Bibliotherapy
A Little ‘Petrus Talemarianus’ Sampler: Part I – A Contextual Introduction + An Explanation Of The Frontispiece And Its Symbolism

Frontispiece of the 1983 second edition.
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Today’s sharing from the Blue House of Via-HYGEIA is Part I of a planned few devoted to the extraordinary ‘Natural Architecture, A Report by Petrus Talemarianus on The Establishment of a “Golden Rule,” According to the Principles of Tantrism, Taoism, Pythagoreanism, and the Kabala, Serving to Fulfill the Laws of Universal Harmony and Contributing to the Accomplishment of the Great Work‘. Here in its second edition published in 1983. Our first chosen sample, the ‘Explanation of the Frontispiece‘ is found at the end of the work, before the appendices. Today’s offering is composed of 3 parts: Part 1, composed of Mrs Ariane Touzé’s seminal presentation of the book, translated by us from its original French, collected from her ‘Fontaine Arethuse’ Bookshop internet site. Part 2, composed of Mister Joscelyn Godwin’s introduction collected from the Sacred Science Institute’s website, where the English translation of the book is available for purchase. All links are to be found in the source section below. And finally, part 3, composed of the frontispiece explanation itself, translated by us at Via-HYGEIA.
Highly praised, despised by others, the ‘Petrus Talemarianus‘ holds nobody indifferent! Despised for its atavistic ‘syncretism’, also praised for its impressive connective work spreading between the world main religions and their esoteric cultures.
Now, we would like to take here the opportunity to vindicate ‘syncretism‘, as the society we live in is staunchly Manichean, which results in endemic war & violence at the body-soul & mind level to such a annihilating intensity of in-humanity and we eagerly want to celebrate the bridge-builders, the translators, and all the keen hearts who are knitting a web of understanding and appreciation between people and cultures, as a much needed relief for our troubled and restless PTSD society.
Syncretism, often criticized as a haphazard blending of disparate traditions, is sometimes dismissed for diluting the authenticity of individual beliefs or practices. Its detractors argue that by merging elements from different religions, philosophies, or cultures, syncretism risks reducing rich and distinct systems of thought into an incoherent mish-mash, devoid of true substance or depth. In this view, it may seem like an act of oversimplification that strips away the uniqueness and integrity of the traditions it seeks to unify.
However, syncretism has profound and positive potential that is often overlooked. In a world increasingly divided by social, political, and religious tensions, syncretism serves as a powerful tool for fostering tolerance, mutual understanding, and unity. By highlighting commonalities across different belief systems and cultural practices, syncretism allows for the creation of new spaces for dialogue, where individuals can find shared meaning above and beyond their differences. For instance, many spiritual traditions share fundamental values such as compassion, humility, and the pursuit of a higher truth. Syncretic works, whether in religion, philosophy, or art, can reveal these underlying connections, demonstrating that human experience is more alike than it is different.
Historically, syncretism has played an important role in the development of civilizations and the cross-pollination of ideas. From the blending of Greco-Roman thought with early Christianity to the integration of Islamic, Hindu, and Buddhist influences in medieval India, syncretism has allowed societies to absorb and adapt new ideas, contributing to cultural and intellectual flourishing. In more recent times, movements like liberation theology, which merges Christian principles with socio-political activism, reflect the ongoing relevance of syncretism as a means of addressing contemporary challenges.
Rather than undermining the uniqueness of any tradition, syncretism can promote an appreciation for diversity while emphasizing our shared humanity. When approached with care and respect, syncretism has the power to build bridges between seemingly disparate worlds, enriching both individual lives and the collective social fabric. By focusing on what unites us rather than what divides us, syncretism offers a path toward greater harmony, empathy, and peace in an increasingly interconnected world.
This is exactly why the ‘Petrus Talemarianus’ is an important ‘syncretic’ work destined to helps us ‘see connections‘ and build bridges and de-isolate us from one another, in a time when we are forced to see what divides us and finger-point at our differences-thus being complicit of the walls being built emulating an in-human society were everybody hurts, as we have lost the way to find the ‘common-ness‘ in everything that would eventually lead us into an Age of HEALING and HARMONY.

