I. – The Master of the Work, after having traveled the World in search of the laws of traditional Architecture using natural materials, sees in a dream a “closed Garden”; the entrance is opened to him thanks to the magic word ABRACADABRA, which leads him to discover the ratio h/g linking, in the same circle, the side of a regular pentagon to that of a regular hexagon. He defines the first rules of natural Architecture, whose proportions he has obtained imagining an “operative diagram” with twelve triangles and seven squares; he calculates the elements of the diagram with the aid of “h” and “g”. 
Pages 114  
II. – The sage AKLISHTAKAR explains to him Hindu doctrines, especially from the aspect of Tantrism, and gives him a diagram. The Master of the Work observes that his operative diagram is generated in the same mode as AKLISHTAKAR’s Tantric diagram.  Pages 1427  
III. – The study of Chinese Taoism confirms for him the conditions of Hindu doctrines. The Master of the Work can thus attribute numeric correspondences to the different Worlds of Manifestation, and know the existence of the cosmogonic Ennead formed of a Unity ruling eight quantities placed in pairs.  Pages 2724  
IV. – Chinese wisdom leads him to construct a figure that mediates between the squares and the circle; this figure is the key which yields the form of the Pyramid of CHEOPS. The base of this Pyramid, and its four faces folded upon this base, outline a part of the operative diagram which permits the Master of the Work to discover nine lengths forming eight ratios associated in pairs; these lengths and ratios constitute the constructive aspect of the philosopher’s Stone.  Pages 3439  
V. – To designate these nine lengths and mark the plans with letters, the Master of the Work seeks the traditional name of the philosopher’s Stone; he acquires the conviction that this word is ARSENIC●M.  Pages 3949  
VI. – He distributes the nine lengths sought throughout the operative diagram; he makes one of the letters of ARSENIC●M correspond to each of them; he gives a metaphysical attribution to each of the eight ratios; he calculates the numeric quantity for each one. He observes that the succession of values of these ratios forms a geometric progression of ratio h/g, i.e. a mutation of the quinary and senary.  Pages 4957  
VII. – The study of this progression allows him to find the geometric outline of the interior corridors and chambers of the Great Pyramid, whose dimensions also reveal the proportions of the philosopher’s Stone.  Pages 5765  
VIII. – The three exterior squares of the operative diagram allow him to imagine an “intermediary diagram on triangles,” with eleven elements, specially marked by the sign of the “Om” (AVM). The Master of the Work makes their elements correspond to the signs of the zodiac and to the planets.  Pages 6573  
IX. – To this intermediary diagram formed by triangles, he opposes, by complement, another “intermediary diagram on pentalphas,” with eleven elements.  Pages 7477  
X. – To link these two intermediary diagrams, he imagines the “mediating diagram,” also marked with the seal of the mutations of the quinary and senary, and confirms its primary constructive virtue. He calculates the deformations of the nine lengths of ARSENIC●M obtained in this diagram.  Pages 7786  
XI. – The calculation allows him to justify the metaphysical attributions given to the eight constructive ratios of the philosopher’s Stone, and to determine the approximate values of these ratios, which bring light to the fundamental role of the mystic numbers 108 and 7 in Tantrism and the Kabala.  Pages 8791  
XII. – To test the metaphysical value of the mediating diagram, the Master of the Work studies Egyptian theodicy.  Pages 9194  
XIII. – This study leads him to occupy himself with the Hebraic Kabala, which was the vehicle of Egyptian Science. It leads him to discover the analogy that exists between the constitution of the sephirothic Tree and that of the intermediary diagrams.  Pages 94105  
XIV. – The Kabalistic doctrines allow him to divide the mediating diagram according to the divisions in relation to the sephirothic Tree.  Pages 105112  
