CHAPTER FIVE: Dante Alighieri's Mathematical System · ESOTERICISM: Practical Techniques used to analyze the Esoteric Science The Mysteries and the Esoteric Teachings of the Catholic

ESOTERICISM: Practical Techniques used to analyze the Esoteric ScienceThe Mysteries and the Esoteric Teachings of the Catholic Church

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CHAPTER FIVE

“I have been in the heaven that most receives of His light,And have seen things which whoso descends from up there

Has neither the knowledge nor the power to relate, because,As it draws near to its desire, our intellect enters so deep

That memory cannot go back upon the track.”i

DANTE ALIGHIERI’S MATHEMATICAL SYSTEMPrelude to Discovery

Dante had become a great part of my life not only because of what he wrote but because of how hepatterned the compositional structure of his La Divina Commedia. I came to Dante’s works in a roundabout way. I had purchased his translated three-volume trilogy a few years earlier, about 1980,thinking I would read one of Christianity great literary works. But when I entered into that process Ifound it very tedious to wade through, believe me that is being kind, then it was again placed on abookshelf most likely never to be read or studied again. I never, at that time, finished reading the firstvolume: the Inferno.

I was on another more important quest altogether as this above was happening. Some years before inJanuary 1977 I had discovered a cycleii in the first chapter of Genesis and I had not yet come to grip withwhat it was I had found. When I reached for the trilogy of The Divine Comedyiii once again on April 15,1983 it was not to read it but to analyze its compositional structure. That act came about on this wise. Ihad just gone to a book warehouse four days before to browse when I came across a volume on Astrologyin the Bibleiv. Ever since my insight into the Cycle of Divine Creation I had literally rejected Astrology foranother grueling four and a half years to my chagrin.

I would search the libraries of the world seeking for an explanation as to what that cycle was.Finally my defenses were down and in frustration (or a moment of weakness) I reached for it and tookit home. As I read it and implemented some of it ideas, in relationship to the Cycle of Divine Creation, Ifound that the basics concepts of Astrology were actually teaching me what this cycle was about. So asyou can imagine I was literally dragged kicking and screaming into accepting Astrology symbolicallycodified to the Sacred Scriptures. It was not something that came naturally to me especially when myupbringing in the Catholic Church is considered. The Catholic Church’s dogmas are shackles on themind, with balls and chains; those southern road-gang wardens know nothing of. “Thou shalt not eat of

the tree” is a powerful commandment and to disobey it brings upon the offender the wrath of allcreation.

That afternoon and for three day more I would stay home working on the cycle of Genesis. I knew bythe end of that four-day period that there was a system of 1584 cycles inferred in the first chapter ofGenesis. I even hypothesized and committed to drawings and worked out diagrams the astrologicallyorientation of words of the sacred scriptures into these Zodiac cycles.v I had gone as far as the 3rd day ofcreation before I stop. I was very mindful of what was happening with these cycles. If such a system ofmathematical cycles were coded into the sacred scriptures then logic would dictate that such a system ofmathematics would mandate that other literary works written in antiquity would also have been used tocodify this knowledge. No one in modernity was going to believe these cycles that I just discovered in the


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first chapter of Genesis. I knew that my culture and the bigotry that abounds there concerning the JudeaoChristian Scriptures is second to none anywhere in the world.

As I reached for the trilogy of La Divina Commedia I had no intention of demonstrating or belief thatDante used the same mathematical system as that used inGenesis. Such an idea was absolutely inconceivable at thattime in my thought process. My initial hope was that Icould demonstrate some kind of mathematical scenariowas in play in Dante work. That is all I could possible hopefor with these fledgling steps into a new literary science. Iwas not thinking in terms of literary science at the time. Ijust needed something for my own sanity to stabilize mythought patterns. Dante’s work has a hundred chaptersand thousands of verses. What were the odds that ahundred chapters (100% of something) with thousands ofverses would exude a mathematical pattern? Out of mymeager library at the time Dante’s work from antiquity(only 662 years old – 1321AD) was the only candidate forsuch a possibility.

This four-day period of time was extremely exhilaratingand one of exhortation that I cannot dare hope todescribe. I knew I was on the verge of a great discoveryand all I could do was beseech the spiritual aeonsthemselves to stay with me until I learned what I neededto know. The time seems to fly by with wings attached tominutes as if they were seconds. Some 96 hours later,without sleep, I was brought to exhaustion and collapseand yet I could not get to sleep. It was obvious from yearsof research what was happening to me. The unconsciousmind was coming forward and I had no choice but to visit a doctor and explain why I needed help gettingsleep. This is not the first time I had probed the depths of my unconsciousvi serendipitously unknowinglyfacing psychic dangers I knew nothing of.

About 36 hours later I revisited my thoughts, diagrams, and notes concerning those four days. Theredid not seem to be a flaw in my thought process nor in my worked out diagrams concerning my work onthe first chapter of Genesis. As for Dante’s work that was another issue. It took me all of five minute ifthat long to determine that Dante Alighieri did have some kind of mathematical system in his work. I mayhave made that determination in five minutes but it would literally take me another 11 years before Iwould fully devote myself again to the book of Genesis. Yes, I would pick and peck at Genesis over thatperiod of time but the majority of my time was devoted to Dante’s La Divina Commedia.

When I initially pick up the first volume of The Divine Comedy I simply went to the end of the firstchapter to determine how many verses it had. It had 136 verses. I simply cast-out-nines in this number todetermine its lowest common denominator: 1 + 3 + 6 = 1 0 = 1 + 0 = 1. The second chapter had 142verses: 1 + 4 + 2 = 7. As I continued I found that no matter what chapter I performed this minor


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calculation on there would be only be a sum digit of #1, #4, or #7. After about 10 chapters the patternsbecame all too obvious and I had seen enough to conclude that there indeed was a mathematical systempresent. At the time I did not consciously take note that the La Divina Commedia was written into athree-verse rhyme pattern called the Terza rima.Every single one of the 100 chapters of theCommedia would have a range of numbers from115 – 160, which structures each chapter with thisthree verse rhyme leaving a lone verse at the end.This would by necessity produce the three sum-digits #1, #4, and #7, which allows La DivinaCommedia to have its compositional structure. Ihave above constructed a pair of mathematicaltables that illustrates these nuances from the rawdate of the 100 chapters. Because of the manymathematical scenarios that were found in anddeveloped from the Commedia it behooved me toname appropriately the different conceptualpatterns that I had come across so that they couldbe intelligently discussed.

Since I have completed my work on the LaDivina Commedia I have come to wonder whyDante Alighieri kept the compositional structure of his work a secret not only from his family but from hiscontemporary times. In the entire history of La Divina Commedia nothing has come down in the recordindicating that Dante had ever used a blueprint to structure his work but nonetheless he did.

There is a great deal of information in these above mathematical tables demonstrating the data fromthe Volumes and the Sum-Digits. I caution the initiate to finish this chapter before going headlong into aserious study of them. For now just peruse this chapter to get a quick sense of what I am talking about.The pattern of the three volumes is Inferno: 34 cantos, Purgatorio: 33 cantos, and Paradiso: 33 cantos.This is very important because when the three Sum-Digits are analyzed it is found that they form the samenumerical pattern as the volumes: Sum-Digit #1: 33 cantos, Sum-Digit #7: 33 cantos, and Sum-Digit #4: 34cantos. This correlation of hidden patterns in the compositional structure via its Volumes and Sum-Digitsof La Divina Commedia was indeed exhilarating.

I suggest that reader obtain a copy of La Divina Commedia (The Divine Comedy) in the Terza Rimaformat and retrace my steps of discovery. If the reader sees for himself where and how this raw materialwere obtained and follows the reasoning of this chapter in relationship to that it is hoped that a sense ofhow the esoteric science is obtained is envisaged.

I have taken the 10 x 10 square: The Universal Mathematical Matrixvii and merged it with the 100chapters of La Divina Commedia. The 100 chapters of the Commedia are placed into the matrix insequential order from the beginning of the first column to the end of the last column. In this manner itcan be demonstrated that there is no manipulation of the data and with this procedural method theinitiate should be satisfied that the raw material of the Commedia has been handled scientifically andwithout bias.


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THE UNIVERSAL MATHEMATICAL MATRIX (10 x 10 Square) was superimposed over Dante Alighieri’s100 cantos, which makes up La Divina Commedia. This new matrix “La Divina Commedia’s MathematicalMatrix”viii should not be considered bias for we have demonstrated elsewhere how the first part of theoriginal matrix came about and how other cultures have used it.

