The final Paris episode begins with an investigation of La Grande Arche at the end of the Axe Historique. The gigantic structure in La Defense has a height at 360 feet. The Grand Arch is approximately twice the height of the Arc de Triomphe which is itself approximately double the size of the Arc de Triomphe du Carrousel. Not only are the sizes in approximate doubling ratios but their positions within Paris suggest a similar symbolic relationship. Three squares drawn Ad Quadratum correlate the three arches and the Luxor obelisk into a symbolic tune in three octaves. I see the three arches as solar symbols at different scales: human, planetary, and stellar. Consider also that Bernini’s sculpture of Louis XIV in front of the Louvre pyramid is positioned at the opposite endpoint of the Axe Historique. It is as if the Sun King is positioned perfectly to go through all three star gates and experience apotheosis.

The metrology of the Grand Arch reveals connections to Egyptian measure and Pi. The office windows within the Arch interior are arranged in groups of 210. There are 210 royal Egyptian cubits in the Arch’s 360′ height. Jim Alison discovered that the exterior sides encode Pi as the grids are arranged to symbolize 22/7, the ancient approximation of Pi.

12 columns internally support the Grand Arch and there is literally a zodiac depicted in its basement floor surface, making it yet another solar symbol on the axis which is aligned to the heliacal rising of Isis’ star.

The 40,000 square meters of office space within the Grand Arch and multi-purpose rooms in the basement measuring 400 square meters each got me thinking. The metric system was originally defined by measuring the Earth. A meridian passing through the center of the Paris observatory was drawn and the metre was defined by assuming this meridian measured exactly 40,000 kilometers. This meridian became known as the Paris Prime Meridian and was used in France for 200 years before the British Greenwich Prime Meridian eventually won out. Bronze medallions marked Arago (after the French astronomer) are embedded in streets and sidewalks across Paris along the Paris Prime Meridian. Interestingly, this meridian touches the corner of the Louvre pyramid and the tip of one of its smaller satellite pyramids, suggesting a purposeful (and secret) design correlation.

400 is also a very interesting number. Consider a solar eclipse; this is when the Moon perfectly covers the Sun disc. Have you ever realized this is an amazing coincidence that doesn’t have to be so? The reason a solar eclipse is so perfect is because the Moon is 400X smaller than the Sun and is 400X closer to the Earth than the Sun during a solar eclipse. In addition the Earth turns 400X faster than the Moon. What are the chances all 3 phenomena would converge on the number 400? The odds are astronomically against it!

The Grand Arch is turned approximately 6 degrees with respect to the Axe Historique. Jim Alison has found out why: the Grand Arch points to the birthplace of Isis in Dendera Egypt. And the Dendera Zodiac ( a giant stone ceiling) is suspended in the Louvre. The Dendera Zodiac has octagram star symmetry (see DC episodes for significance).

I analyze another Louvre ceiling in Edouard Francois Picot’s “Study and Genius Reveal Ancient Egypt and Greece” just as Hancock and Bauval did in Talisman. In it Isis is unveiled for Athena. Picot is revealing the ancient stream of knowledge that so fueled the French revolution.

I reveal the Grand Arch is a hypercube, discuss what hypercubes are and explore ancient references to four dimensions made by Bernard de Clairvaux, St. Paul, and Plato. I look also at cubes within cubes, Salvador Dali’s Corpus Hypercubus, Cubism, sacred Egyptian cubits that measure the Earth and much more. In the end you’ll see how the human body is interconnected at all scales with the architecture of the universe. Don’t you see, we don’t live in a dead universe tending toward entropy and nihilism as science would have you believe. We are travelers in a magical universe, interconnected with all things: as above, so below.

©2010 Scott Onstott – All Rights Reserved.