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

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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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 2 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) create space between (1) and (2), so too is (12) pushed outwards by the coming together of (11) and (13)

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 FULL TONES
5 SEMI TONES
12 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






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

a reply to: Compendium

Suggesting 'The Secret Supper' by Javier Sierra


Consolamentum

a reply to: Compendium

you have a PM.

originally posted by: Compendium

DIMENSIONS / DEGREES

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

NOTE: Notice the absence from the table of the chalice/Cup of Christ/Holy Grail.

Notice the visible horizon line behind Jesus.
The only other disciple whom shares that horizon line at eye-level with Jesus (as the vanishing point)...is Thomas.

Yet, Thomas is the only other portrayed as gesturing in the manner Leonardo famously portrayed 'The Baptist' (Pointing to/touching the same level of the horizon line in the distance).


John the disciple has been downplayed (feminized as Mary)...and leaning away from Jesus.
Thomas/John the Baptist has been elevated to the same line/level of sight as Jesus.

Leonardo was secretly a Gnostic...in the manner of the Cathars.

a reply to: CarlLaFong

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

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, HORUS, TAURUS

In the TORAH, these are:

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

a reply to: CarlLaFong

A couple of interesting points I should add from my friends/teachers who suggested I look into this painting

First, they make it very clear:

4, 13 and 9 were all 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

Blake painting ' The ancient of days '

This is one of my favorite paintings , I've got a copy in my Living area I've gazed at it for hours and hours often meditating over it .

What do you make of it .

a reply to: Compendium

Whoa! This is some deep, deep, stuff!

I guess this is a dumb question (but it's an honest question)...do you believe that DaVinci actually sat down and thought about all this stuff before painting the painting, OR do you think it was just some divine intervention which caused it to happen that way?

Seems to me like if he spent all the time required to reason through all of that he never would have been able to finish the piece.

edit - S & F for the effort on a very in-depth post.

a reply to: Compendium

It occurs to me that we're seeing a gnostic influenced 'tug-o-war' being portrayed in the supper...with Jesus at the center (of controversy).

To Christ's right side we see the Feminine Divine, with Mary/John the disciple creating a definite 'V' with Christ, representing the vagina (aka Grael)...with Thomas/John the Baptist and James (Essene) to Christ's left.
Christ is portrayed as the inverse companion triangle (male) to Mary's 'V' (female).

Peter (The Rock/Catholic church)) is shown cutting Mary's throat.

Important to notice that Thomas/ 'John the Baptist' is shown only as a head and a hand (Templar/Masonic).

James and Thomas/The Baptist are in one another's personal space, jostling for attention.

Notice the porticos on the sides are both dark in the original and the porticos on viewer's left are dark with the ports to the viewer's right are open to the light in the latter version.

Also note that Leonardo's wall fresco would have needed constant paint retouching and plaster repair by various church workers in the 30+ years before the latter copy.

originally posted by: Flyingclaydisk
a reply to: Compendium



Seems to me like if he spent all the time required to reason through all of that he never would have been able to finish the piece.

edit - S & F for the effort on a very in-depth post.

Leonardo was notorious for not finishing his commissions.

Knowing Leonardo's mischievous nature...I can't help but wonder if the table cloth at the last supper, represents the shroud of Turin...with impressions of Christ's front and back contrasted (head-to-head) on both sides of the shroud.



One persistent theory is that Leonardo created it as the world's first photograph with a 'Camera Obscura'.