We have already noted the connection the Great Pyramid of Giza has with this same geometric formula - especially the combined, Earth Moon radius proportions from which the Great Pyramid side angles of 51.84 degrees was derived.


It would appear that the Great Pyramid was constructed not only on these geometric principles, but that it also encapsulated the esoteric principles associated with the union of opposites already outlined.


This fusion between one’s masculine (animus) and feminine (anima) opposites which can trigger this awakening experience or ‘rebirth’ in the individual is known as the ‘Chemical Wedding’ of the King and Queen - the Red King and the White Queen.


We would note that the two chambers in the Great Pyramid have been named the “King’s Chamber” (of red granite) and the “Queen’s Chamber” (of white limestone).

Who actually named these chambers we have no idea, but like most things that are most esoteric in origin, its possible that this was intentional, as if making a reference to what these chambers really represented


The phrase ‘Chemical Wedding’ is associated with Christian Rosenkreutz, who was the legendary founder of the Rosicrucian brotherhood. Although the Rosicrucians tell us that he was a real person, Rosenkreutz has been described as their allegorical founder.


There is a well-known alchemical phrase from the Rosicrucian story of Christian Rosenkreutz (Rose Cross - from the ancient name of Giza ROSTAU) – recalling the alchemical motto, VITRIOL.


In this phrase the Kabbalistic method known as Notarikon is used – i.e., the first letter of each word in a sentence is taken to spell a special word.

Here the word is VITRIOL: “Visita Interiora Terrae Rectificando Invenies Occultum Lapidem,” which translates as: “Visit the centre of the Earth and by purifying you will find the secret stone, the true medicine”.


The word ‘Vitriol’ is really part of a clever alchemical-related cipher that points directly to the Great Pyramid of Giza, once resplendent in its white Tura Limestone casing stones. It is also believed that the Great Pyramid is located at the centre of the Earth, in that it sits squarely at the centre of the Earth’s landmasses – and this is something we will return to later.



It was believed by some, that the Great Pyramid at the centre of the Earth was the original and ultimate ‘alchemical laboratory’ “the true medicine” where one could be “purified” and where the base duality – the division in man – could be healed and overcome and the opposing natures uniting as one, resulting in the individual being ‘resurrected’, ‘reborn’ . . . it was the mer, the “place of ascension” where man could reach enlightenment and become as a god – an Akh.


It’s not surprising that some writers and researchers are now making these very same connections; that the Great Pyramid is the ultimate alchemical laboratory


Earth Moon Mercury 23.5 2 sat

The message of the geometry displayed in Maier's Emblem is again the union and fusion of the two opposites forces, signified by the Sun and Moon, back into ONE.


























The beginning (initiation) of this union of opposites is signified by Hermes (Mercury), which symbolises the inbetween, midpoint, neutral "third force" and therefore the central "gateway" into the centre of the collective consciousness. This is why Hermes holds the Caduceus, which illustrates the internal processes of the physio-kundalini-chakra system associated with the union of these three forces - being symbolised as serpents.

These are the nadis (nerve channels) known as the pingala, (positive, solar, male, signified by the colour RED), the ida (negative, lunar, female, signified by the colour WHITE), and the central sushumna (neutral, androgynous, quantum-eclipse-state, signified by the non-colour BLACK).


























The internal processes associated with attaining this ‘third state’ – being the transformation from the base human to the higher-self – is related to alchemy as reflected in the transformation of base metals to Gold. It should be noted that Alchemy has its roots in ancient Egypt – the land of Khem. 

Here’s an extract from one of the best books published about alchemy in recent years; The Philosopher’s Stone by Peter Marshall:









It is said that alchemy “sought to recover the original unity of the universe”. 

Surely this original unity would be the ‘source and centre of the universe’ from which everything was created?


The question is, how does the all the above fit-in with the subject of the geophysical condition of the Earth – i.e., it being tilted 23.5° in respect of the Ecliptic Plane of the Sun? In other words, what was the observed significance of this axis angle by which the squared diameter of Mercury can be derived? . . How does it fit with the symbology?


The principle of the Triad – the positive and negative polarities and a neutral third element being produced or born from the first two – appears to be emphasising ‘balance’ (Ma’at) as the ‘third way’ towards, justice, truth, rightfulness and ultimately, passable entry into the heavenly kingdom signified by the Solar Eclipse.


And as we have seen elsewhere this is symbolised in the ancient Egyptian Djed Pillar, which in its inclined position represents the imbalance in consciousness associated with the tilted axis (solstices, opposites at 23.5 degrees) which then needs to be raised up straight and vertical (equinox) – bringing equality, balance and stability and creating a vertically straight and direct line - (as if through the Earth's Prime Meridian which once ran through Giza as shown in these Earth diagrams) - to the heavenly kingdom of God . . . the Source-Centre of Creation.


This direct line is also represented by the ‘pole of the ecliptic’ and the still point in the heavens – the central void in space known as the ecliptic centre, which the Prime Meridian would be aligned with and which the Earth's celestial pole or Axis would be pointing to if it were upright, again as shown in the Earth diagrams.


The Holy Grail has been associated with the Philosopher’s Stone, which in turn as been associated with the Great Pyramid of Giza - the Ikhet ("Shining One" on Earth), and this isn’t really surprising now. However, in various arcane sources, it is also said that the Grail is a “Stone that is not a stone”.


Of course it wouldn’t be a real stone if it is associated with the source of consciousness.