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1-An Contextual & Historical Introduction
to the French Edition, by Mrs. Ariane Touzé
Petrus talemarianus’ report is an in-folio, in a slipcase, VII sheets of tables and the publisher’s foreword, 375 sheets of text and appendices, 8 half-sheets correcting the composition of the text. These proofs include in-text illustrations and a few outside-the-text illustrations.
The original edition of this monumental volume was limited to 269 copies. One copy was sent to the Pope in 1949, another to the Dalai Lama, and a third to a Taoist monastery in China. This is a collective publication overseen by Bordeaux-Montrieux, Alexandre Rouhier, Jacques Bacot, and Marcel Nicaud, who contributed to the graphic work and illustrations.
Doctor Rouhier, better known for his thesis on Peyote and divinatory plants, a disciple and friend of Jacques Bacot, provided, along with the latter, most of the documentation on doctrines, religions, and Eastern cosmogonies, as well as on alchemical symbols, doctrine, and practices. It should be noted that he worked as a chemist at the Poulenc company in a specific context with the figures who would later give rise to the Fulcanelli myth. Thus, there are numerous reproductions of alchemical engravings from his extensive occult library, which was dispersed at the Drouot auction house in the 1980s.
The signatory of the publishing contract, Pierre Bordeaux-Montrieux, was actually the originator of this remarkable project. Indeed, he presented to Alexandre Rouhier a Latin manuscript in his possession (probably dating from the 17th century), which the latter translated and proposed as a base for work and reflection with the aim of publishing an illustrated, significantly expanded and developed version, with the help and collaboration of a close occultist circle. The goal was to broaden the investigations into themes that, while seemingly of diverse sources, different in expression and doctrine, centered on a universal initiatory teaching. This project was conceived and began to take shape in the years preceding World War II. Notably, Francis Warrain, shortly before his death, contributed to the exposition of Kabbalistic doctrines and in the fields of mathematics and the study of proportions, interpretations inspired, among other things, by the work of Hoëné Wronski, of whom Warrain was one of the foremost scholars, and Charles Henry. Warrain also shared with Dr. Rouhier a deep interest in geomancy, a subject he addressed in a study published posthumously in 1968 by Véga Editions. “Natural Architecture” also includes in appendix VII an unpublished text by Francis Warrain: “On the relationship between the septenary and the duodenary.”
The very fine iconographic set created by Marcel Nicaud was technically completed in the 1940s, but circumstances delayed the publication of this monumental volume until 1949. Marcel Nicaud also published several articles on the alchemical symbolism of certain churches in France. He is also credited with some interesting oil portraits depicting key figures of the Heliopolis Society and the Grand Lunaire, which are also connected to the Fulcanelli Affair (Ambelain, Canseliet, Choisy, Champagne, Rouhier, etc.). An exceptional document!
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2-A Contextual Introduction
to the English translation, by Mr. Joscelyn Godwin
In offering this translation of ‘L’architecture naturelle‘ to the English-speaking public, we do not pretend to resolve all the mysteries surrounding the book and its authorship. By its own testimony, it was written in Latin by one Petrus Talemarianus, during the hundred months preceding the summer solstice of 1944, then offered to Alexandre Rouhier, who oversaw its translation into French, its editing, and its illustration. In 1949, the small Parisian publisher Les Éditions Véga issued the first edition of 252 copies, printed on separate folios with a page size of 22 by 15 inches and contained in a red cloth slipcase. In 1983, Véga issued a full-sized facsimile reprint and also a version in smaller format, about the size of the present volume.
Where such an unusual production is concerned, anything is credible, even the existence somewhere of an original Latin manuscript. But a gentle mystification is also possible, and indeed respectable for works of esoteric wisdom. The United States Catalog of Copyright Entries (Jan.-June 1977) identifies Petrus Talemarianus as Alexandre Rouhier himself, on the authority of Odette Rouhier (his daughter [1]). Not much has been published about Dr. Rouhier, but he is famous for one thing: a pharmacologist by profession, he was a pioneer in the first-hand study of hallucinogenic drugs and the author of the classic book on peyote: ‘Le Peyotl, la plante qui fait les yeux émerveillés‘ (‘Peyotl, the plant that fills the eyes with wonder’, 1927), and the shorter ‘Les plantes divinatoires‘ (‘Plants of divination‘, 1927). At least five years earlier, he had been lecturing on the subject to a “Groupe Paléosophique” whose members included the Belgian composer and theorist Ernest Britt (1857-after 1950), the mathematician and historian Francis Warrain (1867-1940), and the psychical researcher Eugène Caslant. [2]
These names introduce us to an obscure group of scientifically-minded esotericists, who were searching not only in traditions like Kabbalah and Platonism but also in mathematics and the physical sciences for the links between mind and body, God and man, the Absolute and the manifest. Francis Warrain is probably the most significant of them, and is the sole contemporary authority cited in L’architecture naturelle. The Editor adds that he submitted the manuscript to him, and includes an unpublished essay of Warrain’s as an appendix. Warrain’s difficult works ranged over higher mathematics, Kabbalah, music theory, monographs on Kepler’s cosmology and on the polymathic Charles Henry (1859-1926), and culminated with an immense unfinished study of the Polish “philosopher of the Absolute,” Hoëné Wronski (1776-1853).
