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The Meaning of Sacred Geometry

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Most of us tend to think of geometry as a relatively

dry, if not altogether boring, subject remembered
from our Middle school years, consisting of endless
axioms, definitions, postulates and proofs,
hearkening back, in fact, to the methodology of
Euclids Elements, in form and structure a masterly
exposition of logical thinking and mental training but
not the most thrilling read one might undertake in
their leisure time. While the modern, academic
approach to the study of geometry sees it as the
very embodiment of rationalism and left brain,
intellectual processes, which indeed it is, it has
neglected the right brain, intuitive, artistic dimension
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of the subject. Sacred geometry seeks to unite and
synthesize these two dynamic and complementary aspects of geometry into an integrated whole. Robert Lawlor
addresses this fundamentally dualistic nature of geometry in his essential work: Sacred Geometry Philosophy and
Practice (1982), in reference to a medieval representation of geometry as a woman seated at a table, with compasses in
hand, surrounded by the implements of the art:
Geometry as a contemplative practice is personified by an elegant and refined woman, for geometry
functions as an intuitive, synthesizing, creative yet exact activity of mind associated with the feminine
principle. But when these geometric laws come to be applied in the technology of daily life they are
represented by the rational, masculine principle: contemplative geometry is transformed into practical
geometry.
Lawlor here expresses a crucial idea in the definition of Sacred Geometryit has both
a contemplative side and a practical side, and an intuitive and intellectual side, it is an
activity both right brained and left brained.
Further differentiating Sacred Geometry from the ordinary geometry of our school days
is its relation to number and symbol. This difference, I think, is succinctly expressed by
Miranda Lundy in her superb little book entitled simply Sacred Geometry (2001)
Sacred Geometry charts the unfolding of number in space. It differs from
mundane geometry purely in the sense that the moves and concepts involved
are regarded as having symbolic value, and thus, like good music, facilitate the
evolution of the soul.
Sacred Geometry, then, charts the unfolding of number in space and has symbolic
value and thereby has conferred upon it a qualitative status absent from common geometry. And here I must add that
magnifying the inherent power of Sacred Geometry is the fact that it also charts the unfolding of number in time. This is an
idea of such compelling ramifications that I must return to it in detail in another article.
Geometry as a Woman

At the very earliest appearance of human civilization we observe the presence and importance of geometry. It is clearly
evident that geometry was comprehended and utilized by the ancient Master Builders, who, laboring at the dawn of
civilization some four and one half millennia ago, bestowed upon the world such masterworks as the megalithic structures
of ancient Europe, the Pyramids and temples of Pharaonic Egypt and the stepped Ziggurats of Sumeria. That geometry
continued to be employed throughout the centuries from those earliest times until times historically recent is also clearly
evident. That it was made use of by cultures far-flung about the globe is evident as well, finding expression in China,
Central and South America, in pre-Columbian North America amongst Native Americans, in Africa, SE Asia and
Indonesia, Rome and of course in classical Greece and in Europe, from the Megalithic era some 4000 years ago, as
stated, and again some 3000 years later, magnificently expressed during the Gothic era of cathedral building.
Geometry
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Geometry is especially associated with Classical Greece and such illustrious figures as Pythagoras, Plato and Euclid, who
wrote the first actual textbook on the subject, the aforementioned Elements. Geometry has also been held in particular
reverence and high esteem by the ancient order of Freemasons, which, of course, hearkens back to the great Cathedral
Building era of the 12th through the 14th centuries, from whom modern Masons derive their pedigree.
From the foregoing is should be obvious that geometry was, and is, closely associated with Architecture, that great
manuscript of the human race, which provided the first and primary vehicle for the human employment of geometry. That it
is closely associated with Art, Music and Handicraft is obvious as well to the student of the history of these subjects.
Ultimately, it must be appreciated that it was apparent to archaic peoples, as it is becoming increasingly apparent to
contemporary students of the subject, that geometry is intrinsic to the very order of Nature itself, both biological and
cosmic, and, now, thanks to scientific inquiry, the realization dawns that geometry lies at the basis of the molecular and
atomic levels of creation.
The word Geometry itself means Earth measure, which definition is generally attributed to the fact that the ancient
Egyptians regularly utilized geometry to resurvey the fertile farmlands of the Nile river floodplain in late summer, after
existing boundaries were buried by the deposition of thick layers of alluvium from the annual flooding of the river.
However, I would suggest the possibility that the idea of Earth measure applied not only to the local measure of tracts of
agricultural land in Egypt, but also on a much larger scale, literally, to the measure of the Earth itself, in a geodetic sense.
More on that compelling idea later.
Anecdote has it that over the entrance to Platos Academy was inscribed the phrase Let none enter here who are
ignorant of geometry. Whether or not this is a historical fact, the idea should make sense to anyone who has
attempted to ascend the heights of metaphysical experience and knowledge, that a form of mental training designed to
develop the rational faculties and the reasoning ability to high levels of proficiency, would be a prerequisite for successful
completion of the metaphysical journey and avoidance of the many traps, snares and pitfalls that await the inattentive
pilgrim who presumes to tread the path of knowledge.
An old Masonic lecture from several centuries ago states:
If we consider the symmetry and order which govern all the works of creation, we must admit that geometry
pervades the universeBy geometry we may curiously trace nature through her various windings to her most
concealed recesses; by it we discover how the planets move in their respective orbits and demonstrate their
various revolutions; by it we account for the return of the seasons and the variety of the scenes which each
season displays to the discerning eyeBy it we discover the power, wisdom and goodness of the Grand
Artificer of the Universe and view with delight the proportions which connect the vast machine
We are here introduced to a another fundamental idea lying at the heart of Sacred
Geometry, that it provided the means by which God, as the Great Architect of the
Universe, was able to frame the template of Creation. Freemasons, Hermeticists and
Initiates into the Mysteries have for centuries held the conception of the Universe as the
material expression of a hidden reality, an invisible blueprint, set down by the hand of the
Grand Geometrician, and to which the study of Geometry provided the key and the means
to render visible that which is concealed from the undiscerning and untrained eye, and that
these fundamental geometric relations, manifested through form, pattern and number, form
the very basis of harmony.