I have color-coded the “3s, 6s, 9s” gray in the above ‘La Divina Commedia’s Mathematical Matrix’ inorder to illustrate that Dante’s Commedia sectioned off a “3 x 3 Square”, as was demonstrated with theoriginal Universal Mathematical Matrix. This now leavesus with only six numbers to command “36 cantos.” Thenine sections, inside the “3 x 3 Square (Commedia’s Kameaof Saturn)”, comprise those “36 cantos” and are in-groupsof four cantos each. Each of the numbers “1, 2, 4, 5, 7, 8”commands six cantos. There are “12 threes,” “12 sixes”and “40 nines” that commands the other “64 cantos.”

To understand what is about to be done we must firstexplain that number “1, 4, 7 (white area)” are CardinalSigns of Astrology. Numbers “2, 5, 8 (black area)” are Fixed Signs and numbers “3, 6, 9 (gray area)” areMutable Signs. Having explained that, when we totaled the verses of La Divina Commedia commanded bynumber “1, 4, 7” we obtained a total of “2580 verses” which gives us an average of “860 verses” per

number (2580 3 = 860). And when we totaled the verses commanded by numbers “2, 5, 8” we obtaineda total of “2580 verses.” We obtain the same average as seen in numbers “1, 4, 7.”

We find that the Cardinal Signs total “2580” by the following: “(1) 879 + (4) 837 + (7) 864 = 2580 3 =

860,” and that the Fixed Signs total “2580” from: (2) 861 + (5) 846 + (8) 873 = 2580 3 = 860.Now of course I am not narrating the chronological order in which these discoveries were made. This

incorporation of the Universal Mathematical Matrix with La Divina Commedia was the culmination ofalmost eleven years of trying to understand what brought Dante’s work into a unifying system ofmathematics.

MATHEMATICS IN LA VITA NUOVA

The chances that this above mathematical play with the Universal Mathematical Matrix and La DivinaCommedia is an accidental correlation between two well known groups of numbers, coming fromAstrology, is inconceivable especially when that correlation relates directly to Dante Alighieri's previouswork: La Vita Nuova.ix I explained in chapter four how this matrix was serendipitously discovered. Toplace Dante’s work to this fluke of a discovery was wishful thinking at best. Was it possible that there wasa relationship? I simply did not know. I could not very well reject such a possibility out of hand because itwould have been negligent on my part to do so. The only thing that had stayed my hand previously wasthe enormous amount of work that would have to be done on this material to determine if such apossibility of a corresponding relationship between the two systems was practical. Of course once thework is done and the analysis made the rewards are boundless but before that could come about thedetails had to be worked out and studied. It all seems so easy now but back then there was only acalculator in hand and not a computer that can easily transfer the data around so carefully and quickly.

The compositional structure of La Vita Nuova comprises a total of “2166 Verses.” “680 Verses” arefound in the “31 Poems” leaving us a total of “1486 Verses” in the commentary. When we subtract an


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additional “680 Verses” from “1486 Verses” we have a remainder of “806 Verses” for commentary onthose poems. As you can see there is a play on the two numbers “6 & 8” totaling “14”. The only otherliterary document that has this “3 x 14” scenario outside La Divina Commedia and La Vita Nuova that weare aware of can be found in the first chapter of Matthew's Gospel concerning the genealogy of JesusChrist which is marked off as “3 x 14” generations. Or this use of the numbers 8 & 6 could be a play of thetotal numerical value of the word “Elohym: 86”. Dante's use of the digits “6 & 8” in both La Vita Nuovaand La Divina Commedia leaves us no doubt that his compositional structure was deliberate. This scenarioof “3 x 14” would indicate that Dante was hinting that his mathematics is conveying a message that he isgoing to be dealing with the Dawn of Christianity. Leaping to that conclusion concerning the beginnings ofChristianity is not premature considering that we are dealing with two of the great literary works ofWestern Civilization: The Judeao Christian Scriptures & Dante Alighieri's works. There are “42”generations in Jesus Christ's genealogy in Matthew's Gospel and “42” chapters in Dante Alighieri's La VitaNuova.

There are a number of interesting points concerning the La Vita Nuova and one is that 2166 versesappears to be a play off of Beatrice’s birth year: 1266. Beatrice is a young lady (spiritual idea) that caughtDante’s eye at very young age and she was his spiritual inspiration for writing his works. For me Beatricerepresents the spiritual aspects of Christianity for Dante. She could very well represent symbolically hissoul. Regardless of that fact the La Vita Nuova is crammed packed with mathematical nuances. There are31 poems, which coincide with the 31 verses of the first chapter of Genesis. Then there is the fact that outof the 31 poems 23 of them have only 14-lines. The other 8-poems have a great deal more verses than14. What this does is separate the poems into #8 & #5, as are the waters of creation in the first chapter ofGenesis. Is this all a coincident that La Vita Nuova is patterned after the mathematics of first chapter ofGenesis? I doubt it seriously. When we take the amount of verses in the 31-poems: 680 and multiply it byitself and divide by the calendar year we arrive at the year of Beatrice’s birth: 680² ÷ 365.242199 =1266.009…. Another nuance is found in the 11.242199 days that are added to the Moon Calendar Year togive us the Solar Calendar. When this figure is multiplied by the year of Beatrice’s birth we find itproduces a total that is equal to the amount of verses in La Divina Commedia: 11.242199 x 1266 =14232.623934. Notice that without the exact calculation of the calendar year these equations are notpossible. We are told these people did not know of these calculations of the Solar year. Yet, we findcalendar monuments to the solstices around the world by many different cultures that go back furtherthan Dante’s time.

LA DIVINA COMMEDIA’S 5 x 5 KAMEA’S MATRIX

We now look at the “10 x 10 Square” from a different viewpoint. We just saw that Dante used ninesections of this “10 x 10 Square” to correlate La Divina Commedia's mathematics to La Vita Nuova. Whatabout the rest of the “10 x 10 Square”?

Since Dante created a scenario in La Divina Commedia with nine sections of four cantos each what wasthe possibilities of him sectioning off the entire 10 x 10 Square into a 5 x 5 matrix, which produces 25sections of four cantos each? You may ask why he would do such a thing. The answer to that lies in therealization that at the end of La Vita Nuova Dante promised he would not write about Beatrice againunless he could “do so more worthily.”x First Dante takes nine sections of four cantos each to point to hispoems in La Vita Nuova, it was the next logical point of inquiry to section the entire poem off within this


“10 x 10 Square” into “25” parts of four cantos each. Dante was nine years of age, in 1274 AD,xi when hefirst met Beatrice, and he was twenty-five years of age when, in 1290 AD,xii Beatrice died.

When sectioning off La Divina Commedia’s“10 x 10 Square” into “25” parts we totaledeach group of four cantos. We thendetermined if there was any totals repeatedtwo or more times and separated thosegroups from those that were used only once.It was found that seven totals are used onceand seven totals are used more than once. Bystudying the “100 Cantos” it can be seen thatthe sum-digit of each canto after casting-out-nines: brought down to its lowest commondenominator, is “7, 1, or 4.” With the “25”totals there will be a mixture of these sum-digits within each group of four cantos so Ibrought each of the “25” totals (used two ormore times) down to their lowest commondenominator and separated them intocolumns of “7, 1, or 4.”

In analyzing the three groups of numbers“7, 1, 4” it can be seen that in each of their totawere random we would not have this symmetrywithin these groups. The final total is “10266”which is just another play on the year ofBeatrice's birth: “1266.”xiii We have just seen thisplay of Beatrice’s birth year in La Vita Nuovamathematical patterns.

As we study this “10 x 10 Square” we arelearning the ground rules or mandates on how toWe have learned that Astrology plays an imporCalendar Year plays a part by the sum-digits of “Divina Commedia. Though these three numbersare Cardinal Signs of Astrology they alsorepresent the pattern of the Calendar Year of 1-month with “28/29 Days,” 4-months with “30Days,” and 7-months with “31 Days.”

In eulogizing the Zodiac/Calendar sign/month that Beatrice was born in Dante uses thesum-digits “7, 1, 4” in the ‘5 x 5 Matrix’ in suchof ways. First we see that the 5 x 5 Matrix can b5 x 5 Matrix’s 3 x 3 Kamea’.

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ls the last two digits equal “22.” Again if these numbers

analyze La Divina Commedia's compositional structure.tant part in its analysis. There is also the hint that the1, 4, 7” having something to do with every canto of La

a way that he creates this Capricorn Symbol a numbere sectioned off into a gigantic 3 x 3 Square called ‘The


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For instance, in looking at the “10 x 10 Square”, Commedia 5 x 5 Kamea from another view point weobtain another “3 x 3 Squares.” When we add up all nine sections of four cantos each we obtain a total of“5022.” This is another example of a total with “22” as the last two digits. This total “5022” seems to be aplay on a device Dante uses in putting La Divina Commedia in a sphere and grouping two or more of thesame sum-digits: “7, 1, 4.” A total of “50 Cantos” are used to make “22” groupings and 50 Cantos aredisbursed (see Dante’s Commedia in a Cycle).

