Today’s sharing from the Blue House of Via-HYGEIA presents ‘Towards an Architecture of Being: The Sephiroth as a Universal Translation Engine’, an excerpt from the second edition (1983) of De l’Architecture Naturelle by ‘Petrus Talemarianus‘ (pp. 94–112). A Via-HYGEIA Bibliotherapy English translation and introduction of the original French.

In this excerpt, ‘Petrus‘ (we recognize here the style and the phenomenal clarity of Francis Warrain) deploys the Hebrew Kabbalah not merely as theology, but as a structural scaffold—a ‘Noah’s Ark‘ designed to harmonize Egyptian cosmogony, Taoist alchemy, and Vedic cosmology under a single geometric roof. He addresses the fundamental ontological antinomy: how the Infinite veils itself through ten luminous Sephiroth and twenty-two channels so that the Absolute might manifest without annihilating the relative. The Tree of Life is unfolded as a living topology where the highest triad (Kether, Chokmah, Binah) holds the mystery of divine self-concentration, while Daath, the hidden knowledge, serves as the critical mediator between the intellectual and constructive worlds.

Through the Tetragrammaton, the Sephiroth become dynamic persons—Father, Mother, King, Queen—whose unions generate the foundation of manifested existence. The author then translates this doctrine into a formal geometric language: the Tree becomes a system of nested squares, ratios, and triangular partitions, rigorously verified through gematria, Fibonacci sequences, and the proportions of sacred architecture.

In this formal space, Kabbalah intersects with Taoist alchemy and Vedic cosmology—the Shekinah and Metatron find their echoes in Shakti and the Tao, Adam Kadmon resonates with the Universal Man of Egypt and the meditator of the Canon Taoïste. All are held together by the ‘Mediator Graph’ (the Tracé Médiateur), a constructible instrument where analogy becomes exact. This text offers more than a theory; it provides a replicable methodology, inviting the investigator to build, not merely contemplate, the Architecture of Being, transforming personal chaos into structural clarity. It is a true Master Class in Analogical Formalism!

Coming Soon,  A Little ‘Petrus Talemarianus’ Sampler – Part VII: ‘Dante’s ‘Divine Comedy’ and the Colors of the Alchemical Opus’.

“…But a solution presented itself to my mind: the Hebrews had long been in close contact with the Egyptians, and I had the impression, like others before me, that the ten “Sephiroth” of the Hebrew Kabbalah might well derive from the “Paouit-Noutirou.” Might not the Kabbalah have been one of the secret vehicles of this theodicy? Moses, who governed the Hebrews and gave them the Law, was he not of Egyptian origin, as at least the Companions affirm? Failing to penetrate more surely the meaning of Egyptian conceptions, I therefore turned toward this esoteric doctrine, encouraged moreover by the fact that the starting point of my researches had been the cabalistic word: ABRACADABRA.

Whereas the theories previously set forth show mainly either the development of Manifestation from the Absolute (Hindu doctrines) or the concrete and practical applications of cosmogonic principles (Chinese wisdom), the cabalistic doctrines seek principally to define by what mediation the fundamental antinomy between the Absolute and the relative is bridged. The precise determination of this mediation is necessary to avoid falling either into skepticism or into pantheism.

God, “ex parte creaturæ,” seems, by the very fact of producing within Himself the imperfect images of Himself that are creatures, to strip Himself of His “Absoluteness.” The determination of His Immutable Thought is the very basis of Manifestation. The Kabbalah represents this determination of the “Absoluteness” by the following image. When the Ineffable Absolute, AIN SOPH (אֵין סוֹף), with whom are identified the three supreme “Middoth” or “Most Splendid Lights” (virtual Trinity), wishes to manifest Himself by a voluntary act of divine jubilation, He concentrates Himself into a point which becomes His Thought. He leaves outside Himself, by a differentiating negation, the primitive square space “Avir,” cosmogonic darkness or “Tohu-Bohu.” In the four angles of this primitive square World are found the four “plenitudes” of the Tetragrammaton, which must subsequently produce the four Worlds, namely:

1. The World of Emanation: “Atziluth,” אֲצִילוּת (Svar);
2. The World of Creation: “Beriah,” בְּרִיאָה (Svar);
3. The World of Formation: “Ietzirah,” יְצִירָה (Bhuvas);
4. The World of Action: “Ashiah,” עֲשִׂיָּה (Bhû).