If ‘L’architecture naturelle‘ virtually ignores the twentieth century, it is hardly more cognizant of nineteenth-century authorities. Apart from the mathematicians named in the section on regular solids, only two names appear: Charles-Edouard Brown-Séquard (1817-1894), an important medical researcher whose discoveries helped Charles Henry to develop his own theories of psychophysics, and Wronski, whose life inspired Balzac’s novel La recherche de l’absolu. The focus grows sharper when we add that Ernest Britt, too, was a lifelong admirer of Wronski, and that he and his wealthy second wife supported Wronskian enterprises in France and Poland, including the publication by the same house of Véga of Warrain’s ‘L’Oeuvre philosophique de Hoëné Wronski‘ (three vols., 1933-38). If with this loose circle of French Wronskians we have not reached the creator(s) of L’architecture naturelle, at least they were tangential to it.
Some readers will soon spot another influence: that of René Guénon (1886-1951), the father of French Traditionalism. Although Talemarianus never mentions Guénon by name, he sows clues by using such phrases as “the multiple states of being,” and by basing his metaphysical hierarchy, from “Non-manifestation” downwards, on similar principles to Guénon’s. Like the latter, he takes it for granted that wisdom is to be sought in the ancient religious and philosophical traditions of East and West; that these traditions, rightly understood, are in accord with one another; and that the monuments of literature and architecture, at least up to the Renaissance period, encode a perennial esoteric knowledge.
The connection with Guénon goes further, for it was on his initiative that Éditions Véga, publisher of ‘L’architecture naturelle‘, was founded. This happened in 1929-30, during Guénon’s brief liaison with an American heiress, Mary Wallace Shillito (1876 or 1878-1938). [3] Mary was the daughter of a Cincinnati department store magnate, John Shillito (1808-1879), and had recently lost her second husband, Assan Farid Dina (1871-1928). Guénon’ wife had also died in the previous year, and as soon as the two of them met, reputedly in Chacornac’s occult bookshop, they became close friends. They decided to start a publishing house to specialize in traditional texts; Guénon would select and edit them, and Mary Shillito would provide the funds. As a first step, they planned a trip to Egypt, to gather materials.
This was not how things turned out. The couple left for Egypt on March 5, 1930, but after three months, Mary returned alone to France, where she immediately married the aforementioned Ernest Britt. Guénon stayed in Egypt for the rest of his life. Véga did publish two of his works, and those among his most important: ‘Le symbolisme de la croix‘ (‘The symbolism of the cross‘ 1931) and ‘Les états multiples de l’être‘ (‘The multiple states of being‘, 1932), but its loyalty had shifted. Before the end of the year, flush with Mary Shillito’s money, it had brought out a luxurious, limited edition of Britt’s ‘La lyre d’Apollon‘ (‘Apollo’s lyre‘); in 1931 appeared Warrain’s ‘La théodicée de la Kabbale‘; and Véga remained devoted to the Wronskians for the rest of the decade. [4]
‘L’architecture naturelle‘ could well be called a Traditionalist work in the Guénonian sense, but it lacks the negative attitude assumed by most of those who wear that label. While Guénon, in such works as ‘The Crisis of the Modern World‘ and ‘The Reign of Quantity‘ and ‘The Signs of the Times‘, was one of modernity’s sharpest critics, Talemarianus does not bother with polemics or utter apocalyptic warnings. With the exceptions mentioned above, he simply ignores anything later than the seventeenth century. Rabelais, Kepler, and the Château of Versailles are as far as he cares to go. [5] Having begun his “Report” early in 1936 and labored at it “for a hundred months” that took him throughout the second World War, he finished it on June 24, 1944, during the heat of the Normandy invasion—of which it bears not the slightest trace.
Véga’s publication of it in 1949 was another act of positive defiance of the times. The extravagance and gigantic size of the book, its superb typography and hundreds of illustrations, and the declared intention of teaching architects how to build houses and palaces, churches, and temples with natural materials, in accordance with natural laws, were as contrary as possible to the drabness and shoddiness of the post-war world.
Much of the credit for the book’s beauty goes to Marcel Nicaud, an employee of the French national museums whom Rouhier apparently brought into the project. Nicaud’s other known work includes book illustrations and the copying and restoration of medieval wall-paintings.[6] The decision to use no photographic reproductions, but to have Nicaud redraw even well-known alchemical engravings, as well as a host of artefacts from every corner of the globe, gives L’architecture naturelle its graphic unity. The only comparison that comes to mind is Manly Palmer Hall’s masterpiece of 1928, ‘The Secret Teachings of All Ages‘, with its fine typography and color-plates by J. Augustus Knapp.
As for the enigmatic figure of Petrus Talemarianus, the catalogues of some rare book dealers, evidently privy to inside information, identify him not as Alexandre Rouhier but as “Bordeaux-Montrieux.” That is the surname of a distinguished French family, a branch of which owns the Château de Talmay, in the village of that name east of Dijon. [7] The whole atmosphere of L’architecture naturelle seems in accord with its authorship by an aristocratic recluse, who chose as a pseudonym a Latinization of his ancestral home (Talemarianus = “of Talmay”), while Rouhier, the pharmacologist-editor, inserted the incongruous references to the personalities and interests of the Wronskian circle. There is evidently a field for investigation here, but our responsibility to the book has not yet allowed us to pursue it further. [8]
Joscelyn Godwin, Hamilton, New York
Ariel Godwin, Columbus, Ohio
June 2006.
Notes
[1] Odette Rouhier is identified as Dr. Rouhier’s daughter, and quoted on the subject of her father’s relations with René Guénon, in ‘Jean Robin, René Guénon, Témoin de la tradition‘ (Paris: Guy Trédaniel, 1986), p. 202 n.
[2] Information on the Groupe Paléosophique and on Ernest and Mary Britt comes from the Britt papers in the library of the University of Texas, Austin. See J. Godwin, ‘Music and the Occult: French Musical Philosophies‘, 1750-1950 (Rochester: University of Rochester Press, 1995), 99-126, for more on the theories of Wronski, Britt, Henry, & Warrain.
[3] On Mary Shillito and Guénon, see Jean-Pierre Laurant, ‘Le sens caché dans l’oeuvre de René Guénon‘ (Lausanne: L’Age d’Homme, 1975), p. 210; Jean Robin, ‘René Guénon, Témoin de la tradition‘ (Paris: Guy Trédaniel, 1986), pp. 201-202; Mark Sedgwick, ‘Against the Modern World‘(Oxford: Oxford University Press, 2004), pp. 74-75, 288. See also ‘The History of Cincinnati and Hamilton County‘ (Cincinnati: S.B. Nelson & Co., 1894), pp. 476-477, which describes John Shillito’s career and states that at the time of writing, his daughter Mary was married to “Henry P. Rogers of New York City.” The Château des Avenières in Cruseilles, between Annecy and Geneva, is now a hotel and maintains its own website, which states that was built by Mary Shillito in 1907-1917 and shows the gaudy decorations, with images from the Tarot and all religions, painted by Assan Faride Dina, “born of a Hindu father and a French mother.” Time Magazine, Dec. 10, 1923, reports that Assan Dina, a Hindu millionaire, and his wife are going to give France the world’s biggest observatory at the cost of $6,000,000. La Salévienne, a magazine of Genevan-Savoyard history also accessible on the Internet, gives Assan Dina’s dates and the date of his marriage to Mary (June 23, 1913), and reproduces a photograph of the Britts in 1932, breaking ground for a road donated by them.
[4] According to the history of the Château des Avenières (see previous note), Britt exhausted Mary’s fortune in five years; they sold the château in 1936 and divorced in 1937. She died in an accident the following year. The financing of L’architecture naturelle must therefore have come from elsewhere.