When I looked at the nine totals' sum-digit numbers (not in the 5 x 5 matrix’s 3 x 3 square) I foundthere are six #1s and three #4s. Then I drew a linefrom one #4 to another in this “3 x 3 Square” Ifound that I was creating a large “V Shape” in it.Then I draw a line from one #1 to another,forming a large cup shape with the “V-shape”inside of it. This is the Capricorn Symbol. This isthe same design Dante used in his mainmathematical thesis.

Now when looking at the “10 x 10 Square (5 x 5Matrix - Capricorn Symbol by #4)” again looking atthe “25” sections of four cantos each the emphasisis just on the placement of the sections that arebrought down to the common denominator “4”.When we draw a line from one four to anotheragain we produce the Capricorn Symbol. Theseten #4s represent the sign of Capricorn becauseCapricorn is the 10th sign of the Zodiac. At firstthese 10 #4s seems to be scattered randomlyaround the 5 x 5 matrix until closer attention ispaid to the array of data. This Capricorn Symbol will be discovered in the first chapter of Genesis in theCycle of Darkness. So again it is not surprising to see Dante utilizing it in his mathematics if he is indeedobtaining his inspiration for his mathematical system from Genesis. It should be noted that this pattern of5 x 5 is known as the Kamea of Mars as we have seen in the previous chapter.

It should be mentioned that Dante emphasizes the Cardinal, Fixed, and Mutable signs of Astrologyin his sectioning the “10 x 10 Square” into “25 Parts.”

1. The total for each section of four cantos has a common denominator of “1, 4, 7”: Cardinal Signs ofAstrology, (Commedia's 5 x 5 Matrix).

2. Each column or row in this “5 x 5 Square” totals to a common denominator of “2, 5, 8”: Fixed Signsof Astrology (Commedia's 5 x 5 Matrix).

3. The “3 x 3 Square” is created by sectioning out columns and rows “3, 4, 7, 8” and total theremaining three columns: three sections of four cantos each individually, we obtain a commondenominator of “6, 3, 9.” When we total the remaining three rows of three sections of fourcantos each individually we obtain a common denominator of “6, 6, 6” (The 5 x 5 Matrix's 3 x 3Kamea).

The 5 x 5 Matrix's 3 x 3 Kamea


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LA DIVINA COMMEDIA & THE TAROT CARDS

Dante used many different devices to elucidate his idealism. His use of the number “22” is an obviousreference to the “22 Hebrew Letters,” and the “22 Major Arcana Tarot Cards” especially since Dante in the8th canto of Purgatorio mentions his friend Judge Nino Visconti.xiv The Visconti family commissioned one of

The 5 x 5 Matrix's Capricorn Symbol

5 x 5 Matrix - Capricorn Symbol by #4


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the earliest known Tarot Decks.xv “The heraldic device of the Visconti of Milan was a blue viper swallowinga red Saracen.”xvi This of course alludes to the crusades. As a Christian is diametrically opposite to aMoslem (Saracen), the color blue is diametrically opposite to the color red, so is a snake (Ouroboros)eating its tail a depiction of an opposite attempting to destroy its opposite nature: the head (of the snake)eating its tail. When Dante put La Divina Commedia in a circular pattern where the first canto (136 = 1)had the same sum-digit as the last canto (145 = 1) he was symbolically referring to Judge Nino Visconti'sfamily Tarot Deck and shield by imaging the Ouroboros. The idea of the blue snake eating the red Saracenis symbolic to Elohym emerging as a feminine god. Blue is feminine and red is masculine.

It has to be pointed out that this device that Dante uses to point out the number “22” is also a play onthe amount of years it is said to have taken him to write La Divina Commedia: 1300 AD to 1321 AD = 22years. The Major Arcana Cards is numbered “0-21.”xvii Also Dante was born in the year of 1265 AD, anddied the year of “1321.” That is a total of “56 years.” There are “56 Minor Arcana Tarot Cards.”xviii This kindof confirmation in the legends of Dante’s life confirms our hypothesis concerning the Tarot Cards. TarotCards are symbolic images and linguistic tools and not the barbaric fortune-telling tool of contemporarytimes.

The entire La Divina Commedia is structure with creation mathematics to depict the battle of theopposites. Dante's epic poem journeying from the Inferno to the Paradiso does not take place without amystical event-taking place where he is transformed to the Moon and other planets by some unknownmethod. Yet he is being prepared for his final vision of the Trinity at the end of La Divina Commedia.Dante is being turned into a new being. Just as the red Saracen being eaten by the blue snake wouldindicate that the Saracen would become by the body metabolism of the snake: the blue snake, so does


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Christianity believes it can obtain converts by absorbing other cultures and Christianizing them. In a senseChristianity has cannibalized the world. This is precisely what the mathematics in creation is telling it todo. Christianity cannot do anything else but what it is compelled to do. Yet, has Christianity a history ofdoing that? In what way is Christianity commissioned to cannibalize the world, from a physical or from aspiritual and mental perspective? Physically we can go to war and take other cultures' gods away fromthem and force our beliefs systems on them or we can compare their culture from a spiritual and mentalperspective, with our own and note the similarities in their use of the mathematics in creation. Themathematics in creation is a masterpiece in nature depicting unyielding opposites. Dante imitated what helearned from creation mathematics.

LA DIVINA COMMEDIA’S VERSES & THE CALENDAR YEAR

The “14233 verses” in La Divina Commedia is not an arbitrary figure chosen at random. It was chosenbecause it represents “39” Moon Calendar Years. A complete Moon Calendar Year cycle takes “38 Years”with “14” intercalary months. La Divina Commedia usesone additional Moon Calendar Year. This “39 MoonCalendar years” infers the Old Testament with its “39Books.”

Out of “13” base numbers: 115, 124, 130, 133, 136,139, 142, 145, 148, 151, 154, 157, 160; that make up thestructure of La Divina Commedia the numbers “115 & 124,” which do not increment by threes as theother eleven numbers do from “130 - 160,” commands “354 verses” out of the “14233 verses.” Thatcoincidence cannot go unnoticed. Subtract “354” from “14233” and we obtain “13879.” When wemultiply “365.242” (Calendar Year) by “38” we obtain “13,879.196.” The Moon Calendar Year is far moreaccurate than the Calendar Year. It is “0.25” of a verse more accurate: “13,879.196 + 354 = 14,233.196 -14,232.946 = 0.25.” Also note that the numbers not used from “115 - 160” are”118 + 121 + 127 = 366,” orthe amount of days in a Leap Year.

LA DIVINA COMMEDIA’S THIRTEEN BASE NUMBERS

In the history that surrounds La Divina Commedia there is a story that tells of Dante's son having adream and being told where the last “13” cantos were placed when Dante was alive.xix The dream, ofcourse, could only have been referring to the “13” numbers that make up the compositional structure ofLa Divina Commedia. They are hid behind the veil of a poem of such vast quantitative material that mostpeople would be overwhelmed by its massive mandate to analyze it. Look behind the veil of thatquantitative material and the mathematics of the poem reveal itself. If the mathematics were not presentto confirm that Dante was the sole author of his poem, it could have been argued that his sons completedthe poem. But since Dante's sons own commentaries do not mention the mathematics of La DivinaCommedia we can be certain that Dante is the lone author of La Divina Commedia.

Each and every one of these 13 base numbers is so well thought out that it literally percentage-wiseequals the amount of times it is used in La Divina Commedia. Such precision does not come easily. Howdid the author do it?

Another interesting point about these 13 base numbers is that they follow the format of the first wordof Genesis. If you remember from the chapter on the Genesis Formula Bereshith has six letters. The first


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two letters total to #4, the next three letters total to #5, and finally the last letter is #4. So we have in LaDivina Commedia a play off of the first word of Genesis. Correlating the 13 base numbers from theirlowest values to their highest values this pattern emerges as seen above. Also see my translation and

commentary on the 5th verse of Genesis.xx There is the same pattern of 4 + 5 + 4 as seen here in the arrayof 13 base numbers that Dante uses to pattern his La Divina Commedia after. Note the large amount ofverse contained in the five base numbers 136, 139, 142, 145 and 148 in relationship to the other eightbase numbers. One must wonder with these two examples out of Genesis if Dante did not copy thispattern from there. This 4 + 5 + 4 pattern is also a play off of the #5 & #8 scenarios depicting the waters ofcreation in the first chapter of Genesis. As you can see from the La Vita Nuova and La Divina Commediathat there are independent sources outside of the first chapter of Genesis, as we know it, that confirm thepattern observed there.

