Alchemical Ageio symbolism in Dali’s “Corpus Hypercubus”?


A couple of months ago I noticed the Salvador’s Dali’s famous Corpus Hypercubus depiction of the crucifixion contains certain symbolism that parallels the alleged chess precursor game called “Ageio” that both Cain and Baphomet described to us, as I wrote about in my book Clock Shavings.

1. The “nails” holding Christ on the cross are positioned around his trunk, forming a “box” surrounding his navel, the true “Omphalos” of the universe, and most of the vital organs, a source of the “rivers of Life” — his blood — in the New Jerusalem and Paradise. This can be seen as analogous to the “Second Square” in Ageio where the “Real Power” lies — the Ark containing the “Agei” or Philosopher’s Stone. I have similarly connected this to the “Flaming Sword” boundary that guards the Tree of Life in the Supernal Eden.

The 'Second Square' marked out on the Ageio board
The ‘Second Square’ marked out on the Ageio board

2. He is floating over a chequered floor, implying the chess board or Ageio board.

3. The cross is black and gold, indicating the alchemical production of gold from the dark “prima materia.”

4. “Corpus”, in addition to Christ’s body, equates to the alchemical cubic stone, which is labeled thus on the illustration Johann Basil Valentine’s Azoth of the. Philosophers.

Azoth of the Philosophers by Basil Valentine
Azoth of the Philosophers by Basil Valentine

5. A hypercube, of course, is a cube within a cube — like the Second Square in Ageio. I wrote extensively about the connections between double-cubes, Ageio, alchemy, and ceremonial magic. As it turns out, a double-cube is a magical thing, and the ideal altar of blood sacrifice for spilling the “Water of Life” (fitting since the cross is seen as the altar upon which Jesus was sacrificed). I wrote:

According to the online “Bible Dictionary,” the word translated as “altar” in the Old Testament is “mizbe’ah,” which it says is “from a word meaning ‘to slay.’” This Hebrew word referred to “any structure of earth or unwrought stone on which sacrifices were offered.” says that the English word “altar” is “of disputed origin and formation, but probably akin to Latin “adolēre,” to ritually burn.” Clearly, the concept has at its root the idea of killing to offer food to gods, and most likely of cooking the meat as well.

In his Book 4, ceremonial magician Aleister Crowley wrote that the “altar is connected with the Ark of the Covenant, Noah’s Ark, the nave (‘navis,’ a ship)….” He also described the ideal shape of an altar for a magician to use (something he picked up from the Hermetic Order of the Golden Dawn). He wrote:

The Altar is a double cube, which is a rough way of symbolizing the Great Work; for the doubling of the cube, like the squaring of the circle, was one of the great problems of antiquity. The surface of this Altar is composed of ten squares. The top is Kether, and the bottom Malkuth. The height of the Altar is equal to the height above the ground of the navel of the Magician.

A hypercube
A hypercube

What Aleister Crowley said to do put is to one cubic box upon another, and then place the ritual elements on the surface of the one on top. Now on the diagram of the Tree of Life used in the Jewish mystic system known of the Cabala, the geometry of the paths between the spheres of existence forms two stacked cubes. Masonic writer Albert Mackey, in his book Masonry Defined, wrote that the architecture of Masonic lodges is based on the double-cube:

…The square form was esteemed by our ancient operative brethren as one of the Greater Lights, and a component part of the furniture of the Lodge. The double cube is an expressive emblem of the united powers of darkness and light in the creation.

In the study of geometry, “doubling the cube” (making a cube exactly twice the size of another cube) was long considered one of those unsolvable problems, and it still cannot be done with a square and compass. Plutarch wrote that this problem came to the attention of the Greeks when the oracle at Delphi told the people of Delos that they would not receive answers to their prayers until they doubled the size of their altar to the god Apollo, which was a cube.

So when Le Serpent Rouge instructs us to “reassemble to the scattered stones” using a “square and compass,” they are saying that it requires Masonic magic to achieve. I also think that they are talking about two cubes – a white stone and a black stone – representing the New Jerusalem, and Cain’s infernal city of Enoch.

I am not saying that Dali knew about Ageio. I am saying that he was tapping into a hidden pattern that might not have been understood by anyone until just now.


Clock Shavings by Tracy R. Twyman, now available!
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