ILLUMINATION: Dimensions / Degrees – Da Vincis Last Supper And The Philosophers Stone

[Compendium]

DIMENSIONS / DEGREES

Within the teachings of the ancient mystery schools, one of the most important founding teachings, is a system detailing a sequence of DIMENSIONS or DEGREES

A system which is directly relative to the founding processes of all creation and the formation of all the various torus, spheres, or cells within the physical world

Which also aligns to the very numbers we use to quantify our understanding of the world, and the hidden deeper original “sequential” meaning of the symbols we use for those numbers

Which by such, also defines and quantifies our very ability to consciously perceive and actively reflect “mind” within such a world

A precise, incrementally expanding sequence, which is directly relative to the expansion of the physical universe. Which we call NUMBERS

Which is followed by the counter, contracting algorithmic sequence, which is directly relative to the increasing complexity of aggregate matter and life, that we call LETTERS

Within my Illuminated mystery school tradition, we refer to these sequences as:

THE PRIMARY SEQUENCE – NUMBERS
THE SECONDARY SEQUENCE – LETTERS

The Freemasons have their own versions of the ancient degree system, which seems on many levels to have comparable meaning to the understanding of my own particular order and tradition. To the point where it seems highly likely they originated from a common source

I say “seems” because though the Sinai tradition and Freemasonry seem to have a common source on many things, I should make it clear that I am not a Freemason, and therefore, I am speaking only from the perspective of my own tradition and understanding

Many of you would have seen me detail the deeper meaning of these symbols and sequence before. Including how it aligns to the symbol commonly referred to as THE PHILOSOPHERS STONE

The purpose of this thread, is to share how the primary sequence is illustrated within LEONARDO DA VINCI'S PAINTING - THE LAST SUPPER

To begin with, I will give you the dimensions/degrees as they are known and taught within my tradition

 

THE PHILOSOPHERS STONE

 

1ST SPHERE
1. INTERNAL
2. EXTERNAL
3. DIRECTION
 

TRIANGLE
4. WIDTH
5. DEPTH
6. HEIGHT
 

SQUARE
7. FORWARDS (EXPAND)
8. BACKWARDS (CONTRACT)
9. LEFT (TURN INTO)
10. RIGHT (TURN OUT FROM)

2ND SPHERE
11. INSIDE
12. OUTSIDE
13. IN-BETWEEN
 

 LEONARDO DA VINCI - THE LAST SUPPER

 

Leonardo Da Vinci – The Last Supper (original)

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[Compendium]

 

 

 

 

 

 

 

Within image 13 you can see:

(13) FEMALE (MARY) is leaning outwards from her MALE EQUIVALENT (1) and EXTERNALISING
(11) MALE is leaning inwards INTERNALISING

The heads of (11) MASCULINE and (13) FEMININE come together as TWO HALVES OF A WHOLE

Which is counter to:

The outwards lean between her (13) FEMININE half and her externalised MASCULINE (1) half

Which is also counter to:

The space between internal (1) MASCULINE and his external MASCULINE (2) reflection

Likewise, as (3) creates space between (1) and (2), so too is (12) pushed outwards by the coming together of (11) and (13). Opposite ends, representing the masculine and feminine ends of the cycle of 13

When we look at the 3 windows, these represent the balance of internal and external cycle within a torus

(1) Jesus is centred INTERNAL, of the 1st sphere leaning towards the EXTERNAL masculine Thomas (2)

Counter to Thomas facing inwards, is Mary (13) with her head outside the window facing outwards

A good way to explain this is to picture these dimensions as being a round room, with 2 doors, one on each side of the diameter

One door on one side opens inwards. The door in the other side opens outwards

Jesus sits perfectly in the middle of the room, facing outwards at the door which opens inwards

Thomas stands just inside this door which opens outwards, facing the centre of the room

On the other side, Mary stands just outside the door which opens inwards, facing outsider

The important consideration within this, is that these directions are cyclical

Meaning that if Mary standing outside the door looking away was to go full circle to end up on the right of Jesus, she would superimpose perfectly

As would Thomas, if he went full circle around you the left of Jesus. He would superimpose perfectly over Mary