XV. – Guided by the principle of polarity, the Master of the Work imagines the “complete diagram” where all the elements of the operative diagram are doubled. This complete diagram reveals to him the formal principles of natural Architecture. His geometric studies end with the establishment of a synthetic outline, where the five diagrams he has imagined are placed in a single figure in the form of a tau.  Pages 113120  
XVI. – Following in this the wise Pythagorean discipline, the Master of the Work then demands of Arithmetic, Astronomy, Harmony, Geometry, and Stereometry a verification of his constructive theories. Through Arithmetic, he finds concordances with the cosmogonic squares of the Chinese.  Pages 121127  
XVII. – Through Astronomy, he justifies, following a Khmer tradition concerning planetary arithmology, the assignments he has given to the various planets to designate the elements of his diagrams.  Pages 127134  
XVIII. – The Chinese theory of the twelve musical pipes, completed by the study of the scales of PTOLEMY and PYTHAGORAS, show him the direct resemblance existing between the laws of Harmony and those of natural Architecture.  Pages 135147  
XIX. – The study of Harmony leads him to that of the sacred alphabets, and allows him to discover that the ratio of the bases of the same exponential law that rules both musical intervals and architectural proportions is √g.  Pages 147152  
XX. – In Geometry, the Master of the Work is led, by reason of the importance of the logarithmic law in his constructive theories, to study the regular division of the circle, and consequently the rhythmic numbers; he gives the meaning of many universal pantacles.  Pages 153159  
XXI. – In Stereometry, he studies the regular partition of the sphere, from which proceed the regular polyhedrons; he describes four sorts of correspondences between these solids. He demonstrates that his diagrams are only the projection, on a plane, of some of these correspondences, and that they thus find their justification in the regular partition of the sphere.  Pages 159179  
XXII. – Having now completed the examination of the traditional sciences, the Master of the Work seeks, in the social applications of metaphysics, new concordances with his constructive doctrines. First, he encounters, in myths and in symbols, the same numeric oppositions, resulting from the laws of the regular partition of the sphere, that he discovered in his diagrams.  Pages 179194  
XXIII. – He then studies the cults of the Stone and the Waters, dedicated to the two exteriorizations of the Center of the World, and he gives numerous examples drawn from many traditions.  Pages 194204  
XXIV. – He searches for relationships between the doctrines of the alchemists and his diagrams. He describes notably, with regard to these latter, the constitution of the alchemical Vessel, and follows the development of the four operations or “colors” of the Great Work.  Pages 204213  
XXV. – The reading of the most famous writings of times past, of a traditional character commonly accepted, allows him to observe that the plan of these works and the numbers that are encountered there confirm his theories about architecture. He first examines, from this point of view, the “Genesis” of MOSES.  Pages 214229  
XXVI. – The “Theogony” of HESIOD provides him with further proofs of this concordance.  Pages 229233  
XXVII. – The various myths of PLATO, studied in relation to the “Timaeus,” are in agreement with the constructive doctrines of the Master of the Work.  Pages 233254  
XXVIII. – The “Divine Comedy” of DANTE leads in the same way to the alchemical and initiatory science of its author.  Pages 254261  
XXIX. – This secret science is also found in its entirety in RABELAIS’ novel, whose plan the Master of the Work compares with his mediating diagram.  Pages 261281  
XXX. – Having thus completed the verification of the validity of his doctrines, the Master of the Work uses his diagrams to define the proportions of the houses of habitation erected according to the rules of natural Architecture; he provides plans for six types of houses.  Pages 281288  
XXXI. – He extends his work to religious edifices, divided into five types, whose plans he gives.  Pages 289293  
