# Fibonacci Spiral

By Stuart Mitchell

The Fibonacci spiral is a representation of the golden mean proportion that occurs so often in nature, and which has been used in all of the most magnificent works of art and architecture, going back to ancient times, including the pyramids at Giza and presumably, the Tower of Babel. Even the colors of the rainbow are made by different wavelengths that vary in size in a golden mean proportion relative to one another.

This can be seen in the varying widths of the color bands in a rainbow. (4) The seven colors correspond to the seven notes of the diatonic music scale, and the mathematical, golden mean relationship between the notes, as they ascend and descend along the scale, matches exactly the relationship between the colors of the rainbow. The fact that colors have musical equivalents is reflected in the twelve-note ‘chromatic’ musical scale. As described by author Michael S. Schneider in A Beginner’s Guide to Constructing the Universe: ‘The chromatic twelve-scale includes the diatonic seven-scale plus five sharps or flats between them, giving the scale shades of musical color.’ (5) This may provide a factual basis for the sensory phenomenon known as ‘synesthesia’, in which certain people naturally see certain colors when they hear certain sounds, and vice-versa. Such people often report seeing the letters of the alphabet in certain associated colors as well. The modern musical scale system used in the West is based on that invented by the ancient Greeks, and attributed to the sacred ‘lyre of Apollo’, which also belonged, in turn, to Orpheus, Pythagoras, and originally, Hermes. Schneider writes that, ‘As one stroked the strings upward, the tones descended to earth through E-D-C-B-A-G-F.’ Elsewhere in the book he states that the scale would be ritually strummed by priests in order to call angels down from Heaven!

Imagine if you will that the Tower of Babel encompassed all of these concepts – that it was built around the ‘flame letter’ of the Fibonacci spiral, a true ‘fire in the middle’ of the pyramid, or ziggurat – a pyramid colored like the rainbow and covered with the hieroglyphs of the first universal language. Perhaps the ‘flame-letter’ shape was even placed inside of a crystal capstone on top, just like the pyramid at Giza. Perhaps this is what caused the letters to be formed on the outside of the Tower – shadows refracted through the prism as it spun around in various positions, creating the various characters.

Christian Rosenkreutz’s tomb is said to be covered with letters written on multi-colored squares that ‘flash’ – perhaps echoing this concept. The spinning around of the shape would have also, when propagated through the magnetic field that would have been created by the rapidly-moving crystal, have created sounds, music even, perhaps, that would have been broadcast through the heavens just like a radio transmission, calling the angels down from Heaven. (6) That is exactly what the Tower of Babel was supposed to do as a ‘gateway of the gods.’

At this point, it is interesting to note that in The Book of Enoch, supposedly written by a prophet who is considered to be the same figure as Hermes, the angels who descended from Heaven to Earth did so from the top of ‘Mount Hermon’, a name clearly derived from ‘Hermes.’ If the Tower of Babel and the Emerald Tablet are one, then they are also the Mountain of Hermes.

There are many ways in which the making of this heavenly music could have been facilitated by the golden mean-based architecture of the tower itself. In The Mysteries of the Chartres Cathedral by Louis Charpentier, the author explains how the pointed arch known as the ‘ogive’ used in Gothic architecture (which is based on golden mean principles and may have originated with the Knights Templar) acts as a dynamic sound vibrator. Their specific geometric designs, again always based on Golden Mean principles, can control the action of sound vibrating within them, and the architects of these buildings tuned them like musical instruments. Similar means could have been used in the construction of the Tower of Babel.

Given this, it is worth noting that the ancient Greek music system included seven modes of musical scale, and each mode was associated with a style of architecture known by the same name. I should also note that these same ancient Greeks believed that music could affect solid matter in prescribed, mathematical ways. Thus it was said that Orpheus used the magic lyre of Apollo (and Hermes) to cause trees and rocks to ‘dance’, and thus they were moved into geometric patterns in which they remain to this very day. According to this method, the Tower of Babel could have been built by Hermes himself just by employing these mathematical principles of music.

Even the name of Stan Tenen’s research group, ‘the Meru Foundation’ confirms the relationships between the world mountain (or a representation thereof), the alphabet, and the golden mean. ‘Meru’, of course, is the name of the world mountain in Tibetan myth, and it is depicted as forming a perfectly geometric stepped pyramid shape – as though it were artificially made. As Tenen points out in his videotaped lecture entitled Geometric Metaphors of Life, the word ‘Meru’ is also used in Eastern India as a title for the number sequence known here as ‘Pascal’s Triangle’ – a whole number representation of the Fibonacci sequence. The Cheops pyramid, colored with those seven bands of the rainbow and located in the center of the Earth’s landmass, was also, he says, called ‘Mera.’ But most amazingly, Tenen also says that the Hebrew name for their sacred alphabet is none other than ‘Meruba.’

The Hebrew alphabet was, according to cabbalistic tradition, formed by the ‘flame of God’ – presumably, the ‘flame-letter’ of the Fibonacci spiral that Mr. Tenen has discovered. The alphabet consists of twenty-two letters, broken down into three groups of three, seven and twelve, with each letter corresponding to a number as well. The numbers 3, 7, 12 and 22 occur repeatedly in my research into the Grail mystery, too often to merely ignore. Note the musical scales of 7 and 12, and the seven primary planets, set against the twelve houses of the zodiac. 3 plus 4 is 7, and 3 times 4 is 12. 22 is an important recurring number in the mystery of Rennes-le-Chateau, and the human DNA strand, when placed in tetrahelical (block) form, as Buckminster Fuller envisioned it, has twenty-two sides. If Hebrew letters were placed on these sides, it would form a snake-like cable – the meaning of the word ‘cabala.’ But this snake would, like the Orobouros, be swallowing its own tail in a way, for if you take the second letter of the Hebrew alphabet and conjoin it with the last letter, you get Aleph, the first letter of the alphabet.

Clearly, there is something remarkable about this set of letter-numbers said by the Jews to have come directly from God. That this alphabet and the Fibonacci spiral which forms it are encoded into the text of the Torah shows that attempts have been made to preserve the secret of the ‘flame letter’ – the source of the original language in the Tower of Babel – for future generations, honoring its creator, Hermes/Enoch’s stated wish. Jewish tradition says that the secret of the Torah is encoded in its first letter. That letter is Bet, which means ‘house.’ This represents the Grail – the vessel or container of God, of the source of all knowledge, and the ark of its preservation. In the form of the Fibonacci spiral at the heart of man’s writing, art, music, architecture, and numerous other sciences inherent to civilization, enclosed within the vessel of the world mountain, or the Tower of Babel, the Grail would certainly be seen as the source of all knowledge brought to man by the gods, and the vessel of its preservation for the future, like the Tablet of Hermes engraved upon a mountain, set in the Center of the World.

Content courtesy of Stuart Mitchell