Stone is matter and the diamond is the hardest material substance, but this is the reason why the diamond is also used as a symbol for this source in Taoism (see Diamond Body), because being at the other end of the spectrum from the superfine, ethereal, ‘non-local’ source of consciousness itself, means that it is actually the same thing in essence.


Again, the “stone that is not a stone” reveals that the stone is a metaphor for ‘zero-point’.

In other words, like the stone that we find at the centre of a piece of fruit and from which a new tree grows, it is the ‘seedstone’ – the 'seed' from which all things come into existence, and of course the capstone of the Great Pyramid, which is also a stone, (and it’s not known to us as yet what kind of stone it is), also represents and symbolizes this ‘seedpoint’ or source-center of consciousness.

The stone was called the Lapis Exillis – the “stone that fell from heaven”.












And the final fusion of these opposites - being the Source-Centre of the collective consciousness itself known in the Hindu traditions as the Bindu - is signified by 'the Void' imagery of the Solar Eclipse, positioned above the apex of the Triad or triangle.


The same symbolic message of these internal processes appears to have been expressed in this ancient Egyptian wall painting, which contains all the symbolic elements of dualism and the union of opposites as presented above - even including the fusion of these dual opposites in the Void (solar eclipse) above the head and apex of the triangular-pyramidal "World Mountain" - the primordial mound of creation.



Eclipse...2 sat Sun Moon Eclipse Sun Moon Eclipse Sun Moon Eclipse Sun Moon Eclipse Sun Moon Eclipse

On the left is Emblem 30 from Meier's work, and immediately we are presented with the obvious correlations made between the male and female opposites and the Solar and Lunar energies. Some have said that the two figures represent Adam and Eve; others that they represent the ancient Egyptian deities Osiris and Isis.

Again, like the central detail from Emblem 21, one of the figures (this time the female) is pointing downwards or to a point between them.


On the right, is a detail from the oil painting by Nicolas Poussin, entitled Pharaoh's Daughter Finds Baby Moses from 1638.

We see two figures standing side by side. Above and behind them in the distance is a truncated pyramid; its side angles matching those of the triangle in Maier's Emblem 21.


The theme of duality is clear, in that the two figures are each wearing Red and White; colours that relate to the male and female opposites. Red is usually associated with the male and white with the female, although the colours are interchangeable with both genders.

Again, one of the figures (the figure in white) is pointing downwards, and possibly at the reflection of both in the water in which the two figures appear to be standing together inside the pyramid, and like the male and female figures standing together inside the triangle in Maier's drawing.





































Through this detail alone, Poussin is again alluding to the initial fusion of opposites related to the enlightenment experience – perhaps also telling us that such experiences may have originally been initiated inside the pyramids - especially the Great Pyramid of Giza, and/or that the Great Pyramid, having been used as a temple of initiation into these mysteries, is symbolic of these internal processes.


It is clearly evident that we are dealing with the same symbolism and code here and that Poussin was well aware of the esoteric symbolism in Maier's work which was published 21 years earlier.

But in his painting Poussin appears to be alluding to something else; possibly that this ancient Hermetic knowledge and wisdom associated with the pyramids of Egypt, now preserved in the teachings of the Rosicrucians and Freemasons, was brought out of ancient Egypt and passed onto the rest of the world through Moses.


High-ranking Freemason, Albert Churchward, openly expressed the same when he wrote the following in 1910.

It is now well known amongst mystical philosophers and esotericists that Michael de' Maier’s illustration shows the alchemist Hermes Trismegistus, ("Thrice times Great") performing the cryptic, 'squaring of the circle' known as the quadratura circuli.


The motto associated with the illustration repeats a saying of the ‘Rosarium’:


“Make a circle out of a man and a woman, derive from it a square, and from

the square a triangle: make a circle and you will have the philosopher’s stone”.


The epigram reads,


"Around the man and woman draw a ring,

From which an equal-sided square springs forth.

From this derive a triangle, which should touch the sphere on every side:

and then the Stone Will have arisen.

If this is not clear, Then learn Geometry, and know it all".


For those who are familiar with the principles of esoteric knowledge, the symbolism is quite simple to understand.


The square, as are all rectangles, lines, angles and cubes, is associated with the male principle.

The circle, as are all rounded shapes, curves and spheres, is associated with the feminine principle.


So if a square signifies the male, and the circle signifies the female, then all sexual connotations aside, we are being told that to unite both as ONE entity we are to attempt the seemingly impossible task of trying "to fit a square peg into a round hole". However, this practical problem is merely a metaphor, in that this paradox should be contemplated in terms of human consciousness.


Again, the “squaring of the circle” really means to unite, blend, synthesise and fuse the two opposites and all corresponding opposites that relate to each of the positive and negative forces, into ONE, and where these opposites which make up the illusory, dual world of phenomena are neutralised and/or cancelled out altogether as things in themselves.

This 'Oneness' is a condition of the invisible "Third Force" in nature, which is really the 'First Force' - being the original state of energy - and is neutral compared to the two opposite or polar forces.


One is reminded of the ‘quantum paradox’ in which a subatomic unit of energy is normally observed and measured as being either a "particle" or a "wave" - when in truth it is really both these properties at the same time. 

Well the same was observed in terms of the human soul; that in truth the soul is genderless, androgynous; neither male nor female, but both at the same time.