XXXII. – He uses the mediating diagram to describe and link together the two most perfect types of buildings: the philosophical dwelling of an Adept (Domus Talemariana) and the cathedral of a Pontiff (church of type H). He marks, according to his system, the imperial town of Peking with its various Cities.  Pages 293304  
XXXIII. – Further widening the field of application of his theories, the Master of the Work examines, under their light, the plan of the Island of Atlantis and its royal city, according to the description given by PLATO.  Pages 305309  
XXXIV. – He finally seeks ultimate concordances in the “Apocalypse” of Saint JOHN, whose visions he analyses. He explores the church of type H, dedicated to “Shekinah” (Cathedral of Amiens), and observes that the divisions of this edifice are in concordance with those of the apocalyptic book.  Pages 310324  
XXXV. – In conclusion, the Master of the Work, after having summarized the terms of his Report, affirms his faith in the utility, for men, of knowing and loving the rules of natural Architecture, in order to obtain, through the realization of universal Harmony, the great Detachment necessary for their complete felicity.  Pages 325330 
I. – Construction of an approximate pentalpha with the rectangle √g.  Page 335  
II. – Table of the approximate numeric values of the eight ratios of ARSENIC●M.  Page 335  
III. – Ratio h/g obtained through the regular dodecahedron.  Page 335  
IV. – Chinese cosmogonic squares and table of PYTHAGORAS.  Page 336  
V. – The magic squares.  Page 337  
VI. Khmer arithmological series and Chinese cosmogonic squares.  Page 338  
VII. – On √π, 1/√2, and the ratio between the septenary and duodenary (Unpublished study by Francis Warrain).  Pages 339341  
VIII. – Regular polyhedrons and polygons.  Pages 341360  
IX. – Quadratures of the circle obtained in the diagrams.  Page 361  
X. – The figured numbers.  Pages 362365  
XI. – The rhythm of the holy Letters.  Pages 365370  
XII. – The divine architectural archetype and its paths.  Pages 371376 
We have gathered, at the end of the work, various notes relative especially to the illustration of the “Report” and which could not be placed near the images to which they correspond. Pages 377378
Comprising 50 geometric, numeric, and titled designs, of the author, as well as 108 engravings and 7 titled geometric designs of the editor.
The Master of the work.  Page xvii  
I.  Untitled engraving.  Page 1  
Fig. 1: The arithmetical triangle of PASCAL and the FIBONACCI series.  Page 2  
Fig. 2: The Egyptian triangle.  Page 2  
The closed garden.  Page 3  
Fig. 3: PASCAL’s arithmetical triangle limited by the chessboard.  Page 4  
Fig. 4: Pentalpha.  Page 5  
Fig. 5: Small squares.  Page 5  
Fig. 6: The logarithmic spiral resting upon the corners of the turning squares.  Page 6  
The humble contemplative before the Virgin, and the four animals.  Page 7  
Fig. 7: The key to natural Architecture.  Page 8  
Fig. 8: Construction prior to the operative diagram.  Page 9  
Fig. 9: The operative diagram.  Page 13  
The “Shriyantra”.  Page 14  
II.  The Holy Trinity.  Page 14  
Armes papales.  Page 19  
Fig. 10: The triple triad.  Page 20  
Fig. 11: The diagram of AKLISHTAKAR (Plates)  
The great ARTEMIS of Ephesus.  Page 21  
The Woman, heart of the “Apocalypse”.  Page 24  
KOUANYIN with eighteen arms.  Page 25  
FOUHI and his wife NIU KOUA holding the square and compass.  Page 27  
III.  The pair of opposites (oriental and occidental Alchemies).  Pages 2829  
Fig. 12: The generation of the “Pa Koua”.  Page 30  
SHIVA on the cow NANDI.  Page 31  
Dice players.  Page 32  
Fig. 13: Triangular numbers.  Page 32  
Fig. 14: Square numbers.  Page 33  
Fig. 15: Pentagonal numbers.  Page 33  
Fig. 16: the “Shrivatsa”.  Page 34  
IV.  Fig. 17: The constitutive triangles of the pyramid of CHEOPS.  Page 36  
Fig. 18: The essential dimensions of the Great Pyramid.  Page 37  
Fig. 19: The constitutive triangles of a pyramid linked to the “materia” squares.  Page 38  
Chinese “Ming t’ang”.  Page 38  
Lotus flower.  Page 39  
V.  The ten Sibyls.  Page 45  
VI.  The cow Nouit and the supporting gods.  Page 50  
Assyrian ennead.  Page 51  
Untitled engraving.  Page 55  
Fig. 20: Quadrilateral of HERMES.  Page 56  
VII.  The twelve signs of the zodiac.  Page 58  
The seven planets.  Page 59  
Fig. 21: Outline of the interior chambers and corridors of the Great Pyramid (Plates).  
