Part III Continued: 777 – The Code of Saturn’s Cube and the Human Hexagram

In the last post, we established the undeniable relationships that exist between the structure of the English language and the emblem of the “human hexagram.”  For instance, we’ve seen how the number  twenty-one, and its symbolic equivalent, 7-7-7 are woven into the emblem of the hexagram, also known as the Star of David. These correspondences occur through the name of Saturn, and on a visual level with the number sign [7] acting as a visual cue for the concept of an angle.  It should come as no surprise to us that the word angle has a reduced gematria of 21.


It’s also fitting that the gematria for the words human and hexagram also reflect the 21/7-7-7 metaphor. I created the infographic above to illustrate how the gematria of associated words and phrases reinforces the underlying symbolism discussed in this post.
As can be seen on the diagram on the right, the sign for seven [7] has changed quite a bit over the centuries. The unifying factor throughout has been the concept of an angle, set at roughly 60°.  In early tenth century Western Europe, the conventional sign for seven was equivalent to our modern [7]. Later however, the sign was flipped horizontally. Still later in the eleventh century, sevenwas represented by a sign that looks like our modern [v]. In the twelfth century, the sign [y] was adopted for seven. That’s also interesting for the fact that in modern Reduced gematria, [y] = 7.
We can tie in these relationships with the fact that angle and angel  are very similar words, phonetically. While there may be little relationship between angle and angel as far as the origins of the two words are concerned, in terms of spelling and sound, they’re nearly identical. This “coincidence” has not been taken for granted by those in esoteric circles.  For instance, Whitney Hopler writes,

In sacred geometry, Archangel Metatron, the angel of life oversees the flow of energy in a mystical cube known as Metatron’s Cube, which contains all of the geometric shapes in God’s creation and represents the patterns that make up everything God has made. These duties tie in with Metatron’s work overseeing the Tree of Life in Kabbalah, where Metatron sends creative energy down from the top (the crown) of the tree toward all the parts of creation. 


In the interest of brevity a more extended discussion of the 13/31 interplay in the words cube and the Greek creator god Pan is, here. For now, I want to add that Metatron’s Cube contains a Star of David pattern with thirteen points and circles.  As Hopler explains, in the teachings of Kabbalah, it is from these thirteen points that “all the geometric shapes in God’s creation are formed.” 


Another thing I’ve learned to connect  more fully is that the word cube has a Reverse Ordinal gematria of  77. As we’ve revealed here in numerous examples, the cube with its six sides and enclosed center [6+1] has been one of the principal symbols for Saturn throughout the world, from the remotest antiquity. 

These facts remove the element of chance further away from our consideration when these correspondences make themselves known. The body of evidence gathered here, and by others, shows the reality of gematria and an English language, which in structure and sound, is suffused with esoteric concepts. This can no longer be ignored.  

This post expands on the occult symbolism revealed in these articles,

Part I: The Code of “Saturn’s Cube” – 777 and the Roll of the Dice


Part II: The Code of Saturn’s Cube – 1969 Book “Hamlet’s Mill” Contains Many Keys to Understanding Creator/Destroyer Duality of Pan-Kronos

Part III: 777- The Code of Saturn’s Cube and the Human Hexagram – Hidden Links between Language, Geometry and the Occult Revealed

Part III: 777- The Code of Saturn’s Cube and the Human Hexagram – Hidden Links between Language, Geometry and the Occult Revealed

This post expands on the occult symbolism revealed in these articles,

Part I: The Code of “Saturn’s Cube” – 777 and the Roll of the Dice

Part II: The Code of Saturn’s Cube – 1969 Book “Hamlet’s Mill” Contains Many Keys to Understanding Creator/Destroyer Duality of Pan-Kronos

Here in Part III of The Code of Saturn’s Cube we examine the concept of the Human Hexagram, and how it applies to number 21, and more. I recently found about this concept from the The Star of David website. It’s the blog of an honest seeker, who puts a great deal of thought into the work. It also has significant correlation to what we have discovered, thus far.

For example the post “How Man Becomes a Hexagram” has the graphic shown below. It has a double image of  Leonardo da Vinci’s famous drawing, Vitruvian Man, one superimposed with five-pointed star, and the other with a six-pointed star.

The lines help the observer to see the geometry that underlies the physical structure of the human body.  Da Vinci’s drawing Vitruvian Man is entitled in tribute to the Roman architect Vitruvius, who is credited with passing down the ancient knowledge of building according to geometric proportions and ratios found in nature, especially the human body. In hermetic philosophy, this relationship is seen in the terms, macrocosm (big world) and the microcosm (little world). This concept of following nature’s example in art and life comes from the well known phrase “As above, so below,” the idea being that nature is a reflection of  a higher spiritual reality.

The  post also quotes a hermetic study by Benjamin Rowe with the ominous sounding title,  “The Beast and the Star: A Vision of the Abyss.” After reading the introduction, here, it’s not quite as wicked as the title sounds. Basically, it employs astrological lore and comparative mythology to account for how the author views human spirituality and its development. In this essay, the Beast is not a characterization of cosmic evil, but rather the “beast” that lives within the human psyche.  The Star Rowe refers to is the  rational, moral and celestial counterpart of the emotional, selfish, and animalistic part of human nature, symbolized in the Beast.

As do some hermetic philosophers and magicians, Rowe subscribes to the belief that spiritual power comes from the conscious manipulation of the sex drive (the downward triangle) and the intellect (the upper triangle). He writes,

When a man attains this degree of development, he becomes the hexagram. The sexual organs, male or female, become the sixth point which is missing in the pentagram.

There were then a series of pictures in which the relations between the downward-pointing triangle and the upward-pointing triangle in the hexagram were demonstrated. It was noted that the forces of the two triangles are complimentary and act in opposition to each other when allowed to. They tend to push each other apart, causing Dispersion.

It was then shown that for the triangle to unite into the hexagram in man, they have to be interlocked with each other. Otherwise, the downward-tending emotional forces (Luna, Mars, Jupiter) and the upward-tending mental forces (Saturn, Mercury, Venus) will act in such a way as to disrupt each other’s effects. There was another series of pictures next which rapidly went through all the possible combinations of forces that can be derived from the hexagram.


The planetary symbolism that Rowe refers to is illustrated in the graphic on the left. The hooked glyph at the top of the hexagram represents Saturn. The bottom point, with its crescent, is assigned to the Moon or Luna, as Rowe calls it. The observer might think of this binary of Saturn-Moon as the power points of the human hexagram. The mental and physical selves, also the spiritual and material duality of human nature joined together in one person.

With this metaphor in mind, the gematria and numerology involved make this symbol even more intriguing. For instance, when the numbers 1,2,3,4,5,6 are added together, the sum is 21. This makes 21 the sixth triangular number.

We can expand on this idea by viewing the number sign [ 7 ] as an angle. Three times seven equals twenty-one [7 x 7 x 7].  A triangle is made up of three angles. A hexagram is made up of six angles. As stated above, twenty-one is the sixth triangular number. Twenty-one also happens to be the eighth Fibonacci number. As featured in previous posts here, the Fibonacci sequence is a mathematical formula that describes the structure of nature itself. As Guy Murchie discovers,

“The Fibonacci Sequence turns out to be the key to understanding how nature designs… and is… a part of the same ubiquitous music of the spheres that builds harmony into atoms, molecules, crystals, shells, suns and galaxies and makes the Universe sing.”

In the diagrams of Pascal’s Triangle left and below, we can seen how the Fibonacci sequence unfolds like a triangle. They help us to perceive the deep symbolism encoded within the sequence.

The gematria encoded within the words associated with this symbol is also quite remarkable.