So then, the geometric problem of "squaring the circle" is really symbolic and it means to synchronise, unite and fuse the two opposite sides or aspects of oneself - the animus (male) and anima (female) together – as in the two hemispheres of the brain and both the conscious and subconscious divisions of one’s own psyche. It was and still is believed that achieving this central, 'in-between', androgynous condition can lead one to experience all manner of things, from flashes of insight to synchronicities, different paranormal experiences, right on up to mystical enlightenment - in that this condition allows one to see the hidden connections that exist between all things, ascend through the different levels of consciousness, and reach a point that is above and beyond all duality.


This recurring theme of the union of male and female-related opposites is best illustrated via the image of a triangle which is symbolic of the sacred Triad. One usually assigns the male principle to one side of the triangle and the feminine principle to the other, and we see this in Maier's drawing.


The two inclining sides of the triangle show the gradual upward and inward ascent of these two principle energies as they rise in frequency during a profound internal experience, and by which both are becoming fused and 'wedded' together. This process taking place within the individual during the first stages of the enlightenment experience known in the East as Kundalini, is seen as a rebirth, and this is reflected in the procreative act between a male and female which can produce a child - a new pattern.


Obviously, looking at the triangle, the real fusion of both takes place at the apex point of the triangle, which represents the Source-Centre of All Creation – the seed of creation. Using the analogy of the seed stone we find at the centre of a piece of fruit and from which a new plant or tree grows, this is the Philosopher’s Stone - the "stone that is not a stone" because the "seed stone" being referred to here really represents zero-point, and this is also symbolised by the Solar Eclipse - again, the union of the Sun (male) and Moon (female).


Secrets of the Masonic Apron:

Gary Osborn

Copyright © Gary Osborn 2012. All Rights Reserved.



Emblem XXI

Gary Osborn

Copyright © Gary Osborn 2012. All Rights Reserved.

“After long and careful investigation we are now able to prove the Origin and Antiquity of Freemasonry and of the many and divers Rituals-so-called-which have been in use for the past few hundred years, will show that the whole principles and tenets of the craft are the truest copy we have in existence, passed on from one generation to another, of the Eschatology of the Egyptians at the time when their mythology and belief were perfected in their Eschatology. We therefore assert that the signs, symbols, rites and ceremonies, and the principles inculcated, were identical with the Eschatology of the ancient Egyptians, carried out of Egypt by Moses and the High Priests, who came from Egypt and were afterwards known as the Druids, and that various origins, symbols and rites, practised in other parts of the world, were identical. Hence we purpose to bring forward other links in the broken chain which prove more conclusively that this was so, and that herein lies the Primordial of true Christian doctrines of the present day. We contend that the Great Pyramid of Gizeh was built in Egypt as a monument and lasting memorial of this early religion, on true scientific laws, by divine inspiration and knowledge of the laws of the Universe”.


Notes and References


Figure 1: Emblem XXI – (21) from Michael de’ Maier’s work Atalante Fugiens (1617).

The engraving below is Emblem XXI from the alchemical treatise, Atalante Fugiens (Fleeing Atalante) written and published in 1617 by the writer, diplomat, physician, poet, classical scholar, alchemist and Rosicrucian, Michael de' Maier (1566 - 1622).

Those who are familiar with the subject of Alchemy would perhaps recognise this particular engraving straight away.



Figure 2: Left: Emblem XXX (30) from Michael de’ Maier’s work Atalante Fugiens (1617).

Centre: Detail from Emblem XXI (21) also 1617.

Right: Detail from the painting Pharaoh's Daughter Finds Baby Moses by Nicolas Poussin. 1638. Louvre, Paris, France.

Michael Maier

Portrait of Michael de’ Maier. (1617).

1.  Michael Maier’s Atalanta Fugiens by Joscelyn Godwin.  p. 147.


2. The Signs and Symbols of Primordial Man: Being An Explanation Of The Evolution Of Religious Doctrines From The Eschatology Of The Ancient Egyptians by Albert Churchward. M.D., M.R.C.P., M.R.C.S., F.G.S., P.M., P.Z. 30º. (London, Swan Sonnenschein & Co. Lim. New York: E. P. Dutton & Company 1910).


3. The Greek god Hermes, Britannica Encyclopaedia.


4. The Philosopher’s Stone: A Quest for the Secrets of Alchemy. Peter Marshall. (Pan Publishing, January 2002).


5. Ibid.


6. Source: Alchemy and Hermetic Philosophy: An Overview by Lance Storm (From: Investigator 65, 1999 March).


7. Source: The Hero with a Thousand Faces by Joseph Campbell, pp. 41-42. Campbell quotes from Leo Frobenius. Und Afrika sprach. (Berlin: Vita, Deutsches Verlagshaus, 1912), pp. 243-245.


8. See here:


9. Reflections On The Word “ V.I.T.R.I.O.L.” By R. W. Bro. Leon Zeldis A.G.M.


Poussin sat

Figure 3: Detail from Pharaoh's Daughter Finds Baby Moses. The bearded figure in white is pointing down to the reflection as if

making the point that both are united together within the pyramid.

Poussin baby moses

Figure 3: Pharaoh's Daughter Finds Baby Moses by Poussin. 1638.

Perhaps this is what is being implied in this scene from the painting by Poussin, in which Moses is being delivered on the opposite bank of the river from that of the pyramids, as if the knowledge of ancient Egypt has passed over with him. We also note that the Arcadian River god, Alpheus, is present, reclining with his back to us on the left. He symbolises the 'underground stream' of arcane knowledge which flows from the esoteric source of Arcadia, said to be associated with the fabled Golden Age.