There have been others researchersxxi that have seen a harmony in La Divina Commedia regarding theverses and bringing them down to a common denominator. Their error was not bringing their sum-digitsto the lowest common denominators and hence they missed the mathematical overall structure of LaDivina Commedia.


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LA DIVINA COMMEDIA’S SWASTIKA

In the first part of “DANTE ALIGHIERI'S La Divina Commedia's MATHEMATICS” the three volumes aresequentially enumerated: cantos, amount of verses, and thecantos' sum-digit. The second part lists each sum-digit in itsown column showing that the sum-digits give off the samepattern that is emitted from the volumes: 34 + 33 + 33 =100. The second part also emits its own “3 x 3 Square” withits own nine sections. When we place the total amount ofeach sum-digit in a “3 x 3 Square” we can see the summaryof La Divina Commedia's mathematics at a glance. A sum-digit that dominates a volume becomes that volume's sum-digit. This is why the “La Divina Commedia's KameaSwastika” is inherent to La Divina Commedia.

Dante composed his La Divina Commedia's Kamea toformulate a Male Swastika. The central five figures createtwo “18 + 8 = 26,” two “18 + 7 = 25” and the peripheral armsof the swastika are “15 + 8 = 23” and “16 + 7 = 23” (two 23s),“11 + 7 = 18,” and “10 + 8 = 18” (two 18s).

The Thirteen Base Numbers Distributed within La Divina Cocells of La Divina Commedia’s Kamea that a patternemerges similar to the pattern we discovered with the ninekameas. It appears to be that of the Masonic Symbol: Square,Compass, & G.

In ‘The Divine Comedy’s Kamea & Swastika’ we saw asnapshop of how the 100 chapters of the La DivinaCommedia were dispersed. In this manner the swastikawas envisaged. The next chart shows how the 13 differentbase numbers are thinly distributed within each of the ninecells of the Commedia’s Kamea. In this way we can seewhat base numbers are used in each cell and how manytime each of these base numbers are used in each cells. Bygoing the extra step and finding out these minute detailssome additional benefits are attained. Masonic Symbolismis something very easily recognized. We find on thePresidential Seal of the United State an eagle with 13 olivebranches in one talon and 13 arrows in another, with 13stars arching above.

This pattern seems to be a basic archetypal image in theesoteric science. This is intriguing because it was theMasons that are credited for starting and building most ofWashington DC. It is said that most of the early fathers of t

mmedia are so dispersed within the nine

h
e United States were Masons. This of


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course places Dante Alighieri works within that same secret society. Most Masons today in the twenty-first century would not know what you are talking about if the esoteric science was mentioned. This isbecause it has always been the rank and file that supported the elite few. In this case the true core ofthe Masonic Order would need funds to support their esoteric efforts around the world.

DANTE’S LA DIVINA COMMEDIA HAS NO “MARGIN OF ERROR”

InfernoInfernoInfernoInfernoInferno

InfernoInferno

InfernoInfernoInfernoInferno

Sum-Digit-7Sum-Digit-7Sum-Digit-7Sum-Digit-7Sum-Digit-7

Sum-Digit-1Sum-Digit-1

Sum-Digit-4Sum-Digit-4Sum-Digit-4Sum-Digit-4

=====

==

====

21255

71

3521

xxxxx

xx

xxxx

115124133142151

136145

130139148157

=====

==

====

230124266710755

952145

390695296157

/////

//

////

1423314233142331423314233

1423314233

14233142331423314233

=====

==

====

0.016159630.008712150.018688960.049884070.0530457

0.066886810.01018759

0.027401110.048830180.020796740.01103070

PurgatorioPurgatorioPurgatorioPurgatorio

PurgatorioPurgatorioPurgatorio

PurgatorioPurgatorio

Sum-Digit-7Sum-Digit-7Sum-Digit-7Sum-Digit-7

Sum-Digit-1Sum-Digit-1Sum-Digit-1


====

===

==

2231

594

52

xxxx

xxx

xx

133142151160

136145154

139148

====

===

==

266284453160

6801305616

695296

////

///

//

14233142331423314233

142331423314233

1423314233

====

===

==

0.018688960.019953630.031827440.01124148

0.04776290.091688330.04327970

0.048830180302079674

ParadisoParadiso

ParadisoParadisoParadiso

ParadisoParadisoParadiso




==

===

===

91

133

169

xx

xxx

xxx

142151

136145154

130139148

==

===

===

1278151

136435462

130834

1332

//

///

///

1423314233

142331423314233

142331423314233

==

===

===

0.089791330.01060915

0.009555260.030562780.03245978

0.009133700.058596220.09358533


136

The next diagram in the 13 base numbers series is Dante's La Divina Commedia Has No “Margin ofError”. This was quite a surprise because I was able to demonstrate that each of the based numbersused in a cell of the Commedia’s Kamea has a percentage of use that is indicative to how many times itis used. Now I openly admit that because of the limited usage of each base number no number couldcreate, in and of itself a margin of error, but that is a bit too fortuitous if it was not deliberate. Forexample the base number 115 is used two times. If it were used three times it would have created amargin of error. But no single base number has been allowed to create a margin of error. In fact whenthe initiate views the 13 base numbers used throughout La Divina Commedia no single base numberhas been allowed to exceed it maximum percentage value. In fact each base number has beendeliberately peaked at its maximum percentage value in relationship to all the other base numbers. Idefy anyone to disprove that analysis. Such mathematical precision could not have been easy toaccomplish.

We have seen that the three volumes: have a pattern of “34 + 33 + 33,” and we have seen that thethree sum-digits: “7, 1, 4” also produced that pattern. The Inferno has “34” in its volume (sum-digit “7”dominates that volume), and Paradiso has “34” in its volume (sum-digit “4” dominates that volume). The


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next goal was to find “34 Cantos” for Purgatorio. We can surmise just from La Divina Commedia's Kameahow to obtain the required cantos but it is not a scientific way of researching.

Realizing that I could take La Divina Commedia’s Kamea andobtain an average of the amount of verses for this “3 x 3 Square”solved the problem. For instance, adding all the verses in eachof the nine sections of the second part (Sum Digits) of DANTEALIGHIERI'S LA DIVINA COMMEDIA'S MATHEMATICS. Thendivide the amount of cantos, used in each volume, into each ofthose totals and obtain a quotient that is similar to one of the“13 Base Numbers”. When the result are merged with thequotients that are closest to figures of the “13” base numbers Iwas able to obtain a pattern, through sum-digits, that produceda “33 + 34 + 33” scenario. So I was able to obtained “34 Cantos”for Purgatorio.

I should point out that the last calculation in “34 Cantos forSum-Digit-1 (Purgatorio),” gave us a choice between basenumber “142 or 145” giving us a Sum-Digit of “1 or 7.” Since inmy analysis I already obtained three “1s,” three “4s,” and two“7s” the obvious choice was “142” obtaining the third Sum-Digit“7.” I have not found grounds to regret my decision but ratherfound overwhelming evidence of its validity in THE UNIVERSALASTROLOGICAL MATRIX.

Purgatorio's Capricorn Diagram produces the same Capricornpattern that Dante developed through the 5 x 5 Matrix above.The #4 creates the V-shape within the U-shape that the #1s &#7s create. This Capricorn Symbol represents Beatrice. Thereare now nine totals: three from the Volumes: Inferno-7, 4720;Purgatorio-1, 4755; Paradiso-4, 4758; three totals from the Sum-Digits: 7, 4677; 1, 4731; 4, 4825; and three totals from La DivinaCommedia's Kamea: Kamea-7, 4716; Kamea-1, 4861; Kamea-4,4656. That would give us three totals for each sum-digit. To obtain twelve, to have enough to orientate tothe Zodiac Cycle, I would have to average the three totals for each sum-digit.

The very idea of averaging brings to mind fluidity orWater Triplicity. I was extremely lucky in my intuitivemanner in which I chose to analyze the various aspectsof the mathematical scenarios.

I know that I am correct in my orientating thesetotals to the Zodiac from a number of ways. Theeasiest way to determine accuracy here was to look forthe smallest of these twelve totals and orientate it toAquarius/February because it has only 28/29 Days in amonth. The next four lowest numbers can be found in


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sum-digit “7.” Now this is very surprising because in and of itself it defines the orientation of the othertotals to the Zodiac/Calendar year. The four totals coming from Sum-Digit-7 were placed into the fourmonths with 30-days, which happen to be 1, 3, 6 and 8, which forms a butterfly pattern. There is onlyway to produce two other butterfly patterns with the other eight numbers, which fall into the slots ofthe Zodiac according to Triplicities that relate synchronistic to the Volumes (Fire), Sum-digits (Earth),Kameas (Air) and Averages (Water). This three butterfly pattern produced a Star of David dead centerto the Zodiac/Calendar year. I found that quite interesting. In fact it is Dante’s work here thatoriginally put me on to the Star of David in the Calendar subsequently all my other discoveries in thatarea begins here.