Demiurge by William Blake

The idea, vision rather, of God as a Great Architect and Geometrician has found
expression through numerous sources throughout the ages. The great Christian theologian
St. Augustine, who held both Pythagoras and Plato in high regard, grasped the significance
of geometric form, pattern and proportion, and their representation through numerical

symbolism, when he stated:

Numbers are the thoughts of God.
And further when he said:

The
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The construction of the physical and moral world alike is based on eternal numbers.
Galileo clearly understood this geometrical/numerical dimension of reality when he said:
Mathematics is the alphabet with which God has written the universe.
And so did Johannes Kepler when he said:
Geometry existed before the creation. It is co-eternal with the mind of GodGeometry provided God with a
model for the Creation
Here in the Keplerian view Geometry is clearly envisioned as existing upon an archetypal level, prior to the manifestation
of material creation, and serving as the model utilized by the Great Architect. Through the study and practice of Sacred
Geometry this invisible geometric matrix begins to reveal itself as the template upon which the material universe,
expressed through space and time, has been framed by the hand of the Great Architect.
The famous early 20th century architect Le Corbusier obviously appreciated the fundamental idea of archetypal geometry
and its expression through number when he wrote:
Behind the wall, the gods play, they play with numbers, of which the universe is made up.
As did French architect Paul Jacques Grillo, who wrote:
The world around us is a world of numbersnumbers that spell life and harmony. They are organized by the
geometry of figures, all related to one another according to a sublime order, into dynamic symmetry.
Glimpses into this magnificent kingdom form the basis of all our knowledge and it seems that in this domain
the ancient civilizations had gone further than modern science.
Form Function and Design (1960)
The term dynamic symmetry refers to a concept that we will explore in depth a little further on. For now let it be said that
dynamic symmetry describes a way of dividing space such that there is a specific relationship between the parts of a
spatial composition and the whole of that composition, a specific relationship that can be expressed by certain constants
of proportionality, as for example, the square root of two, or the square root of three, the Phi ratio, and so forth. Stated
simply, dynamic symmetry is the idea of dividing space such that the proportions of the whole are found in the parts.
Probably the most well known example of this principle is found in the famous Phi ratio, which, in its simplest
representation as a straight line, is divided asymmetrically such that the small segment is to the large segment as the large
segment is to the whole line. I will have much more to say about this proportion later on.
It is extremely interesting that Grillo recognized,
back in 1960, when the source of the above quote
was published, the significant fact that ancient
civilizations were highly knowledgeable of the
domain of number and geometry to an extent
completely unappreciated by conventional
scholarship of his time. Implicit in this idea
regarding the degree of advancement of ancient
cultures, is the recognition that a study of Sacred
Geometry requires an immersion into the history
and meaning of the archaic cultures for whom it
provided a vehicle to produce some of the most
awe-inspiring demonstrations of symbolic and
The Golden Mean or Phi Ratio
sacred architecture to have been conceived and
executed by the mind and hand of mankind, while at the same time providing a path to a deepened spiritual awareness of
the fundamental principles of creation.
It could be said of Sacred Geometry that it provides one of the most, if not the most important key to unlocking the great
Mysteries
great
Secret MST
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Mysteries of the Ages. According to the famous 17 century Alchemical tract Atalanta Fugiens the great Hermetic Secret
lies concealed behind the Wall of Mystery which can only be penetrated through an astute employment of geometry.
In the lodges of old, as in schools of Plato and Euclid
the tools of Geometry were simply an unmarked
strait edge and a pair of compasses. Thats all. With
those two tools it was possible to draw straight lines
and circles, or arcs of circles. Out of the
combination of straight lines and arcs the entire
edifice of Euclidian geometry could be generated. In
the archaic conception, God was seen as working
only with lines and arcs, or circles, to create the
entire manifested universe. In modern language we
might think of vector forces and scalar forces.
Through a simple act of geometric construction
using these two tools two lines could be drawn that
The great Hermetic Secret lies concealed behind the Wall of Mystery which can only be intersect at an angle of 90 degrees. The same act
penetrated through an astute employment of geometry.
of geometry can yield an intersection forming an
angle of 60 degrees. These two angles lie at the base of the two great systems of Masonic geometry, Ad Quadratum and
Ad Triangulum, that is of the square and of the triangle, respectively, and, through their marriage emerges an infinity of
form.
In a small handbook frequently given to newly initiated Freemasons we find a valuable elucidation on the meaning of
Geometry:
Geometry is an exact science. It leaves nothing to chance. Except for its axioms, it can prove everything it
teaches. It is precise. It is definite. By it we buy and sell our land, navigate our ships upon the pathless ocean,
foretell eclipses, and measure time. All science rests upon mathematics, and mathematics is first and last,
geometry, whether we call its extension trigonometry or differential calculus or any other name. Geometry is
the ultimate fact we have won out of a puzzling universe.There are no ultimate facts of which the human
mind can take cognizance which are more certain, more fundamental, than the facts of geometry.
Foreign Countries (1925) Carl H. Claudy
A study of Sacred Geometry begins with the hands-on experience, the commission of a geometric act of creation, utilizing
only the straight-edge for drawing lines and the compasses for the drawing of arcs. Following from engagement of the
hand and eye, the most basic of geometric axioms can be easily and intuitively grasped by the mind. Familiarity with the
simpler exercises is soon followed by an ever increasing mastery of the more complex principles. A comprehensive
program of study would require both deep contemplation of the forms, patterns and proportions of Geometry and their
meanings, as well as the ability to apply the knowledge of Geometry in practical applications of problem solving and
creative work.
As we trace the manifestations of Sacred Geometry throughout history and around the world, we see that it is infinitely
adaptable and constantly evolving. As we continue to recover from the wreckage of ages past and civilizations lost new
knowledge and new understanding of our extraordinary cultural heritage, we begin to appreciate that Geometry played a
profound role in opening up the mysteries and secrets of Nature to humankind, inspiring our predecessors on this planet to
achieve glorious heights of creativity by mimicking the fundamental processes and harmonies of Creation. As modern
science becomes ever more proficient at penetrating the finest recesses of Natures Order, we will have the opportunity to
develop new and original applications of this ancient Craft.
It is difficult to convey the power of Sacred Geometry through the written word. It is best experienced first-hand through
the process of geometric construction. In my classes and workshops over the years I have endeavored to provide students
with the experience of Sacred Geometry by guiding them to a place where they can perceive for themselves the patterns
and forms as they emerge beneath straightedge and compasses. And, I have attempted to show them examples of the