The coffer of the Virgin.  Page 63  
Fig. 22: Magic rectangle of the Great Pyramid.  Page 64  
Pentagon and pentalpha.  Page 65  
VIII.  Fig. 23: Construction prior to the intermediary diagram on triangles.  Page 66  
Fig. 24: The intermediary diagram on triangles.  Page 67  
The head and tail of the Dragon.  Page 68  
The Egg of the World.  Page 70  
The Tibetan “Om”.  Page 71  
Fig. 25: The intermediary diagram on triangles in correspondence with the “Om”.  Page 72  
Pectoral of the archgallus.  Page 73  
IX.  Fig. 26: The intermediary diagram on pentalphas.  Page 75  
The mediating Sovereign.  Page 76  
Pentagonal lamp.  Page 77  
X.  Fig. 27: The mediating diagram.  Page 78  
The zodiacal hermaphrodite.  Page 79  
Fig. 28: Construction relating to the lower part of the mediating diagram.  Page 82  
The alchemical Work.  Page 86  
XI.  Untitled engraving.  Page 91  
XII.  The Ogdoad of Hermopolis.  Page 93  
XIII.  Aleph.  Page 95  
Fig. 29: The sephirothic Tree.  Page 97  
CYBELE, the Mother of the gods.  Page 98  
MICHAEL, the “Metatron”.  Page 99  
The Candelabra of the Tabernacle.  Page 102  
The Table of the twelve loaves of showbread.  Page 103  
XIV.  NOUIT, SHU, and SEB.  Page 106  
Meditating Taoist.  Page 107  
Untitled engraving.  Page 108  
Hindu “Lingam”.  Page 110  
“Aum mani padme houm”.  Page 112  
XV.  Fig. 30: Construction prior to the complete diagram.  Page 113  
The Annunciation.  Page 115  
Fig. 31: The complete diagram.  Page 116  
Fig. 32: Geometric properties of the complete diagram.  Page 117  
Fig. 33: The geometric Tau.  Page 118  
Crucifixion between the Sun and Moon.  Page 119  
XVI.  Fountain of science.  Page 121  
Fig. 34 a and b: The “Hot’ou” and the “Lo chou”.  Pages 122123  
Fig. 35 a and b: Chinese cosmogonic squares of 6 and 5.  Page 123  
Fig. 36 a and b: The eight Trigrams (arrangements of FOUHI and King WEN).  Page 124  
Fig. 37 a and b: Cosmogonic square of 5 (separating directions of FOUHI and King WEN).  Page 124  
Chinese tower with eleven stories.  Page 125  
Fig. 38 a and b: “Svastikas” on the cosmogonic square of 6 and 5.  Page 126  
The goddess of the rainbow.  Page 127  
XVII.  Fig. 39: The Khmer arithmological and planetary squares.  Page 128  
MITRAPHANES emerging from the pyrogenic Egg of the World.  Page 131  
Egyptian Gnostic cross.  Page 132  
Alchemical putrefaction.  Page 133  
XVIII.  Fig. 40: The rose of the twelve musical pipes.  Page 135  
Chinese bell with phoenix heads.  Page 141  
AMPHION, son of JUPITER, building “hundredgated” Thebes.  Page 147  
XIX.  Fig. 41: Alphabetical wheels based of ARSENIC●M.  Page 149  
Ritual of the dedication of a church.  Page 150  
