A totally uncertain diagram from an old oral familiar Tradition about Sacred Geometry and Mirror Resonance. By the way worth enough to get a glance.
In the case of such an ancient discipline as Alchemy, we have to accept the fact that so often many teachings are from oral traditions. Generally they are from what we trust as an influential, though legendary, source quoted by some very eminent authors. Or from some persuasive initiated orders. Very rarely we take into consideration pieces of knowledge coming from other than those above mentioned environments.
But when something interesting, and sounding if not real at least plausible, is before us it should be allowed to be evaluated. This preface to introduce a diagram coming from the worst possible oral tradition environment: an unknown and inconspicuous family.
I kept it in my records just for spirit of inquiry, but I was unable to further investigate. So, instead of a wise not to publish unverified and uncertain items, I decided to make this public, since I fail to see why I shouldn’t. This is neither a scientific nor a strictly historical site, and if one is scared to lose his /her way in the alchemical labyrinths, well ……he/she has to learn the hard way.
So, some twenty years ago I was having dinner in a austere and rather dark dining room owing to a venetian tailor. The two attributes were especially caused by some seventeenth century, and not remarkable, paintings on the walls. One, exactly in front of me, caught my attention because of some white lines and signs marking it. The dinner finished I went to have a closer look. The canvas was a rather poor altarpiece. At first sight a long white straight line, foreign to the original scene and apparently from water color, was drawn to join together a L point ( within the body of a little angel) to a L1 within a sitting Madonna left knee. After a thorough examination a second white line joined together a R point, within a little angel beside L, to L indeed. Here I wrote L and L1 to differentiate, but in the original tailor’s tale, and consequently in my home made sketch, L1 simply was L’. Perhaps to point at a very close similitude between L and L’. More than L1 could suggest.
At the end of L1 point, that’s to say just before the beginning of the Madonna left knee, some two segments seemed to roughly delineate a kind of half circle around the knee, to stop just beyond the middle point or the knee center.
“What is this?” I asked, being quite sure to hear a “ Just a sketch for the canvas to be cut into pieces” ( a sad practice to “clean” stolen paintings).
My host had no hesitation to answer it was just a remind of one of his grandmother’s teachings. “What kind of teachings?” I childishly replied. Probably the man didn’t expect my answer, in fact all of the guests glanced at me with contemptuousness. The discussion went interrupted by a silly observation by another guest. In the room the pervading mood was a kind of: “ it is not polite to make puerile questions on stolen canvas, this is his own business”. But my host didn’t know I was a tenacious mystery hunter. I remained for last to leave and instead of giving the standard sense of obligation for the dinner I resumed my investigation: “What kind of teachings did you mean?”. “Some very antiquated and boring”.“Come on, we are among antiquarians. They cannot be more boring than a seventeenth century second rate altarpiece”. “Sacred Geometry”. “Tell me everything, I promise not to laugh”.
So the tailor started to tell me of when his grandmother had brough him before the canvas to indicate angels and knees. The following is the literal tailor’s tale ( as I diligently wrote it down once at home) : “Point L has an influx on point L1, provided two things: the distance between L and L1 has to be conspicuous and an adjacent point R has to act as a catalyst, or activator, on L. The two segments around the knee are to suggest a bending action”. I asked why he had not drawn a curve instead. “ Because I do not think a light beam can actually bend”. “Was your grandmother to mention light beam?” . “No, it was me. She talked of an influx”. “Was she to draw the diagram lines” “No, it was me some years later, just not to forget”.
By a chance occurrence the following year I happen to have another dinner in the same house, and in the meanwhile, by an analogous chance occurrence, I began to get interested in fluid mechanics and stumbled upon Coanda effect ( if a stream of a fluid is flowing along a solid surface which is curved slightly from the stream, the fluid will tend to follow the surface). The scrawled canvas was still there and I took this as a sign of destiny. I managed to remain for last in the house and meant to resume, going to place before the canvas. “You are showing great appreciation of it”. “ Yes, but only of the implications. Are you so sure light is involved?” . “ I simply presumed…..when sacred is involved”. “But your grandmother told you of an influx, wasn’t it?” .“ Yes”. “And from point L1 the line has to bend to reach a not well defined point on the sphere surface, isn’t it?” .“ Right”.“ So, I don’t think we are before a light beam, which anyway your grandmother didn’t mention………but an influx”. “ What’s the difference?” .“That a light beam is unable to curve, and moreover not in that half baked way. If the turning around a sphere, as we are allowed to think of a human knee, is involved, thus we are before an agent actually able to bend, such as a fluid for example”. My host appeared puzzled. “ As far as I know there is no way to force a series of segments to turn around a sphere, at least they should rotate on a pivot. Here there is no evidence of a pivot, but a circumference to be bent”.
Just few months later the tailor died leaving no children and his heirs asked me an outrageous price for the canvas. I have kept the annotation in my archives for years with the name “Diagram of the knee tour”. Only recently I began to think that if my host wanted to keep it a secret he would not have exposed it in his dining room and, what’s more, he would not have invited so many people.