 3 333 3 4 , 3 4 , 3 4 333 4 3 , 4
4 + 5 4 CCC 4 5 + 4 5 + 4 5 CCC 5 4 + 5
44
&n tr)th, witho)t deceit, certain, and most veritable.
That 8hich is 1elo8 corres=onds to that 8hich is A"ove
and that 8hich is A"ove corres=onds to that 8hich is 1elo87
to accomplish the miracles o the (ne Thing.
And >)st as all things have come rom this (ne thing,
thro)gh the meditation o (ne .ind,
so do all created things originate rom this (ne Thing,
thro)gh Transormation.
&ts ather is the ')nM
its mother the moon.
The Wind carries it in its bellyM
its n)rse is the Earth.
&t is the origin o All,
the consecration o the Kniverse.
&ts inherent 'trength is perected, i it is t)rned into Earth.
'eparate the Earth rom 7ire,
the ')btle rom the !ross,
gently and with great &ngen)ity.
&t rises rom Earth to heaven
and descends again to Earth,
thereby combining within &tsel the powers o both the Above and the Below.
Th)s will yo) obtain the !lory o the Whole Kniverse.
All (bsc)rity will be clear to yo).
This is the greatest 7orce o all powers,
beca)se it overcomes every ')btle thing
and penetrates every 'olid thing.
&n this way was the Kniverse created.
7rom this come many wondro)s Applications,
beca)se this is the 8attern.
Thereore am & called Thrice !reatest 0ermes,
having all three parts o the wisdom o the Whole Kniverse.
0erein have & completely eJplained the (peration o the ')n%
45
;5: 4;: CB: G4: 5@: BC: @3: 3G:
:::
:G3 :3@ :CB :@5 :4G :BC :;4 :5;
:::
5:G B5G @;G 3BG :4G ;@G 4CG C3G
GGG
G3C GC4 G@; G4: GB3 '%& G5B G:5
GGG
:G3 ;:3 453 C;3 GB3 543 B@3 @C3
333
3C@ 3@B 345 3BG 3;C *() 3:; 3G:
333
G3C 5GC B:C @5C 3;C :BC ;4C 4@C
CCC
C@4 C4; CB: C;3 C5@ #$" CG5 C3G
CCC
3C@ :3@ ;G@ 4:@ C5@ G;@ 5B@ B4@
@@@
@4B @B5 @;G @5C @:4 &'% @3: @C3
@@@
C@4 GC4 534 BG4 @:4 354 :;4 ;B4
444
4B; 4;: 453 4:@ 4GB )*( 4CG 4@C
444
@4B 3@B :CB ;3B 4GB C:B G5B 5;B
BBB
B;5 B5G B:C BG4 B3; "#$ B@3 B4@
BBB
4B; C4; G@; 5C; B3; @G; 3:; :5;
;;;
;5: ;:3 ;G@ ;3B ;C5 %&' ;4C ;B4
;;;
B;5 @B5 345 :@5 ;C5 435 CG5 G:5
555
5:G 5GC 534 5C; 5@: ()* 5B@ 5;B
555
%ovember :C, GA:: * & >)st noticed this today. The n)mbers in the two col)mns between
the soleggio col)mns are mirror images o each other on the diagonal towards the center.
This works on both sides o the center triplet col)mn. The last set at the bottom ret)rns to
the irst set at the top.