myriad
of Nature,
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myriad ways in which Sacred Geometry both conceals and reveals itself throughout the kingdoms of Nature, Art,
Architecture and Life, and finally, to suggest the possibility of a revitalization of Sacred Geometry, that it might once again
become a force for manifesting greater harmony in the world.
Yours Sincerely,
Randall
Read The Meaning of Sacred Geometry Part 2: Whats The Point?

If you are interested in learning the divine science of

Sacred Geometry from independent scholar Randall
Carlson please visit the following link Sacred
Geometry International online Sacred Geometry
classes

Related Articles (coming soon):

The Alphabet of Sacred Geometry
Proportion: The Foundation of Harmony
Scale Invariance and Dynamic Symmetry
Sacred Metrology
Author: Randall Carlson Randall
Carlson is a master builder and
architectural designer, teacher,
geometrician, geomythologist,
geological explorer and renegade
scholar. He has 4 decades of
study, research and exploration
Into the interface between ancient
Image via
mysteries and modern science,
Phidelity.com
Geometry as a
has been an active Freemason for
Woman Demiurge by
30 years and is Past Master of one
William Blake The
of the oldest and largest Masonic
Golden Mean or Phi
Ratio The great
lodges in Georgia. He has been
Hermetic Secret lies
recognized by The National
concealed behind the
Science Teachers Association for
Wall of Mystery
which can only be
his commitment to Science
SGI_Classes_Level_1_Banner_Update
penetrated through an
education for young people. His
astute employment of
work incorporates Ancient
geometry.
Mythology, Astronomy, Earth
Science, Paleontology, Symbolism, Sacred Geometry and Architecture, Geomancy, and other arcane and scientific
traditions. For over 25 years he has presented classes, lectures, and multimedia programs synthesizing this information
for students of the Mysteries. It is his aspiration to affect a revival of lost knowledge towards the goal of creating the new
world based upon universal principles of harmony, freedom, and spiritual evolution.
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