The door that is facing outwards, would become inwards, because outside would become inwards

Just the same as the door facing inwards, would become outwards the opposite direction in cycle, because inside became outside

It illustrates the cycles which promote all existence, which can only exist within a sphere that cycles inwards, outwards and through itself seamlessly. In all directions, at all times

This is the essence of TORUS, TORAH, HORUS, TAURUS

In the TORAH, these are explained (when translated correctly) within:

Internal - Beresh!t / Biology
External - Shemot / Geometry
Direction - Vayikra / Vectoring

[Compendium]

The system balances internally and externally, within a CYCLE / CHRIST

Within the relationship of this it is important to remember that MASCULINE "JESUS" and FEMININE "MARY" are TWO OPPOSING POINTS WITHIN THE SAME CYCLE

IF JESUS IS THE BEGINNING OF THE CYCLE/CHRIST, THE MARY IS THE END OF THE CHRIST/CYCLE

The BEGINNING and the END of a CYCLE/CHRIST must come together and be recognised as one

Because one, without the other, could not/would not be able to exist. In much the same way that women would not be able to exist without men, or men without women

We would have no ability to perceive internal and external, and as such we would have no ability to perceive direction, or reflect upon ourselves

There could be/would be no dimensions, time or space, without the meeting of masculine and feminine, coming together as one within cycle

A good way to explain this, is using the keys of a piano to explain tonal increments
 

You will see on the piano keyboard above, there are 12 UNIQUE TONAL INCREMENTS IN AN OCTAVE

7 UNIQUE FULL TONES
5 UNIQUE SEMI TONES
12 UNIQUE TONES TOTAL

Although an octave, by definition of the name is said to be 8 full tones, we need to take into consideration that the 8th note in the octave is the same as the 1st, merely an octave higher

Therefore, technically, an octave actually only has 7 unique full tones. Or 12 tones total, if you include semi-tone increments

Within this we see a visual representation of the 13 primary dimension/degrees of perception, relative to tones of an octave. 12 unique tones, with the 13th tone being a return of the (cycle/Christ) to the 1st note

These increments are personified within the Bible, as well as in the the last supper painting as the "12 disciples"

These 7 full tones and 5 semi-tones specifically, are detailed within the book of Revelation, which when correctly translated, is a book about frequency and spectrum

Revelation 17:10
They are also seven kings. Five have fallen, one is, the other has not yet come; but when he does come, he must remain for only a little while

TRANSLATION
There are 7 tones, with 5 semi-tones between them. The next note after this (the octave “8”) is the same as the first, which begins the next cycle

 

 

 

 

[Compendium]

WITHIN REVELATION

THE TWO WITNESSES
Harmonious frequency

THE TWO WITNESSES KILLED AND RAISED
Major and Minor harmonious frequency

THE MARK OF THE BEAST
Frequency (Measure)

THE BEAST OUT OF THE EARTH
Timing (Interval)

Such as with the set-square and compass surrounding the G in the Freemason symbol

Which is no different to musical notation (such as treble clef "G"), written over a time signature denoting 4 beats per measure, from a particular given tempo

 

The reason that these principles found in music are so important, is because the structure of all spectrum of frequency act in exactly the same way as that of the sound spectrum

Light, physical matter ... everything

Everything is formed under the same layered structure (or seals) of frequency. Which keeps them both separate and together, within cycles of equilibrium frequency

As is shown in the last supper

I have only started going into the coding within this painting today. So this is as far as I have gotten

There does also appear to be deeper meaning within the items placed upon the table, possibly related to math and physics

I will try look this deeper at a later date, once I have been taught its relevance

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A couple other interesting points I should add, given to me my friends/teachers who suggested I look into Leonard Da Vinci's Last Supper

First, they make it very clear:

4, 13 AND 9 WERE ALL ORIGINALLY PAINTED AS FEMALES

This is because the dimensional aspects they represent are feminine in nature

In the Giampietrino copy of the last supper painted around 1520, you can see that the light facial hair and a pronounced chin that blends into the shoulder of the dress
 