;5: 4;: CB: G4: 5@: BC: @3: 3G:
:::
:G3 :3@ :CB :@5 :4G :BC :;4 :5;
:::
5:G B5G @;G 3BG :4G ;@G 4CG C3G
GGG
G3C GC4 G@; G4: GB3 '%& G5B G:5
GGG
:G3 ;:3 453 C;3 GB3 543 B@3 @C3
333
3C@ 3@B 345 3BG 3;C *() 3:; 3G:
333
G3C 5GC B:C @5C 3;C :BC ;4C 4@C
CCC
C@4 C4; CB: C;3 C5@ #$" CG5 C3G
CCC
3C@ :3@ ;G@ 4:@ C5@ G;@ 5B@ B4@
@@@
@4B @B5 @;G @5C @:4 &'% @3: @C3
@@@
C@4 GC4 534 BG4 @:4 354 :;4 ;B4
444
4B; 4;: 453 4:@ 4GB )*( 4CG 4@C
444
@4B 3@B :CB ;3B 4GB C:B G5B 5;B
BBB
B;5 B5G B:C BG4 B3; "#$ B@3 B4@
BBB
4B; C4; G@; 5C; B3; @G; 3:; :5;
;;;
;5: ;:3 ;G@ ;3B ;C5 %&' ;4C ;B4
;;;
B;5 @B5 345 :@5 ;C5 435 CG5 G:5
555
5:G 5GC 534 5C; 5@: ()* 5B@ 5;B
555
46
- can hear Walter Russell in the abo,e words( but - also see him here$
=ook at the irst set o 0ebrew letters, they tell the whole story o creation according
to almost all creation myths and to Walter #)ssell. The most common meaning o Aleph,
the irst letter, is apple * as in Eve * and all * as in everything and 1ahweh 10W0 or
$ehovah 1020 or #)ssell+s Kniversal (ne. The second letter Bet, to break open as in
an egg Hsee myths o the cosmic eggI. The irst activity ever. The third letter !imel means
to act. At this point the All or Kniversal (ne has broken thro)gh and is beginning to bring
all other things into eJistence. This is Breshit, the Beginning o creation, not the beginning
o !od, !od has no beginning or end. %ow according to Walter #)ssell The Kniversal
(ne, which is p)re energy, ca)ses itsel to move HvibrationI. !enesis speaks o the spirit
o !od Hp)re energyI moving on the )ndivided waters Hthe still e6)ilibri)mI.
,eep in mind that there is no E,W,%,'. %eJt !enesis mentions that !od created
%orth and 'o)th. Why is East and West not mentionedE We, being )sed to having C
directions here on Earth ass)me that by naming %orth and 'o)th it was the Earthly
directions, incl)ding E and W that were created here. B)t, being amiliar with #)ssell+s
cosmogony, it makes m)ch more sense to take this literally as !od created %orth HinwardI
and 'o)th Ho)twardI, the only two directions possible in space. and since everywhere is
illed with the still s)bstance o The Kniversal (ne this vibration does not ripple in only
47
one direction, b)t in two opposing ones * #)ssell+s opposing vortices or <alet, the C
th
letter, which means to divide.
The @
th
letter 0e Hanother component o !od+s nameI means in and o)t and to
connect. Again, according to #)ssell+s cosmogony, The Kniversal (ne now begins to
breathe, meaning a rhythmic in and o)t H% and 'I vibration and connecting the one
s)bstance o itsel into many s)bstances, orming atoms and elements * matter. %eJt
comes another component o !od+s name, 2av. This means to Knold and to m)ltiply.
The creative period is in )ll swing, !od, The Kniversal (ne Hp)re energyI is orming
m)ltiple creations rom his one s)bstance by dividing and m)ltiplying it/himsel.
#emember .atter can neither be destroyed nor created, it can only change orm.
=etter n)mber B means aJis and pro>ect. This is my spin on the story now, !od
gives an aJis to every body and th)s adds spin to back and orth movement, which makes
HWalter #)ssell nowI all direction c)rved and all motion spiral, not circ)lar. Back to my
take again. !od pro>ects the ideas his mind con>)re )p o)tward, b)t in order to serve a
p)rpose he needs an a)dience. .an was created to be !od+s a)dience. The Kniversal
(ne is an eJistentialist. =etter n)mber ; means to ence in or to enclose. !od has
created a inite, not an ininite Kniverse.
7inally letter n)mber 5 means to complete. !od has inished creating the Kniverse
and rests, letting the play )nold or )s. We are tr)ly living an ill)sion, a marvelo)s ill)sion.
48
Creation from the cosmic egg
srcU
QhttpO//adserver.adtech)s.com/addyn/3.A/@3A;.:/:3B:G@:/A/:BA/A<TEC0MtargetUTblankMgr
pU4B;MkeyUhistory societyYsocial
sciencesYsportsrecreationYto)rismMkv6segsU<,T,G;;B,GBB@,:34:,:3@@,:3CAMkvtopicidU:C
G:CCMkvchannelU0&'T(#1MmiscU:3GA5;A:B55C;Q[\/script[
&n the <ogon myth the creation deity begins the act o creation by placing two
embryonic sets o twins in an egg. &n each set o twins is a male and emaleM d)ring the
mat)ration process they are together th)s orming androgyno)s beings. &n a Tahitian myth,
the creator deity himsel lives alone in a shell. Ater breaking o)t o the shell, he creates his
co)nterpart, and together they )ndertake the work o creation.