The rose on the façade of the cathedral of Exeter.  Page 152  
XX.  Plan of the upper story of the statues of the “screen” of Exeter.  Page 154  
The union of the macrocosm and the microcosm.  Page 156  
Doubleheaded eagle.  Page 159  
XXI.  Architecture and music.  Page 162  
Fig. 42 a and b: Constitutive quadrilaterals of the equilateral triangle and the square.  Page 164  
Fig. 43 a, b, and c: Equilateral triangle and squares with their constitutive triangles.  Page 164  
Fig. 44: Pentagon with constitutive triangles.  Page 168  
NotreDame de Tournai.  Page 171  
Fig. 45 a, b, c, d, and e: The planar projections of the “Yin” correspondences of the platonic solids superimposed on the complete diagram.  Page 174  
The quintuple hexahedron.  Page 177  
Cubic Stone.  Page 179  
XXII.  Image of the Moon and image of the Sun.  Page 182  
HAYAGRIVA.  Page 184  
AVALOKITESHVARA with eleven heads and eight arms.  Page 185  
Fig. 47: Descent of the sephirothic Tree into the different Worlds of Manifestation.  Page 190  
Ascent of “Kundalinî” through the seven “chakras” of the human being.  Page 191  
The prophet ZECHARIAH.  Page 194  
XXIII.  Black Virgin.  Page 197  
JACOB’s ladder.  Page 199  
The story of ŒDIPUS.  Page 201  
The two Dioscures at the service of the Goddess.  Page 202  
The pinecone of the Vatican.  Page 203  
XXIV.  Alchemical laboratory.  Page 205  
The upper, middle, and lower parts of the furnace.  Page 208  
Alchemical credence.  Page 209  
ULYSSES healing TELEPHUS.  Page 211  
Pyrogenic vessel.  Page 213  
XXV.  The Ark of the covenant.  Page 217  
The Tabernacle of MOSES and its courtyard.  Page 225  
Nubian tau.  Page 229  
XXVI.  The tomb of King MIDAS the alchemist.  Page 231  
CYBELE, her two assistants, and her two lions.  Page 233  
XXVII.  The Great alchemical Work (humid path).  Page 239  
The Great alchemical Work (dry path).  Page 249  
The labyrinth at Chartres cathedral.  Page 253  
XXVIII.  Tree of Raymond LULL.  Pages 258259  
XXIX.  The rocks of BogazKheui  Pages 264265  
The magical lintel of the octagonal chapel of Montmorillon (interior face and exterior face).  Pages 268269  
The Pontiff.  Page 277  
The Virgin in her cloak.  Page 279  
XXX.  The Virgin in her glory.  Page 282  
Fig. 48 a and b: Plans of houses at the interior of the gardens.  Pages 284285  
Plan of the palace of Versailles, superimposed on the Monad of John DEE.  Page 287  
Fig. 49: Mediating plan.  Page 288  
XXXI.  Fig. 50: Split arch.  Page 289  
XXXII.  Feet of BUDDHA.  Pages 294295  
CYBELE between the SUN and MOON.  Page 297  
The two powers and their synthesis.  Page 301  
Diagram of the itinerary to follow for acquiring the faculty of flying through the air.  Page 303  