 
I am told that there was no beard on the original painting

Meaning, they suggest that the original painted had already been modified by the time Giampietrino made his copy around 1520
 
Looking at the original, you can see pronounced chin and beard they claim was added after, appear to have faded within subsequent restorations and touch-ups

You will also notice that someone has attempted to make the nose more pronounced and masculine

One other thing worth noting, is that the paintings on the wall in the Giampiertrino copy from 1520, are very different from the simple designs that were claimed to have been on the original

Again, I am told this has been done intentionally
 

I am told the blotched colouring on the walls where the paintings should be, was done to "blot out" what was painted underneath

What was originally on the wall, appears to have been covered up intentionally

This, apparently, seemed to be the trend at a particular stage in history, where those such as the Church were censoring anything and everything without regard

I am told there were intricate paintings on the wall, which were a massive part of this masterpiece

Within such, you can see that those who perpetrated the defacing of this painting, took far less care in their alignment or perspective than the original artist

You can clearly see where they have "altered" parts within the painting

They tell me that the majority of this work has been massively altered from the original

Such as with the background and "dress" of the Mona Lisa

Such as with Michelangelo's "creation of Adam". Within which the "blue skies", are the work of censorship covering up what was painted beneath

I am told, however

In the case of the Mona Lisa and Michelangelo's "creation of Adam", that the paints used to cover up the original artwork were far cheaper quality than the paints that were originally used

Meaning that hopefully, with time, the "touch-ups" will slowly fade away to reveal what was originally painted underneath

You can already see this happening with these paintings

The highly detailed background, and originally clothing of the Mona Lisa are slowly being revealed

These are, apparently, just a few examples of paintings that have been defaced in this way

But I am told that in time, many of what was originally hidden will be uncovered

[Sirius]

Very cool.  Where can I learn more about your philosophers stone and the sphere?

[quintessentone]

I am told that there was no beard on the original painting.

If you go to the picture on the Wikipedia site, you can enlarge it so as to get a better look. It appears to me it is debatable whether or not there is a nub of beard at the end of the subject's chin because the background's wall is a straight line, whereas a nub at the end of the subject's chin breaks that line. Did all men of that time have full beards, or did some have light fuzz?

https://upload.wikimedia.org/wikipedia/c..._32x16.jpg

AI search on peach fuzz;
 What is peach fuzz?

• Peach fuzz is different from a beard, which is made of coarser, darker terminal hair.  
  

• It's usually only visible up close.
  
• The amount of peach fuzz a person has varies depending on their genetics, age, and hormones.
  
• Peach fuzz helps regulate body temperature, insulate the skin, and protect it from sweat.
  

[Compendium]

Very cool.  Where can I learn more about your philosophers stone and the sphere?

I will be writing some threads comparing in detail the proceses of INITIATION (the lesser mysteries) and ASCENSION (the greater mysteries) within Sinai Illumination and the (Masonic) Ancient Egyptian mystery school tradition detailed within the Crata Repoa

The 7 stages (degrees) of initiation detailed within the Crata Repoa, align nearly exactly with what is taught within Sinai Initiation

Except that it appears to have been written by someone who knew of the processes, but did not understand the meaning behind what was being taught

For example,

The Crata Repoa speaks of someone being "symbolically" dressed in a cone-shaped hood, vest and Xylon apron for the 1st stage/degree

When what is actually being described is 1st dimensional teachings on the shape and flow of electromagnetic fields around the human body

In the Sinai tradition, this is not "dressing" that can simply be given. It takes many hours of mediation and visualisation exercises to "dress yourself" in the way

Dressing which is necessary for particular experiences, to gain particular elemental understanding

I am planning to write a detailed thread for each stage/degree of the Crata Repoa, giving exact and in-depth meaning and details as per my own tradition

I will go into more detail on the specific Geometry within the 2nd stage / degree (dimension)

I just need to find time to write it all

There is plenty to be found in historic texts on the things I have described the basics of here, but unfortunately most of those texts have been mistranslated, or were translated by people who did not understand the concepts they were translating

Much is personified, or conveyed in divine concepts (likely due to it being beyond the comprehension of the translators)