LA DIVINA COMMEDIA’S ZODIAC CYCLE

When studying the VOLUMES, SUM-DIGITS, KAMEAS, and AVERAGES totals it can be determinedthat these four devices Dante used are just other names or definitions for the four Triplicities: Fire(Volumes), Earth (Sum-digits), Air (Kameas), Water (Averages). They also define the four numbers asdefined by the Pythagorean Tetractys. We are literally talking about the Quadrivium: four mathematicalsciences. And when all these nuances are placed into La Divina Commedia's mathematics the totals

themselves fall into place. When we place Sum-Digits “7's” four totals in the four months with “30 Days”according to their triplicities then you can see the other seven totals for “31 days” followed the format asset down by the previous five totals. There is only one way that these totals will fall into place.

I have placed the Commedia Zodiac Cycle diagram, with all its peripheral data, above to give the readera sense of how putting all the data together does create some beautiful concepts. In a sense this diagramis one of the most exhilarating moments in my research on Dante’s poem. I must say that when I firstentertained the idea that the Star of David was in the calendar year it was in the development of thisparticular cycle. In fact most of the research outlined in this work is a direct result of my research on LaDivina Commedia.


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THINKING OUTSIDE THE BOX

One of the interesting concepts that was brought to my attention while researching Dante La DivinaCommedia was the fact that all the data that Dante needed to structure his Commedia did not necessarilyactually have to physically exist in the raw material he was using. Much of my grasp of Dantemathematics was gleamed by simply meditating on the data at hand. For example the Kamea of Saturn,which was discussed in the previous chapter, was one of my major breakthroughs in grasping Dante basicstructure of the poem. Just above you have seen how I was able to obtain three kamea totals and threeaverages by simply using some innovating thought. This I believe is one of the major reasons for theesoteric science: to get the initiate to reason outside of the box so to speak. The box in this case is ofcourse religious and/or academic orthodoxy.

Take for example the Kamea of Saturn and the Swastika above. I had for sometime the pattern of theVolumes and the Sum-Digits and I saw how the Sum-Digits interacted with the several volumes but I couldnot find a way of explaining those interrelationships without a litany of rhetoric that would bore anyone totears. An incident with my father came to mind when I was seventeen. He had come home with abrainteaser. He told us (my sister, brother, & I) to take a tit-tac-toe box and place inside each of the cellsone of the nine base numbers. Each of the nine numbers was to be used only once: the 3 x 3 squareshould total to 15xxii, horizontally, vertically, and diagonally. It was this teenage memory that allowed meto place the data I had thus far accumulated from La Divina Commedia and consolidate it into a nutshell.At this stage of my analysis on Dante’s La Divina Commedia I knew nothing of the Kamea of Saturn. Thatresearch would come later. The more I looked at this 3 x 3 device I could not see how Dante did not knowof it. All logic screamed out at me that he had to know of it. The more I contemplated that idea Ireasoned that if Dante knew of it then there had to be more to the device than I was at that time seeing.So as I circumambulated this 3 x 3 square I began to see the pattern of the Swastika. From this devicemany more discoveries were made that allowed me to finally come to the solution of Dante’smathematical system.

SILHOUETTES OF THE LAUGHING GODS

The research that was conducted on the first chapter of Genesis in relationship to the Genesis Formulaallowed me to place the accumulative data into agraphic and the ‘CROWN’ of creation wasenvisaged. It, therefore, was not a difficulthypothesis to leap to that Dante Alighieri, whoobtained his mathematical system from the firstchapter of Genesis, also used this technique ofusing graphics esoterically, as was done in the‘CROWN’ scenario, in his La Divina Commedia.

By taking the final totals that were envisagedfrom La Divina Commedia, which were ultimatelyused to astrologically orientate the Zodiac, andplace them into the Microsoft Excel graphic program to determine what would transpire was not aserendipitous action on my part. My observations tend to lend to the idea that the apparent synchronicity


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between two allied systems of thought would by necessity bring about similar modes of presenting datafrom the esoteric point of view.

I bring the initiate attention to the fact I placed the Zodiac in a linear order with the sign/monthTaurus/May first. This is because the #2 will always displace the #1 at every opportunity that presentsitself. I have not found this rule wanting because like the firstchapter of Genesis that begins w ith the Hebrew letter BETH, Dantealso wanted to begin his work with the #2 even if that meant doing itfrom an esoteric point of view. The initiate should test thehypothesis out on his own computer by entering these totals into hisMicrosoft Excel Program and placing sign/month Aries/April first.The graphic is of course a ‘broken line graph’. It demonstrates thesophistication of Dante era not to mention the sophistication of theCROWN graphic in Genesis, which hails from a more far distantantiquity. These broken line graphics demonstrates the finesse ofland surveillance.

The initiate should view the dark silhouette as having the featuresof a Neanderthal man, whereas the lighter silhouettes have twodistinctly smooth faces (from opposite directions) in comparison tothe Neanderthal man’s silhouette. The dark silhouette seems to beneutral with sharp distinct features, as if he had a stern personality,whereas, the white silhouettes appear to be laughing. This Neanderthal face is obviously, at least forme, a representation of humanity succumbing to the Animal Envoy. Where in the more refined facesof the lighter area of the graph is indicative of the Sky-gods, which hails to the idea of the HermeticSciences. The fact that these faces are there at all is a wonder. If the reader remembers we saw thatthe first word of Genesis: Bereshith brought forth the face of the Sphinx embossed upon creation.Again we find Dante imitating Genesis. It is as if the sky-gods are laughing at humanity for taking life allso serious. This graphic seems to be telling all of mankind that it is nothing but an animal and that wehave to lighten up. The lighter area next to the dark area should represent the sky-gods (HeavenlyGods). The dark area of this chart gives us the ‘gorilla man’, which initially looks like mountain peaks.But this last demonstrate a monotheistic god in contrast to the multiple sky-gods. How many timeshave we seen ancient carvings of a man’s face in a mountain? It happened quite a few times inantiquity long before Mount Rushmore was created. Ultimately though these three silhouette facesrepresent the Trinity, which Dante has a vision of at the end of Paradiso.

SEVEN LIBERAL ARTS

In one ancient manuscript Dante is seen sitting in his office surrounded by the Seven Liberal Artsenfolded in a “3 x 3 Square.”xxiii There were hints of Dante's Mathematical Science left by previouscommentators but they left their hints in the obscurity that they found this science.

All of Dante's works must be studied to understand La Divina Commedia. Then it would seem as if LaDivina Commedia itself was a bibliography in and of itself. All the different personages narrated in the textof the poem are indicative that their works are somehow used in the creation of this science esotericallyoutlined in La Divina Commedia.


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Dante's use of the Seven Liberal Arts is magnificent.xxiv We can easily see in the Volumes: the FireTriplicity, Sum-Digits: the Earth Triplicity, the Kameas: Air Triplicity, and the Averages: the Water Triplicity.We also see the definition of the Pythagorean Tetractys and the definition of the first four numbers.

The Seven Liberal Arts as Dante has taught us here give us seven different ways (and more) of viewingthe same idea. It gives us an infallible way of being certain about what we are doing. Life is for theglorification of God, and these Seven Liberal Arts show us how to do it with perfection and how to stayaway from error.1. VOLUMES: Here Dante has given us an example of order in Chaos. Dante's entire mathematical system

is here undisturbed by the passage of time. These volumes collectively, in and of themselves, give usthe definition of the number one. Dante’s mathematical system is complete with these 14,233 verses.Seeing it is complete is all that is required for building a cosmology. These verses represent Arithmetic:they are the sum of all there is in La Divina Commedia. Here in Chaos is all Seven Liberal Arts workingin a unified system: as one. What I mean by Chaos, in these three volumes, is that there does not atfirst blush; appear to be an order to the amount of verses per chapter. The amount of verses perchapter would appear to be random placement of data: hence the sense of Chaos. In fact the vastmajority of people that read La Divina Commedia normally summarily overlook this information.Today such volumes, chapters and verses are merely an easy way of referencing a text.

2. SUM-DIGITS: By breaking chaos down into a fixed set of numbers chaos is destroyed. It no longerexists. This is the beginning of error. This represents the number two but it also represents an inabilityto reason. Number two (academia) is incapable of thinking for itself. It is subject to the limitations ithas set for itself. Sum-Digits are incapable of thinking outside the box, which they have encasedthemselves. Music is the beginning of discord like the number two is the beginning of designatingopposites. By the sum-digits creating solid numbers, as in classification of data, Chaos could no longerreign in La Divina Commedia.