To produce and govern these Worlds, the Absolute must veil His Ineffable Light, concentrated in a point of Thought, by a series of veils, assimilated, by opposition and complement, to diverse lamps and called “Sephiroth.” The term “Sephiroth” means “enumeration,” and thus shows the essential role played by Number in Creation.

These “Sephiroth” are ten in number: “Kether,” “Chokmah,” “Binah,” “Chesed,” “Geburah,” “Thiphereth,” “Netzah,” “Hod,” “Iesod,” and “Malkuth”; to each of them corresponds a divine name. Saint Jerome alludes to these ten mystical names in his letter to Marcella. These ten “Sephiroth” and divine names are linked to one another by twenty-two channels, corresponding to the twenty-two letters of the Hebrew alphabet, indicating that it is the relations between the divine attributes or “Sephiroth” which produce Manifestation.

These twenty-two letters or channels are divided by categories, according to the numbers 3, 7, and 12 previously encountered:

• Three Mother letters (א מ ש) correspond to the World of Archetypes (Beriah) and to the ternary.
• Seven double letters (ב ג ד כ פ ר ת) correspond to the World of Elements (Ashiah) and to the quaternary.
• Twelve simple letters (ה ו ז ח ט י ל נ ס ע צ ק) correspond to the World of Orbs (Ietzirah) and to the quinary.

A divine name, the sacred Tetragrammaton (יהוה), designates the whole of the “Sephiroth,” and to each sign of this name corresponds a person:

• To the point of the “yod” (י): the Ancient of Days or Longanimous, anterior to sexual distinction, corresponding to “Kether”.
• To the “yod” (י): the Father “Abba,” corresponding to “Chokmah”.
• To the 1st “he” (ה): the Mother “Imma,” corresponding to “Binah”.
• To the “vau” (ו): the King, corresponding to “Thiphereth”.
• To the 2nd “he” (ה): the Queen, corresponding to “Malkuth”.

The 10 “Sephiroth” and the 4 letters of the Tetragrammaton are distributed upon the branches of an “Aleph” which schematizes Adam, the prototype of man.

The unions of the Father and the Mother, and of the King and the Queen, are not of the same nature. That of the Father and the Mother is uninterrupted; their copulation corresponds to “Daath,” Knowledge, interposed between “Chokmah” and “Binah.” Daath is not a “Sephirah,” but serves as foundation to the other “Sephiroth.” That of the King and the Queen is intermittent and its current is reversed: now the King tends toward the Queen, now the Queen toward the King; their common product, “Iesod” or the Just, is a “Sephirah,” reflection of “Daath,” norm and foundation of the manifested Worlds. The Just also corresponds to the intimate union of “Tiphereth” with “Iesod,” of “Purusha” with “Buddhi.”

From another point of view, the “Sephiroth” are arranged in the form of a tree, composed of a trunk (central column) and two opposite branches (lateral columns), the trunk serving as mediation between the two branches. The lateral columns each contain three elements; the central column contains five.

Here is the description of the eleven elements (ten “Sephiroth” and “Daath”) of which the Sephirothic Tree is formed:

I. — “Kether” (כֶּתֶר) [Crown]: The supreme Thought, final cause, principle of other causes; the cerebellum; corresponds to the divine name אֶהְיֶה [Ehyeh], to “Sat” actual, and to the Father; transcendent and inaccessible synthesis of all the “Sephiroth.”

II. — “Chokmah” (חָכְמָה) [Wisdom]: Formal and exemplary cause, extracting from the Absolute what it wishes to render manifest; the right brain; corresponds to the divine name יָה [Yah], to “Chit” actual, and to the Word; has its reflection in “Tiphereth” and in “Iesod.”

III. — “Binah” / “Thebunah” (בִּינָה, תְּבוּנָה) [Understanding/Intelligence]: Intelligence, Prudence, efficient cause, determinative and realizant, the “Shekinah”; the left brain; corresponds to the divine name אֱלֹהִים [Elohim], to “Ananda” actual, and to the Holy Spirit; has its reflection in “Malkuth.”