A $apanese creation narrative likens the primordial chaos to an egg containing the germs
o creation. &n the
THE COSMIC EGG AND THE 'BIG BANG'
Hindu Mythology and the Big Bang
The s)b>ect o the origins o the Kniverse, and o lie has been st)died by man or many
millennia. The concept o the Icosmic egg6 as the so)rce rom which the Kniverse
originated is an ancient one. (ver some 3AAA years, the 0ind)s have developed a rather
sophisticated theology whereby they have come to )nderstand the creation
process on s)ch a level that even science has borrowed heavily rom their philosophies in
the ield o the theories o origins s)ch as the I1ig 1ang6 theory. The whole ield o
R)ant)m -hysics that attempts to eJplain the nat)re o the Kniverse is more o a 0ind)
religio)s philosophy than it is a science. &t is an open secret that physics o the
origins o the Kniverse is m)ch more o a philosophy, and admitted as s)ch by leading
proponents o theories o origins, partic)larly the SBig Bang+. 0ind) theologies and other
mythologies that have heavily inl)enced the present scientiic models or origins, claim the
Icosmic egg6, deined below as the beginning o creation, an ancient concept that has
birthed modern Scosmology+ and 6)ant)m physics.
From Wiki=edia A WAR0D 233 or CASD4C 233 is a mythological moti o)nd in the
creation myths o many c)lt)res and civiliFations. Typically, the world egg is a beginning o
some sort, and the )niverse or some primordial being comes into eJistence by QhatchingQ
rom the egg.
COSMIC EGG MYTHOLOGY IN HINDUISM
The ollowing 6)otes are rom the ancient writings o the S0ind)s+ that address the s)b>ect
o the origins, and o the nat)re o the Kniverse. The comments in italics below
the 6)ote are eJplanatory notes that eJpo)nd on the teJt being 6)oted.
] The 8hole universe including sun7 moon7 =lanets7 and galaCies 8as all inside
the egg%%%H2ay) -)rana C.BC"B@I
49
The =ayu >urana deals with the following topics? creation and re@creation of the universeA
this ancient Sans:rit te.t describes the whole Universe as rising out of the :cosmic egg..
The only scientific ex#lanation for such a claim is that the :cosmic egg. itself was a
single cell of li,ing matter that was encoded with the language of creation( the ;%1
of the 4ni,erse much as a human cell
contains the language of human life, the 2B8 of man. The 5uestion that arises is where
did such a Ccosmic eggD come fromE
] &n 0ind) tantra, based on the 0ind) philosophy o ,ashmir 'haivism, the 'hri 1antra
represents the eC=ansion of the universe rom the Jcosmic eggJ ater its creation by
'hiva thro)gh the power o 'hakti.
Ff Cthe <cosmic egg. was li:e a henDs egg that when hatched can only bring forth a chic:,
not a cow or any other animalA then only one thing should have come out of the hatching
of the :cosmic egg., not the whole Universe. /owever if the :cosmic egg. was a cell of
living matter encoded with the 2B8 of the Universe, :the language of creation.( that
began to divide and mutate then various organs of the Universe such as planets, stars,
and even life would arise as the growth and mutation continued over time. The idea of the
6=81%+-3% 3F TH6 4%->6R+6 is both scientific and logical for as
the Universe grew, the womb or membrane that contained it would literally have to e.pand
till fully gestated, much li:e a pregnant womanDs womb e.pands when a fetus grows inside
it. 2uring this gestation period various organs of the Universe such as planets and stars
would have been formed much as limbs grow inside the womb of a pregnant woman. CThe
stretching Ge.pansionH of the CheavensD is an e.pression used in several OT scriptures, as
for e.ample in Fsa. #&?$'.
] The earliest ideas o Egg"shaped Cosmos come rom some o the 'anskrit
script)res. The 'anskrit term or it is 1rahmanda :1rahm means JCosmosJ or
JeC=andingJ7 Anda means J2ggJ<% Certain -)ranas s)ch as the Brahmanda -)rana speak
o this in detail.
8nother one of the ancient /indu te.ts literally defines the :cosmic egg. as :ex#anding
cosmos.. Once again this is not possible with a literal egg but only if the Ccosmic eggD was
a cell of living matter that divided and grew. The -ig -ang theory is a variation of this
/indu myth that the Universe e.panded from a single particle that was termed >rimeval
8tom instead of :cosmic egg..