[5] It is also almost wholly lacking in references to Islam: a tradition that did not figure much in Guénon’s works before he left France, and whose esoteric dimension (Sufism) was then hardly known in Europe.
[6] Searches of the Internet during 2005-06, notably that of the Patrimoine de France and of the Centre des monuments nationaux, have shown that Marcel Nicaud was active from the 1940s until at least 1967 copying medieval wall-paintings for archival purposes and restoring them. He also illustrated Jean Marquès-Rivière, ‘Rituel de magie tantrique hindoue‘ (Véga, 1939) and ‘Yüan Kuang: Méthode pratique de divination chinoise par le Yi-king’ (Véga, 1950).
[7] See, for example, Catalog no. 314 of Burgersdijk en Niermans (Leiden, Nov. 20-21, 2001), lot 74.
[8] Thanks to M. J.-P. Laurant of the École Pratique des Hautes Études for apprising us of the Bordeaux-Montrieux connection.
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3-Explanation of the Frontispiece
and its Symbolism, by its publishers
The frontispiece of this book, drawn by Mister Marcel Nicaud, aims to achieve its graphic synthesis. It is built entirely according to the symbolism of the Great Work and its numerical relationships given by Petrus Talemarianus. The width of this frontispiece, which is the dimension that is used as a foundation for its construction measures ‘a king’s foot’, which is in practice: 324 (108 x3) millimeters. It’s total length is such that it relationship towards it’s width, 8:5, constitute an approximation of the number ‘g’.
The three internal frames contain: the one in the middle, the ‘mediating graphic’ of the Master Builder; the one on the right, the primitive facade of the Chateau de Versailles; the one on the right, is a view of the facade of the imperial palace in Beijing. These three rectangles hold also ‘approximations’ of the number ‘g’ as modules. furthermore, the relationship between the distance of the inner border of the small frames to the inferior border of the main frame, and the relationship between the distance between their upper border and the upper border of the main frame are again also ‘approximations’ of the number ‘g’. Finally, a reminder of the vertical division of the ‘mediating graphic’ is placed in equal distance of the inferior and superior borders of the great external frame providing limits to the engraving.
Also, this ‘mediating graphic’, pivot of the Work and synthetic representation of the created world, can be considered as ‘magically’ protected by the triple enclosure placed at its center and by the outer frame of the engraving, both decorated with pearls, and by the ‘magical’ zone (because it is imaged) found between them. The central frame containing the mediating graphic is decorated with the 50 pearls of the ‘Shakti’, symbolizing the 50 summits or faces of the platonic solids, the 50 doors of Intelligence) that remind us of the garland of 50 sanscrit mono-syllabs surrounding the neck of the Goddess Kali, to which come dissolving all of the ‘mantras’ at the time of the transformation of the Worlds. The great outer frame is decorated with 7 triple roses and 108 pearls in the shape of olives (both mystical numbers in the main western & eastern traditions). The 7 roses (4+3) divide the 108 pearls into 22 (upon the inferior border), + 2 times 19, + 4 times 12 (= 3+2+7) upon the half of the upper border. Hence, the inferior border of the frame includes 3 parts and 60 (=5 x 12) pearls; the upper half includes 4 parts and 48 (= 4 x 12) pearls. Therefore, these are the numbers of a fair square 3, 4 and 5-its sum equaling 12-ruling these proportions. The 7 roses recall also the planetary septenary, and the 108 pearls, as multiple of 12, represent the 12 signs of the zodiac, where these 7 planets evolve.
The illustration per-se of the frontispiece includes first 5 essential characters. Down at the bottom, Cybele, the Great Mother-Goddess from Phrygia; she is crowned with towers and holds keys and a tambourine; her four lions surround her. Behind her, by the hills of a dry and rocky mountain lies the cave of the Mysteries. Above Cybele, to her left is the ‘Son of Man’ of the ‘Apocalypse‘, surrounded by two witness-luminaries, seated among the clouds, upon the 7 colors rainbow; a sword comes out of his mouth; his left hand holds the ‘open’ book and in his right hand gathers 7 stars. On the opposite side, at the same level, AVALOKITESHVARA, with 11 heads and 8 arms holding 5 attributes, is standing on a hill-side top of the central Mountain.