“His name is derived from herma, the Greek word for a heap of stones, such as was used in the country to indicate boundaries or as a landmark.

‘ . . . In Greek mythology ‘Hermes was the messenger of the Gods and was also the conductor of the dead to Hades. Hermes was also a dream God and the Greeks offered to him the last libation before sleep. As a messenger he may also have become the God of roads and doorways, and he was the protector of travellers”.


Figure 4: Left: Thoth (Djehuty) holds the two Uraei staffs – the ancient Egyptian version of the Caduceus. The uraeus serpent Wadjet symbolised Lower Egypt in the North, and the vulture Nekhebet symbolised Upper Egypt in the South. Wadjet is also depicted wearing the RED Deshret crown of Lower Egypt, while Nekhbet wears the WHITE Hedjet crown of Upper Egypt. Here we have the same theme of Red and White being expressed for the opposites, as in the Red Pingala and White Ida nerve channels of the Hindu chakra system. Relief from Temple of Abydos.

Right: Images of the God Hermes (Mercury) – the Caduceus is at the angle of 23.5° in many of these old images, giving reference to the Earth's axis.

Thoth hermes2 51.84 triangle sat 2. Masonic Apron Sat Moon sat

Copyright © Gary Osborn 2012. All Rights Reserved.

Sun sat

Figure 6: Left: The Sun is the same size as the Moon as viewed from Earth.

Right: The proportions of the Moon are the same for the Sun in the Master Mason's Apron.

Copyright © Gary Osborn 2012. All Rights Reserved.

solar eclipse

Copyright © Gary Osborn 2012. All Rights Reserved.

Figure 8: The Solar Eclipse at the Apex of the Great Pyramid encoded within the Master Mason's Apron.

23.5 sat

If we now square the diameter of the Earth, it is an amazing fact that the angles from the base corners of the square to the centre of the Moon (or Moon and Sun in Solar Eclipse), is close to the Earth's axis obliquity angle of 23.5 degrees.

According to researcher/writer/mathematician Geoff Simmons, the precise value of these angles using trigonometry, is 23.75º - only a quarter of a degree difference.


But surely being so close to the Earth's Axis obliquity angle of 23.5º, the significance of these angles which emerge from this formula of the combined proportions of the squared diameter of the Earth and the radius of the Moon, did not go unnoticed.


In any case its an amazing thing that the angle of the Earth's Axis of rotation is both naturally and intrinsically linked to the combined proportions of the Earth and Moon . . . but more amazing data reveals itself the more you study this formula, and as we will see, what emerges from this study is the answer to the geometric puzzle presented in Maier's Emblem.

Figure 9: The angles of 23.5º (precise value 23.75º) derived from the combined squared circumference of the Earth and the radius of the Moon.

Copyright © Gary Osborn 2012. All Rights Reserved.

The Secret Geometry of Emblem XXI Revealed

The Combined Proportions of the Heavenly Spheres


In examining the geometry presented in Maier's Emblem XXI, we note that although the base vertices of the triangle intersect the diameter of the large circle, the apex of the triangle falls short of it.

It might be seen as a moot point on first inspection, because although the proportions appear to be correct, the geometry in Maier's Emblem is not precise; the lines are roughly drawn and the whole image is a little skewed to the left. Because of this, one would assume that the apex of the triangle was perhaps meant to intersect and meet the large circle. After all in his accompanying epigram Maier writes: "From this derive a triangle, which should touch the sphere on every side".

Figure 10: The apex of the triangle in Maier's Emblem XXI falls short of the diameter of the large Circle.

23.5 2 sat Figure 14. 23.5 3 23.5 Maier

Figure 11: Left: Right side of triangle in Maier's Emblem XXI is at the angle of 23.5º.

Right: The Great Seal of the United States as it appears on the US $1 bill. Right side of pyramid and capstone at the angle of 23.5º.

Figure 12: Left: Inverting the angles of 23.5º so that they begin from the top vertices of the smaller square surrounding the Moon (Eclipsed Sun) and end on the diameter of the Earth below.

Right: The result, which is exactly how the triangle in the large circle appears  in Meier's Emblem.

Figure 7: Sun, Moon and Solar Eclipse all viewed at roughly the same size.

We know that to complete Maier's geometric puzzle, we need only add the smaller, squared-circle which contains the male and female figures in Maier's Emblem.


Logically, the size of the square is determined by both the 23.5-degree sides and the base of the triangle.

23.5 geometry Maier

Figure 13: Adding the smaller Squared Circle - the size of both determined by the 23.5-degree sides and base of the triangle.

The large circle obviously signifies the Earth, and as we know, the Moon is already referenced in this formula by the 23.5-degree sides of the triangle - derived from the combined Earth-Moon proportions.

Although Maier doesn't include or reveal the circle or sphere of the Moon placed at the top, it would appear that he does include a reference to it . . .


Taking into consideration the fact that Maier's engraved image is a little skewed and distorted, the upper leg of the compass or dividers appears to mark the boundary of the "box" or square that encloses the circle of the Moon, which as we know is also the Sun with both the Moon and Sun united in the Solar Eclipse. I may be wrong, as again its not precise as the image is skewed and Maier altered the geometry slightly so that the top of the square inside the triangle aligns with the centre of the large circle . . . but it does seem indicative.