3. KAMEAS: Here man attempts to work out his own salvation. So he learns to use different methods tosolve his problems. Geometry enables the initiates to comprehend a problem much more quickly thenif he was to attempt to reason the problem out without such an aid. It does tend to obscure goodintentions by creating endless gospels. The individual can only study one in a lifetime.

4. AVERAGES: Water is the greatest all solvent. To use averages to express it was very good thinking.Astronomy/Astrology takes Arithmetic, Music/ Harmony, and Geometry and reconciles them back toGod. Astrology/ Astronomy is used to create a cosmology taking everything (all elements) intoconsideration. In a very real sense cosmology brings us back to Chaos but with a difference mindsetwhere we are no longer ignorant as we were when we first approached Chaos.

5. GRAMMAR: Here we have the vernacular of the language being used to illustrate the system. It doesnot have to be numbers and letters. It has to be at least intelligible to someone other then its creator.

6. RHETORIC: Is the many different disciplines and/or redundant patterns used and incorporated into thesystem. It is not just endless babbling to convince others of an argument.

7. LOGIC/DIALECTICS: We have seen the cosmology of La Divina Commedia's mathematics. To be acosmology it has to have a logical reasonable dialectic order to the placement of the data.

I have tried to show my reasoning in many of the difficult scenarios that came to my attention. Forexample you saw my approach of how I obtained 34-cantos for Purgatorio. The solution was right infront of me and I was able to use logic to obtain my goal. And another example was the obtaining of


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the three averages so that I would have 12-totals to orientate to the Zodiac. It is this kind of logic anddialectical discourse (with oneself) that is left in the text deliberately by the ancient scribes that enablefuture initiates to reason out the solution to the problems that they will be confronted with. I am notsaying the ancients went out of their way to leave clues, on the contrary. But they would not leave aninsolvable problem as a stumbling block preventing advancement in this esoteric science. The SevenLiberal Arts teach and explain each other’s nuances because they are all clones of each other usingdifferent garments.

THE CALENDAR YEAR

One of my most rewarding searches was to track down the origin of the Calendar Year, which plays animportant part in understanding fully what the “Star ofDavid” is saying in La Divina Commedia. It appeared inthe Calendar Year on January 1, 8 BC precisely two years,as the New Testament says, before the date of JesusChrist's circumcision on January 1, 6 BC. On January 1, 8BC the Roman Senate changed the calendar's months towhat we know today.xxv On that date the Roman Senateimplemented a change in six months of the calendar:“separate six” (Bereshith) signs/months causing the “Starof David” to appear in the calendar. Julius Caesar had two“Stars of David” entwined: (1) 6 months, 31 days; (2) 5months, 30 days and 1 month, 29/30 days.

I took the three groups of numbers in La DivinaCommedia's Astrological Matrix and discovered they gaveus the Star of David in the center of the Zodiac. Thisforced me to research the Calendar Year and correlate it tothe Nativity.xxvi

The actions of the Roman Senate brought about the geomthe Zodiac and this was recognized by the “wise men (astroloHerod. Notice that it does not say they went to Bethlehemwould not have needed to stop and consult anyone concernipropitiously to the ‘mythological proximity’ of the Birth of Cha possibility. Notice that the angels that talked to the shephmythological storyline in the spring time: April 1st, the concethe Star of David appeared on January 1, 8 BC the entire Nplace. Just backtrack from January 1, 6 BC to January 1, 8 BC mBirth-Dates, and Conception-Dates of Jesus Christ and John th

the story in the New Testament concerning

etrical configuration of the Star of David ingers)” that went to Jerusalem to talk to King

of Judea. For if it was a physical star theyng the star. The star appeared too close andrist for us to ignore the ramifications of sucherds were most likely talking to them in theption date of Christ. When you know thatativity story of Matthew and Luke falls intoathematically concerning the Circumcisions,

e Baptist.


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April 1st is the beginning of the Zodiac Cycle: beginning of creation in Jewish lore. Isn't it just tooadvantageous for the angels to be talking to shepherds in the field just nine months before the Birth ofChrist? The angels were talking about a new thousand year period: “a day is as a thousand years with thelord.”xxvii We find it more than coincidental that Cain, “Aman from the Lord,” (Gen. 4:1;) talked to Abel hisbrother, a shepherd (Gen. 4:2;), in the field (Gen. 4:8;).In Luke's Gospel we learn that an “Angel of the Lord”came and spoke to the shepherds in the field concerningthe Birth of Christ (Luke 2:8-18;). This is obviously thesame tale told twice with practically the samesymbolism; only the nativity story elaborates a greatdeal more than the Genesis account. Did Cain convertAbel to his religious beliefs? This is an honest questionbased upon the text’s narrative. Both sons, Cain & Abel,brought gifts to their deities. Cain bringing the first of hiscrop could very well have been the Eucharist. For onlywheat can produce the Eucharistic Host. When aChristian picks up his cross he sells all he has andsacrifices himself to God. At least this is what his religionmandated of him. Did Abel convert to his brother’sbeliefs? Did Adam take this conversion as Cainmurdering Abel? For Cain to turn a Jew into a Gentile isessentially murder in the eyes of Judaism. In fact a convconsidered dead by his family if he was orthodox. In fact thdeath of their child: wrenching their cloths, saying kadishbreaths, and sires children. Most Gentiles do not know whaan ethnic one. A Jew that converts to Christianity or Islam owhy a converted Jew’s parents would consider him dead ifreligion that is not Judaism is considered a Gentile religion.is an oxymoron. This is precisely why the Supreme Court ofimmigrate to Israel.

When I discovered that Dante Alighieri in using La VCommedia's mathematics I learned it was pointing to the Dindirectly pointing us to Matthew's Gospel the game plan ono doubt that shock therapy is the means that the ancients u

They were telling us that the priests, scholars and the aeducation. They in a sense were telling us that the whole worace of people stand on the precipice of no past and no futquestion that will quiver on our lips as we endure the agonAstrology’s Triplicities and Quadruplicities are a beautiful wain the Zodiac/Calendar Year. The initiate may get the imprefortuitous. On the contrary this mathematical system exists

erted Jew even now in the 21st century ise family will go through all the rituals of the, and mourning his death though he lives,t a Jew is. A Jew is a religious distinction notr any other religion is no loner a Jew. This is

he or she converts to a Gentile religion. AnyWe often here of Christian Jews in Israel: thatIsrael turned down so-called Christian Jews to

ita Nuova as the foundation of La Divinaawn of Christianity via the Birth of Christ by

f the mathematics becomes obvious. There issed to awaken the spiritually dead.cademicians know nothing about religion orrld knew nothing: demonstrating that we as aure. Who and what are we? This is the onlyy long after the ecstasy had gone out of life.y of verifying the pattern of the Star of Davidssion that much of the speculation has beento exude the spiritual message of God. Thus


the system has to literally exist in order for the Star of David to manifest by placing the triplicities in fourrows and the quadruplicities in three columns [in a blocked 3 x 4 pattern] the pattern of the Star of Davidemerges when this blocked pattern is replicated over and over again. From the top left to the bottomright of the diagram the three patterns of the Star of David reveal themselves in a straight diagonal line.From the top right to the bottom left of the diagram these patterns are disbursed around the Zodiac Cycleagain in a straight diagonal line. The numbers in this latter pattern are in sequential order from 1-12 as ifin a circle. Previously this pattern seems to have been conjured up out of nowhere. But this diagram hereconfirms that the Star of David pattern is inherent in the natural array of Triplicities and Quadruplicities.

144


145

The ancients would have had to understand that this pattern was inherent in the Zodiac/Calendarpattern otherwise how would they have graphically placed the Star of David into their graphics.

Another observation concerning Dante's use of the “10 x 10 Square” is seen in him separating out the“9 x 9 Square.” This “9 x 9 Square” is the impetus that gave us the “10 x 10 Square”: UniversalMathematical Matrix as you saw it constructed in the previous chapter. Taking that as our cue we can takeDante's La Divina Commedia in the “10 x 10 Square” and separate out the “9 x 9 Square. This “9 x 9Square” is known as the KAMEA OF THE MOON.xxviii When we take the numbers “1 - 81” and place them inthe KAMEA OF THE MOON: to formulate a magic square each column, row, and diagonal gives us the sumof “369.” Our next step in this Kamea of the Moon, is to cast-out-nines in numbers “10 - 81” leaving uswith just numbers “1 - 9”. When we take each of the nine numbers in and add the amount of verses ineach of Dante's cantos, commanded by each number, we discover that Dante did understand THE ORIGINOF NUMBERS and MAGIC SQUARES.