“Daath” (דַּעַת) [Knowledge]: Not a “Sephirah”; it is interposed between the three preceding “Sephiroth” (superior/intellectual) and the seven following “Sephiroth” (inferior/constructive). “Daath” is symbolized by the Tree of Knowledge, which separates “Good” (the three superior Sephiroth) from “Evil” (the seven inferior Sephiroth) and reconciles them. It is the Knowledge, common act in which the two poles “Chokmah” and “Binah” neutralize each other; re-establishes, as an immediate reflection, the unity of “Kether”; foundation and norm of the seven constructive “Sephiroth”; the spinal marrow; corresponds to the Principial Being; has a great affinity with “Iesod.”

IV. — “Chesed” / “Gedulah” (חֶסֶד, גְּדוּלָּה) [Mercy/Greatness]: Grace, Grandeur; the right arm, the blessing hand; corresponds to the divine name אֵל [El] and to “Bhuwas forma.”

V. — “Geburah” / “Pachad” (גְּבוּרָה, פַּחַד) [Severity/Terror]: Rigour, Terror; the left arm, the hand of justice; corresponds to the name אֱלֹהִים [Elohim] and to “Bhuvas materia.”

VI. — “Thiphereth” (תִּפְאֶרֶת) [Beauty]: Centralizing and unifying hearth of the six first inferior “Sephiroth”; the heart; corresponds to the divine name יְהוָה [YHWH] and to “Purusha”; has close links with “Iesod” and “Malkuth.”

VII. — “Netzah” (נֵצַח) [Victory/Eternity]: Victory, Time, “Jakin”; the right thigh; corresponds to the divine name יְהוָה צְבָאוֹת [YHWH Tzevaot] and to “Bhû forma.”

VIII. — “Hod” (הוֹד) [Glory]: Glory, Space, “Boaz”; the left thigh; corresponds to the divine name אֱלֹהִים צְבָאוֹת [Elohim Tzevaot] and to “Bhû materia.” “Jakin” and “Boaz” were the two columns erected at the entrance to Solomon’s temple. The sum of their simple and extended gematria equals 2,268. These two columns thus symbolize the numerators of the ritual tables, marking the opposition and complement which are the norm of ritual constructions in the World of “Ashiah.”

IX. — “Iesod” (יְסוֹד) [Foundation]: The Foundation, the Norm of the manifested Worlds, Life; the phallus; corresponds to the divine name שַׁדַּי [Shaddai] and to “Buddhi”; re-establishes, as a mediate reflection, the unity of the three intellectual “Sephiroth”; is closely linked to “Daath.” “Iesod” is symbolized by the Tree of Life. According to Chinese myth, the hollow mulberry “K’ong sang,” Tree of Life and solar tree, grows at the centre of the Cosmos, where the King resides. This Tree is linked to the “Tao,” the Way which unites Heaven and Earth, symbol of the rhythm of universal Life, whose emblem is 11 (= 5 + 6).

X. — “Malkuth” (מַלְכוּת) [Kingdom]: The Kingdom, the presence of GOD in the world, His conservative action, His Providence, the “Shekinah”; the earth beneath the feet; corresponds to the divine name אֲדֹנָי [Adonai] and to “Prakriti”; immanent synthesis of all the “Sephiroth.” These are the two wheels and the body of the celestial chariot (merkabah) which God uses to descend toward His creature.

The Sephirothic Tree of the first World, “Atziluth,” concentrates the emanation. The “Sephiroth” did not issue from nothingness, but from the substance of the Infinite. The “Sephiroth” are of the same nature as the Infinite and inherent in Him, with this difference: the Infinite exists by Himself (causa sine causa), whereas the “Sephiroth,” emanating from Him, are the “caused” of the First Cause.

The Sephirothic Tree (ex parte creaturæ), uniting the Absolute and the relative, divides into an interiority and an exteriority.

• The Interiority, represented by “Kether,” comprises the three supreme “Sephiroth” or Intellectual Splendours: “Kether,” “Chokmah,” and “Binah.” Though distinct, they are but One (unum absolutum) and correspond to the three divine Persons. It is the Long Face, “Arik Anpin,” symbolizing the Absolute who, in His Benevolence, veils Himself at the approach of the relative.
• The Exteriority, synthesized by “Tiphereth,” comprises the six first constructive “Sephiroth.” It is the Short Face, “Zeir Anpin” or the King, symbolizing the Absolute who, in His Rigour, maintains the separation between Himself and the relative.
• The Link between interiority and exteriority is “Malkuth,” term and summary of the whole Sephirothic Tree, symbolizing the “Shekinah.” It is the Spouse of the Queen who stabilizes creation in the rest of the seventh day.