] The #ig 2eda H#2 :A.:G:I )ses a similar name or the so)rce o the )niverseO
0iranyagarbha, which literally means Kgolden fetusK or Kgolden 8om"K% The
Kpanishads elaborate that the 0iranyagarbha loated aro)nd in emptiness or a while, and
then broke into two halves which ormed Dyaus :Heaven< and Prithvi :2arth< " concepts
that eJisted in nearly every ancient c)lt)re, and were also artic)lated by the Abrahamic
religions. H!enesis :O:I.
The concept of the Universe gestating in an e.panding womb is not limited to one /indu
te.t such as the one above but is found in many te.ts of the =edas, the >uranas and the
ahabharata. The womb is the e5uivalent of that which science terms CSpaceD in which the
50
heavens and the earth are to found. The concept of the e.pansion of Space from the
beginning has been much theoriIed by science, and is also found in numerous -iblical
scriptures such as 8salm '?)@"( -saiah )?@""( -saiah )"@/. The brea&ing of the golden
fetus into two hal,es is exactly the same #rocess obser,ed in cell di,ision as the
fetus grows in the womb. Watch this short Aoutube ,ideo for a ,isual demonstration
of this #rocess . The formation of Hea,en and 6arth at the ,ery beginning of creation
is also re#orted in Benesis '@' 'Fn the beginning Jod created the heaven and the earth'.
Ft may seem strange to our natural senses that the heaven and the earth, and the heavens
were created by the same process as a baby is formed in a womb but this e.planation is
as plausible as, or more plausible than any other that has been proposed for the creation
of the Universe.
] &n the .ahabharata we readO &n this world, when it was destit)te o brightness and
light, and enveloped all aro)nd in total darkness, there came into being, as the =rimal
cause of creation7 a mighty egg7 the one ineChausti"le seed of all created "eings.
The above te.t from the epic /indu poem, The ahabharata, highlights both the science
and the contradictions found in /indu te.ts. The idea that all creation originated with
one inexhaustible seed is a scientifically ,alid idea. /owever there is also a
contradiction in the above statement in that the mighty egg, the ine.haustible seed could
not have come FBTO T/FS 3O9K2 if the mighty egg was the seed of all created beings.
/ow could the world e.ist before the seed came into e.istence from which it aroseE 1nd
how did the mighty egg come into existence2
COSMIC EGG MYTHOLOGY IN SCIENCE
] The Jcosmic eggJ is an ancient concept res)rrected by modern science in the :53As
and eJplored by theoreticians d)ring the ollowing two decades. The idea comes rom a
perceived need to reconcile Edwin 0)bbleNs observation o an eC=anding universe Hwhich
is also predicted by EinsteinNs e6)ations o general relativityI with the notion that the
)niverse m)st be eternally old. 3eorges 0emaitre =ro=osed in #,(& that the cosmos
originated from 8hat he called the PR4D2!A0 ATAD . C)rrent cosmological models
maintain that :3.B billion years ago, the entire mass o the )niverse was compressed into a
sing)larity, from 8hich it eC=anded to its current state :the 1ig 1ang<7 the so9called
cosmic egg%
1ccording to science( The :Big Bang. or the :+ingularity. is in itself the :cosmic egg.(
that which existed in the beginning and the ex#ansion Cor hatchingD of which
brought e,erything we see into existence. The Ccosmic eggD was given a more scientific
name, the C>rimeval 8tomD when this theory was originally proposed. +cientists ha,e
achie,ed a great deal of consensus that the 4ni,erse did in fact ha,e a beginning.
This however poses a great deal of philosophical and theological problems for science, for
in order to get anything started, it stands to reason that there must have been someone
around to get it started. 8 beginning implies the presence of CFntelligenceD GJodH from
before the beginning and that idea is repugnant to science even if it can be proven to be
the only valid one. /ereDs a 5uote from a lecture by 2r. /enry <. 7<ritI7 Schaefer, FFF, a &
time Bobel >riIe nominee. E6instein ultimately ga,e grudging acce#tance to what he
51
called Fthe necessity for a beginningF and e,entually to Fthe #resence of a su#erior
reasoning #ower.F -ut he never did accept the reality of a personal Jod.1
] 0ere+s another 6)ote rom the SBig Bang+ article on WikipediaO &n :53: =ema^tre went
)rther and s)ggested that the evident eJpansion in orward time re6)ired that the
Kniverse contracted backwards in time, and wo)ld contin)e to do so )ntil it co)ld contract
no )rther, bringing all the mass o the Kniverse into a single point, a Qprimeval atomQ, at a
point in time beore which time and space did not eJist. The SBig Bang+ is not an eJplosion
o matter moving o)tward to ill an empty )niverse. &nstead, space itsel eJpands with time
everywhere and increases the physical distance between two comoving points.
