THE HIERARCHICAL ORDER
THE TRIADIC UNITY OF DUALITY
IN
  O  N  E

ARCHITECTURE FROM THE IVTH TO THE VIITH CENTURY



GEOMETRIC LAY LINES OF AVAN'S FLOOR PLAN

 

"In the seventh century, while Byzantium and the Latin West slept,
medieval Armenia enjoyed a veritable architectural building boom."
-- DR. CHRISTINA MARANCI

an expert scholar of Medieval Armenian Architecture,
Dr. Maranci teaches at the University of Wisconsin, Milwaukee --
she is the author of -- Medieval Armenian Architecture: Constructions of Race and Nation

B A L A N C E   A N D   P R O P O R T I O N
 

 THE GEOMANCERS AND THE ANCIENT ART OF FUSION


SOLAR ALIGNMENT ACCORDING TO THE FOUR CARDINAL DIRECTIONS
 AND
8 CARDINAL POINTS OF THE TRIPLE DECKER UNIVERSE [8=3]

CHURCHES AND CATHEDRALS WERE ERECTED WITH THE
CONICAL DOMES AND TOWERS ORIENTED TO THE CARDINAL
POINTS, OR TO MARK THE SOLSTICES AND EQUINOXES.
OTHERS WERE ORIENTED TO THE SUNRISE OF THE SAINT
FOR WHOM THEY WERE NAMED [SAINT GEORGE FOR EXAMPLE IS
ORIENTED DUE EAST -- SUNRISE -- SO THAT AT THE VERNAL EQUINOX
THE GREAT DOORS CAN BE THROWN OPEN AT SUNRISE AND THE SUNRAYS
PASSING THROUGH THE NAVE WILL ILLUMINATE THE HIGH ALTAR.


CRYSTALLIZED MANIFESTATION OF THE DIVINE


 

Written by Gevork Nazaryan
Some portions of the Architecture of Armenia were taken from the Siuni Server.

The conditions for the development of architecture were quite favorable during the Arsacid Dynasty, which followed the Royal House of the Artaxiads. King Khosrov the Young [322 - 338] founded the capital city of Duin (Dvin). The construction of churches gained tremendous impetus when in 301 A.D., St. Gregory the Illuminator and King Trdat (Tiridates) proclaimed Christianity as the official


ARMENIAN MASTER ARCHITECTS ERECTED
SACRED BUILDINGS BASED ON THE
HARMONY OF THE GOLDEN MEAN.

ONE OF THE SPIRALING MATRIX PILLARS FROM THE CATHEDRAL OF LIGHT

VESICA PISCIS UNITING PENTAGON WITH THE HEXAGON.

religion of Armenia, thus making Armenia the first Christian nation in the world. At the very outset of the formal adoption of Christianity as the official religion, St. Gregory the Illuminator founded the first churches at Ashtishat, Vagharshapat, Sevan and other parts of Armenia. These buildings were single-nave and try- nave basilicas, often built upon the foundations of former pagan temples. In some instances, pagan temples were converted to churches, relocating the apse from the West to the East side of the building.


AN ANCIENT MANUSCRIPT [NO. 8132] FROM THE MATENADARAN
SHOWING THE GEOMETRIC [HERMETIC] GRID OF THE MASTER ARCHITECTS
NOTE THE SIGNATURE -- II -- AND TWO Ē [SEVENTH LETTER] THE
COSMIC WHEEL [AND THE EMPEROR OF PLANETS]...THE SYMBOL OF ETERNITY.
NOTE THE PYRAMID/DELTA/TRIANGLE WITHIN THE VESICA PISCES [SEE BELOW].



THE VESICA PISCES:
A THROUGH G
TWO CIRCLES SHARE A COMMON RADIUS [AB]
RADIUS AB = 1
THE INTERSECTING CIRCLES CREATE VESICA PISCES.
THE MINOR AXIS OF THIS VESICA PISCES [AB] = 1,
THE MAJOR AXIS [CD] = THE SQUARE ROOT OF THREE, 1.732

CB = AB = 1
THEREFORE:

a + b = c
.5 + x = 1
x = .75
2 = .75
x = .8660 = CE
CE is 1/2 of the major axis CD
2 CE = CD
.8660 * 2 = CD
CD = 1.7320 = 3


F L O O R    P  L A N    O F    A V A N  [V I  T H  C E N T U R Y]  M I R R O R E D.