Untitled engraving.  Page 304  
XXXIII.  Schematic plans of the island of Atlantis and its royal city (Plates).  
MITHRAS cutting the bull’s throat.  Page 307  
Saint CHRISTOPHER.  Page 309  
XXXIV.  “Ecclesia templariis”.  Page 311  
“Templum EZEKIEL”.  Page 313  
The vision of the throne of GOD and the Lamb.  Page 317  
Keystone of the absidial vault of the cathedral of Amiens.  Page 319  
Saint JOHN at Pathmos.  Page 324  
XXXV.  The central tympanum of the main door of the cathedral of Bourges.  Page 325  
Untitled engraving.  Page 329  
The Holy Bottle (§ XXXVI).  Page 330  
The Pilgrim.  Page 331 
Tibetan engraving.  Page 333  
Plan of the Lamaic cathedral at Lhasa.  Page 334  
I.  Construction of an approximate pentalpha with the rectangle √g.  Page 335  
II.  Table of the approximate numeric values of the eight ratios of ARSENIC●M.  Page 335  
III.  Ratio h/g obtained through the regular dodecahedron.  Page 335  
IV.  Chinese cosmogonic squares and table of PYTHAGORAS.  Page 336  
V.  The magic squares and their planetary correspondences.  Pages 337338  
VI.  Khmer arithmological series and Chinese cosmogonic squares:  
Fig. I.  Page 338  
Fig. II a, b, c, and d.  Page 338  
Fig III a, b, and c.  Page 339  
VII.  Bell curve.  Page 340  
VIII.  Regular polyhedrons: surfaces and volumes.  Pages 341342  
Fig. I a, b, c, and d.  Page 343  
Fig. II, III, and IV.  Page 345  
Table of the classification of the types of polyhedrons.  Pages 346347  
Nomenclature of the polyhedrons.  Pages 348349  
Table of the elements of the polyhedrons.  Pages 350353  
Construction of the faces of the polyhedrons.  Pages 354355  
Correspondence of the polyhedrons with the “Sephiroth”.  Page 356, Pages 360 361 

IX.  Quadrature of the circle obtained in the operative diagram.  Page 361  
X, XI, XII  Figured numbers. 
Page 364 
Table of the numeric values corresponding to the letters of the Hebrew and Greek alphabets.  Page 41  
Table I.  Page 55  
Table II.  Page 87  
Table III.  Page 89  
Table IV.  Page 89  
Table V.  Page 90  
Table VI.  Page 105  
Table VII.  Page 114  
Table of Khmer planetary arithmology.  Page 129  
The 10 antediluvian kings of Babylon.  Page 134  
Starred Table of the twelve Chinese musical pipes.  Page 136  
Circular Table of the twelve Chinese musical pipes.  Page 137  
Generation of the diatonic scale of PTOLEMY.  Page 142  
Diatonic distances between the musical intervals of PTOLEMY.  Page 143  
Generation of the diatonic scale of PYTHAGORAS.  Page 145  
Ratios between the sides of various polyhedrons.  Page 157  
Table of the elements of the regular polyhedrons.  Page 160  
Properties of the parts of the whorl seen by ER the Pamphylian  Page 243, in note 

Proportions of the eighteen models of houses of habitation.  Page 286 
are on Pages 2, 4, 48, 140 (in note), and 148.
are in notes on Pages 35, 36, 106, 125, 166, 212, and 289.
are on Pages 1 and 325.
–The magic word ABRACADABRA provides the key to natural Architecture.
THE
“GOLDEN RULE” 
Its three aspects 
– The operative diagram, verified by Tantric and Taoist doctrines, and applied to the geometric outline of the Pyramid of CHEOPS (§ i to vii).  
– The intermediary diagrams and themediating diagram, in concordance with the Pythagorean and Kabalistic doctrines (§ viii to xiv).  
– The complete diagram, leading to the establishment of a geometric tau (§ xv).  
Its seven correspondences

in the
traditional sciences 
Arithmetic. – The Chinese cosmogonic squares (§ xvi).  
Astronomy. – Khmer planetary arithmology (§ xvii).  
Harmony. – The Chinese theory of the twelve musical pipes, and the Greek scales; the universal alphabets (§ xviii and xix).  
Geometry. – The regular division of the circle: the rhythmic numbers and the traditional pantacles (§ xx).  
Stereometry. – The regular partition of the sphere: the regular polyhedrons and their reciprocal correspondences (§ xxi).  
in the social applications of
metaphysics 
The writings and representation of mythical, alchemical, and sacred character (§ xxii to xxix).  
Natural Architecture in the West, the East, and in mystical accounts. Atlantis and the Apocalypse (§ xxx to xxxiv). 
[1] Here we reproduce the plan of the Work found in the Author’s notes. We have simply added to it the indication of the sections given in the Table of Materials.