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I initially published this 80-page paper online with the ROSE+CROIX IN June 2006, and in November 30, 2012 I enlarge upon the thesis by publishing a 484-page volume of the same title. This paper has plenty of diagrams and images in the appendixes to augment the thesis.
The unanimity of all the fresco and symbolic imagery on the floor, walls, and ceiling in the Sistine Chapel give off recognized patterns that exude the story of celestial cartography from a spiritual, symbolic and esoteric point of view. The circles of angels from the Primum Mobile, Shemhamphorae (72-angelic names of God), and the pattern of the Zodiac/Calendar year are several symbolic designs definitively illustrating the art of celestial cartography emanating from the ceiling of the chapel.
The story of God in the Divine creative mode is narrated by the fresco imagery that radiates out from the Empyrean (central nine panels) blanketing the entire ceiling to flow down the walls to concertize in the floors mosaics. The ancestors of Christ, the frescoed popes as mediators between the earthly and heavenly frescoes positioned between the windows that brings natural light to the chapel, the arrangement of frescoes outlining the life of Christ and Moses from birth to death, and even the laity that visit the Sistine Chapel to partake of the Divine Word
(Eucharist) are several sequenced prototypes from the top of the walls to the mosaics in the floor used by Michelangelo Buonarroti to array the fresco of the Last Judgment on the altar wall. The Last Judgment fresco is a commentary on the several patterns exhibited collectively on the other three walls. Essentially the imagery in the Sistine Chapel is a frescoed treatise on the first letter
(BETH), first word (BERESHITH), first verse, and first chapter of Genesis from a mathematical and Kabbalistic interpretation.
In a very real sense the analysis of the Sistine Chapel explains how to read and write the sacred scriptures esoterically. This mathematical science introduced in this paper is fully explained in the end-notes and illustrations. There are four enigmatic and hermetically sealed proofs presented in this paper to illustrate the versatility and plasticity of this esoteric science to be sculpted into any mythology or storyline future artists and authors put their minds to. These four enigmatic and hermetically sealed proofs that are inexplicably bound to each other by the esoteric science, though each is separate, distinct, and independent of the others, are: 1) The Universal Mathematical Matrix, 2) the analysis of the first chapter of Genesis, 3) the analysis of Dante Alighieris La Divina Commedia's compositional structure, and 4) the analysis of the fresco and symbolic imagery in the Sistine Chapel.