ORDER FROM ABOVE... FROM  S  O  L  A  R  I  S   BY THE GREAT ARCHITECT
PHILOSOPHER AND TEACHER ALEXANDER ARORDI VARBEDIAN.


SANAHIN BRIDGE OVER DEBET RIVER.


WINDOWS [LUSAMUT LIT. IN ARM. ENTRANCE OF LIGHT] OF
THE CHURCH OF ST. STEPHAN IN LERNAKERT. IVTH CENTURY.


CHURCH OF ST. STEPHAN IN TANAHAT. CAPITALS OF
THE COLUMNED GALLERY AND THE APSIDAL ARCH IMPOST. 491.


KATOŁIKĒ BASILICA IN EŁVARD. VTH CENTURY.
ABOVE. ONE SOLAR 5-POINT CROSS [4+1 CENTER -- CARDINAL DIRECTIONS --
8 OUTER CARDINAL POINTS] SURROUNDED BY 32 RINGS.
SOUTHERN PORTICO WITH THE AQUATIC FEMININE SYMBOL OF LIFE.


R U I N S   O F   T H E  G R A C E F U L  E R E R U Y K  B A S I L I C A. V T H  C E N T U R Y.


SOUTHERN ENTRANCE PORTAL OF ERERUYK.


WESTERN ENTRANCE PORTAL OF ERERUYK.


ONE OF THE MASSIVE ERERUYK COLUMN PILLARS ADORNED
WITH THE FOUR RINGS [UNITING TWO 8s IN HORIZ. AND VERT.
ALIGNMENT AXIS FORMING THE COSMIC WHEEL] THE TREE OF
LIFE IN THE CENTER ON TOP THE CIRCULAR BASE RESTS
SQUARE THAT SUPPORTS THE PEDIMENT OF THE BASILICA.
INTERWOVEN DIAMOND/RHOBI AT THE PEDESTAL.


FREE STANDING COLUMN [WORLD PILLAR] AT JRVEJ [SEE THE TEMPLE COMPLEX
BELOW] FROM IVTH CENTURY. CAPPED BY A 'WINGED CROSS' [NOTE THE 6+2
WINGS THAT ARE IN THE FORM OF A 'CRESCENT' OR A 'BOAT' STANDING FOR THE
MOVEMENT AND PRECESSION OF THE SUN AT THE BOTTOM] 8 POINTS AT THE TIPS
OF THE CRUX LEADING TO THE CENTER NINE. SEVEN STEPS LEADING TO THE COLUMN.
NOTE THE SUNBURST AT THE UPPER PEDIMENT. THESE MONUMENTS [STANDING FOR
TREE OF LIFE/AXIS MUNDI/PHALLUS] WERE ERECTED THROUGHOUT GREATER
ARMENIA WELL INTO LATE MIDDLE AGES [THE IXTH CENTURY STILL STANDING
'GAVAZAN' COLUMN CAPPED WITH THE ARCHING CROSS IN TAT‛EV MONASTERY,
IN SIWNIK‛ PROVINCE [SEE SUBSEQUENT PAGES OF ARCHITECTURE CHAPTER]
 IS ONE RENOWNED EXAMPLE.


THE WORLD COLUMN IN AKUNK [LIT. SOURCE].
TWO UNITED SPIRALS FORMING
THE SIGN OF INFINITY
SPINNING IN OPPOSITE DIRECTIONS.


IRMIN[E]/ARMIN/ARMAN/ARMEN ORMUS SUL/SOL/SOUL...

Vth century architectural developments resulted in the creation of the traditional Armenian central-domed cathedrals and domed basilicas. These were new innovations in the evolution of Armenian architecture. The principle of the dome came from prehistoric era and metamorphosed  into elaborate forms. "Corbelling," or erecting a wooden domed roof over a square building, was widely practiced by Armenian master masons in the construction of public and domestic buildings. This technique consists of laying short wooden beams across the angles of the square formed by four columns or four walls. The Armenian master builders translated this


THE MALTESE CROSS ON THE CHURCH OF ST. GEORGE IN TEŁ.
IVTH CENTURY. THE COSMIC CRUX [SEE BELOW].