Thus, three of the “Sephiroth” situated on the middle column—“Kether,” “Thiphereth,” “Malkuth”—represent respectively the interiority, the exteriority, and the synthetic link. The union of the divine names which correspond to them (Ehyeh=21, YHWH=26, Adonai=65) sums to 112. Added to this, by hieroglyphic mutation, is Elohim=91, forming the number 203, equivalent to “Bar” (Son/Pure), the “Fountain” from which flow the Love, Truth, and Power of GOD.

As in the great Chinese Triad, the transcendent Absolute renders Himself immanent in the relative by means of the archetype of the macrocosm, “Adam Kadmon” (Primordial Man), who corresponds to the couple “Purusha-Prakriti” and symbolizes the whole of the seven inferior “Sephiroth.” “Adam Kadmon” is analogous to the “Unique Man,” to the “King” of Taoism, and to Vishvakarma, the Great Architect of the Universe.

But the Absolute in His descent toward the relative does not communicate His Nature to the three manifested Worlds (“Beriah,” “Ietzirah,” and “Ashiah”), which are creations ex nihilo. Creation is therefore the work of the “Sephiroth,” inasmuch as the Absolute acts by them and in them.

This mediating and permanent action of GOD in creation is the “Shekinah” (the “Shakti” of Tantrism). Mother of humanity, she is realizant, sanctifying, consoling, and protective. Like every intermediary, the “Shekinah” has two faces: the exterior/inferior face (“Malkuth”/Prakriti) and the interior/superior face (“Binah”/Ananda). The “Shekinah” has a masculine parèdre, “Metatron,” by whom she manifests herself. “Metatron” is the angel of the Word, Michael, the great pontiff who resurrects the dead and judges souls; he is the prefiguration of the Messiah.

Since the “Sephiroth” present themselves in the form of a tree, it is said: “Kether,” mystery of the point, is the hidden root; the three brains with the seven constructive “Sephiroth” form the trunk and branches. As Elijah says in the Zohar: “It is Thou, O Master of the World, who hast produced the ten Perfections… to illuminate by them the invisible and visible worlds… whosoever would separate these ten ‘Sephiroth’ one from another would be guilty as if he had torn and shattered Thee Thyself.”

I could not fail to find a striking analogy between the cabalistic doctrines and the various graphs I had constructed. The successive veils which surround the supreme Thought were represented by my intermediate graph upon triangles, forming a series of square envelopes around the invisible centre. This centre and its envelopes were symbolized as follows:

1. The central virtual square represented “Kether”.
2. The two small interior squares represented “Chokmah” and “Binah”.
3. The square ● (produced by the quadruplicity of ARSENIC●M) represented “Daath”.
4. The two mean interior squares represented “Chesed” and “Netzah”.
5. The two large interior squares represented “Geburah” and “Hod”.
6. The small exterior square represented “Malkuth”.
7. The mean exterior square represented “Iesod”.
8. The great exterior square represented “Thiphereth”.

“Daath,” reciprocal union of “Chokmah” and “Binah,” serves at once as separation and link between the three Intellectual Splendours and the seven Constructive Splendours. Here the opposition of 7 and 108 found its justification: 7 represented the seven constructive “Sephiroth,” and 108 symbolized the three intellectual “Sephiroth.”

Of the seven following operative “Sephiroth,” two emanate from “Chokmah” (“Chesed” and “Netzah”) and two from “Binah” (“Geburah” and “Hod”). The first two are the synthetic archetypes of the “formæ” of the two inferior Worlds; the last two are the synthetic archetypes of the “materiæ” of these two Worlds.

The three remaining “Sephiroth” on the middle column form, with the four preceding, the exteriority of the Sephirothic Tree. “Thiphereth” is the synthesis of the exteriority. “Iesod” synthesizes the three superior “Sephiroth” and is the hearth from which irradiates all that produces the Manifested. “Malkuth” synthesizes the union between interiority and exteriority.

This synthesis is illustrated by the Candelabrum of the Tabernacle, which comprises 1 shaft and 6 branches (7 lamps total), 10 lilies, 10 spheres, and 22 almond-shaped cups. The disposition of the cups (4 on the shaft and 18 on the branches) is an example of the opposition and complement of the numbers 18 and 22.