Copyright © Gary Osborn 2012. All Rights Reserved.

Copyright © Gary Osborn 2012. All Rights Reserved.

Maier boundary box

Figure 14: The point of the upper leg of the compass or dividers marks the boundary of the square enclosing the circle of the Moon.

The question now is: if the Moon is already referenced, being an integral part of the geometry, and the large circle is the Earth . . . what 'heavenly sphere' does the circle enclosing the male and female figures signify? 


Its far too large to be the Moon again. Perhaps the following lines also attributed to Michael Meier provides us with a clue . . .


"The Stone that is Mercury, is cast upon the

Earth, exalted on Mountains, resides in the

Air, and is nourished in the Waters."


Although what is being expressed is alchemical in its context, the answer is . . . you guessed it . . . the circle enclosing the male and female figures is the planet Mercury.

Figure 15: The Circle within the Square within the triangle, depicts the relative diameter proportions

of the planet Mercury with that of the Earth - derived from the Earth's axis angle of 23.5 degrees.


Copyright © Gary Osborn 2012. All Rights Reserved.

All three spheres, the Earth, the Moon and Mercury in this geometric formula, are each in perfect, relative proportion with each other - as is the Earth and Mercury in Maier's Emblem.


Earth diameter: 7,920 miles.

Moon diameter: 2,160 miles.

Mercury diameter: 3,032 miles.


The Earth-Moon diameter ratio is 11:3, and the Earth-Mercury diameter ratio is 0.383.  


. . . which is all a bit of a puzzle really, because during the time when Maier's work was published in 1617, the prominent astronomers of the time, like Galileo, Johannes Kepler, Tycho Brahe etc., hadn't yet discovered the diameter of Mercury.


However, an Indian astronomical text of the 5th century, the Surya Siddhanta, estimates the diameter of Mercury as 3,008 miles - an error of less than 1% from the currently accepted diameter of 3,032 miles (4,880 km).

Was Michael Maier or others in his circle aware of the estimates given in this Indian astronomical text, which some say must have been based on earlier, more ancient records? Its a possibility.


But seeing as it emerges quite naturally from the combined proportions of the Earth and Moon as well as the angle of 23.5 degrees (or the more precise 23.75 degrees), it could just be part of the same sacred geometry or formula - which is even more incredible and 'mind-boggling' the more one thinks about it.

This cannot be a fluke, as Maier was indeed aware that this circle gives the correct diameter proportions of Mercury in relation to the Earth, because he associates this circle with the alchemical symbolism of Mercury, which expresses the androgynous union of male and female opposites and the combination of  Sulphur (Sun-male) and Salt (Moon-female).


However, the symbolic union of both opposites (Mercury) is the beginning of this level-ascending process, with both finally being fused together in the Solar Eclipse, as positioned at the apex of the triangle or Triad - the sacred 'world mountain' or Pyramid, and the symbolism relating to this process is better presented in the following image.



Eclipse Mercury 23.5 2 sat

Copyright © Gary Osborn 2012. All Rights Reserved.

Figure 15: The symbolism behind the sacred geometry is that the opposite aspects of the individual when first united together (Mercury), then make the ascending journey inwards and upwards towards the Fusion of both as ONE at the Apex - Enlightenment (Solar Eclipse).


The Sun being roughly the same size as the Moon as viewed from our perspective on Earth, is no time better demonstrated than during a Solar Eclipse when the Moon passes in front of the Sun. Amazingly, the Moon is seen to fit the Sun exactly. If the Moon were a few hundred miles distant either way it would make a huge difference to our perception. But again, in ocular terms, the Moon is at the correct distance between us and the Sun so that its diameter is seen to match that of the Sun.




















Knowing this, we know that this observation was not lost on those who encoded this information in the Master Mason's Apron.

And so symbolically, we can see that it isn't too much of a leap to suggest that the real meaning being expressed in the encoding of this information, is that the Moon and Sun being united in the Eclipse, are both positioned together as ONE at the apex of the triangle or Triad, which of course represents the Great Pyramid of Giza with its Earth-Moon ratio-derived side angles of 51.84 degrees.

























This placement of the Sun and Moon as united in the Solar Eclipse at the summit or apex of the 'World Mountain', is a powerful symbolic statement that encapsulates everything already discussed on this page. Again the Eclipse symbolises not only the fusion of opposites, but also the All-Seeing (Omniscient) "Eye" of the Masonic 'Great Architect', or 'Supreme Being' . . . the source-centre of the collective consciousness.

However, going back to our diagram of the combined Earth and Moon proportions, we find that this detail - which one would assume to be in error - appears to have been intentional, because as we will see the geometry in Maier's Emblem is based on the same Earth-Moon, 11:3 ratio formula.


Back in 2005, I had discovered that the right side of the triangle in Meier's Emblem XXI is at the angle of 23.5º.

At the time, this discovery of mine struck me as curious because I found the same angle in the Great Seal of the United States.

The right side of the truncated pyramid in the Great Seal on the US $1 bill, is again at the angle of 23.5º.



























Today, and after reading 32nd Degree Mason Frank C. Higgins book Ancient Freemasonry published in 1919, and having worked on the ancient geometric formula Higgins mentions, in which the combined proportions of the Earth and Moon were encoded and from which the geometry of the Great Pyramid was derived, I now understand why.