Above those two characters, we find, on one side, the ‘woman of the Apocalypse’, clothed with a sun displaying 32 flammes and 32 rays, her feet standing on the moon, crowned withs stars and holding in her hands the lilial scepter and the mirror (4 little angels assist her and 18 roses surround her), and on the other side, at the right of the Virgin, KOUAN-YIN sits on a lotus and is assisted with two servants.
At the top of this symbolic scene, springing out of a green landscape, built in a crystalline atmosphere and quivering with clarity, the new Jerusalem appears in the background at the opposite of the severe and dark ‘Magna Mater’ down below; it is of a pyramidal shape; a wall with 12 doors surrounds it in a rigorous square shape and its height is equal to the side of its base; 3 levels segment it; at the basement level, dwell the craftsmen (Vaishyas), at the middle level dwell the soldiers and their barracks and the palace of the king (Kshatriyas) and above, the monastery and its temples. (Brahmanas)
From this pyramidal city a river flows, fertilizing the land it wanders through, and soon it divides into two branches, one heading towards the East, the other towards the West, and in the delta where we find above the ‘Mediating graphic’ we discover the alchemical ‘Pardes’, the ‘Garden of Eden’, in the middle of which grows the Tree of knowledge, growing at the same time, golden apples (material fruits) and vibrating flammes (spiritual fruits). From one branche of this tree hangs the golden Fleece of the spagyrical Ram, protected by a dragon wrapped around the trunk of a tree.
This is how are shown-one above the other in the axis of the frontispiece-the origin and the end of the micro-cosmos, while the macro-cosmos (Time & Space) is represented at the left and at the right of the engraving with the sun and the moon. The sun (actif, Yang) rules the left of the frontispiece devoted to the East, because its mysticism is ‘active’; the moon (passive, Yin) rules the right part, devoted to the West, because its mysticism is of a ‘passive’ nature.
On each sides of Cybele and slightly set back, we find four allegorical characters symbolizing the 4 Mother-Sciences: Those of Time (Astrology & Music), and those of Space (Alchemy & Architecture). On the left, we find the Assyrian astrologer finding with the help of an armillary sphere the positions and movements of the stars and the Chinese musician hitting the lithophones giving 5 fundamental notes; as a contrast and complement, we find on the right the Chinese alchemist siting on a bed of leaves, stirring the athanor decorated with of the 8 signs of FOU-HI; at his feet are the two gourds containing the elixir and the immortality pills. Close to the alchemist, stand a Greek architect, holding the square on his shoulder and a compass in his hand; he leans upon an small altar, where, under a canopy, lies the quintuple hexahedron that contains in its forms the proportions of the philosopher’s Stone.
At the 4 corners of the frame, two inside and two outside, are the 4 alchemical birds depicting the main phases of the Great Work. On the left side, at the bottom, the peacock is perched upon the unrooted tree above the hexahedron (Earth) and the Swan at the top us close to the octahedron (Air); these solids are related to the sciences of Time. On the right side, down at the bottom, the raven is perched upon the icosahedron (Water) and the phenix is close to the dodecahedron (Ether); these solids are related to the sciences of Space. The pyramidal City hints about the fifth platonic solid, the tetrahedron (Fire). At the feet of Cybele lies the pyrogenic Vase containing the inner or central fire (terrestrial fire), which at the top of the engraving exteriorizes itself into the sun & the moon (celestial fire). The nine animals (4 birds, 4 lions and the dragon) recall about the nine letters that compose the word ARSENICUM (sitting lions, A and R; lying lions, S and E; raven and peacock, N and I; swan and phenix, C and U; and the dragon, M.
A few further indications can be added: we can note that the mutations of the ‘Yin’ and the ‘Yang’, preside to the general disposition of the drawing (to a sited god corresponds a standing god, and vice-versa; some characters wear hats, others dont; some birds look down, while others look up, in an alternating mode,…). These few commentaries given above concerning the symbolism of the frontispiece only aim to show the constructing rhythms and the directing ideas that compose the chain and the frame of this graphical Work, true synthetic image of the written Work. We now invite the reader to further dedicate his perspicacity to un-veil and benefit from this deep symbolism.
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Original French
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Source
Coming soon:
A Little ‘Petrus Talemarianus’ Sampler: Part II-
‘The Relationship Between The Septenary & The Duo-decenary.
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