This idea o the eJpansion o space, o the stretching o the heavens is o)nd in
many Biblical script)res as mentioned previo)sly in this chapter. This concept is also o)nd
in 0ind) philosophy as previo)sly noted, as well as in other mythologiesM it orms the basis
o the scientiic theory o the eJpanding )niverse. & the Kniverse eJpanded or grew as is
proposed both by religion and science, then it stands to reason that i we go back in time
we wo)ld see it contracting till it reached the beginning. The point in time at which the
Kniverse co)ld contract no )rther wo)ld bring )s to that moment when all that eJisted,
materially speaking, was the Scosmic egg+, the primeval atom, the ineJha)stible seed and
nothing else. The dierence between science and religion is not in the theory b)t rather the
so)rce o the Scosmic egg+. 'cience has no eJplanation or the so)rce o the primeval atom
or the SBig Bang+ rom which the Kniverse has apparently risen. #eligions credit a deity or
deities to be the creator HsI o the Scosmic egg+.
] The science o Cosmology attempts to eJplain the origins o the Cosmos as well as
its nat)re. -rior to the :5th cent)ry, this s)b>ect was mainly the domain o philosophy and
religion. 7rom WikipediaO A -hysical cosmology, as a branch o astronomy, is the st)dy o
the largest"scale str)ct)res and dynamics o o)r )niverse and is concerned with
)ndamental 6)estions abo)t its ormation and evol)tion. Cosmology is )n)s)al in physics
or drawing heavily on the work o particle physicistsN eJperiments, and research into
phenomenology and even string theoryM rom astrophysicistsM rom general relativity
researchM and rom plasma physics. Th)s, cosmology )nites the physics o the largest
str)ct)res in the )niverse with the physics o the smallest str)ct)res in the )niverse.
That science attempts to )nderstand the origin o the largest bodies in the Kniverse
by st)dying the smallest particles does not seem so incred)lo)s when we relect on the
act that even the largest known animal on the planet, the bl)e whale, grows rom a
microscopic cell. Thereore the possibility that the Kniverse itsel arose rom s)ch a single
particle Hprimeval atomI, a cosmic egg or a seed is not )nscientiic at all. The only 6)estion
is who created the original seed and who has the near ininite lang)age capabilities that
wo)ld be necessary to encode s)ch a seedE =ang)age in the case o <%A encoding is
almost certainly a mathematical lang)age, like that o a comp)ter, not a h)man tong)e. &t
wo)ld almost certainly be mathematics that is not known to man. Thereore the science
that can write or encode a <%A molec)le is as ar beyond man+s capabilities as that o a
monkey writing the Encyclopaedia Britannica. %onetheless the process is scientiic and
th)s the creator o the Kniverse is a scientist whose science is simply beyond the
capabilities o the h)man mind, or which reason man seeks desperately to )nderstand
52
origins witho)t giving credit to an originator. 'ince man does not )nderstand the process
that co)ld give rise to s)ch a compleJ str)ct)re as the Kniverse, he re)ses to
acknowledge that there may eJist an intelligence that has the re6)ired knowledge to create
s)ch a compleJ seed that wo)ld res)lt in the birth and mat)rity o the Kniverse itsel. By
denying a s)perior intelligence as the so)rce o creation, science denies its own
observations and reaches concl)sions that are most )nscientiic.
&t helps to keep in mind that scientiically speaking an SEgg+, and a S'eed+ is the same
as a Cell that has encoded in its <%A the instr)ctions, that when the Cell is ertiliFed will
prod)ce that which is deined by the lang)age Hthe WordI o the encoded instr)ctions. & a
h)man being or an animal or a plant can grow rom a single cell thro)gh a process that is
daily observed, i not yet )lly )nderstood, why co)ld not have the Kniverse have similarly
arisen rom a SCosmic Egg+, a S.ighty Egg+, an S&neJha)stible 'eed+, a single CellE Co)ld
not a single Cell encoded with the appropriate inormation develop into the Kniverse over a
re6)ired period o gestation, m)ch as a baby develops in a womb rom a single Cell.