I'll also be looking at the Kybalion at some stage

The Kybalion is a beautiful mess of a text

It seems to have been written by (apparently 3) people who were going through some type of genuine initiation process. But were far from understanding much of what they were writing about

In parts they talk about things being "more complicated" than their explanation, and it is obvious that the reason they are saying this, is to avoid explaining concepts they do not properly understand

They also use very particular terminology that are only used in the lesser mysteries by early stage initiates

Terminology like "energy" and "power" used in the early stages of initiation to convey a structural visualisation of concepts which are not yet fully understood

Anyone who has advanced beyond the 3rd stage / degree (dimension) avoids using these types of terms, as they are a perceptive illusion of transitory state

They also describe concepts like THE ALL, which are explained, dissolved and do not exist from the 3rd dimensional degree on

At first I thought they could possibly be trying to contextualise in veil terms

But the way they explained things, made it clear that they were trying to simplify something they did not properly understand, in order to fit in into a box

Simplified for the benefit of what they were trying to write, not for those that would try read it

Which means, the authors never likely passed the 2nd dimensional degree and were never properly initiated

Parts of the Kybalion are really good and accurate to the is taught in the Sinai tradition

But some of it is so conflated, confused or inaccurate, that it actually makes my head spin, trying to work out how they possibly "half" worked things out the way they did

They use "Vibration" as a primary consideration, without any considerations prior, to "how" something could possibly be vibrating. Vibrating from what? Vibrating to what? What does the vibration exist within, or over that allows it to vibrate?

Where does the balance come from?

More specifically, what in the world vibrates, which is not actually a subsequent resonance or oscillation, of some other source?

They make no mention of primary vibration, nor of the internalised concepts of resonance (Isis/Jesus) and externalised oscillation (Osiris/Christ) taught within the Egyptian mystery schools

They use mentalism as a principle, without explaining the mind

What is mind? How does it recognise itself?

You can't just say something exists, and that it is everything, without explaining the structure by which such a thing is able to exist and persist

It is no different to what is offered in religion, you just use a different term for the same concepts

Then they got into "Gender", first getting the etymology of the word completely wrong

Before detailing a perceptual concept that is no different to the internalised/externalised concepts they overlooked within vibration

... Except for the closing of linear cycle (Christ) where internal and external meet, to promote subset cycles (breed)

Then it appears someone who was not one of the original authors, has attempted to add on a section on "Mental Gender". Which is no more than a misunderstanding of negative cycle (anti-cycle) waveform

Gender and "mental gender" are not considerations that exist within initiation

Except, for example within the meeting of 1st and 13th dimension within internal/external cycle (such as for breeding)

Any considerations beyond this are based within ego, which is contrary to initiation practices

It is very literally impossible to be an initiate, if you think in terms such as gender, race, or other nominum illusory designations

It took me most of a day to rebalance my mind after reading the Kybalion

It is an absolute mess

[Compendium]

If you go to the picture on the Wikipedia site, you can enlarge it so as to get a better look. It appears to me it is debatable whether or not there is a nub of beard at the end of the subject's chin because the background's wall is a straight line, whereas a nub at the end of the subject's chin breaks that line. Did all men of that time have full beards, or did some have light fuzz?

It has been painted over too many times to know either way

But what is certain, within the teachings of "dimensional structure" within my tradition, is that the 4th, 9th and 13th dimensions or "degrees" are "feminine" in nature

I say "feminine" because they are all dimensions/degrees of internalisation

Meaning, if you were going to paint and personify each dimension, you would paint 4, 9 and 13 as females

Technically, 2 could also be considered female even though it is "external", because of the fact it exists within a base duality that looks "INWARDS" at centre/core/nucleus

But as the 1 centre/core/nucleus (Jesus) is depicted as a man, so too is their external perception of self (2)

3 could also be considered female, as it internalises external, to allowed internal to externalise in vector equilibrium (Elohim)

But again, as 1 is male, so too are his emotionally trimanifested (Hermes Trismegistus) aspects

Within the Eleusinian mysteries (which I have also been through) we teach this same principle using a female (1) core/centre/nucleus

Who is literally named "Kore"