PILASTER CAPITAL FROM TUŁ MANUKMAUSOLEUM OF ST. VARDAN IN ZOVUNI.
ABOVE. SACRED SYMBOL OF LIFE AND ETERNITY -- TWO INTERWOVEN/UNITED
HERMETIC SNAKES WITH THE DOT IN THE CENTER. EYE [VISION],
SEED WITHIN THE WOMB [CREATION]. VITH CENTURY.
BELOW. GRAPES SYMBOLS OF FERTILITY AND MANIFESTED LIFE.



THE CHURCH OF KARASNIC‛ IN PAVANK‛, VASPURAKAN PROVINCE. V-VITH CENTURIES.
THE PHOENIX OF REGENERATION RISES FROM THE FLAMES. THE SYMBOL OF
ETERNITY WITH SERPENTS AND COILED EYES OF THE INFINITE.
PAOLO CUNEO -- THE GREAT ARMENOLOGIST-ARCHITECT FOR MANY DECADES
METICULOUSLY STUDIED NUMEROUS ANCIENT MONUMENTS OF
GREATER ARMENIA AND LATER PUBLISHED HIS VALUABLE FINDS
IN A SERIES OF BOOKS ON THE OUTSTANDING ARCHITECTURE OF ARMENIA.
THE GREAT MAN PASSED AWAY IN 1995 AND WILL ALWAYS REMAIN AN IMMORTAL
FOR HIS DEDICATION TO THE STUDY AND HISTORY OF THE ARMENIAN PEOPLE.


DECORATIVE RELIEFS ON KARASNIC‛ CHURCH.  UNITED
8-ESQUE RINGS [INFINTI] CONTAIN WITHIN THE ROSE.
BELOW THE SYMBOL OF LIFE AND FERTILITY --
TEN RINGS [SOURCE] OF WATER/RAIN/SNOW.


FLOOR PLAN OF KARASNIC.


THE HALL CHURCH OF JRVEJ. IVTH CENTURY. REC. BY N. TOKARSKI.
BUILT ON THE TRADITIONAL MITHRAIC PATTERN BY ARMENIAN MASTER BUILDERS.




DECORATIVE ELEMENTS FROM THE T‛EŁENEAC‛ CHURCH.


VIEW OF THE HOLY COSMIC TWIN MOUNTAIN WITH KHOR VIRAP DUNGEON
WHERE ST. GREGORY THE ILLUMINATOR WAS IMPRISONED FOR 12 LONG YEARS.
[LATER CONVERTED TO A MONASTERY] IN THE FOREGROUND.

THE FORTRESS MONASTERY OF KHOR VIRAP.


THE DOME OF OSHAKAN. THE TOMB OF IMMORTAL ST. MESROP MASHTOTS.
VTH CENTURY.


SYMBOLS OF ARMANI MASTER BUILDERS FROM THE VITH TO THE XIITH CENTURIES.

technique into stone and succeeded in building monumental domed structures in masonry. One of the earliest examples of the domed cathedral is the Mother Cathedral of Echmiadzin. About the year 480, Prince Vahan Mamikonian, ordered the rebuilding of the basilica church erected by St. Gregory the Illuminator in 303, and incorporated the cruciform plat with a separate, quatrefoil dome on a


ZORAVOR MONASTERY. VIITH CENTURY.



THE MOTHER CATHEDRAL OF THE HOLY SEE [303]

THE ERERUYK BASILICA [VTH CENTURY]. MITHRAIC MASTER PATTERN.




ODZUN BASILICA. VITH CENTURY. BUILT ON A PLAN SIMILAR TO EARLIER
BASILICAS LIKE YERERUYK AND TEKOR BUT CARRYING AN OCTAGONAL DOME
RESTING ON SQUINCHES, THIS CHURCH IS THE SURVIVING CRUCIAL LINK
BETWEEN ARMENIAN BASILICAS AND CHURCHES.