Tho)gh some may sco at this idea, the reason or their incred)lity is not that s)ch a
concept is a possibility, b)t rather beca)se o the magnit)de o that which they observe is
so h)ge, ininite in scope, that they eel Hdespite the evidenceI that it is not possible that
the Kniverse co)ld have grown rom a single Cell, a single seed, a single egg. 1et that is
eJactly what science theoriFes by claiming that everything has emerged rom the SBig
Bang+, a -rimeval Atom, a 'ing)larity or SCosmic Egg+ that wo)ld be more scientiically
acc)rate to deine as a Cell, literally the 'eed o the Kniverse. 7rom WikipediaO The cell
theory, irst developed in :;35 by .atthias $akob 'chleiden and Theodor 'chwann, states
that all organisms are composed o one or more cells, that all cells come rom preeJisting
cells, that vital )nctions o an organism occ)r within cells, and that all cells contain the
hereditary inormation necessary or reg)lating cell )nctions and or transmitting
inormation to the neJt generation o cells.
The )nction o cells as encoders and decoders o =A%!KA!E or &%7(#.AT&(%
HwordsI that are contained in them is apparent rom the above deinition. Witho)t the
inormation encoded on it a Cell wo)ld be as )seless as a comp)ter witho)t an operating
system. 'o i a sel replicating and m)tating Cell can be created, the only limitation on
what it co)ld bring orth wo)ld be the limitation o the lang)age encoded on it, i the
lang)age itsel was ininite, what co)ld be bro)ght orth wo)ld be ininite. The concept o
an ininite lang)age that can only stem rom an ininite intelligence is the only valid
eJplanation or an ininite Kniverse. The 6)estion that nat)rally arises is who is this
intelligence that has the scientiic capability o encoding a lang)age on a Cell, be it that o
an amoeba or that o the KniverseE
As the science o !enetics develops and becomes more clearly )nderstood, it
becomes apparent that =ang)age is the )ndamental b)ilding block o all organisms. Cells
thereore are carriers o inormation, o lang)ageM witho)t instr)ctions encoded on cells to
deine what it m)st become, no organism wo)ld eJist. The same m)st be tr)e or
inorganic matter, it too m)st have grown rom cells or particles that have the re6)ired
inormation encoded on them to orm rocks, and soil, and water and, air and, so on and so
orth. The 6)estion that again arises is who is the intelligence with whom this lang)age, the
=ang)age o Creation originatedE Creation it appears has res)lted rom =ang)age and
words, b)t who is the a)thorE 'cience does not tackle this 6)estion at all since science
53
does not acknowledge the role o lang)age in the beginning, does not acknowledge that
lang)age, and thereore intelligence, m)st have preceded the creation o matter even
tho)gh the evidence mo)nts daily that lang)age is to be o)nd written on all matterD 'ince
science denies the eJistence o an intelligent Creator who alone co)ld have encoded the
original SCosmic Egg+, it dodges this vital 6)estion by not raising the 6)estion at all. To
s)ggest that creation co)ld have occ)rred witho)t a creator is like trying to s)ggest that a
book may have been written witho)t an a)thor. &n the neJt chapter we will eJplore rom
whence came this SCosmic Egg+, the primordial S'eed+ o the KniverseE
54
Remedies for 1oredom
'o)rces to check o)t
httpO//www.redicecreations.com/radio/GA::/A4/#&#"::A43A.php
httpO//www.redicecreations.com/radio/GA::/A4/#&#"::A43A.php
httpO//www.eli>a.de/dossiersTengl/mainTdossiers.htm
httpO//www.svpvril.com/Cosmology/addend)m5.html
httpO//www.so)ndsowonder.com/soleggio.htm
httpO//threes.com/indeJ.phpEoptionUcomTcontent8viewUarticle8idUG;@3Othe"
magic"s6)are"o"the"s)n8catidU;:Oreligion8&temidU4:
httpO//www.greatdreams.com/n)mbers/CCC/CCC.htm
httpO//www.whatabeginning.com/.isc/!enetics/!eneticsT2'.htm
httpO//www.craigdemo.co.)k/geneticpatterns.htm
httpO//www.cosmicingerprints.com/mathematics"o"dna/
httpO//treeincarnation.com/homepage.htm
httpO//taliscope.com/AgrippaTen.html
55