Study of Alfonso Rubino
St. Galgano’s Abbey and the Sacred Geometry
The Sacred Geometry tends to include man in a system of rhythm and harmony similar to the natural one.
If man lives and experiences in a correct way all the stimulus given by the observation of the Sacred Geometrical Symbols, he/she will be able to maintain the harmony within him/herself and with the creation.
Cistercian monks had developed an extraordinary knowledge of the evocative power of the figures of the symbols that were built using precise geometrical codes, which were kept strictly secret.
This knowledge was especially used in the architecture of their Abbeys.
The geometrical analysis that follows is based on the possible similarity with the geometrical codes used in the Ancient Egypt.
Some of the ancient models, such as Greek ones, used two basic figures:
a – the rectangle 1-2 (the double square)
b – the Sacred Triangle 3-4-5
|
These basic figures are combined according to schemes that tend always to highlight new correlations and new symmetries.
In the case of St. Galgano, the master builders probably knew all the relationships of the eighth musical, also called diatonic natural scale.
|
The places where capitals, mouldings, keystones and others architectural details are put, are exactly at the same level of the eighth diatonic natural, that are to be found in the geometrical model.
The interaxis of the aisles takes into account the geometrical scheme formed by an ideal path followed by the pilgrim, who comes in the entrance door of the Cathedral and then heads towards the high Altar.
In the places where junctions are created in the same points where there are three alignments, some privileged lines are highlighted. They are to be taken into consideration by showing them thanks to precise architectural elements.
|
The sacred triangle at the Giza plain
|