The 'All-Seeing Eye' in the detached and floating capstone, also radiating illuminating rays of light, is really symbolic of the Solar Eclipse, and so we see the same symbolism as expressed in Maier's Emblem - all originating from the same ancient geometric formula.


Only the right side of Meier's triangle, and as the geometry appears in the published Emblem, is at the angle of 23.5º. Again, the image is slightly skewed to the left. However, both sides of the triangle should be at this angle, and the following shows why . . .


If we now square the Moon, and invert the 23.5º (23.75º) angles, beginning from the top vertices of the square, we find that the angles cross and intersect at a point inside the large circle, falling short of the circle just like the apex of the triangle in Maier's Emblem.

Figure 5: Left: The Great Pyramid side angle of 51.84 degrees derived from the combined 11:3 ratio proportions of the Earth and Moon.

Right: How this knowledge and information was simply and cleverly concealed within the Master Mason's Apron.

In my presentation Sacred Earth-Moon Geometry, I showed how the Great Pyramid side angle of 51.84 degrees was derived from the combined diameter/radius proportions of the Earth and Moon at 11:3 ratio, and how this knowledge was preserved by being encoded in the Master Mason's Apron. (See presentation, Secrets of the Mason's Apron).




































In the presentation The Internal Eclipse I brought attention to the fact that although the Sun is some 400 times wider than the Moon, it is also some 400 times further away, and so from our perspective here on Earth the Sun is observed to be the same size as the Moon. 

This means that the diameter/radius proportions of the Moon that were encoded within the Master Mason's Apron could in fact also double as the diameter/radius proportions of the Sun - again as seen from Earth.



Hermes . . . Mercury

third force pratica-cum-duodecim

Figure 16: The Master Alchemist, Hermes Trismegistus showing the ‘Creative Fire’ (Third Force) that unites the Polarities within one’s consciousness. This is shown as a Lemniscate – the figure-8 ‘infinity symbol’, which features the opposites of the Sun, (Male yang) and Moon, (Female yin).

The ‘Creative Fire’ is also related to the prana 'serpent fire' or 'liquid fire' energy of the Kundalini.

D. Stolcius vn Stolcenbeerg, Viridarium chymicum, Frankfurt, 1624. 



Figure 18: Left: Artist's rendition of one of the details from the “Fifth Hour of the Duat” – one of the many wall paintings from the "Book of the Secret Room" found inside the tomb of the 18th Dynasty, New Kingdom Pharaoh, Thutmosis III, who ruled Egypt between 1504  and 1450 BC.  The tomb was discovered in the Valley of the Kings (tomb KV 34) in 1898 by Victor Loret's workmen.


Eclipse Mercury 23.5 2 sat

The message is that to rise above and go beyond the dual world of illusory forms, one has to balance these two opposite forces, unite them and fuse them together as one. In other words, one has to become as Hermes or Mercury - the quintissential shaman.

This union recreates the inner astral vehicle known as the soul and this Internal Eclipse through which one becomes the soul is one's entry into other levels of consciousness and ultimately the source-centre associated with enlightenment.


Following is an anecdote from Yorubaland (West Africa), which is told of the trickster-divinity Edshu - the African version of the god Thoth, Hermes and Mercury. It illustrates how being balanced between the opposites is essential in placing one on the "Middle Way" path of knowledge, wisdom and Truth associated with Hermes or Edshu. The messagebeing that on this path one rises above the world of dual conflicts.


One day, this odd god came walking along a path between two fields.












“He beheld in either field a farmer at work and proposed to play the two a turn. He donned a hat that was on the one side red but on the other white, gold before and black behind [these being the colors of the four World Directions: i.e., Edshu was a personification of the Center, the axis mundi, or the World Navel]; so that when the two friendly farmers had gone home to their village and the one had said to the other, 'Did you see that old fellow go by today in the white hat?' the other replied, 'Why, the hat was red.' To which the first retorted, 'It was not; it was white.” 'But it was red,' insisted the friend, 'I saw it with my own two eyes.' 'Well, you must be blind,' declared the first. 'You must be drunk,' rejoined the other. And so the argument developed and the two came to blows. When they began to knife each other, they were brought by neighbours before the headman for judgement. Edshu was among the crowd at the trial, and when the headman sat at a loss to know where justice lay, the old trickster revealed himself, made known his prank, and showed the hat. 'The two could not help but quarrel,' he said. 'I wanted it that way. Spreading strife is my greatest joy”.


Copyright © Gary Osborn 2012. All Rights Reserved.

“Psychologically, the lapis refers to the psyche — its closest equivalent for the alchemist being the human soul.

In fact, the stone was called the “stone that is not a stone,” coming as it did “from God but not from God” (Aylesworth 1973: 36)’. Although the terms, before and after transmutation, (first, Stone of the Philosophers, then, Philosopher's stone) vary in word order, the lapis is essentially the same, just as transformation in a person's personality is detectable only through relationship, but not physically – effectively the person is the same, but different, somehow’. ‘The lapis occupies an extremely high position in the arcanum of the alchemist, and as such, tended to be referred to in the texts more often than the gold, which was the transmuted base metal made possible by the lapis in the first place.

Specifically, the “transformed and perfected” Stone was attained by a union of opposites symbolised by the hieros gamos (sacred marriage) between Sol (Sun) and Luna (Moon) principles”.

“White vitriol. White; its watery solution depositing a white sediment from a mixture of soda of prussiat of lime, and when evaporated crystallising into four-sided prisms, terminated at both ends by a pyramid”.