LMBAT‛AVANK‛ HERMIT [FROM HERMES...] SANCTUM IN ART‛IK. VIITH CENTURY.


SISAVAN CHURCH IN SISEAN, SYUNIK. VIITH CENTURY.


ST. JOHN MENASTAN [MONK...MONO...MONAD] SPIRITUAL ABODE. VIIITH CENTURY.


RUINS OF EŁVARD MONASTERY. VIITH CENTURY.


ERECTING THE TEMPLE OF SAINT HRIPSIMĒ [SEE BELOW].
 

pendentive design. The cruciform plan is evident trough the four apses protruding from the walls of the basic quadrilateral plan. As to the dome, it is the central and unifying motif of the overall cruciform design in both plan and elevation.

ARCHITECTONICS



3-D SKETCH OF THE CHURCH
OF ST. HRIPSIMĒ [614 AD]


KARMRAVOR [RED] CHAPEL OF MEDITATION. VIITH CENTURY.


FLOOR PLAN OF BAGARAN [CA. 640] SEE BELOW...


FLOOR PLAN OF THE CHAPEL OF THE SAN SATIRO [868-881,
THE BELL TOWER AND THE CHURCH WERE ERECTED
IN 1478 AND EXPANDED IN 1482 BY BRAMANTE]
ARCHITECTURAL ENSEMBLE BASED ON THE BAGARAN-ESQUE
PROTOTYPE OF THE ARMENIAN MASTER BUILDERS.

The Mother Cathedral of the Holy See of Echmiadzin, is one of the earliest examples of Armenian, as well as more broadly, international architecture incorporating the central-dome construction. This form continued in the prototypes of Bagaran [624 - 631], Mastara (VIth century) as well as other variants of ecclesiastic buildings. The isolated columns of the St. John Cathedral of Mastara



KEYSTONE OF THE APSIDAL ARCH. CHURCH OF TSIRANAVOR
IN PARBI. VTH CENTURY.
FOUR SPIRALS [TWO -- FOUR-ARROWED]
AROUND CENTER FIVE SOLAR CROSS.
TRIANGLES FACING UP AND DOWN ENCIRCLE 8-ETERNITY.
PARALLEL LINE OF A DIAMOND ARRAY ABOVE.


F I A T     L V X


CHURCH OF ZARNJA [CA. 635].
ZVARTNOTS-ESQUE PATTERN. THE DOME AND DRUM WITH
BALDACHINO COLUMNS ANTICIPATING THE BAROQUE STYLE BY
1,000 YEARS -- ARE VERY REFINED AND ADVANCED FOR THE ERA
OF THEIR CONSTRUCTION AND HERALDED THE UMBRELLA DOMES
OF ELEVENTH-CENTURY ARMENIAN CHURCHES.
THREE IN ONE [MAN, GOD AND HOLY SPIRIT UNITED IN CHRIST]
THE SYMMETRICAL PLAN, FOLDED-WALL STRUCTURE AND
PYRAMIDAL DISPOSITION OF VOLUMES MADE IT QUITE
RESISTANT TO EARTHQUAKE MOVEMENT.


RUINS OF TALIN CATHEDRAL. VIITH CENTURY.

 

and similar design [Harij, Ardek, and Voskebar] are eliminated and the broad dome, with modifications of the drum, rests upon the corners of the apses, creating a feeling of interior space. Further development of the central dome theme of the Mother Cathedral of Echmiadzin and the Mastara Monastery was realized in the Cathedral of Avan, built in the last decades of the VIth century.


SOME OF THE SYMBOLS OF THE MASTER ARCHITECTS

In this design the cruciform is incorporated with a perfected square, whose open corners accommodate four round vestries with centralized open anterooms. The broad-set dome rests upon the eight columns bordering the anterooms and vestries. The structural design of the Cathedral of Avan [591-602 -- in the suburbs of Yerevan erected by the orders of Catholicos John -- the interior four-


FLOOR PLAN OF ART'IK TEMPLE [VIITH CENTURY].

apse composition rests on circular corner niche supported with circular chambers, inscribed in the rectangle made by massive external walls] reached a higher degree of perfection in the Cathedral of Virgin Martyr St. Hripsime [618] and in