1 2 3 4 5 6 7 8 9

139 152 136 136 130 151 124 136 133

148 148 151 136 139 151 151 142 142

136 139 139 133 139 151 157 136 145

151 145 145 142 154 145 139 139 136

133 139 145 151 154 154 148 145 136

160 142 130 154 145 145 148 148 145

148 148 145 139 148 142 139 142 142

142 148 142 139 154 136 148 154 148

142 139 148 151 139 148 145 142 145

1299 1290 1281 1281 1302 1323 1299 1284 1272

We have demonstrated elsewhere that numbers “1, 4, 7” are Cardinal Signs of Astrology, numbers “2,5, 8” are Fixed Signs, and numbers “3, 6, 9” are Mutable Signs.

Cardinal: (1) 1299 + (4) 1281 + (7) 1299 = 3879

Fixed: (2) 1290 + (5) 1302 + (8) 1284 = 3876

Mutable: (3) 1281 + (6) 1323 + (9) 1272 = 3876

It can be seen that Dante so constructed La Divina Commedia that he allowed the KAMEA OF THEMOON to mandate its construction. The Fixed & Mutable Signs of Astrology have the same quantitativematerial, and the Cardinal Signs have only three verses more than the other two groups of numbers.


146

1 2 3 4 5 6 7 8 9

1 2 3 4 5 6 7 8 9

10 11 12 13 14 15 16 17 18

19 20 21 22 23 24 25 26 27

28 29 30 31 32 33 34 35 36

37 38 39 40 41 42 43 44 45

46 47 48 49 50 51 52 53 54

55 56 57 58 59 60 61 62 63

64 65 66 67 68 69 70 71 72

73 74 75 76 77 78 79 80 81

333 342 351 360 369 378 387 396 405

Cardinal: (1) 333 + (4) 360 + (7) 387 = 1080 3321 = 0.3252

Fixed: (2) 342 + (5) 369 + (8) 396 = 1107 3321 = 0.3333

Mutable: (3) 351 + (6) 378 + (9) 405 = 1134 3321 = 0.3415

When we look at the above charts we should try to understand Dante's motivation for using it toelucidate the ideas he apparently sees in nature. We have just seen a format develop from La DivinaCommedia's mathematics from the “9 x 9 Square”. Let us now look at numbers “1 - 81” in the samerespect.

What we see above is a percentage of the numbers “1 - 81” in relationship to Astrology. But this is allmeaningless if we don't connect it up with La Divina Commedia. These percentages only relate to 81% ofLa Divina Commedia. Now let us look at the next eighteen numbers to “99” added to the final totalsabove.

1 2 3 4 5 6 7 8 9

82 83 84 85 86 87 88 89 90

91 92 93 94 95 96 97 98 99

333 342 351 360 369 378 387 396 405

506 517 528 539 550 561 572 583 594


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Cardinal: (1) 506 + (4) 539 + (7) 572 =1617 4950 = 0.3267

Fixed: (2) 517 + (5) 550 + (8) 583 =1650 4950 = 0.3333

Mutable: (3) 528 + (6) 561 + (9) 594 =1683 4950 = 0.34

With this second set of totals we find that the Cardinal and the Mutable Signs have been defined moreclearly than shown above with just numbers “1 - 81.”

Consider the Cardinal Signs as the Paradiso, the Fixed Signs as the Inferno, and the Mutable Signs as thePurgatorio. We have just viewed numbers “1 - 9” and their totals from numbers “1 - 99.” La DivinaCommedia has “100 Cantos” so we must give number one the last canto of “100” which will change thepercentage.

As it can be seen from these new totals Cardinal takes the total of the Mutable Signs, Fixed takes theplace of the Cardinal Signs, and the Mutable takes the place of the Fixed Signs.

How does Dante use that information in his La Divina Commedia? He does so in the very first threeverses as translated by Dorothy Sayers.xxix

”Midway this way of life we're bound upon,I woke to find myself in a dark wood,

Where the right road was wholly lost and gone.”

When we read these verses there is much to contemplate concerning the mathematics in La DivinaCommedia for so much is implied from them.

Dante awakes to find himself in a dark wood, where prior to that moment he had to be in a PARADISO.So like the pot of gold that turns to dust when leaving the Emerald Isle so does Dante's recognize hisPARADISO as an INFERNO. Dante does not even know how he got in this state. He now tries to ascendthe mountain of Purgatorio but he has to confront the three beasts (his own fears and lust for life). Theyrepresent all the backbiters and religious know-it-alls in the world ready to tell you what is wrong with youand how you are doing it wrong. At least that is one interpretation of those three beasts. Dante has toclimb mount Purgatorio, which represents the Catholic Church (Gate of Peter), but he had prior to thatmoment looked upon the Catholic Church as his enemy (Dante's Biography).xxx How can you learn fromthat which you had disrespected for so long?

Beatrice representing the spiritualized Church sent VIRGIL to guide him. The reason that Virgil was sentis because Dante loved his writing and considered Virgil his mentor. God only comes to the individual viathe mode he can comprehend. Virgil not only represented reason and logic but he also had a certainpoetical style that Dante emulated somewhat. Those that take the time to analyze Virgil’s works will besurprise at its mathematical harmony. Dante must now depend upon reason and logic (Virgil) to advancehim in Purgatorio. Reason is not a fixed idea it is mutable. It is not dogmatic as the tenants of the Church.

Cardinal: (1) 606 + (4) 539 +(7) 572 = 1717 5050 = 0.34

Fixed: (2) 517 + (5) 550 +(8) 583 = 1650 5050 = 0.3267

Mutable: (3) 528 + (6) 561 +(9) 594 = 1683 5050 = 0.3333


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By descending into the INFERNO before ascending PURGATORIO & PARADISO (imitating the CapricornSymbol) he defied the conventional wisdom of the world.

Dante's compositional structure of La Divina Commedia is dictated by the mathematics he sees increation. Everything that Dante writes is mandated by the mathematics. There is nothing that he haspersonally contributed to the text, not even the historical personage he meets in the INFERNO,PURGATORIO, and PARADISO. The manner in which he narrates his account is dictated by themathematics.

To discuss Dante Alighieri in the manner in which we have in this work with mathematics so precisionthat there is literally no record in the historical commentaries concerning them is in a sense unbelievable.The Academic Community will have to study this problem with great care.

The very idea that the religious leaders and philosophers of the past were subject to universal spiritualmatrixes in their every thought, word, and deed is something that we in the twentieth century is not goingto readily accept.

Here we now have evidence that there is a Unified Field Theory in the universe by which thephilosophers and religious leaders of the past had become aware of. They realized that all that manneeded to know about the spiritual realm and the physical was inherent in this Unified Field Theory.Modern physicists, astronomers, and mathematicians seek the Unified Field Theory, which the ancientalready embodied in their writings.

This is quite a large chapter but yet it is small in comparison to what Dante had actually accomplishedand what the esoteric science is all about. All that we can hope to do within its limited pages is todemonstrate definitively that there is a mathematical system that the world is unaware of. Coming to thatrealization is going to be upsetting enough to most people’s conception of the world. If the academia andreligious scholars can be honest with themselves just for a moment they would be forced to look at thesediscoveries and realize that they cannot turn their backs upon this science. How can they continue on aseducators otherwise?

THE GOLDEN RATIO& THE DEATH OF DANTE ALIGHIERI

Dante Alighieri lived exactly 56 years and 106 days. It is my contention that he was born on June 1st1265AD. Dante scholar will only go so far as to point out that Dante was born under the sign of Gemini.No Dantist has come forward with a definitive date. Some have suggested May 28th and other hassuggested any date from what is believed to be the beginning of Gemini to the first week of June. There isnothing in the record that would justify such speculation but there you have it. When talking about aperson’s age we don’t normally speak of how many days he lived past his last birth date. But in this casewe have to do that in order to get a handle on what Dante accomplished in his work.

Consider that we know that Dante was born in Gemini in the year 1265AD. We know he died onSeptember 14th 1321AD. One of the clues that I accept as aiding in the process of determining Dante’sbirth date is the fact that he is said to have begun writing La Divina Commedia about mid-March in theyear 1300. He was about 35 years of age. As you can see it was not half of Dante’s life span. The firstverse of the Commedia says “Midway this way of life we're bound upon, I woke to find myself in a dark wood.” Ifwe take this literally to mean 35 years of age then the statement is false because Dante was not yet 35years of age. So what did he mean when he said “midway this journey of our life”? Another piece of


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evidence, and I consider this indirect evidence, is that Virgil in introducing himself mentioned he lived sub-Julio. Julius Caesar is obviously the reference point here. Julius Caesar died on March 15th or what hascome to be known as the Ides of March. Virgil was telling us he lived in the period before Julius Caesardied (maybe a hint that Dante himself is not yet dead).