“ . . . it would seem that the Great Pyramid is a gigantic reaction vessel of cosmic alchemy, joining together the male and female principles in the universe.

In building the Great Pyramid the Egyptians may well have created a finely honed instrument of spiritual engineering to perform the most important of all experiments, the transformation of matter into spirit. In this case, the Great Pyramid is nothing less than a laboratory of the soul, aimed at attaining the supreme goal of alchemy – immortality. Indeed on a massive scale, it might well be a symbol of the Philosopher’s Stone itself. Millions of people have entered the Great Pyramid and have been deeply moved by the experience, but how many have recognised it for what it really is – the ultimate alchemical laboratory?”.

The Great Pyramid of Giza as the Ultimate Alchemical Labratory

“ . . . The hermaphrodite is neither one thing nor the other. Whereas Western logic rejects the middle term between affirmation and negation, between ‘yes’ and ‘no,’ nature consists largely of such ‘excluded middles’ or ‘thirds’. Nature, moreover, has many effects which resolve an opposition, just as a waterfall ‘mediates’ between ‘above’ and ‘below.’ The alchemists sought for that effect which could heal not only the disharmonies of the physical world but the inner psychic conflicts and afflictions of the soul as well.’ The combination of opposites symbolised by the hermaphrodite is not, however, the personification of the goal of alchemy but an intermediate state before the birth of the Philosopher’s Stone”.






Figure 17: Emblem 19 from the 'Twelve Keys of Basil Valentine', by Michael de' Maier. A winged Hermes/Mercury flanked by the Sun and the Moon holds two caducei and is approached from both sides by two men representing the opposites; one is holding a sword with single serpent (i.e. staff of Aesculapius) held at the angle of 23.5 degrees, and the other, a sword with a cock (symbol also associated with Aesculapius).

The "Twelve Keys" is recognised as one of the most important and influential of alchemical works. It was first published in 1599 as a text only piece but achieved its widest distribution as part of a compendium the Tripus Aureus (Golden Tripod) edited by Michael Maier and published by Lucas Jennis at Frankfurt in 1618. This was later included in the more massive compendium Musaeum Hermeticum in 1625. Image coloured by Adam McClean.


Returning to the ancient Egyptian wall painting shown in figure 18, the sacred primordial mound could easily be a depiction of the Great Pyramid of Giza. The view that the symbolism is related to internal psychic processes is supported by what we see here and also in other independent sources.


For example, note the black omphalus-looking void (said to be the "burial mound of Osiris") flanked by two kite birds (Isis and Nephthys) and topped with a Tau Cross. This symbolises the transcendental void within one's consciousness accessed through the shamanic trance state - which activates the opening of the "third eye" also associated with the pineal gland.


The pineal gland which resembles a tiny pinecone, was symbolised by the pinecone in ancient times - the name pineal being derived from the word 'pine'. And in these ancient sources we find the pinecone being held in one hand (Mesopotamia), or placed at the top of the Thyrsus staff, like the  golden orb at the top of the Caduceus - both staffs representing the human spinal axis.

Figure 19: The Pinecone between the twin serpent-birds and at the top of the Thyrsus wand.


pinecone vatican coffin

The following insights were inspired by a discussion I had with Dr. Mark Gray.


Below is a photo of the entrance to the Vatican at Rome. At the top, between the two approaching rows of steps is a huge pinecone. Compare the details in this photo with the ancient Egyptian image on the right. Most of the features are almost identical. Like the Void, which is flanked by two kite birds in the ancient Egyptian wall painting on the right, the symbolic pinecone - associated as it is with altered states of consciousness and therefore the transcendental void - is flanked by two peacocks. The steps leading up on each side are like the sloping sides of the primordial mound, and beneath both we see twin lions front to front, or back to back as the Sphinxes are in the ancient Egyptian image.

. . . but what's behind this facade?


At the top of the stairs and behind the pinecone sculpture is an open, ancient Egyptian-styled sarcophagus.

Through the symbolism being displayed here, we are possibly being told that the sarcophagus wasn't always used as a coffin for the dead; that it was also used as an initiation chamber or deprivation tank, to access altered states of consciousness associated with the 'third eye', pineal gland as symbolised by the pinecone - initiating a shamanic, astral, near-death experience. The objective of the shaman-priest-king was to access the Source-Centre of Creation - the heavenly kingdom within.


One of the secrets of the Freemasons has always been "To learn how to die before you die".


The theory that the pyramids were not tombs but were used as shamanic initiation temples, has recently been presented in the book, 'Shamanic Wisdom in the Pyramid Texts: The Mystical Tradition of Ancient Egypt', by Jeremy Naydler, (Inner Traditions), 2005.


Figure 20: The large Pinecone flanked by two birds positioned at the entrance to the Vatican in Rome.


Figure 21: The ancient Egyptian sarcophagus behind the pinecone positioned at the entrance to the Vatican in Rome.



The interpretations given above are obvious when we look at the corresponding evidence that supports it.


In Maier's drawing we see a male and female standing side by side. One of the figures, (the male), is pointing downwards or to a point inbetween them.


Below are a few examples of this same symbolism.

And there are more links to Egypt and the pyramids of Giza in these symbolic sources . . .


Returning to Michael Maier's Emblem XXI, again the philosopher wielding the geometric compass or dividers is Hermes Trismegistus, and herein lies another clue that points directly to Giza and the three great pyramids.