T  H  E     F  L  O  O  R     P  L  A  N    O  F     S  A  I  N  T    H  R  I  P  S  I  M  Ē
FLOOR PLAN OF THE DOMED BASILICA IN ODZUN [MID. VITH CENTURY].

similar structures such as the Monastery of the Holy Translators, the churches of Garnhovit and Sisavan of the important province of Siwnik' of Greater Armenia. In contrast to Avan, the Cathedral of St. Hripsime is square-corned and the exterior walls under the apse


T  H  E     F  L  O  O  R     P  L  A  N    O  F     A V A N

are indented with trapezoidal niches. This arrangement results in having thinner exterior walls, while at the same time enhances the structural integrity and aesthetic balance of the overall edifice.


V I T R U V I A N -- P E R F E C T E D -- M A N.  L D V  S K E T C H [SEE BELOW...].


LEFT -- HARMONIOUS TRACE OF THE OCTAVE BAGARAN [LIT. ABODE OF GOD] CHURCH [624-631]

RIGHT -- HARMONIOUS TRACE OF THE SAN SATIRO CHURCH BUILT CENTURIES LATER
BASED ON THE ARMENIAN ARCHITECTURAL PATTERN. THE ARMENIAN MASTER ARCHITECTS
WERE ACTUALLY THE ONES THAT SUPERVISED THE ERECTION
OF  NUMEROUS CHURCHES AND CATHEDRALS THROUGHOUT EUROPE.
THEY TOOK THE IMPORTANT BLUEPRINTS OF THE ARMENIAN BUILDING CRAFT
FROM THEIR HOMELAND TO FOUR CORNERS OF THE KNOWN WORLD.



LEONARDO DA VINCI. SELF-PORTRAIT SKETCH [1515]. DA VINCI
DEPICTED PARABOLIC MIRRORS IN HIS NOW FAMOUS CRIPTIC DIAGRAMS.
L [d] +V=X [LVX...lit. L of V =X MALE + FEMALE
HEAVEN EARTH CHI UNION...DIRECT PARALLEL OF CHI...
KENSAUZH-LIFE FORCE IN TAOISM...TAO FROM CHAO]


ONE OF CLOSE ARMENIAN CONFIDANTS OF LEONARDO DA VINCI.
SKETCH MADE BY THE MASTER.




THE MASTER OF THE RENAISSANCE WHO INSPIRED SO MANY
A DEVOTEE OF BEAUTY AND HARMONY  IN HIS TURN
WAS INSPIRED BY THE ARMENIAN MASTERS OF WISDOM.



THE SKETCH MADE BY LEONARDO DA VINCI AFTER HIS AFTER HIS
RETURN FROM ARMENIA INSPIRED [OR PERHAPS THE BLUEPRINTS
WERE EVEN GIVEN TO HIM] BY THE ARMANI MASTER ARCHITECTS.
THE SKETCH -- ONE OF MANY -- WOULD SERVE AS THE MODEL FOR
THE ST. PETER'S BASILICA IN ROME/VATICAN
THE SUPREME SEAT OF THE PAPACY THE
LARGEST CHRISTIAN CHURCH IN THE WORLD. NOTE THE
TRADITIONAL ARMENIAN PATTERN INCLUDING A CENTRAL CONIC
DOME SURROUNDED BY LESSER DOMES ON AN OCTAGRAMIC FLOOR PLAN.


ARMENIAN CHURCH SKETCHES BY LDV AFTER HIS RETURN FROM ARMENIA.

DEDICATED TO OUR GOOD FRIEND WITH A NOBLE HEART -- MHER SARIBEKYAN
WHO HAS A KEEN INTEREST IN ARMENOLOGY...TRULY A RENAISSANCE
MAN WHO IS COUNTED AMONGST FELLOW DEVOTEES OF THE MASTER...


HEAD OF YOUNG MAN HOVERING ABOVE FROM WHOSE
INGENIOUS MIND SPRING FORTH THE
DESIGNS FOR MILANESE ARCHITECTURE. ALLEGORICAL SKETCH BY LDV.