Now, the functions of the squares ☉, ♃, and ☽ were of the same nature. The square ☉ synthesized the six other squares and symbolized the exteriority of the graph. The square ♃, in parallelism with the square ●, was a reflection of the centre and symbolized the interiority. Finally, the square ☽ was geometrically situated at equal distance from the central virtual square (interiority) and the square ☉ (exteriority); its side was the arithmetic mean of the sides of the two other squares, symbolizing the synthetic link uniting interiority and exteriority. The correspondence between “Thiphereth,” “Iesod,” “Malkuth” and the squares ☉, ♃, and ☽ was thus well justified.

Having thus established in what manner the Sephirothic Tree was figured by my intermediate graph upon triangles, I recalled that the square M, common numerator and foundation of the eight ratios of ARSENIC●M, corresponded to the “Sephirah” “Iesod” whose divine name SHADAI (שַׁדַּי = 314), name of “Metatron,” had bounded the extent of the World. I found a new correspondence between this graph and the Kabbalah by drawing up the approximate table below of the eight ratios of ARSENIC●M, where the common numerator was expressed by 314, and the denominators by numbers of the FIBONACCI series.

TABLEAU VI (Ratios of ARSENIC●M where M = 314)

• M / A₆ = 314 / 144 → A₆ = A + 2.55% of A
• M / S₆ = 314 / 89 → S₆ = S + 2.55% of S
• M / E₆ = 314 / 55 → E₆ = E + 2.56% of E
• M / R₆ = 314 / 34 → R₆ = R + 2.57% of R
• M / N₆ = 314 / (55 + 8) → N₆ = N – 0.09% of N
• M / I₆ = 314 / (34 + 5) → I₆ = I + 0.08% of I
• M / C₆ = 314 / (89 + 34) → C₆ = C + 2.56% of C
• M / ●₆ = 314 / (55 + 21) → ●₆ = ● + 2.54% of ●

Pursuing my study of the Kabbalah, certain veiled characters of the Tetragrammaton IAHVEH (יהוה) came to my mind. This name is the seal with which the supreme Thought, “Kether,” has sealed “Thiphereth.” It signifies manifestation in potential mode. It expresses itself in numbers by 5, 6, 5, that is by the mutations of the quinary and the senary.

Moreover, I found a connection between the Tetragrammaton and three of my graphs: the two intermediate graphs (upon triangles and pentalphas) and the mediator graph.

• Yod (י), attributed to “Chokmah,” related to the intermediate graph upon triangles.
• He (ה), attributed to “Binah,” related to the intermediate graph upon pentalphas.
• Vav-He (וה), symbol of mutations, related to the double mediator graph.

These three graphs symbolized respectively Heaven, Earth, and Man in the Taoist doctrine, and thus the mediator graph corresponded to “Adam Kadmon,” intermediary between the Absolute and the relative.

A long silvered rectangle having the square ☽ as its construction base took on for me a particular importance. Since this graph related to Man, whose total height is symbolically 60, I imagined dividing the length of the mediator graph into sixty equal parts, and consequently its width into thirty equal parts. The graph presented an analogy with the cosmogonic representations of the Egyptians, figuring the goddess NOUT above the god SEB, separated by the action of SHOU. In the graph, the square ☽ and the square ☉ were separated by the square ♃, symbolizing “Buddhi,” first image of the Word.

I used for this purpose the sacred language of the Kabbalah and I divided the Hebrew alphabet into twenty-two intervals. Attributing to each interval the value of the sixtieth part of the length of the mediator graph, I interposed this formative alphabet between the centres of the two squares. The centre of the “low” symbolized the winter solstice (North), and the centre of the “high” symbolized the summer solstice (South). To fix the position of this alphabet, I recalled that the number 40 was that of mediation in the Great Pyramid. I therefore placed the “mem” (valued at 40) in the middle of the height of the graph, dividing the twenty-two intervals into 12 and 10.

The alphabet being thus placed inside the double square:

• A length valued at 18 extended between the upper border and the initial Aleph.
• A length valued at 20 extended between the final Aleph and the lower border. The length 18 was divided into two equal parts (appearing as the number 9). The length 20 was divided into three unequal parts (appearing as the number 5). This division revealed the duodecimal division already encountered.