Hermes Trismegistus gets his name from the god Hermes, the Greek equivalent of the ancient Egyptian god Thoth, and both Thoth and Hermes hold the Caduceus wand, also known as the Staff of Hermes and the Arcadian Rod - actually a symbol of the physio-kundalini-chakra system that centres on the spine.




























Hermes is often called the “winged” or “swift messenger”.

Mercury – his Roman name – has always been associated with quickness. The metal Mercury is sometimes called ‘quick-silver’, and the planet Mercury is so-named because it swiftly moves around the Sun.


Hermes is the messenger of the gods . . . the revealer of hidden wisdom . . . guardian of occult knowledge and he has a variety of shape-shifting guises. Like the quintessential shaman, he is often thought of as a trickster figure, a magician, the embodiment of surprise and the unexpected: “now you see him, now you don’t”. In other words he is the God of movement, change, and transformation . . . and this also means alchemical transformation and transmutation.


Hermes wears a winged hat – maybe the original ‘thinking cap’.

To our understanding the wings on either side of the cap, like the horn symbolism, represents the two opposite energies, and for our perception these two energies are translated into many physical forms – one of which are the two hemispheres of the brain. Altogether the round cap must symbolise the flashes of insight that comes when the two energies or hemispheres are synchronised as one.


In the Encyclopaedia Britannica we read:







This is all quite interesting because what is being described here is really the psychic threshold or boundary point between two worlds.


Herms (heap of stones) were used mainly as boundary markers and mileposts – signs of geographical change, and of course the Great Pyramid could be described as a “heap of stones” – the archetypal landmark, which like the Giza Prime Meridian that ran through it,  marks not only the zero, neutral point boundary between East and West and also the boundary between Upper and Lower Egypt, but also the centre of the Earth’s landmasses.


But more importantly, we are being led to make the connection between the three great pyramids of Giza, the ancient Egyptian god Thoth, the Greek god Hermes, the Roman god Mercury and the alchemist Hermes Trismegistus.


If the name Trismegistus means “Thrice Greatest” or “Three Times Great”. The name could relate to the Triad and the three forces. 

However, if Hermes means “heap of stones”, then together the name Hermes Trismegistus also means the ‘three times great heaps of stone’ – or ‘the three great hills of stone’.


This is yet another example of the associative information we find scattered throughout the world – encoded in the myths.


Are we really being led to the conclusion that Thoth is the true architect of the Great Pyramid and all three pyramids? 

If Thoth is the god of wisdom then we are being told these three pyramids contain great wisdom and are much more than mere tombs.  


Hermes also personifies the 'third force' (what I call the ‘neutral point’) because his ‘swift message’ is the higher knowledge that comes from one’s awakening during the enlightenment experience. He guides mortals through their last journey to the land of the dead because like the initiate entering through and between the two pillars, the ‘physically dying’ enter through this ‘neutral point’ portal at death – as depicted in the balance scales in the Hall of Ma’at and which Thoth resides over with Osiris.


He is also a ‘dream god’ because he also symbolises the hypnagogic boundary point between ‘waking’ and ‘sleeping’ consciousness where one is both awake and asleep at the same time, or neither. This is the same mode of consciousness that one enters into when going through a Near-Death Experience, where one is is both alive and dead at the same time or neither, as in the Schrodinger Cat paradox - a theoretical experiment used to describe the 'Uncertainty Principle' associated with particle-wave duality. Again, we are talking about a state of consciousness that is best expressed as a quantum fusion of opposites - above and beyond our normal dual existence in the world of opposites.  

Again, Hermes personifies this 'in-between' or 'mid-point' state of consciousness known as the neutral 'Third Force'. He is also the ‘god of roads’ and ‘doorways’, and protects travellers, because this hypnagogic, ''neutral point' in consciousness was believed to be the “doorway”, “portal” or “jump-gate” into other realities; and so from an esoteric understanding, the "travelers" are those that travel through it - as in the shaman who travels without moving - i.e., internally . . . astrally.      


We can now see this in the myths surrounding the twin pillars of Freemasonry and how like initiates we are being led through them (between them) – to the Great Pyramid. This means that the associations these two pillars have with the dual opposites of man’s nature, as symbolised by the two serpents of the Caduceus, must in some way also apply to the Great Pyramid – i.e., that it was built for the purpose of ‘healing’ this divide in man’s psyche; bringing one to this ‘third force state’ by somehow being used to facilitate certain shamanic techniques along with its symbolic central, ‘neutral point’, ‘zero-point’ position on the Earth.


Like the shamanic ‘world pillar’, the Great Pyramid which has the Giza meridian running through it, represents the axis mundi – the upright Pole of the Ecliptic.


The axis mundi or ‘axis munde’ is also the central pillar of the Qabbalistic ‘Tree of Life’, which rests between the two pillars.

On an individual level, this axis or “tree” represents the human spinal column, which means that the Great Pyramid too represents the human spinal axis, but at the same time it’s not limited to this interpretation, as it goes much deeper than this.

We can see how all this relates to the symbolic Solar Eclipse of the Sun and Moon - the fusion of opposites within the individual which can lead to enlightenment.


Some of what I have outlined above concerning the 'squaring of the circle' (which is really about the alchemical union of opposites) along with the deeper associations all this has with the internal processes by which one attains wisdom and enlightenment - is common knowledge amongst those who have studied the geometry of Michael de' Maier's Emblem XXI.  

However what follows is NOT common knowledge.