Within which (3) also becomes female

3 is Demeter, which means "Diameter" or "Dimension". Depending on whether you are speaking from a perspective inside, or outside of the torus/sphere

Notice how 3 in the painting holds their arms out, either side of their body. Like diameter (Demeter) stretching out from centre (Kore)

In the Eleusinian mysteries version, 2 is Hades, which means "Radius"

As with 2 in the painting looking inwards at centre, radius (Hades) is the inward arc to centre (underworld)

Within the (1) Kore being female, Hades could also be considered female

But the reality of 3, is that it is DIRECTION. Meaning it is either internal facing external, or external facing internal. Not definitively one or the other, but the meeting of both

Radius (Hades) takes centre (Kore), then returns her to her mother diameter/dimension (Demeter) in internal/external balance, from which we get physical structure and cycles like seasons

She returns in balance as "Persephone" which means "Perception"

The ability for direction within a sphere, to give perception (Persephone) of internal and external, which allows conscious reflection

And the understanding of self

All of which can only exist within the structure and flow of a Torus / Taurus / Torah / Horus

All the mythologies teach and religions teach the same type of personified story and structure. It is just vastly misunderstood and mistranslated

Or mistaken for being strictly historical, when such considerations are actually irrelevant to the intended understanding within such stories

The story of Kore descending into the underworld and her return to bring balance to the world through which conscious perception can exist and persist, is no different to the story of Jesus

The structure is the same across all the mythologies and religions, it is just told in sightly different ways

All of them are describing the base dimensional construct for all creation. Which can only exist within one sphere, mirroring to another across 13 dimensions

You need 1 torus/sphere/cell for internal and external to exist, and for direction to exist between them by which we can consciously "face" in any particular direction

Then you need a second torus/sphere/cell relative to this, to have a perception of internal and external existing "inside of" or "outside of" the other torus/sphere/cell

Between which, dimensions of triangulation can exist

And dimensions of square can exist

Exactly what is shown in the symbol of the philosophers stone

The interesting part of this structure is ...

That for every internalised sphere, there then exists a mirror external sphere

And for every external, there is an internal

The 3rd and 11th degrees carry exponentially

What we call fractal recursion and decay

This structure is the key to everything we know. Hence why it is the "philosophers stone"

[quintessentone]

Within the Eleusinian mysteries (which I have also been through) we teach this same principle using a female (1) core/centre/nucleus
--------
Notice how 3 in the painting holds their arms out, either side of their body. Like diameter (Demeter) stretching out from centre (Kore)
--------
As with 2 in the painting looking inwards at centre, radius (Hades) is the inward arc to centre (underworld)
--------
He takes Kore, then returns her in internal/external balance, from which we get physical structure and cycles like seasons

All of which can only exist within the structure and flow of a Torus / Taurus / Torah / Horus
--------

The structure is the same across all the mythologies and religions, it is just told in sightly different ways

All of them are describing the base dimensional construct for all creation. Which can only exist within one sphere, mirroring to another across 13 dimensions

Exactly what is shown in the symbol of the philosophers stone

The interesting part of this structure is ...

That for every internalised sphere, there then exists a mirror external sphere

And for every external, there is an internal

The 3rd and 11th degrees carry exponentially

What we call fractal recursion and decay

This structure is the key to everything we know. Hence why it is the "philosophers stone"

So without knowing whether or not your #2 subject is feminine or masculine, then your theory falls short.

Also, as to Da Vinci's method of painting and it's application in The Last Supper...I was taught the same method of subject positioning in my art lessons.

As well, Greek mythology is a hodgepodge of gender, perhaps also fractal in nature?:
 

In addition to Dionysus/Mise, several gods are referred to as "both male and female" or "both female and male" in the Orphic Hymns, including Selene, Athena, and Adonis. In Cyprus and Athens, an aspect of Aphrodite with male genitals and in some cases a beard, called Aphroditos, was worshipped.

https://en.wikipedia.org/wiki/Homoerotic..._mythology

[Compendium]

Also worth mentioning ...

In the Bible, the personification of DIMENSION (Demeter) is DANIEL

DANIEL very literally means DIMENSION