We know that the conversation did not take place because it is a metaphorical story concerning thejourney to spirituality. What then was Dante’s purpose for including it in the text? If this is indeed areference to the fact that Virgil lived before the death of Julius Caesar and that Dante lived after thatwould mean that the death of Julius Caesar was the demarcation between the two. Virgil and Dante lived1400 years apart and this point seems ludicrous.

My research into the Calendar Year has convinced me that the Zodiacal Signs were equivalent of theCalendar Months. Today in 21st century we tend to believe that each signs is ⅓ into the previous month and ⅔ into the present month. This could not have been the way the calendar began. I discuss some of this in another chapter. Julius Caesar creating a brand new calendar, which in fact became the dawn ofChristianity, would have merged the Calendar Months with the Zodiac Signs. Now what convinces me ofthis is the fact that March use to be the beginning of the Roman Year and yet Caesar begins the newcalendar with January. It is said of those days that the seasons were entirely off: this created havoc withreligious and festival days of celebration not to mention mayhem with farming and the Market Days.

Because of the manner in which the Solstices and the Equinoxes are situated in the calendar it is onlylogical to conclude that the Zodiac signs was merged with the Calendar Months. These months/signs onlydiverged when the calendar began to lose days. In Dante time the calendar would have been off by atleast 10 days seeing that it was losing a day every 125 years.

Because I could not choose arbitrarily just any day in Gemini as the birth of Dante I chose June 1stbecause it represented the beginning of the entire month. Also June is considered an astrological signdenoted communication and Dante was a communicator.

Therefore if I was to calculate Dante life based upon the Golden Ratio I would base it on June 1st1265AD to September 14th 1321AD. That would make the amount of years Dante lived a total of 56.29seeing that 106 is just a fraction over 29% of a year. When we divide the Golden Ration: 1.618034 into56.29 years the quotient is 34.789… years. This would make this date somewhere in the year 1300AD.The number 34 represents the end of the 34th year of Dante’s life: May 31st 1299. The fraction 0.789represents 288.18225 or 289 days. I am calculating using 365.25 because this is the manner in which theyear was calculated in that period though the true nature of the calendar was known. Even if I had usedthe more sophisticated calculation 365.242199, Dante used in La Divina Commedia, the results wouldhave been the same.

June 30 daysJuly 31 days

August 31 daysSeptember 30 days

October 31 daysNovember 30 daysDecember 31 days

January 31 days


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February 29 days xxxi

March 15 days xxxii

A total of 289 days

Finally it must be admitted that the planetary alignment in the year 1186AD that I outlined in the firstchapter of this work had also a baring on the day I have chosen for Dante’s birthday. One thing that I havelearned is that the esoteric science give you all the material you need not one iota more or one iota less toreason out the solution of a problem. It is incumbent upon the initiate to search out the deep things ofGod that are within his word.

Now that we can see that the Ides of March is implicated in one half of two swings of the GoldenRatio’s (from birth to the Ides of March in 1300AD) we can see why Dante begins his poem, “Midway thisjourney of our life”. Because the next swing of the Golden Ratio predicts the day of his death, September14, 1321AD.

Finally I wanted to leave the below diagram of the Enneagramxxxiii for the initiate’s consideration.This diagram includes La Divina Commedia’s chapters and verses, the Universal Mathematical Matrixand the numbering of the 100 chapters.

I noticed that the Inferno starts and ends with #9, the Purgatorio ends with #9, and the Paradiso endswith 9, which deliberately forms a pyramid of sorts. These four #9s are in a direct diagonal from 1-100 (1+ 34 + 67 + 100). Now the other spaces between these numbers create the six numbers needed to finishthe Enneagram. These numbers #12, #23, #45, #56, #78, #89 are grouped into two sets using the Sum-Digits #1, #4 and #7. Each set forms a triangle. I have no idea if Dante used this method to choose hischaracters in La Divina Commedia’s text or not. I present the Enneagram only for consideration.


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ENDNOTE

CHAPTER FIVE

DANTE ALIGHIERI’S MATHEMATICAL SYSTEM

i The Divine Comedy, by Dante Alighieri, translated by Charles S. Singleton (Paradiso. 1:4-9). Visions like this point to the originsof Mystery Schools’ so-called secrecy tradition when no true initiate could talk about the experience even if he wanted to. Ipersonally have had such a spiritual vision.ii See Chapter Sixiii Dante: The Divine Comedy, by Dorothy Sayers and Barbara Reynolds (I was actually very fortunate that it was translated in thestyle of the Terza Rima – three verse rhyme otherwise I probably would never have envisaged Dante’s mathematics system).There are so many translations that do conform to the Terza Rima version.iv 12 SIGNS, 12 SONS: Astrology in the Bible (1978), by David A. Womackv All of this is discussed in the sixth chapter of this work.vi I had the feeling that my unconscious mind had recognized this ancient cyclic system that I had discovered and this is whyit was trying to take over the conscious life. If I had not received extremely strong sleep medication from my doctor I wouldnot have gotten any sleep and that could have driven me psychotic. I write not ashamed of the obstacles I had to hurdle toachieve successes because it is necessary to warn the reader of the doors that will open up in the soul/psyche and once thethreshold had been crossed there is no turning back.vii Developed in the fourth chapter (it actually took me 11 years to develop the Universal Mathematical Matrix, and it was whileresearching the La Divina Commedia that it was developed.viii I want to take the time here to thank Professor Franco Boni, PH.D of New York City for the numerous conversations on thephone concerning my mathematical discoveries into Dante Alighieri’s La Divina Commedia. Only he knows too well the agony Iwent through to discover this Universal Mathematical Matrix. I intuitively knew it existed long before I discovered it. Iappreciate his advice, encouragement and belief in my discoveries long before publication.ix La Vita Nuova: Poems of Youth, by Barbara Reynolds, 1969.x Ibid. 42: 3-4.xi Ibid pg 121xii Ibid pg 121xiii Ibid pg 121xiv La Divina Commedia: Purgatorio, 8: 53.xv Stuart R. Kaplan's trilogy Encyclopedia of Tarot, vol. two, chapters 2-4. Here S. R. Kaplan goes extensively into the genealogy of theVisconti family not mentioning Nino himself, but mentioning his wife's second marriage to a member of his family.xvi Charles S. Singleton, translation & commentary, The Divine Comedy, Purgatorio 8: 79-80. Also see Stuart R. Kaplan's trilogyEncyclopedia of Tarot, vol. two, pp. 69 & 83; pictures of heraldic device.xvii Stuart R. Kaplan's trilogy Encyclopedia of Tarot.xviii Ibidxix Dorothy L. Sayers, trans. & commentary, Dante: The Divine Comedy: 1-Hell, Intro. pg. 53-54.xx Appendix 2 in THE SECRETS & MYSTERIES OF GENESIS: Antiquity’s Hall of Records, by William John Meegan,published by Trafford Publishersxxi Gian Roberto Sarolli, Numero, (1973), also see John J. Guzzardo, Dante: Numerological Studies (1987). Prof. Guzzardo published oneyear after my initial copyright (1986).xxii See Chapter Fourxxiii Marianne Shapiro, trans., 1990, De Vulgari Eloquentia: Dante's Book of Exile (frontpiece: MS it. 74, Florentine, Bartolomeo diFruosino, ca. 1420. Bibliothéque Nationale, Paris).xxiv Thomas Elwood Hart, “Poetry, Mathematics, and the Liberal Arts Tradition” (Syracuse Scholar, Spring 1992). Also see “The Cristo-Rhymes and Polyvalence as a Principle of Structure in Dante's Commedia.” It was a four-hour discussion with Professor Hart thatput me on to how precision I should expect Dante's mathematics to be. His uncanny knowledge and intuition enabled me to re-evaluate my work and come to a final solution.xxv Keith Gordon Irwin, 365 Days. See also chapter #8xxvi Matthew 1:18, 2:12; and Luke 1:5, 2:38. See also Chapter #8xxvii Psalms 90:4.


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xxviii Robin Skelton, Talismanic Magic, p. 130.xxix Dorothy L. Sayers, Trans. & Commentary, Dante: The Divine Comedy: 1-Hell, Hell 1: 1-3.xxx Ibid. Introduction.xxxi 1300 was a leap year in this era long before the Gregorian Calendar was implemented. This is a crucial point in thesecalculations.xxxii The Ides of Marchxxxiii THE GNOSTIC CIRCLE: a Synthesis in the Harmonies of the Cosmos, by Patrizia Norelli-Bachelet and THEENNEAGRAM: Understanding Yourself and Others in Life, by Helen Palmer,

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CHAPTER FIVE: Dante Alighieri's Mathematical System · ESOTERICISM: Practical Techniques used to analyze the Esoteric Science The Mysteries and the Esoteric Teachings of the Catholic