Geometry of the Irish & Atlantic Cosmological Crosses HOME

Geometry of the ancient Irish crosses :

Evidence of the use of the Classical Golden-Mean Proportion on the Atlantic Coastlands

Vitruvian Men & Golden Proportions on the Atlantic before the time of DaVinci.

The Irish Cross is an expression of a very ancient culture dealing with a cosmological prophecy of the expectation of the coming of God's Messiah. That is to say, they trusted in the prophecy because their own prophets had forecast the appearance of Christ. Irish artisans expressed the forthcoming Revelation in the familiar terms of their own cosmological science and culture. News of the historical appearance of Christ brought new symbols to Ireland which were gradually incorporated in their unique art form. This synthesis of the old and the new created the beautiful iconic crosses which combined ancient astronomy and cosmology with the images of the New Religion. Here and in neighboring lands and islands, like Iona, Scotland and Scandinavia new forms of crosses combined old science with new religion.

The ancient scientists of north-western Europe, who pre-dated the Druids, were exceptional investigators into natural science and astronomical science. One of the most important things that they discovered was the formula used by nature to build and develop its creation. That formula is the Divine Golden Mean Proportion. Namely, a formula that can be imposed on any size of indistinct, undifferentiated matter -which will bring that matter into the realm of Form.

The Golden Mean is such that any portion of matter that is captured -to be formalized into shape -may be divided in a specific place such that -the shorter portion is related to the longer portion -in the same way as the longer portion is related to the entire length of the original piece of matter: A is to B, as B is to A + B.

Therefore, when A + B = 1, then B = .618, and A = .382

The tradition Irish Cross is appreciated world wide as one of the great and beautiful art forms. One of the reasons that they are so highly regarded is that these crosses use the Golden Mean Proportion in order to combine nature, philosophy, science, and religion into one embodiment of art. The Divine Proportion has been known to mankind since the beginning of man's appreciation of science. It is the design principle used by Imhotep in the Egyptian Temples, the Greek Parthenon, and the churches and art of the European Renaissance. Leonardo daVinci and Albrecht Durer used it, as did Stradivarius in the creation of his famous violins. Nature uses the Golden Mean as a pattern to fabricate the forms of spiral sea shells, pine cones, flower petals, seeds, and the development and growth patterns of all forms including our human form itself. It may surely relate to the design of the universe itself. There is no doubt that the knowledge of the Golden Mean represents the beginnings of the higher sciences and technological advancement in every culture that we may begin to study.

Near to our home place stands one of the most ancient and unusual collections of Irish Crosses. These are called the Ossory Group. For many years I have been aware that these crosses are based upon the geometry of the Golden Mean Proportion. I have had no luck in getting any official acknowledgement of these findings because, in order to recognize these findings we would need to re-write history. This is because, according to current theory, the Golden Mean Proportion was conceived in the Near East and Egypt. Then it was communicated to the Greeks who in turn made it know to the Romans, from whom it became known to the Italian Renaissance and the Northern Europeans.

If this is the route of the transmission of the knowledge of the Golden Mean -what is it doing in Ireland used upon stone crosses, none of which portray Jesus or any known Christian symbolism? These crosses only present cosmological symbolism which may be regarded as in keeping with ancient prophesies long before the appearance of the Messiah. Many of the ancient structures such as Newgrange are based upon the Golden Mean Proportion. Therefore, there is ample evidence of the knowledge of this Creation Formula in Ireland coeval with Egypt, or even prior to the great time of the civilization of the Nile. This would mean that science and technology existed in Ireland first, and may have had its root in a very ancient Atlantic culture. And the more we study about the context surrounding Atlas, the Earth-holder and cosmologer, we become increasingly convinced that the Atlantic coastlands of Europe and North Africa were a vibrant scientific culture long before the rise of Mediterranean civilizations.

The Killamery Cross of the Ossory Group

The Killamery Cross exhibits some very complicated and advanced mathematical
and geometric principles which one would not normally associate with any
stone creations in this backwater of the island. Indeed that which is
represented is so very sophisticated that it will force us to alter our perception
of the history of science.

The Geometry and Math Shown on the Stone Cross
The diameter of this stone circle, taken from within its rope molding,
times 3.14, or Pi, produces the height of the cross.
The cross is based upon a 2 x 1 rectangle made up of two adjoining
squares. The cross arm is placed at 0.618,or Phi, of the uppermost square.
Every line of the ornamental iconography of this cross is based upon sacred geometry,
Fibonacci numbers, and simple divisions of the two fundamental squares.
Pi and Phi are associated with the geometry that Pythagoras brought out of
Egypt. One can only ask, “What are these factors doing in Ireland, associated with a
pre-Christian cross which is decorated with mysterious cosmological icons?”
Furthermore, and most remarkable of all, is that if we take the Vitruvian Man drawn
by Leonardo da Vinci, and superimpose him upon the true height of the cross, we find