FLOOR PLAN OF ST. PETER'S BASILICA -- ARMAN PATTERN.


THE ST. PETER'S BASILICA WAS BEGAN BY BRAMANTE [1506]
CONTINUED UNDER MICHELANGELO [1547-1564] AND WAS COMPLETED BY
MADERNA.


STUDY FOR THE HEAD OF PHILIP BY LDV.



THE FIRST PAGE OF DA VINCI'S ARMENIAN LETTERS -- WITH MARGINAL
SKETCHES OF BEAUTIFUL ARMENIAN LANDSCAPE --
MADE BY THE MASTER DURING HIS PILGRIMAGE TO ARMENIA
IN ORDER TO STUDY THE ANCIENT AND RICH ARMENIAN CULTURE --
MOST NOTABLY THE TRADITIONAL ARMENIAN ARCHITECTURE.



THE GOLDEN SPIRAL OR MEAN IS A MYSTICAL SHAPE
INCORPORATED INTO SACRED GEOMETRY/ARCHITECTURE
BY  A R M A N  MASTER BUILDERS.
IT IS AN ABSOLUTE... BOTH IN ABSTRACT MATHEMATICS
AND CHAOTIC [ORDER OUT OF CHAOS] NATURE.


 

The broad, massive outline of St. Hripsime has an extraordinarily harmonious composition. It is lean, stable and yet a soaring structure. To this end, it is a fitting match to the sacred Mount Ararat and Mount Aragats, which grace the background of the monument. The Church of Hripsime is rightly considered a gem of VIIth Century Architecture. The dome on pendentives becomes the unifying architectural characteristic of VIth and VIIth century churches. Subsequently, Armenian master architects sought and



ATOM/HYDROGEN/SNOWFLAKE...S Y M B O L  O F    L  I  F  E
GRACING THE EXTERIOR OF THE CHURCH OF SAINT GEORGE
IN GARNAHOVIT. VIITH CENTURY.



THE CHURCH OF SAINT GEORGE IN ARČHOVIT.
FIERY CROSS [SUN] IN MOTION [PRECESSION] SYMBOLIZED BY
23 DIVISIONS BELOW ALIGNED IN THE CRESCENT/BOAT FORM.

found various solutions to the problems of enclosing a larger space with new modes of constructing more complex domes. The tri-nave domed basilical Cathedral of Tekor [Vth century], was the  model proto-type from which evolved the now familiar dome churches, supported by four columns [e.g. Odzun, Gayane, Mren, Bagavan]. Basilicas and cruciform central-domed layouts evolved into another

tri-apse basilican forms and reached, [a good example of this is the Mother Church of Duin 607 and the basilica at T'alin] monumental dimensions. The cruciform, central-domed church structure was in general use during the VIth to VIIth centuries. The cruciform was expressed in the interior and exterior by different adaptations of the arms of the cross. Another interesting cruciform type is illustrated in the Church of Eghvard and in the multi-apse temple of Irint to the late VIIth century. In these structures, 8 [octagonal] radiated apses are inscribed in a polygon and the dome rests on the intersecting ribs of the apses.


BARDZREAL KHACH MAUSOLEUM IN BAREKAMAVAN. VITH CENTURY.



FLOOR PLAN OF GERMIGNY-DES-PRS CHURCH ERECTED BETWEEN
806-811 BY THE ARMENIAN MASTER ARCHITECT  ODO L'MESSIN --
COMMISSIONED BY THE ARCHBISHOP THEODOLPH OF ORLEAN.
PRIOR TO THAT IN 806, L'MESSIN COMPLETED THE PALACE OF
AUX L'CHAPELLE IN AACHEN, GERMANY. THE ARMAN MASTER ARCHITECT
HAS SUCCESSFULLY APPLIED THE BAGARAN [SEE ABOVE] BLUEPRINTS TO
THE EXECUTION OF GERMIGNY-DES-PRS. IN HIS MONUMENTAL WORK -- ART DE OCCIDENT --
THE RENOWNED ARCHITECT FOCILLON SHOWED THAT NUMEROUS CHURCHES
THROUGHOUT EUROPE HAVE BEEN ERECTED BASED ON THE DESIGNS OF EARLIER
TRADITIONAL ARMENIAN ARCHITECTURE -- MOST ERECTED BY
ARMENIAN MASTER ARCHITECTS.



 RECONSTRUCTION OF PALACE-CHAPEL IN AUX L'CHAPELLE,  AACHEN, GERMANY.
CHARLEMAGNE COMMISSIONED THE WORLD RENOWNED ARMENIAN
MASTER ARCHITECT ODO L'MESSIN TO ERECT THE PALACE IN LATE
VIIITH CENTURY -- COMPLETING THE CONSTRUCTION IN 806.


RECONSTRUCTION OF AN EARLY TEMPLAR BAILEY IN LONDON.
BASED ON ARMAN OCTAGONAL MASTER PLAN. THE PALACE
OF CHARLEMAGNE BUILT BY L'MESSIN IS BASED ON BAGARAN
PATTERN OF SACRED ARMENIAN ARCHITECTURE.


TORCELLO BASILICA, SANTA FOSCA. ERECTED IN 631 BASED ON THE
TRADITIONAL ARMENIAN ARCHITECTURAL PATTERN BY THE
ARMENIAN MASTER ARCHITECT PATRICK. A CENTURY BEFORE --
BETWEEN 541-68 ARMENIAN ARCHITECTS LIKE NERSES BUILT SEVERAL CHURCHES
THROUGHOUT VENICE. MANY OF THE BYZANTINE EMPERORS WERE OF ARMENIAN
DESCENT AND THE ARMENIAN ARISTOCRACY FORMED THE BACKBONE OF
THE BYZANTINE ROYAL COURT AND THE ARMED FORCES.

C H U R C H   O F   T H E   N O T R E   D A M E   L' G R A N D E   I N   P U T E A U X.

PHI - 1.618:1 - - THE PHI RECTANGLE


In the Beginning was the One. In order to observe itself, it cut part of itself away to make 'Other'.
This Golden Section is in beautiful proportion. As the subdividing continued away from the One, they continued in this phi ratio. This can be used to go back to the One as well. It is in this sense that three is farther away from the One than two is.
Have you ever noticed that it is easier mathematically to go away from One than to go towards it? In other words, it is easier to add and multiply than it is to subtract and divide.

The Golden Section, Phi, 1.618:
The shorter section on the right = 3
The longer section = 5

The shorter is to the longer
as the longer is to the whole
3:5 : : 5:8

3:5 : : 5:8. This ratio indicates that it is part of this series: 1 . 2 . 3 . 5 . 8 . 13 . 21 . 34 . 55 . 89, and so on. This is called the Fibonacci Series. Start anywhere in the series, add the number below, and you get the next number (for example, 21 + 13 = 34). As one ascends up the series, any number in the series, when divided into the next one up, gets closer and closer to (but never hits exactly) 1.618, phi, the Golden Section.
 
Phi = ( 1 + square root of 5 ) divided by 2

(BE) = 1/2
(ED) = 5/2
.5 + 1.118 = 1.618

SYNTHESIS OF THE TWO RINGS
 THE ETERNAL LAW OF
Φ

THE LEY [TERM COINED BY ALFRED WATKINS] LINES  OF THE SACRED
BUILDINGS WERE ALWAYS ALIGNED BY THE MASTER ARCHITECTS
PARALLEL TO THE ENERGY VORTEXES AND TELLURIC CURRENTS
THUS AT ONCE --
BENEFITING NATURE AND HUMANITY
 

KOLATAK LAYOUT. SYMMETRIC GEOMETRY OF
THE ARMENIAN OCTAGONAL PATTERN
THE SACRED FORM OF THE TWO INTERSECTING
CIRCLES AND THEIR UNIQUE GENERATIVE PROPERTIES
FORM THE ESSENTIAL ELEMENT OF VIRTUALLY ALL
ARMENIAN SACRED BUILDINGS
 


TWO CIRCLES OF EQUAL RADII --
CREATING THIRD INTERSECTING AREA
THAT IS SYMBOLIC OF THE VULVA OR
THE WOMB OF MATTER [MOTHER]  --
SYMBOL OF CREATION [SEE ABOVE].