Pursuing the examination of the space reserved for the formative word, I remembered that the numbers 1, 5, 12, and 22 (sum = 40) were pentagonal numbers symbolizing the quinary and the World “Ietzirah.” I distinguished the intervals of rank 1, 5, 12, and 22: AB, HV, LM, THA. I noticed that one letter of each interval corresponded to the squares A, ●, and M. Thus, just as V (senary) was hidden in Vav-He, so H (quinary) was hidden in BTHL. BTHL equals 432 (= 4 × 108), representing the base perimeter of the Pyramid. This meant that the quinary served as foundation to the stone erected by Jacob at Bethel.

Symbolizing then BTHL by the centre of the figure, I traced upon my graph the hidden interval Vav-He, leaving veiled the other intervals. This interval corresponded to the double square ☽ of the “high,” to the “Shekinah,” and was mediator itself. I marked the interior with the letter Yod (י). Tradition teaches that the letter Yod separates the ten “Sephiroth” from the eight celestial Spheres and the four Elements. The letters He, Vav, Yod, thus figured, permit writing with the Aleph the two most sacred divine names: Ehyeh and YHWH.

To this sacred alphabet of the Kabbalah (22 Hebrew letters) is opposed by complement the sacred alphabet of Tantrism, formed of 50 Sanskrit letters (monosyllables) corresponding to the 50 petals of the six “chakras.” Starting from the upper border of the mediator graph, I attributed each monosyllable to one of the intervals:

• 18 monosyllables of “sattva” extended to the initial Aleph.
• 22 monosyllables of “rajas” were placed opposite the 22 Hebrew letters.
• 10 monosyllables of “tamas” were placed between the final Aleph and the lower line.

The 50 monosyllables represent the revealed Worlds. The 22 letters represent the hidden Worlds. To these 22 Worlds are added the 10 commandments of the Law symbolizing “Daath”; their ensemble constitutes the 32 paths of “Chokmah,” opposed by complement to the 50 gates of “Binah.” In the two sacred alphabets, “Om” and the Yod represent these two synthetic Worlds.

Table: Chakras and Correspondences

I attributed the eleven horizontal “Yang” lines, traced on the mediator graph, to the ten “Sephiroth” and to “Daath,” as well as to the corresponding planetary signs:

1. Upper border: “Binah”
2. Line touching “materia” squares of the high: “Chesed” and “Geburah”
3. Line of initial Aleph: “Thiphereth”
4. & 5. Lines of interval Vav-He: “Malkuth”
5. Line of Yod: “Iesod”
6. Line of Bet: “Daath”
7. Line of final Aleph: “Netzah” and “Hod”
8. Line touching centre of the low: “Kether”
9. Line touching lower intersection: “Netzah” and “Hod” (by reflection)
10. Lower border: “Chokmah”

I then carried out my geometric correspondences. Starting from the centre (Kether) and following the “Yin” and “Yang” lines, I mapped the intimate union of “Kether,” “Chokmah,” “Binah,” and “Daath” (interiority) and the correspondence of “Kether” and “Malkuth.”

Examining finally the numbers which separated the eleven “Yang” lines, I noted that within the Hebrew alphabet appeared divisions according to 3, 5, 8, and 13, numbers of the FIBONACCI series. Moreover, considering the line passing through the centre, I saw appear symmetrically the number 15 (= 5 + 10) which I adopted as the characteristic number of “Kether” and of the “T’ai ki.”

Finally, around the interval Vav-He, I saw appear symmetrically the numbers 18 and 22, this double mutation representing the mutations of “Yang.”

It was well to note that the line of “Thiphereth” was quite close to a summit of the square ●, attaching it to “Hiranyagarbha.” The “Yang” line (corresponding to Yod) divided the borders of the “Yin” frame according to the ratio 23/37, and the “Yin” line (corresponding to He) divided the borders of the “Yang” frame according to the ratio 37/23. The “T’ai ki” produces the two Effigies, the four Images, and the eight Trigrams (1+2+4+8 = 15). The numbers 108 and 7 are the two aspects “Yang” and “Yin” of the side M of the square ♃ (Iesod); their ratio is in close union with the number 15 (Kether), since, thanks to the play permitted by the ritual and architectural error (36/35), 108/7 equals 15″.