a perfect correspondence of the exact construction lines of the man and of the cross.
When we see the two joined together, the interlaced rope-work of the
cross corresponds to the man’s intestines. The twists and windings of the
large intestine are symbolized in the ancient practice of creating mazes. It is
well-known that mazes are an integral part of many of the mysterious
initiations of the ancient mystery schools and occult societies.
In astrology, the bowls are related to Virgo, the exaltation of Hermes/
Mercury, god of science and knowledge. Astoundingly, the mysterious knot
from which two of the serpents evolve is in the position of the man’s
esophagus and the vocal cords, which are the instrument of the voice, speech
and logos. The central boss of the cross is over the man’s stomach, below
which is his navel, the center of man’s spiritual circle. The center of the
square around the man represents man’s material nature which is marked
by his genitals. The cross’s stone circle is tangent to this center of the square.
This stone circle seems to embody man’s embryonic seed cell, from which
the extremities of his arms, legs, generative organs, and head will develop
and extend. three very simple and natural looking four-leaved flowers. On the opposite
and western side of this cross there appears a solar symbol at the center of
the stone circle. We will learn as we proceed that the so-called sun pictograph
may actually also allude to the solar system’s cycle around the center of our
galaxy.

Again, the major question to be asked is, “What are Egyptian, Greek, Roman,
and Renaissance geometric principles doing here regulating the design of
an ancient Irish cross, whose iconography has nothing to do with Christianity
and therefore allows us to assume that its origin is prior to the time of
Christ?”

Our first response was, “Not so fast, daVinci!” The answer is that we
need to look at a larger historical picture of science and culture before we
can ascribe the credit of origination to anyone, or any nation. But, what an
utterly fascinating puzzle, when one considers that Leonardo’s construction
lines absolutely cut the identical lines that construct this primeval Irish cross.
We will talk more about this cross in a later segment. If a detective were
to investigate this case they might discover that history mentions that the
nearby locality was notorious for its deep-rooted druidic traditions. It has
even been shamefully admitted that a gospel of Saint Patrick’s time was
drowned in the nearby River Suir, pronounced like the English word “sure.”
No native snakes are said to live in either Sardinia or in Ireland. But the
symbolic stone serpents upon the Killamery Cross represent the very snakes
that St. Patrick had been sent to cast out of Ireland forever. St. Patrick’s
battle is with the Serpent Knowledge of the Druids. Patrick needs to tell
the Druids about his God, who was born on the special extra days at the
end of the year like so many of the primeval gods of antiquity. The extra
days between the fulfillment of the old cycle and the beginning of the new
cosmic cycles were regarded as sacred windows of time. Within the space
of this brief period of Holy Time, the worn-out beliefs and idols must be
tossed down from their exalted pedestals and abandoned. New beliefs and
ceremonies must be instituted.

The underlying drama of the history called The Contention of Patrick and
the Druids -is that the Druidic Crosses have already predicted the advent of
the Universal Messiah, and therefore have preceded Patrick’s evangelical
mission. In fact, almost each and every one of the Druids of Ireland
converted to Christianity, not just as proselytes or new believers, but as the
priest/scientists of the new religion. Patrick could not, and would
not allow Christianity to become a continuation of the Serpent Knowledge;
yet upon reviewing Irish law, he pronounced it to be acceptable and in
accord with the natural law. It is because of this mandate that Roman law
was never introduced into our island. Because of this very special history,
Irish Catholicism became a chimera-like creature reflecting a union of
extremely ancient as well as modern traditions.

As was said, the Killamery Cross is one of a group of seven extraordinary and
prototypical crosses called the Ossory Group. In the hills above these crosses
is an astronomical observatory called Knockroe. This observatory is like a
miniature Newgrange. Its directional sights perfectly mark the position of
the winter solstice. One very remarkable feature about Knockroe is its
extreme antiquity. This may be deduced from the fact that Knockroe had
fallen into decay in very olden times, because an ancient road was discovered
to have been built right over the middle of this very special site. Knockroe
was therefore old and forgotten even in ancient times.

But sadly, far below at the foot of the mountain, in the misty and
disheveled churchyard, stands our cross, silent and aloof, with an important
message to tell. But, there is no one there to hear it!

Why have we been deaf to its message for so long? The reason is the
simple fact of Ireland’s forced isolation from the world stage because of its
tumultuous history, to which it is still emotionally and academically subservient.

If this stone cross were discovered in some sealed underground chamber in Egypt or
Greece, then half the world would come to attempt to decipher its meaning
and revealing iconography.

Below is a more exact geometric parsing of the ancient Irish cross without the

relation to the Vitruvian man. This exhibition of the geometry of the Golden

Mean Proportion is without question -especially when the very ancient paradigm of

the Two Squares of the 2 x 1 rectangle are used in its construction: