This statement by B. A. Rybakov is confirmed by the series of “Babylons” he published - drawings by medieval architects, which depict squares and rectangles inscribed into each other.

Indeed, considering the drawing of the Measured Angel, we established that ABCD is a square with a side equal to the folk, or fly, fathom.

Diagonal of a square ABCD with side a, equal to the people's fathom, will be, according to the Pythagorean theorem, equal √ 2 X a = 248.90 cm

We also established that the diagonal going from the feet of the dimensional angel to the upper left corner of the square ABCD, that is, the diagonal of the half-square, gives us the expression A X √ 5 / 2 = 88 x 2 ,236 = 196,77 cm, which corresponds to the value of a royal fathom with an accuracy of 0.4%.

If A 2 i denotes the folk fathom, then √ 2 x 176.00 is a table element spaced six steps to the right from the folk one, that is

A 2(i +6) = √ 2 x A 2 i .

In the figure this is the segment OL = √ 2 x OF .

Accordingly, the location of the royal fathom is described by the relation

A 2(i +2) = 6 √2 x A 2 i= Phi 6 /16 x A 2 i,

that is, the royal fathom is 2 steps to the right from the folk fathom, and in the figure it corresponds to the segment OH.

Let us show in Table 3 the original fathom and two fathoms derived from it.

Table 3

It is absolutely clear that similar constructions can be performed for all other known fathoms, and for each of them two more fathoms derived from it can be obtained. The fact that these architects used this method is clearly shown by their surviving drawings, published by E. A. Rybakov.

IN general view we have the following relations:

Ak (i +6) = √ 2 x Aki, wherek = 1, 2, 3,i - any natural number;

Ak (i +2) = 6 √2 x Aki= Phi 6 /16 x Aki, wherek = 1, 2, 3,i - any natural number.

Let us show you clearly what happened. Green shows those elements in which the derivative of a fathom from a known one coincides with an already known one. We will not perform any actions with the city fathom, since it is a double small one, that is, the process of multiplicity from the small fathom.

Table 4

The next very interesting topic is the arshin and three-arshin or one and a half fathoms.

The word “arshin” has its root “arsh”, which means “determining measure”. Through the concept of “arshin” another of the most important properties of the Golden Fathom System is manifested.

Let's take a look at the Explanatory Dictionary of the Living Great Russian Language by Vladimir Dahl.

ARSHIN - ...four quarters (spans), four inches each...; third fathom; the length of the entire arm from the shoulder; free step of a person, ... 0.711 meters.

So, the arshin defines the “reach zone” - everything that is at arm’s length or one step. Symbolic, isn't it? And each of us lives according to his own yardstick, and not according to someone else’s - “everyone measures by his own yardstick,” that is, he measures it against himself, with his internal energy structure, chooses what is in tune with him - the only correct process.

And now, arranging objects on my desktop so that it is convenient for me to work and easy to reach, I use my arshin.

There are four spans in an arshin, sixteen vershoks, it is a third of a fathom and is equal to 0.711 m.

Well, like this - 0.711 m and not a centimeter less or more? In such a “reach zone” I would have to stretch with all my might, and my long-armed and long-legged companion would be cramped - we have a clear difference in arshins - her step, mine is almost one and a half...

Let's turn to another publicly available source, the Internet contains a large number of similar lookup tables:

But why is an arshin a third of a fathom? A fathom is not divided into three parts, only bifurcation or doubling - this is the algorithm for the formation of fathoms and their elements. But why do you have to divide? Can't one fathom include into three elements of another fathom with a sufficient degree of accuracy? Of course it can. There are 16 vershok in an arshin, which means that an arshin is half a fathom, half of some fathom - after all, there are 32 vershok in a fathom. This means that the fathom that formed an arshin - 2 x 71.12 cm = 142.41 cm - is a small fathom, the deviation is vanishingly small - 0.17 cm. Then three arshins - 213.36 cm - is a fathom, which is one and a half times more than a small fathom.

A.F. Chernyaev in the book “Gold of Ancient Rus'” wrote that architects used not only single fathoms in their work:

“In the process of breaking down, not only single fathoms were used, but also one-and-a-half, double and 2.5-lengths. The double ones were most often smaller, small, simple and masonry. The most famous is the double small one, 2.848 m long, which has its own name - gorodovaya.”

Let's look at our table - one and a half, three arshin fathom from the small one is the seventh element to the right of it.

Table 5

Let us write down the manifested dependence in general form:

Ak (i +7) = 3 x Aki / 2= 1.5 x Aki, Wherek = 1, 2, 3,i - any natural number.

Let us show, as we have already done, in the table of fathoms the main fathoms and their three-arshine correspondences.

Table 6

Comparing Table 4 and Table 6, we form Table 7.

We clearly see that I use simple, well-known , and therefore the ratios that have come down to us, the architects of Rus' received and used in their work both 14 basic fathoms and other fathoms of the Golden System, obtained from the basic ones either completely accurately, or with a very high degree of accuracy.

Table 7

But there remains one last element - the 12th in the first group, which with its attractive whiteness says that we have not yet received a complete picture.

The golden system of fathoms contains countless connections of one element with another and with others. What was revealed to me is a small drop, and by telling you about some of the interdependencies and complementarities that I was able to see, I sincerely hope that my story will interest you, and together we will be able to see more and more clearly.

The seven parts inherent in Golden system fathoms, has not yet been publicly available knowledge, but quite the opposite, it belongs to sacred, hidden, stored and protected knowledge. But who took upon himself the right to divide knowledge into accessible to everyone and, so to speak, personal knowledge ? And for what purpose?

So, Sevenfold.

Number 7 is the number of Truth. Christianity manifested itself here in its characteristic way, completely unfoundedly declaring that 7 is the number of Christ. This is the approach of any liar and thief - if a lie is multiplied in writing and repeated millions of times orally - there will be those who will believe it simply because they have heard it often or read about it many times.

Now I will quote A.F. Chernyaev. I do not doubt the sincerity of his statements, but I hold a different point of view on the essence of the number 7. And another important addition from my point of view is that A.F. Chernyaev, speaking about the construction of temple buildings, means the construction of Christian churches. Another point of view is close to me - that many of these great creations was built for a completely different purpose: as a way to help people reach higher energy-information layers, that is, as energy batteries for the transition from interaction with the planetary volume of the Earth to interaction with the volume of the Cosmic Unity of Matter. These buildings were simply captured by the Christian Church after the violent and bloody Christianization of Rus' and reprogrammed in a special way - reconfigured for the tasks of the conqueror. To make my thought more clear, I will briefly explain that modern chronology with its so-called “ millennium I consider the baptism of Rus' to be a deliberate falsification and lie, like all modern “history”.

But this is a completely different topic... Therefore, having made only the necessary explanations that determined the difference in views in the volume general theme, I turn to the book “The Gold of Ancient Rus'”.

“...The master - an architect, or in modern terms - an architect, in Rus' did not calculate the relationship and conjugation of sizes, did not calculate the golden proportions, because he knew nothing about them, and there was no need for this. Because, having “Vsemer”, he chose the commensurability of fathoms according to the rule of groups and according to the quality (the significance of the church, for example) that the object required for its intended purpose. He did not even imagine, apparently, that something could be calculated from an object, since he was operating not with commensurate centimeters, but with incommensurable fathoms, and he knew that only by following the methodology - the canon - can one obtain a beautiful conjugation of proportions, harmony, and an object.

The proportions were not calculated because they were initially included in the lengths of fathoms, and a set of several fathoms chosen according to the canon always constitutes a proportion... a multiple of the golden number (Phi).

In addition, it seems that the fathom was not a directive unchangeable instrument, and the master, depending on his plan and the status of the structure, had the opportunity to slightly change the length of the fathom so that the harmony of the proportionality of dividing the object into parts passed from explicit to implicit, hidden, and the hidden harmony was not visible to the uninitiated. It must be assumed that the masters, if they did not know, then felt the aesthetics of proportions, which Heraclitus put into one sentence: “... hidden proportion is stronger than obvious,” and Plato characterized it as: “... like is a thousand times more beautiful than unlike.. . . The relationship of the part to the whole and the whole to the part can arise only when things are not identical and not completely distinguishable from each other.”

The fathom did not become a charter for the architect. It did not remain a permanently unchanged instrument. He probably had the opportunity, even without understanding the reason behind it, to change its length within 1%, which, as already mentioned, does not affect the proportioning, but “blurs” its boundaries, which were also deliberately made more “vague” ...

Fathom as a hidden process with doubling of length changes its dynamics. The proportions displayed by it become, as it were, mobile. The dynamics of moving proportions plunges a true Master, a master with a capital “M,” into creating a harmonious object in co-creation with God. And the more spiritual the Master is, the more subtle his sense of the sublime and elevating, the more impressive the product of this co-creation will be.

It should be noted here that the importance (or significance) of objects in ancient times was emphasized by double, triple and even more combination of commensurate instruments used to measure the same parameter (that is, the height, length or width of the object).”

Let us also turn to the article “The Gold of Heavenly Account.” In the article, A.F. Chernyaev answers questions from journalist S. Kalenikin. I took the liberty of correcting the journalist’s inaccurate wording by italicizing this passage.

—...Let’s be clear: what was primarily taken into account during construction? Did ancient craftsmen use any special principles when constructing objects?

- Of course, and there were a lot of them. So, if we now build everything from the ground, then in the past, on the contrary, any structure was built from a height. From God! That is, first of all, the architect found out the height, which was determined from the top of the cross. And only then the width and length were specified. Moreover, the sacred object had two sizes in height: one - mundane, and the other - hidden, sacred.

— That is, the same height was measured twice with different fathoms?

- Yes, but in the secular version (for laymen) an even number of some fathoms was taken into account. ... And sacred height implied the desire for God. And such a height should have an odd number of fathoms, but at the same time their multiplicity was seven! Particularly important for the masters was the display of hidden proportions in the composition of spiritual buildings. Let's say the church is the temple of God - the temple of Christ, an object of holiness for believers and even non-believers. Holiness is the measure of the Church. And the measure is always expressed in numbers. A number that can hide the quality, including the significance of the object being built.

Seven is the number of Christ, a sacred, sacred number. And the qualitative composition of the church being built as a temple of Christ, as a spiritual structure in its hidden proportions included elements of sacredness, containing a combined number of double measures: worldly, open to everyone, and hidden, multiples of seven. However, those not initiated into the essence of the sacraments of Christianity did not notice either the doubleness or the multiplicity, just as they did not notice that the church had at least seven fathoms of varying lengths.

These rules were so conspiratorial and observed with such caution that even today, admiring, for example, the Great Pechersk Church in Kiev, the Church of the Ascension in Kolomenskoye or the same Church of Paraskeva Pyatnitsa in Novgorod, even major current architects have no idea about the double dimensional structure of these masterpieces, nor about planted sacredness.

— Can you give some clarification for clarity? In numbers

— When examining the plan of the Paraskeva Pyatnitsa Church, it turns out that its length is 21.1 meters, or 12 folk fathoms (1.76 m each), and its width is 18.1 meters, or 12 simple fathoms (1.508 m each). This information is indicated in any reference book on ancient Russian architecture. But it turns out that the length also fits 14 simple fathoms (seven double fathoms of 1.508 x 2), and the width is seven fathoms large 2.587 x 7. As you can see, there is sacredness here too. And again “Vsemer”. So it turns out that the plans of churches from the very beginning contained in a secret form a certain mystery of sacred numbers.

And not only the Church of Paraskeva Pyatnitsa, but also, say, the Great Pechersk Church in Kiev, the Church of the Ascension in Kolomenskoye, the Church of the Savior on Nereditsa in Novgorod, were built taking into account the planted “Vsemera” system of A. A. Piletsky. Therefore, it was widespread throughout Rus'...”

So, the algorithm is given as an example:

2110 cm = 12 x 176.00 cm = 14 x 150.87 cm or 2 (6 x 176.00 cm) = 2 (7 x 150.87 cm) is the length in the example.

For the width in the example: 1810 cm = 12 x 150.87 cm = 7 x 258.67 cm = 14 (258.67 cm / 2),

that is, 2 (6 x 150.87 cm) = 2 (7 x 129.34 cm), where 129.34 cm is half a fathom large.

To complete the picture, let’s take another 2 fathoms:

breech fathom 217.52 cm: 6 x 217.52 cm = 7 x 186.47 cm;

and a smaller fathom 134.42 cm:

6 x 134.42 cm = 7 x 115.21 cm, where 115.21 cm is a Greek half fathom.

This algorithm can be called “transition of 6 elements to 7”. We show in Table 8 the elements of this transition.

For elements of groups 3 and 2, this algorithm is expressed by the relation:

6 x A ki = 7 x A (k-1)(i+1), where k = 3, 2 andi - any natural number.

6 x A 1 i = 7 x A3(i-10), Wherei - any natural number.

Table 8

In addition to the seven-part “transition of 6 elements into 7”, another seven-part transition appears in the Golden Fathom System - “transition of 8 elements into 7.”

Let's take a few fathoms again:

breech fathom 217.52 cm: 8 x 217.52 cm = 1,740.16 cm = 7 x 248.90 cm;

folk fathom 176.00 cm: 8 x 176.00 cm = 1,408.00 cm = 7 x 201.39 cm;

small fathom 142.41 cm: 8 x 142.41 cm = 1,139.28 cm = 7 x 162.95 cm.

For elements of groups 3 and 2, this algorithm has the following relation:

8 x A ki = 7 x A ( k-1)(i+6) , with k = 3, 2 andi - any natural number.

For elements of group 1 we have the following relation:

8 x A 1 i = 7 x A 3(i-5), wherei - any natural number.

Table 9

What is the sacred meaning of 7? What is the essence of the seven parts manifested in the Golden Fathom System? Through the seven parts, the Unity of the three spirals and the mutual connection of their elements is manifested. In other words, the sevenfold unites three into the Trinity. This is the essence of the number 7 - it manifests the Unity of all things.

Now about the last element of our table - the 12th in the first group. The existence of the 11th element of group 2 296.00 cm programs, determines and manifests, according to the law of seven parts, the existence of an element interconnected with it and complementary to it - the 12th in group 1.

One does not exist without the other: 6 x 296.00 cm = 7 x 253.74 cm.

Table 10

And here is the answer: the architects of Rus' in their creativity freely owned the entire countless, that is, infinite, set of Golden Fathoms and their elements, choosing for their creations those of them that were commensurate with the one for whom they created.

The golden system of fathoms was used not only by architects, but by all Masters of Rus': they plowed and built on it, weaved, sewed and forged, it was used to make a lumberjack's ax, a farmer's plow and a warrior's sword. Caftans and shirts were sewn on it, so they never fit like a “caftan from someone else’s shoulder.” Each person was a Master, showing through the fruits of his labor a sense of proportionality, Unity with the world in which he lived, bringing his complementary melody into the overall coordinated sound of the World and the Universe.

The conscious process of destruction of the system of commensurations that manifested itself in everyone human action and everyone an object created by him, his proportionality , consonance with the world in which he incarnated began through pulling out fathoms from the Golden system one element and its absolutization by giving it only measuring qualities This was done by force, through legislative pressure on people, through the destruction and prohibition of seditious “other” arshins, except for those permitted, under the false slogans of progress, enlightenment, and development.

What does the saying “Caftan from someone else’s shoulder” mean? This caftan is for another person, not for you, because it is sewn to a different size. On the introduction of the single arshin a proverb arose: “ It’s a sin to carry (measure) with a yardstick, but God ordered it with scissors (in cutting).” What are you talking about? Now buying material, person used alien, imposed him a yard, and the material was always bought with excess what tailors used.

To live according to someone else's standards means to lose your system of proportionality to the World, to measure by something other than your own, to miss the mark all the time, to try on again, to try on and miss...

In the understanding of our ancestors, Measure is proportionality, not measurement. The destruction of the Golden fathom system took away from man his proportionality to himself and the World, replacing forcibly proportionality by measurement, comparison.

Proportionality is a manifestation of the feeling of Unity, the feeling of the Primordial. Measurement is a comparison with a certain standard to which YOU HAVE NO RELATIONSHIP - which of us feels our relationship to the meter? How are you feeling the meter today? - even the question is strange. Measurement is a mental process, each comparison-measurement that a person makes in his life increases the area of ​​his mind in him and infringes on the volume of feeling. The Uma Chamber is the chamber of weights and measures. The destruction of the Golden Fathom System placed man in conditions in which he began to live according to his mind, and not according to his original feeling.

For today I say goodbye to you. See you again!

KNOW YOUR MEASURE. Northern tradition of house building

Interview with the master of wooden architecture Igor Tyulenev, who creates houses according to the principles of old principles of house building and fathom proportioning. The interview was conducted specifically for readers of the Pashkovka newspaper.

“The foundations of our Russian, Northern Tradition found a deep response in my heart,” shares Igor Tyulenev. – Gradually I learned to perceive, understand and pass on the traditions of house building. And I continue to study. In Rus', osmerik or shesterik (a house with eight or six (like a honeycomb in a beehive) corners) was installed everywhere. And this is directly related to the harmony of the ascending and descending flows of power: The Earthly and Heavenly Yari are alive (as it is now fashionable to call these flows - Yin and Yang, and the Ancestors called them - the nature of the Father and Mother, male and female energy) with their flow in a spiral. The towers and huts were mostly round in shape. Everything in a house building has a certain importance, and the form is no exception.

For example, try, without changing the shape of the vessel or product, to fill a bottle of mineral water with ripe apples. It won’t work, either you’ll have to break the bottle or finely chop the apples. A basket is better suited for storing apples; they will breathe easily in it and, accordingly, will be stored well, but no one would think of storing fresh honey or mature kvass in a wicker basket. That is, everything needs a proper container.

Life is Power, and the form is activated by that Power, and the house is the filling. For example, a “gasoline” car will not run on diesel fuel. Thus, a form may or may not be able to accommodate and perceive this or that energy or force. The well-known expression: “a house is a full cup” is now perceived as a house full of all kinds of “good” - things, furniture, but initially no one put such a meaning into this expression-wish. “A house is a full cup” is a house filled to the brim with harmoniously intertwined flows of Earthly and Heavenly power, which require a certain form for this; here the place where the house is placed is also decisive.

I repeat, gradually dwellings and other buildings acquired a geometrically more “simple” shape, becoming square and rectangular. At the intersection of the walls, a right angle is formed, but the Heavenly force tends to flow down and the Earthly one to rise. The Force, like water in a river, does not flow at a right angle, and therefore in the corners of today’s brick, stone and panel houses, “negativity” constantly accumulates, there the current of the Force is disrupted, without movement it “fades out”, the river turns into a swamp. A permanent minus point is formed in the corner. Subsequently, to avoid this process in wooden, already square houses, they began to cut the walls, thus giving rounding to the corners and allowing the flow of Power to flow.

– Why was wood preferred? building material?

– The trunk of a tree is essentially a revolving (coil, spiral, and Vita – Life) structure of tubular systems, since the entire trunk from the butt to the top is penetrated by bellies - channels through which, while the tree grows, sap flows - from the roots up the trunk , and materialized sunlight from the leaves of the crown - also along the bellies, spreading throughout the entire tree. Depending on the purpose of the tree: to receive or give out force, its trunk in the process of growth acquired a left-sided or right-sided twist, the so-called twist, and because of this, the felled log became “right” or “left”.

Previously, huts were cut by combining these logs proportionally, or consciously giving the structure certain qualities, placing predominantly right-handed or left-handed twisted logs into the frame. Thanks to the method of laying logs in rows in a log house (butt - top), a continuous flow of Zhiva and Yari in a spiral was achieved. In the cups (places of cutting), the poles of energy change, a phase transition of 90 degrees takes place - plus to minus, the Force of the Father “becomes”, filled with the Force of the Mother, and vice versa. But this only happens if the core, the core of the tree, is not damaged. That’s why they used to chop into the okhryap at home – into the lower bowl. Today, experts criticize this method of cutting, saying that moisture accumulates in the lower bowl, and the wood in the log house is more susceptible to rotting, and they offer log houses cut into a hook - into the upper bowl. At the same time, they avoid making locks - fat tails, not realizing that the core of the tree damaged in the log house in this case This is a disservice to the residents of such houses.

The roof closes the entire contour of the house. And here the angle of the roof, or rather the corners, already matters, since there are many options for them in the canon of house building. They built a house with one corner of the roof, and a barn with another... Nowadays, few people think about this, approaching this issue from the concepts of aesthetics, or the possibilities of the material, nothing more. The house is designed to accommodate Life with certain qualities. Thus, it is necessary to take into account the location of the installation (have you heard the expression “a house must be placed on a stone”, this is because the current of power intersects differently). Do not build houses on sand, not only because it can collapse, but also because sand is not a conductor, there will be no strength in such a house.

You also need to take into account the shape of the house, the angle of the roof, as well as the material from which the house is built, and then the house can be given any properties - Healing House, Ritual House, Residential House. All structures and houses must have 100% compliance with Form and Content.

By the way, the stove in the house, like its engine, must necessarily rest on the load-bearing floor beams, and not on independent foundation- as is often customary now. Depending on how the stove is positioned in the house in relation to the entrance, to the right or to the left of it, the stove can be Spinner or Unspinner, respectively. So in your house, either everything is “rushing”, going well, or not so well... We can and should talk about the magic of the Russian stove separately, its ability to Generate bread, warm the house and keep the Fire of the hearth is priceless in itself.

– How were houses built in the old days?

- In the old days, houses were built by the whole Relatives, and often by the whole world, the term was - help, everyone got together and built them together. The ovens were made of adobe, and only virgin girls and boys were invited to “beat” the ovens; what power they put into the oven! “In your own home, even the walls help” - that’s what they say. Since we are talking about home as a concept, about the essence of its purpose, so to speak, I can say it more simply: Home is a place of Power that you create artificially. Home is an instrument of evolution given by Rod. Your home, a universal tool with which you can do everything! This house has now been built, but we don’t know how to interact with it. I mean with the house itself, with its space.

Of course, in order for the house to truly become yours, you must build it yourself, or, according to at least, take maximum part in its construction. You need to structure it for yourself, in the process of birthing a house, water it, where with your salty sweat, and maybe where even with a little blood if you get hurt, the more valuable it will become for you, the more of your strength you put into it, into your home. Previously, at least three generations of relatives lived in one hut: Father, Mother, Grandfather and Grandmother, and children. Knowledge was passed on naturally. There was a continuity of knowledge transfer, from grandfather and father to grandson and son.

– Have you heard that there used to be a concept of “Construction victim”?

- Yes it is. Before cutting down a tree, gifts were brought to each tree and permission to cut down was directly asked from each tree. Promising him continued existence in new form, in the form of a Dwelling. And if the tree gave such permission, then it experienced a state of supreme joy. As a result of the action of such a higher emotion, the entire molecular structure of the wood changed, and now it was friendly to humans. In a new incarnation - new measure, this expression is equal to everyone. A tree cut down in this state will imprint it forever in its body, and a house built from such a log will constantly share this state of joy with the residents. It will also protect them from all misfortunes.

Now almost no one does this. But what I want to say: the attitude of a person himself towards home, towards Life can change everything down to the atomic level. It is very important what is inside you, in what mood you live and act. Even a house built from railroad sleepers impregnated with creosote can become a source of positive power if a bright person full of the Joy of Life lives in it...

House, Family Estate as an artifact.

The estate is not only a hedge, a garden, a vegetable garden, a forest, a clearing, a pond, but also a variety of buildings - a house, a storage room, a barn, a bathhouse, a gazebo.

Nature and man himself should be the model and measure for the structures created on the estate. Then all the buildings will be harmonious and beautiful, life will flow in them as beneficially as possible for the psyche and health, and it will become possible to discover and realize many of the abilities inherent in a person.

Today in architecture there are:

1. Estates and houses built to living dimensions.

These houses have the properties of all living beings - they were created taking into account the golden ratio and the so-called wurf coefficients. Wurf is a three-member division of the human body (it will be discussed in more detail below). This includes houses created using the ancient Russian fathom system. This is how houses are built for a comfortable and pleasant life.

Basic fathoms in meters:

Policeman 2,848
Large 2,584
Great 2,440
Greek 2,304
Breech 2.176
Pharaoh 2,091
Piletsky 2.055
Tsarskaya 1.974
Church 1,864
Narodnaya 1,760
Chernyaeva 1,691
Egyptian 1,663
Masonry 1,597
Simple 1,508
Small 1.424
Minor 1.345

All 16 fixed fathoms, according to which it is proposed to design structures, are calculated based on the size of historical buildings - cultural monuments. Fathoms increase in accordance with the harmony coefficient of the musical series - 1.059.
I would like to emphasize that fathoms are a tool for creating volume, and not just a unit of measurement of length. You can make a fathom from any size.

Harmonious dimensions give buildings and structures the following properties:

1. Beauty;
2. Durability;
3. Durability;
4. Excellent acoustics;
5. Health benefits for people;
6. Harmonization of space.

Before the introduction of design by meters, not only houses, but also parks and cities were created by fathoms; the name of one of the fathoms reminds us of this - gorodovaya.

The land on the estate varied in tithes - 1 tithe - 109 acres. One tithe contains 2400 square fathoms. 4,548 sq. m – square fathom.

2.848x1.597=4.548 sq. m;
2.548x1.76=4.548 sq. m;
2.44x1.864=4.548 sq. m;
2.304x1.974=4.548 sq. m;
2.176x2.090=4.548 sq. m;
1.508x2x1.508=4.548 sq. m;

When creating a house by fathoms, it is taken into account that in nature there are no identical figures - diversity pleases the eye and pacifies the psyche.

Amazing harvests were also noted on the ridges marked by fathoms.

A separate topic on the estate is the creation of a “living pond”, i.e. such a reservoir, where the water is self-purifying as much as possible (does not become overgrown), everything is favorable for the life of fish, crayfish and, at the request of the owners, for swimming. Of course, for the construction of a pond, it is important, first of all, to have a water source (source indicators are green grass, willow, alder), a clay bed, and the location of the banks along geodetic lines. And only then the pond is marked by fathoms.

The depth of the bottom should be different, and it is desirable that the reservoir be deeper in the north and shallower in the south. For convenience, it is possible to build 1 or 2 terraces deep into the pond, about 0.5 m wide, for planting aquatic plants, such as water lilies and reeds. It is advisable to extend the banks of the pond in the direction of the wind. The combination of natural shapes and geodetic lines is important. Thus, a pond in the shape of a shrimp or snake will not self-clean if built on a plain. But this form is perfect for a pond at the foot of a mountain or in a ravine.

Paths in the estate should not be straight. The energy moves in a tortuous way. A striking example is the streets of old Moscow. Standing at the beginning of such a street, you will not see its end - it is so crooked. It is necessary to follow nature, and there are no straight lines in it, especially parallel ones. The same goes for ridges. It is better when long ridges are arranged in the shape of a meander or snake.

2. Dead estates and houses.

These structures slow down natural processes, therefore, they are used to preserve inanimate products and bodies, such as refrigerators, storehouses, and crypts. Such houses are based on regular geometric shapes that are not found in nature - a square, a circle, an isosceles and equilateral triangle. The exception here is the hexagon - a honeycomb, a regular geometric figure, but alive.

Land is measured in squares - square meter, square weave, square hectare.

Ponds are created in the form of regular geometric shapes, regardless of geodetic lines, cardinal directions and wind direction.

The paths are straight, turns at clear angles.

3. Other structures.

Not “living” and “dead” estates and houses. Such structures are created by amateurs or are intended for some unknown, cosmic purposes. These include new buildings and city apartments. The topic has not been studied, you can write a dissertation....

Used Books:

2. Seminar July 6-10 by Sepp Holzer in Krameterhof.
3. Website sazheni.ru
4. Forum http://forum.anastasia.ru/topic_47351_90.html

Justification for the use of fathoms

God created the World, and the Harmony of the World distantly reflects the perfection of God. God gave people reason and feelings capable of perceiving the Harmony of the World. Moreover, Harmony is inherent in Man himself. And Man can not only perceive, but also reproduce the Harmony of the World in his works.

Harmony is measurable. One of the measures of Harmony is the human measure - the fathom. By creating something fathom by sazhen, Man imparts Beauty and Harmony to his works. As much as it is natural for Man to live in nature created by God, so natural is it for Man to live and use creations that reflect this Harmony.

It is natural for a person to live in a harmonious environment created by himself. This so-called “cultural” environment. It is a secondary, artificially created habitat by Man. However, this secondary nature must also comply with the laws of Harmony and be favorable for humans. Such a correspondence can be ensured by the fathom.

The uniqueness of the Old Russian fathom system is that “there is fundamentally no single standard measurement unit for fathoms, and the measurement system itself is not Euclidean.

For many centuries, the lack of a unified standard did not hinder, and moreover, contributed to the construction of magnificent, aesthetically proportional structures to the nature also because in ancient Russian architecture all divisions were tripartite,” notes A. F. Chernyaev in the book “Golden Fathoms of Ancient Rus'” .

For example, fingers, toes, arms (shoulder-forearm-hand), legs (thigh, lower leg, foot), etc., have a three-part structure. Moreover, a two-membered limb did not exist in nature.

The ratio of the 3 lengths makes up a proportion called wurf. Wurf values ​​across the human body vary, averaging 1.31.

Moreover, the coefficient of the golden section squared, divided by two, is equal to the wurf. (1.618x1.618):2=1.31.

Currently, most architects in Russia have undeservedly forgotten the design methodology by fathoms and use the metric system.

Let's look at the history of the meter. The meter was first introduced in France in the 18th century and originally had two competing definitions:

Like the length of a pendulum with a half-period of swing at a latitude of 45° equal to 1 s (in modern units this length is equal to m).

As one forty-millionth of the Paris meridian (that is, one ten-millionth of the distance from the north pole to the equator along the surface of the earth's ellipsoid at the longitude of Paris).

The modern definition of the meter in terms of time and the speed of light was introduced in 1983:

A meter is the distance traveled by light in a vacuum in (1/299,792,458) seconds.

It turns out that the meter is an artificially derived unit of measurement, not directly related, and, accordingly, does not reflect the Harmony of the World and Man. Meter is a standard that forms a line. Fathoms are a natural measure for Man. They form a three-part (3 is a sacred number) system, according to which the area and volume are harmoniously formed.

Peter the Great, as D.S. writes. Merezhkovsky, in his work “Antichrist,” abolished the natural measures: fathom, finger, elbow, vershok, present in clothing, utensils and architecture, making them fixed in a Western manner. It was not for nothing that the meter was introduced in France and Russia during the revolutions. The destroyers knew why it was necessary to forget the wisdom and traditions of their ancestors, to destroy the roots...

Ancient people felt Harmony intuitively, without thinking about measurements. But the connection with God weakened, which is why rigidly fixed sizes of fathoms arose, and rules for constructing various structures according to fathoms appeared.

Our ancestors carefully preserved and passed on age-old wisdom and beauty, embodying them in the temples of Ancient Rus'. Life on estates and houses built by fathoms made it possible not to lose the feeling of the Harmony of the World and reminded Man of God.

Now we are visiting estates miraculously preserved after collectivization and urbanization. For example, in Moscow, near Red Square, there is the Romanov family estate, where now only the house-museum, “House of the Romanov Boyars,” remains. The house-museum and part of the estate of the artist Vasnetsov have been preserved in the former Troitsky Lane near the Sukharevskoye metro station.

On Novy Arbat, behind the high-rise buildings, a piece of the estate and the Lermontov family home are hidden. Everyone knows Boldino, the family estate of the great Russian poet Pushkin. A charming corner is the estate of the artist Polenov in Tarusa, where the museum is run by his descendants.

The family estate of the “father of Russian aviation”, the memorial house-museum and Zhukovsky’s estate are located in the village of Orekhovo, 30 km from Vladimir, on the Vladimir-Alexandrov highway. And there are many such examples.

The revival of ancient traditions of creating estates and estates will undoubtedly serve the socio-economic recovery and improvement of life in the country, the development of the spiritual, creative forces and abilities of new landowners.

Used Books:

1. A. F. Chernyaev “Golden fathoms of Ancient Rus'”.
2. Forum http://forum.anastasia.ru/topic_47351_90.html
3. Wikipedia.

Variety of fathoms

Let's consider various options the use of fathoms in the design of a residential building. Common to all methods: when building a house by fathoms, the external dimensions of the house must have different sizes along 3 coordinate axes, and only an even number of fathoms is plotted. The space inside the house is planned in a similar way, only an even number of half-fathoms, elbows, spans, pasterns or vershoks is taken.

Details such as windows and doors rounded at the top, a high roof, various terraces and porches, asymmetrical elements and parts of the house make it original and memorable. A separate topic is decorating the house with carvings, the so-called “patterning”. This is a whole language of different figures, telling about the family living in the house. Furniture is made according to the size of the house and the owners. The color of the decoration complements the interior space of the house: curtains, carpets, paintings.

Design for 16 fixed fathoms

An even number of fathoms is laid out along the 3 axes, which must be different and not appear next to each other in the list.

1. Piletsky 2.055
2. Egyptian 1,663
3. Smaller 1.345
4. State-owned 2,176
5. Folk 1,760
6. Small 1.424
7. Greek 2,304
8. Church 1,864
9. Simple 1.508
10. Great 2,440
11. Tsarskaya 1,974
12. Masonry 1,597
13. Big 2,584
14. Pharaoh 2,091
15. Chernyaeva 1,691
16. Policewoman 2,848

So, the external dimensions of the house can be as follows: length - 6 church fathoms, height - 4 royal fathoms, width - 4 folk fathoms. If the house is round or polygonal, then the outer diameter is equal to an even number of fathoms, for example, 4 masonry fathoms.

Fathoms according to the owner's golden proportions.

It is proposed to take five consecutive numbers of the golden ratio 0.382/0.618/1/1.618/2.618. These coefficients must be multiplied by the height of the owner - the result is a series of fathoms proportional to his height. For example, with a height of 1.764 m, the scale will be as follows: 0.674/1.090/1.764/2.854/4.618 m. Specified row successively multiplied by 2, 4, 8, 16... - a table is formed from which the sizes of individual fathoms are determined. The fathoms calculated by this method are divided into 2, 4, 8, 16, 32... parts, respectively. As a result, we obtain independent units: half fathoms, cubits, spans, pasterns, tops.

Types of “human” fathoms.

The most famous “human” fathoms:

- flywheel. This is the length of outstretched arms;

- height. Just the height of a person;

- oblique. The height of a person with his arm raised up.

Based on the specified fathoms, the house is designed taking into account the size of the owner and mistress. The external dimensions of the house are calculated according to the size of the owner, and the internal dimensions - according to the size of the owner. There is a hidden meaning here: such correspondence is intended to reflect the relationship between the roles of men and women in the family.

In conclusion, it should be noted that regardless of the units of length (distance can be measured in feet, meters or parrots), when designing by fathoms, we create a “living”, harmonious Human space for Love, creativity and relaxation.

Used Books:

1. A.F. Chernyaev “Golden fathoms of Ancient Rus'”.

Feedback from the owner of a house built according to the Old Russian fathom system about her house

My house is really built according to Russian fathoms. But only outside. Inside - that’s how it happened. It’s comfortable to live in it, we don’t want to leave it - we perceive it as a living being, very friendly and cheerful.

Is it the reason for this fathom, or the fact that it was built with Love by our like-minded person, a very pure and kind person, with extensive construction experience - it’s hard to say.

Most often I hear the following words about my house: “how nice it is!” It seems small, but it seems not very, moderately tall, moderately wide, so strong - in a word - okay. But this, I think, is the merit of the fathoms.

It is pleasing to the eye with its proportions, and, of course, elegant (after all, we love it - so we dressed it up). Guests, coming in for a minute, do not leave for hours - they just sit on the steps or on the terrace. This is especially noticeable in children; the baby’s mother lowers him to the ground to go home, and he again climbs the stairs into the house - and is so happy.

Six months after the house was built, I attended Chernyaev’s seminar in Lipetsk. There I learned an important thing that everyone should take into account when building a house, even if the construction is not in fathoms.

The ceiling height in a stove-heated house should be as high as possible - superheated air rises up and hangs near the ceiling. If the ceilings are 3 meters (Chernyaev says 3.20 is better), then everything is fine. If it is lower, then our head is always in the discomfort zone.

Indeed, during the heating season, my son could not sleep on top of the bunk bed (our ceiling height is 2.5 meters) - it was very hot and stuffy up there.

I am for the settlers’ houses to be solid, beautiful and in good order. Extra expenses “on beauty” pay off handsomely - how many times does my

A practical guide to
working with fathoms

SEMINAR PLAN

1.
2.
3.
4.
5.
6.

Basic principles of design by fathoms
Human proportion system
Outlines of residential buildings
Room sizes
Wurf relations and proportions of facades
Proportions of plots

1. BASIC PRINCIPLES
DESIGNING BY FATHMEN
Fathom meant the distance from the end of the fingers of one
hands to the end of the fingers of the other.

The word “fathom” itself comes from the verb “to squat”
(to reach something, to grab, to reach - cf.
also “reach”, “reachable”).

In the understanding of our ancestors, Measure is proportionality, not
measurement.
The destruction of the Golden fathom system robbed man of his
proportionality to oneself and the World, replacing forcibly proportionality
measurement, comparison.
Proportionality is a manifestation of the feeling of Unity,
feelings of the Primordial.
Measurement - comparison with a certain standard, to which oneself
the person has no relation.

2. System
human proportions

According to 3 parameters (range
hands, height of raised hand,
2 steps or length
hand extended forward from
shoulder joint)
complex received
from 3 fathoms characteristic
for humans
medium height -
Kazennaya - 2,176m
Narodnaya - 1.76m
Smaller - 1,344m

Fathoms in expanded
number series Phi

Table of fathom groups according to Chernyaev A.F.

Fathom ratios
2,176/1,345 = 1,618
2,176/1,76 = 1,236
1,76/1,345 = 1,309

Algorithm for obtaining divine proportion

Comparison of the obtained functions in
given series

Numerical ratios of fathoms

Addition of a number of “golden” functions
proportions"

3. Outlines
residential buildings

The proportioning of the building is carried out according to external dimensions,
taking into account ideologically important elements
(height of the temple taking into account the height of the cross, residential building up to the ridge of the roof).

The length, width and height of an object, its main parameters, are determined by:
adjacent fathoms interconnected by the relation
f =1.618, 1/2φ =0.809 and f2/2 = 1.309;
or geometrically - through the diagonal of the square
(silver ratio) = 2.414

The plan was formed on
function base
silver proportion.
Width ratio
buildings to length - through
diagonal of a square.

Height of the building with roof
formed through
9th step in
1x2 ratio

The plan was formed on
function base
silver proportion
(deviation 0.9%).
Width ratio
buildings to length - through
diagonal of a square.

Height of the building with roof
formed through
golden feature
proportions - 1.236.
Division of the facade according to
vertical is made according to
wurf 1,309.

The number of fathoms must be even and whole.
Type of fathoms in the main formative dimensions of the structure
corresponds to the purpose of the structure and is determined from the status and
purpose of the object for public buildings and based on growth
home owner for private homes.

The proportions of a residential building are tied to the height of the owner of the house
and are composed of fathoms of one group,
where the first one is, for example, “Kazennaya”,
corresponds to the size of a person with his arm raised (2.176m)
and is tied to the height of the building,
the second - “Narodnaya” - human height (1,760m) and is tied to width
building,
the third - “Small” - 2 steps (1,424m) and is tied to the length of the building.

When constructing several floors
different fathoms were used for each floor
(from different groups “Vsemera” 1 step lower
for each next floor or according to the Wurf rule).
The vertical division of the facade is carried out through the wurf
relationship.

4. Room sizes

The breakdown of the internal parts and axes of the building was carried out
fathoms different from those used on external structures,
integer lengths-quanta:
fathoms, half fathoms, cubits or smaller parts.

It should be noted that in all measuring operations we took
clean dimensions of the premises - excluding wall thicknesses,
those. the dimensions of only functionally used areas.
The thickness of the structures seemed to be ignored, although the internal
cross walls, unlike modern partitions
were carried out very massive.

The double number of fathoms establishes the proportion between
person and room. This proportionality is called
the scale of the building elements in relation to a person. That is
The height of the room must be at least 2 times the height.
For those who are different in their importance and position in the hierarchical ladder
people, rooms are created, sized accordingly to different
types of fathoms.

Outlines
residential
Houses -
drawing XVII century

Architecture is anthropomorphic, any thing or object in contact
with a person, is usually not equal to a person, but is fulfilled either more,
or less than a person.
Doorway, sleeping place - more than a person, and the top shelf
must be smaller than the person with his hand raised so that he can
reach out
The size of an object or element of a structure is made one step larger
or one step below the model of the corresponding person.

The internal heights of the floors and attic are made different,
but harmonious to each other fathoms,
may coincide with those used for external measurements.
If there are 3 internal heights, for example, 1st, 2nd floors and attic,
then the harmony check is carried out
according to the wurf ratio: a-1st floor, b-2nd floor, c-3rd floor.
W(a,b,c)=(a+b)(b+c)/b(a+b+c)=1.3-1.33.
In practice, three adjacent fathoms are involved in this ratio.
For a more accurate calculation, use Novgorodskaya
slide rule."

Division into isolated
compartments - cages were dictated
only functional
the need to share
living area (heated) from
economic
(unheated).
The set of such compartments was dictated
vital
parameters - provision
food and labor
activities.
To the list of premises
included: general residential
room, hallway
(communication zone),
utility rooms, in
cold areas - premises
for livestock and a “latrine” place.

Reconstruction of a Trypillian residential building

5. Wurf relations and
façade proportions

In living nature, in biological bodies,
in the structure of the human body there are three parts
division is observed constantly.
Member parts
three-part division of the body (wurf)
form a system
mutual proportioning and
therefore they turn out to be inseparable.
For a block consisting of three elements
with lengths a, b, c
wurf relation W(a, b, c)
calculated by the formula:
W(a,b,c)=(a+b)(b+c)/b(a+b+c).
By transforming such blocks
can be combined one with another with
complete coincidence of all their points.

Wurf meanings vary slightly,
averaging W = 1.31.
In the ideal case, V. Petukhov indicates W = 1.309,
that when expressed through the golden ratio
W = φ2/2.
He calls him the "golden wurf"
If the structure has a wurf relation of three-term division,
then no matter how the observer moves relative to it,
the angle of view will always have the same wurf value,
and the moving observer will perceive
constantly changing,
but remaining aesthetically perfect,
harmonious design.

6. Proportions of plots

Not so long ago, land was measured throughout Russia
not in meters, but in fathoms.
There was a square fathom, something larger than a square meter.
There was a tithe equal to 109 acres, or 10,900 square meters.
There is information that the tithe contained 2,400 square fathoms.
Based on this information, we find out the size of a square fathom. 10900:
2400 = 4.542 - more precisely 4.548 sq.m.
Please note that the length and width land plot
cannot be the same.
When proportioning and determining the size of allocated land
fathoms of plots can be used as follows:
Width

Masonry

Policeman

Folk

Church

Greek

State-owned

The resulting size of the square fathom and the tithe itself
have the property of the Golden Proportion.
Moreover, they are most harmonious for those
according to whose height the square fathom plots are measured
and will produce a larger harvest than those measured by the meter,
for they form the space of the volume of the harvest.
Examples of increased yield noted
in the diary of M.V. Lomonosov
and in settlements of the Kirov and Krasnoyarsk regions.

Russian fathoms, this is an interconnected complex, compared to the metric system of measures, has a special, mobile function. Their main purpose is to build in the image of the projection of the Earth, in the proportions of the designed building or structure, so that it would be possible, then the building or structure itself, to be built in Golden Section proportions into the energy flows of Planet Earth and the entire Universe. This is the main purpose of Russian fathoms, which essentially means the creation of centers of Cosmic communication with the energy flows of the Universe. And therefore this main purpose was sacredly kept in the strictest confidence by the Architects themselves.

Features of Russian fathoms.

Russian fathoms should be considered as a system of proportioning according to the Golden Section of the project and the construction of an object inscribed by the architect into the Golden Section processes of the Universe. This is the process of creating a new Cosmic connection of the future object with the energy flows of the Universe.

Russian fathoms can only be divided by 2. This is the difference between Russian fathoms and the metric system of measures. Arrangement of a fathom, dividing it by 3,5,6, etc. parts is impossible, because it creates conditions for the appearance between endless processes - finite segments that deaden the process, and therefore are not suitable for comparison with a living process.

By successively dividing each fathom by 2, segments of fathoms of shorter length are obtained: fathom, half fathom, elbow, span, metacarpus, vershok. The formation of only six forked elements in one fathom is the third feature of the entire complex of ancient fathoms.

There is an internal relationship between each element of a fathom with the elements of all other fathoms (unique arithmetic proportioning), according to which each member of the proportion, being an element of a larger fathom diagonally, becomes an element of another fathom, a different proportion vertically. Such combinatorics are similar to natural systems and have qualitatively different properties than metricity. It contains the golden proportions and with them the correspondence of measuring instruments to natural structures.

Please note: the quantitative value of each numeric field of the matrix is ​​formed by the denominator number P=2

The ability of Russian fathoms to create and restore the harmonic resonance of the oscillations of the frequencies of the human body located indoors, with the resonance of the oscillations of the natural processes of the Earth and the Universe. Therefore, in objects built using Russian fathoms, people feel comfortable, calm and relaxed, as if under the influence of grace, a healing factor, and at the same time, in the process of life, their awareness increased to the level of the Universal.

The eldest in ancient times was known as the wisest of people, and therefore was the most revered. Such a phenomenon as senility, which exists in our times of the metric system of measurement, did not exist in the past.

Ease of restoration of lost units of measurement. There are many simplest ways, one of which is making a fathom according to the height of the master, who is in a position with his arm extended upward.

Design of buildings in Russian fathoms

Determination of external dimensions

Design begins with determining the height of the building, then the width and length.

The height is determined by the highest point of the house, for example a ridge, and if a rooster is built at the end of the ridge, then by it. If a tower is built next to the house, the height of which exceeds the height of the house, then the height of the Creation is determined by the highest point of the tower. The chimney is not taken into account.

For design, different fathoms are used: for the height of one, for the width of another, and for the length - a third. Each of them is taken from a different group of fathoms. In all cases, the following is used to calculate sizes:

during construction residential buildings only even number fathoms;

during construction temples or chapels only odd number fathoms.

This is explained by the fact that in general the temple or chapel is elongated compared to the house, due to the dome and cross above it.

If you are planning to design a house with a height of 5.5 - 6 meters, then select a fathom, an even number of which will give you the distance that is closest to the height of the house you have chosen. In this case, the closest to this height will give you the result of 4 Egyptian fathoms.

Width of the house. It should be borne in mind that the volume is formed according to the external and protruding elements of the house. The volume being formed includes all extensions: entryway, porch.

Definition internal dimensions

The design of the internal parts of the house is carried out using an integer number of fathoms, or its elements: half a fathom, cubit, span, metacarpus or vershok.

The volume inside the house is limited by the walls. The walls make it possible to dampen each other’s waves, and then the pulsation of the partitions can be ignored. The eyes and body must feel the Golden proportions and therefore it is necessary use the same fathom that was used to design the outside to design the inside of the house. For example, if we designed the width of the house outside with Egyptian fathoms, and the length with great fathoms, then the internal parts of the house with width and length should also be designed with these fathoms, or their elements.

Building dimensions

If we have decided on the height, then the width and length already have some dimensions determined by proportionation. Don’t be surprised if you can’t find suitable fathom sizes in some cases. This means that you have chosen a disproportionate size, and the building will not comply with the Golden Ratio.

The dimensions within the system can be determined in advance.

Parameters of objects, measured in an integer number of fathoms, Always turn out to be fractional when measured with a standard meter.

Asymmetry in the building

When assigning dimensions to rooms, walls, partitions, windows and doors, etc. Along with the use of an even (for houses), odd (for temples, chapels) number of fathoms or their elements, it is important to maintain proportions and “hide” them by introducing slight asymmetry into the designed figures. Living is done by introducing asymmetry into the designed and created figures to give a sense of movement. These sensations reproduce in a person the perception of an object as moving, alive.

IN residential buildings, elements of movement and sensation of life, were introduced in different ways, as the Architect wished. Here is one common example. In houses of old buildings, using Russian fathoms, when entering the house, you feel the perspective and expansion of space. This was achieved by narrowing the side walls at the end of the room and slightly raising the floor level at the far wall, compared to its level at the threshold at the entrance to the room. Elements of asymmetry were introduced from no more than 1.5 - 3% from the “correct”, symmetrical forms of the object, but this was enough to “bring” it into “movement” and create a spatial feeling of lightness and freedom. Thus, the architect created the conditions so that Russian fathoms, like irrational commensurators, with complementary asymmetry, completely excluded the possibility of standing waves occurring in the house. Moreover, the pulsation of the house structure would fit its resonance into the Golden Section frequency of the Planet and the Universe. For the same purpose, elements of asymmetry were introduced into the structure of the house itself, into the roof, into the extensions, into the architectural composition of all buildings and landscaping.

Features of proportioning land plots

Not so long ago, throughout Russia, land was measured not by meter, but by fathoms. There was a square fathom, something larger than a square meter. There was a tithe equal to 109 acres, or 10,900 square meters. There is information that the tithe contained 2,400 square fathoms.

Based on this information, we find out the size of a square fathom.

10900: 2400 =4.542 m2 (more precisely 4,548 m2).

It should be borne in mind that the length and width of a land plot are measured in different fathoms. Based on this, we will determine which fathoms participated in the formation of a square fathom. To do this, we divide the square fathom sequentially into all fathoms, starting with the largest ones. So:

Table for determining the participation of fathoms in the formation of a square fathom

As you can see, a square fathom can be measured by five different pairs of fathoms. A simple fathom participates alone, but in the formation of half a square fathom.

Width Length:

Policeman, Masonry;

Bolshaya, Narodnaya;

Great, Church;

Greek, Royal;

State, Pharaoh

The resulting square fathom size and the tithe itself have the Golden Section, and the most accurate holiness, “sacredness”, for those inhabitants of the Earth who process it. It should be expected that plots measured by a square fathom will produce a larger harvest than those measured by a meter, because they form the space of the harvest volume. Examples of increased yield have already been noted in settlements in the Kirov and Krasnoyarsk regions.

RULES FOR APPLICATION OF FATTHOLDS IN DESIGN

Excerpts taken from the following sources

Fathoms located in the same group (a total of 5 groups of 3 fathoms each) are inharmonious with each other, and they cannot be used together. That is, when determining the triple height-width-length, even 2 fathoms from the same group are not allowed. Or, if any size is measured in more than one fathom at a time (for example, the height of a house on a slope), you also need to take fathoms from different groups.

When dividing an object, the length is measured in one fathom, the width in another, the height in a third, interior layout- fourth. (Book “Gold of Ancient Rus'”, Chapter “The Concept of Living Figures”). In this case, you cannot use fathoms that are next to each other in the table;

In round buildings (six-eight-polyhedral), the fathom measures the height and diameter of the circle in which the polyhedron is inscribed.

Errors and changes in size up to 1/32 (3%) in relation to a given size or 1% of the size of the entire structure (Lecture 4, 18 min) are not significant. For example, with a house length of 6 royal fathoms 6x197.4 cm = 1184.4 cm, protruding parts and errors are within 37 cm

To determine dimensions you must use identical units of measurement, for example, if you started to measure the width of the premises in elbows, then the length must also be laid out in elbows. Internal partitions do not apply to this rule; they can be taken by any elements. For example, the dimensions of the room are measured in elbows, and the partition is taken in the metacarpus. ;

It is advisable to exclude fathoms used to determine the external dimensions of a building from further work (Chernyaev A.F. Gold of Ancient Rus'. Chapter The Sacrament of Church Architecture). To determine the internal dimensions of premises it is allowed (nevertheless) to use the same fathoms that were used to determine the external dimensions of the building;

To determine the main dimensions of a building, a fractional number of fathoms cannot be used;

Dividing a fathom or any of its elements (except the top) into segments not divisible by 2 is not allowed, because it interrupts the process reflected by fathoms (Chernyaev A.F. Gold of Ancient Rus'. Chapter The Sacrament of Church Architecture);

It is desirable, but not necessary, to take an even (for housing) or an odd (church architecture) number of elements inside. ;

It is advisable not to make rigid symmetry during construction.

Sizing details

Since the volume of the house is formed by protruding parts, to determine the size of the building, the maximum protruding edges (roof slopes, towers, porch) are taken; pipes are not considered, since they are a non-main element of the house;

All external dimensions are measured by protruding parts: extension, steps, canopy, drainage system, cross on the temple, weather vane on the roof, etc. - everything is taken into account. The height is determined by the highest point of the house, for example a ridge, and if a rooster is built at the end of the ridge, then by it. If a tower is adjacent to the house, the height of which exceeds the height of the house, then the height of the Creation is determined by the highest point of the tower. Chimneys and ventilation pipes are not taken into account. If the base is more than 20 cm, then the height is measured in 2 different fathoms: separately from the base and separately from the ground. If the house is on a slope, then the height on both sides is measured in different fathoms. If the height difference is less than 3%, do not pay attention. Internal height is measured from the finished floor to the ceiling. With a sloping ceiling - to the highest point.

It is also better to make the length of the roof slope according to fathoms. It does not affect changes in calculations. But when the roof overhang extends by more than 1/3 of the height of the building, the width of the building must be measured by the width of the overhangs, and the distance from the overhang to the ground (zero level of the building, foundation or base) must also be taken into account in fathoms. If the roof overhangs are up to 30 cm, the size is taken according to the roof overhangs. If more than 30 cm, 2 different fathoms are used - one measures the walls, the second the full width (length) along with overhangs.

The internal heights of the floors and the attic are made different, but harmonious with each other, fathoms, and can coincide with those used for external measurements. If there are 3 internal heights, for example, 1st, 2nd floors and an attic, then the harmony check is carried out according to the wurf ratio: a-1st floor, b-2nd floor, c-3rd floor. W(a,b,c)=(a+b)(b+c)/b(a+b+c)=1.3-1.33 External dimensions are not checked by wurf ratio.

The height of the house is measured from the surface of the ground; the blind area does not count (Lecture 4, 16 min). The difference in heights on the sides of the house with a slope of less than 20 cm is not taken into account, but if it is more than 20 cm, then the height of the house is determined by two different fathoms ();

External dimensions

1. For all faces outside, take:

In housing construction, an even integer number of fathoms, i.e. multiples of 2: 2 fathoms, 4 fathoms, 6 fathoms, 8 fathoms. etc. For example, height - 2 fathoms; width - 4 fathoms, length - 6 fathoms.

7 fathoms, 9 fathoms, 11 soot, 13 fathoms, … , 21 soot, … etc.

Also in church architecture the following numbers are applicable (have sacredness): 12 (1+2=3), 16 (1+6=7)

Internal dimensions

On all sides inside it is permissible to measure in fractional parts of fathoms, accordingly an even or odd number:

In housing construction: n even *1.5 fathoms = 3, 6, 9, 12, 15 fathoms; n even *2.5 fathoms =, 6 fathoms, 8 fathoms etc. For example, height - 2 fathoms; width - 4 fathoms, length - 6 fathoms.

For non-residential construction, it is permissible to enter coefficients of 1.5; 2; 2.5 to the fathom value, and measure all axes accordingly with one and a half, double, two and a half fathoms, but this method.

In church architecture 1 sazh., 3 sazh., 5 sazh., 7 fathoms, 9 fathoms, 11 soot, 13 fathoms, etc.

Inside, the width and length of the house are taken in fourth and fifth fathoms;

When determining the size of premises, half a fathom, cubits, spans, pasterns and tops are used;

Windows, doors

In general, in absolutely all the options not listed above, you need to measure everything in fathoms, using a meter only for the convenience of transferring fathom sizes into reality. This applies to doors, windows, distances between windows, wall thickness.

Doors and windows along the top within one room should be at the same level (Lecture 4, 27);

Windows can be either symmetrical or not symmetrical;

The windows of the first floor should not be equal to the windows of the second floor (the correct equation for proportioning the height of objects);

The house should have good natural lighting; the temple does not need this;

Windows are counted at elbows, taking into account the pier;

The Egyptian fathom cannot be used for design, and the City fathom is not used in the construction of residential buildings, since it is equal to two Small fathoms;

When constructing several floors, fathoms of different lengths are used for each floor (from different groups of “Vsemera”).

The ratio of fathoms and its elements:

Half a fathom = ½ fathom

Elbow = ½ half fathom (1/4 fathom)

Span = ½ cubit (1/8 fathom)

Pastern = ½ span (1/16 fathom)

Vershok = ½ metacarpus (1/32 fathoms)

A.F. Chernyaev
Gold of Ancient Rus', M., 1998

THE LOGIC OF ANCIENT FATHODS

It was mentioned above that in Ancient Rus' there were many measuring instruments in use - fathoms. For almost two centuries now, scientists have been trying to bring this set to a minimum number of standard sizes and have so far been unsuccessful. And these failures are not accidental. In all works on systems of measures fathoms are considered only as measuring instruments having a strictly defined length and the only way of application is measurement. According to the logic formulated over two centuries by the meter, the measuring instrument must be divided with great accuracy into a number of identical measuring units, usually multiples of a “round number”. For example, a meter is divided into 10 decimeters, a decimeter is divided into 10 centimeters, etc. The meter itself is a standard value, ten millionths of one quarter of the Paris meridian, and obtaining its standard length is a rather complex, time-consuming and expensive operation. Therefore, once a standard piece has been obtained in the form of a verified platinum rod, it has been stored in a case for almost 200 years at constant temperature, pressure and humidity. And even under these conditions, clarification of its length is required.

Questions arise: What methods were used to store measuring instruments in ancient times? Does it make sense to talk about their accuracy? And isn’t the requirement to accurately measure the length of fathoms a logical echo of the habitual use of the standard unit of length - the meter? After all, this “storage” lasted thousands of years since the times of Ancient Egypt, if not earlier. In addition, no standards were found. There is no need to demand accuracy from such instruments in the absence of even hints of standards. And yet...

The buildings of both Ancient Rus' and Ancient Egypt, with their proportionality, proportionality and aesthetic beauty, intended for an ennobling effect on people, far surpass the standard and non-standard “boxes” of the 19th and 20th centuries. - the brainchild of a very accurate standard meter.

This proportionality and aesthetic beauty of the structures is a consequence of the special, mobile function of the interconnected complex of ancient Russian fathoms, which consists in the fact that their main purpose is commensurate, and therefore they are not static rulers, but ongoing dynamic processes stopped by length.

Translated in length, for ease of use, into the usual centimeters for us, fathoms, however, do not have “real” lengths. Fathoms are not a measuring instrument and therefore have no length themselves , although they are sometimes used for measurement. Just as bodies have no dimension, so too fathoms do not have metricity. Fathoms - a tool for measuring, a tool and a system of proportioning , therefore their metric modulus is an infinite irrational number, rounded to the 4th digit. And their diagonal from left to right from bottom to top is nothing more than a series of the golden ratio ( in this case we are talking about Russian matrix coefficients - approx. my O.S.).

In the matrix A.A. Piletsky fathom for this reason are an abstract expression of an infinite process that has taken the form of finite segments. Each fathom has, as it were, its own internal unit of length measurement, unknown to us, different from all other lengths, and determined by its own process of molecular division.

In fact, each fathom is one of those irrational process segments that are obtained by dividing a segment of any length in extreme and average ratios. When adding or dividing fathoms, we are adding or dividing not length segments, but processes, infinities, and we seem to represent the results of division or addition as whole and indivisible segments. And therefore, the newly formed “segment” is not part of some process, but represents the whole as a new independent process. This is the main qualitative difference between fathoms and meters. Meter is a static measuring unit, a standard designed to compare all measured bodies with itself. Fathom is a commensurate process that determines the proportionality of parts of bodies to the process, and, consequently, to the body itself. The meter fixes existing proportions, killing them with staticity. Fathom balances the proportions with a process, bringing them to life. For everything that moves lives in proportion.

It is proportionality that determines the principles of dividing fathoms into elements. Being a process segment of infinite length, not measured to one end or the other, a fathom cannot be measured by any measuring instrument.

A segment that has one end at infinity also has another end that goes to infinity. And although for us, for the external system, each of its ends is finite, and we define it as a finite external measuring instrument, it remains for itself an infinite system, moving in which (assuming that we managed to get into this system) from one end you will never reach another.

It is impossible to divide such a segment into two finite parts or cut off from it, in his system, a segment of finite length, because for such a segment there is no commensurate and unchanging reference element that is a multiple of the entire segment. And two halves of different sizes - the result of the separation - will immediately change their internal parameters. In addition, as division in extreme and average ratios shows, a segment of irrational length does not have a place located exactly at its center, and dividing it by 2 causes the appearance of two irrational, seemingly comparable, but not commensurate in dimension, segment-processes.

Therefore, dividing ancient planting processes is only possible by 2. The bifurcation of fathoms or their elements leads to the appearance of only two “infinite-finite” lengths as remains. Arranging a fathom, dividing it into 3, 5, 6, etc. parts is impossible, because it creates conditions for the appearance between infinite segments of finite segments, commensurate with some measuring instrument, but not commensurate, and therefore not processes and not suitable for commensuration. Rounding irrational bifurcated segments in any dimensions hides movement. Irrational numbers, according to S. Gromov, - “incomplete numbers, as if requiring constant additional calculation”, and therefore dynamic numbers and their properties are determined by dynamic geometry, the idea of ​​which is only beginning to take shape in modern science. Briefly they boil down to the following.

In contrast to static geometry, in which a point is a geometric object devoid of extension, and a straight line, having the same rank as a point, represents points as if merged in length and therefore ends on each side with an end point, in dynamic geometry a point is a sphere of one rank that does not have a center, that is, having a radius of infinite length, and a straight line is points of a different, “smaller” rank merged into one chain. And such a dynamic line ends by crossing the boundary of the sphere-point that is previous in rank and rushing along the radius to its absent center, i.e. to infinity. The division of a dynamic segment is accompanied by a change in the rank of the “end” points at the place of division and their transformation into points of a “higher” rank, i.e. the process of moving along the radius of new ends to infinity. The addition of the newly obtained infinite segments does not form a single double segment, as in static geometry, but leads to the emergence of a seemingly composite segment, through a point of a different rank. Thus, the diameter of any circle in dynamic geometry consists, and does not add up, of two infinite radii incommensurate with the length of the circle they form. Incommensurability always appears in the form of a transcendental number when dividing a circle by its composite diameter or by twice its radius. Doubling is the composing of two infinities into one.

These processes of doubling and bifurcation of dynamic geometry were apparently laid by some civilization as the basis for the system of ancient fathoms. They define first feature changes in the dimension of commensurate tools - obtaining segments of shorter length by successively dividing them by 2. In the matrix A.A. Piletsky, this sequence of division is displayed by a series of descending numbers under the numerical value of each fathom, formed by successive division of it by 2. The number of these numbers, including the fathom itself, is 6. As has been shown, they have the following names: fathom, half fathom, quarter fathom - cubit, the eighth part of a fathom is half a cubit - a span, the sixteenth part is half a span or two inchs, or metacarpal, and the thirty-second part of a fathom is an inch or half a metacarpal.

At the top, the bifurcation ends, although it could, as A.A. suggested. Pilecki, and continue indefinitely. The top is the final element of proportionality. He buys two functional purposes: on the one hand, carrying out the functions of proportionality, and on the other, being a measuring tool. It is the only one among the elements of a fathom that can be divided by any number, forming a measuring quotient, the addition of which to any element of a fathom transforms this element from commensurate to measuring, i.e. changes its status and quality from dynamic to static, which makes it impossible for its parts to participate in the process of commensuration. Below I will try to figure out what determines the measuring quality of the vershok, but for now I will note that the existence of six forked elements of one fathom is second feature complex of ancient fathoms.

Third feature consists in the existence of a relationship between the elements of each fathom of the Piletsky matrix and the elements of all other fathoms. The consequence of these relationships is the property of matrix ligation, which allows one to find, through four operations of arithmetic, and primarily addition and subtraction, from the elements of two different fathoms the elements of all other fathoms. The simplest of matrix operations is the Fibonacci rule of addition and subtraction: the sum of two consecutive numbers diagonally from left to right from bottom to top is equal to the top number. For example, let’s take a government cubit of 54.4 cm, add it to a half-fathom folk 88.0 cm and get a small fathom of 142.4 cm.<...>.

THE SACRAMENT OF CHURCH ARCHITECTURE

The master - architect, or in modern terms - architect, in Rus' did not calculate the relationship and conjugation of sizes, did not calculate the golden proportions, because he knew nothing about them, and there was no need for this. Because, having “Vsemer”, he chose the commensurability of fathoms according to the rule of groups and according to the quality (the significance of the church, for example) that the object required for its intended purpose. He did not even imagine, apparently, that something could be calculated from an object, since he was operating not with commensurate centimeters, but with incommensurable fathoms, and he knew that only by following the methodology - the canon - can one obtain a beautiful conjugation of proportions, harmony, and an object.

The proportions were not calculated because they were initially included in the lengths of fathoms, and a set of several fathoms chosen according to the canon always constitutes the proportion displayed in the matrix (i.e., a multiple of the golden number).

In addition, it seems that the fathom was not a directive unchangeable instrument, and the master, depending on his plan and the status of the structure, had the opportunity to slightly change the length of the fathom so that the harmony of the proportionality of dividing the object into parts passed from explicit to implicit, hidden, and the hidden harmony was not visible to the uninitiated. It must be assumed that the masters, if they did not know, then felt such an aesthetics of proportions, which Heraclitus fit into one sentence: “... the hidden proportion is stronger than the obvious one”, and Plato described it as: “...like is a thousand times more beautiful than unlike... . The relationship of the part to the whole and the whole to the part can arise only when things are not identical and not completely distinguishable from each other.”.

The fathom did not become a charter for the architect. It did not remain a permanently unchanged instrument. He probably had the opportunity, even without understanding the reason behind it, to change its length within 1%, which, as already mentioned, does not affect the proportioning, but “blurs” its boundaries, which were also deliberately made more “vague” (for example, their ornaments, friezes, kokoshniks, etc.). The possibility of changing the length is the second component of the presence of many types of fathoms on the territory of Rus' (the first, as shown above, is the restoration of fathoms without focusing on a single standard).

Fathom as a hidden process with doubling of length changes its dynamics. The proportions displayed by it become, as it were, mobile. The dynamics of moving proportions plunges a true Master, a master with a capital “M,” into creating a harmonious object in co-creation with God. And the more spiritual the Master is, the more subtle his sense of the sublime and elevating, the more impressive the product of this co-creation will be.

It became especially important for the masters to display the hidden proportions in the composition of spiritual buildings and, first of all, churches, cathedrals, and temples. The Church as a religious building is the Temple of God, the Temple of Christ, an object of holiness for believers and even non-believers. Holiness is the measure of the church. The measure is always expressed in numbers. A number that can hide the quality, including the significance of the object being built.

Number of Christ 7 . The number is sacred, in other words - sacred. And the qualitative composition of the church being built as a temple of Christ, as a spiritual structure in its hidden proportions included elements of sacredness, containing a combined number of double measures: secular, open to everyone,
and hidden, multiples of 7. And included in such a way that those not initiated into the sacrament of religious buildings of Christianity did not notice either duality or multiplicity. Just as it was not noticed that in breaking up the church, which has the highest status of holiness, at least 7 fathoms of various lengths were involved.

These rules were so conspiratorial and observed with such caution (this apparently led to their loss) that even today, admiring, for example, the Great Pechersk Church in Kiev, the Church of the Ascension in Kolomenskoye or the same Church of Paraskeva Pyatnitsa in Novgorod ( or their models), even major architects have no idea about the double dimensional structuring of these masterpieces and the deep sacredness of their proportions to the sacred number 7. (And here a parallel is noted with the ancient Egyptian sacredness.)

It should be especially emphasized that the possibility of combined (double) use of measures was determined precisely by the presence of a system of interconnected fathoms, one of the ways of expressing which A.A. Piletsky was able to establish in the form of a tabular matrix “Vsemer”.<...>

ANCIENT RUSSIAN METROLOGY
EGYPTIAN PYRAMIDS

The pyramids of Egypt, built almost 3000 BC, remain mysterious today both in terms of the technology of their construction and the knowledge possessed by the builders of the pyramids. One of the biggest mysteries in the construction of the pyramids is the mystery of the size of the measuring tools used to design and build objects in Ancient Egypt. Construction of the most strictly verified pyramids (almost exact angles of 90°, deviation of only 2-3 cm of the sides of the base with a length of more than 200 m, compliance with the angles of inclination of the sides down to a second, bringing the faces of the pyramids to one point at a height of more than 100 m, etc. ) indicates that builders have precise measuring instruments and a well-developed spatial measurement technique. But what are the dimensions of these tools? What proportioning is included in them? What is the methodology for carrying out measurement work? This is still unknown to science.

Most researchers believe that ancient Egyptian architects also used a single measuring instrument, the length of which they believe was almost the same as the length of the modern standard meter. Over time, its dimensions will be clarified. Finding these dimensions is complicated by the fact that the results of measuring the parameters of ancient objects with a standard meter always turn out to be fractional. And this is despite the general belief that the ancient Egyptians were not familiar with fractions.

However, the exact size of the required tool has not yet been determined, and therefore there are still no clear answers to a number of questions regarding the proportioning of ancient Egyptian architectural elements of buildings and structures. It is not clear, for example, why the parameters of the structures, and primarily the heights of the pyramids in Giza, were determined with an accuracy of the fourth or fifth digits? After all, it is much easier to define them in integers. For example, height is 143 m, side length is 215 m, etc. Then the size of the tool used would be much easier to detect.

We must assume that the architects of Ancient Egypt understood this too. Moreover, the geometry of objects and especially the measuring instruments used in the construction of the pyramids would show that by the time the construction of the pyramids began, the priests owned the harmony of dynamic geometry, which, as already mentioned, humanity is only approaching. Therefore, the impression is created, probably plausible, that the architects of the pharaoh who built the pyramids deliberately hid the parameters of the measuring instruments. Because it is impossible to achieve an understanding of the structure of dilapidated pyramids without knowledge of the harmony of use of the measuring instruments that gave birth to them. In other words: Until the harmony of the proportional relationships of ancient measuring instruments is found, it is impossible to even come close to unraveling the secrets of the pyramids.

It can be noted that a similar fractionality arises when measuring the parameters of ancient Russian structures with a meter. But in this case, it is known that the resulting fragmentation is a consequence of the use in Ancient Rus' of many fathoms disproportionate to each other and to the meter.

The fact that for centuries archaeologists and scientists have been unable to determine the size of the ancient Egyptian analogue of the modern meter most likely indicates the absence of a single measuring instrument and the possible existence in Egypt of some semblance of the ancient Russian system of measuring instruments. And the question arises: could it turn out that both Ancient Rus' and Ancient Egypt used the same metrological system?

We have already mentioned one of the possible confirmations this version shown on Hesi-Ra panels. However, the image on the panels cannot serve as proof of the applicability of Old Russian fathoms, for example, in the construction of pyramids. This evidence can only be considered direct confirmation of the multiple sizes individual elements the same pyramids to ancient Russian commensurate tools and methods of their application, and until this commensurability is obtained, this assumption will remain a hypothetical version.

To check this version, let us once again note the features of using the Old Russian fathom system.

Main Feature The application of the fathom system is that the reduction in the dimension of the instrument (obtaining measuring rods of a smaller scale than the fathom) was carried out by successively dividing the corresponding fathom by 2 (bifurcation).

Second feature: Not a single structure in Rus' was built using only one type of fathoms. When measuring the length of the building, one fathom was used, the width - another, and the height - a third. The internal layout was carried out in the fourth fathom. And if the next floor was erected, then its height was determined depending on the surrounding landscape by another fathom or a combination of a fathom and its elements. For example: two fathoms, one and a half fathoms, a fathom and a quarter (with a cubit), etc.

Third feature: all parameters of objects were measured only by an integer, as if quantized, number of measuring instruments - fathoms, elbows, vershoks, etc. For example, the length of the building was 6 city fathoms of 284.8 cm each or 12 small fathoms of 142.4 cm each, which in meter measurements is equal to 17.088 m. The width is four one and a half simple fathoms of 150.8 x 1.5 = 2.262 cm, and measured by meter is 9.048 m. Finally, the height is equal to two simple fathoms of 150.8 cm or 3.016 m.

Thus, the parameters of objects measured in an integer number of fathoms always turn out to be fractional when measured with a standard meter. And, as already noted, this feature is systematically recorded during meter measurements of all ancient Egyptian structures. Therefore, it can be repeated that it is impossible to achieve an understanding of the structure of dilapidated pyramids without knowledge of the harmony of the measuring instruments that gave birth to them.

Based on the methods of using the fathom system, let us consider the possibility of using them to determine the parameters of the complex pyramids in Giza and other ancient objects. Since the names of the ancient Egyptian measuring instruments have not reached us, the names of their analogues adopted in Rus' are used below.

The results of measuring fathoms of the parameters of the pyramids in Giza, displayed in tables 10 - 12 with an accuracy of ± 5 cm per hundreds of meters, confirm the assumption of the unity of the ancient Russian and ancient Egyptian systems of measuring instruments and allow us to draw the following conclusions:

All parameters of the pyramids (height h, side a, base diagonal d, side edge b, apothem c) are multiples of an integer number of different fathoms, remaining fractional in the meter measurement;

The main parameter of the pyramids - the height is determined for all pyramids by whole tens of different fathoms 90, 60, 30, multiples of the sacred number 3;

All parameters of the pyramids are measured in different fathoms;

One or more parameters of each object, when reducing the module of the number of fathoms to one digit, is equal to or a multiple of the sacred number; These are probably the significant numbers of each parameter;

The pyramid has the greatest slope of the sides Khafra, as well as the greatest agreement between the calculated parameters and the measurement results;

Ten ancient Russian fathoms are used in the structure of the parameters of the pyramids.

From Table 7 it follows that the pyramid structure Khafre the parameters of the sacred Egyptian triangle 3:4:5 are laid down:

107,8: 35,93 = 3; 143,73: 35,93 = 4; 179,66: 35,93 = 5.

And this triangle is associated in ancient Egyptian mythology with the three main gods: the small leg - the goddess of fertility Isis, the large leg, or the height of the pyramid, - the god Osiris and the hypotenuse (apothem) - their son Horus, and reflects the natural harmony of the object.

Let's consider whether the parameters of some other objects of the complex and their premises coincide with the dimensions of fathoms.

The best-preserved temple of the pyramid ensemble in Giza, the lower temple of the Khafre pyramid, has a square shape with a base side of 45 x 45 m and a height of 13 m. Apparently, these data, like many others, are rounded and its true dimensions are 45.24 x 45 .24 m, or 30 simple fathoms, and the height is 13.05 m, or 7 church fathoms. The large gallery of the Cheops pyramid has a length of 47 m or 33 small fathoms, and a height of 8.5 m, which is 6 fathoms, and perhaps 3 fathoms of city officials, and the actual height is 8.54 m. The burial room has the following dimensions: length 10.5 m, width 5.2 m and height 5.8 m. 304,72

Name of soot

length, cm

Name of soot

length, cm

Table 12. Proportions of the Pyramid of Menkaure

I note that the room is a two-adjacent square (DC), the length of which is 6 folk fathoms or 10.56 m, the width is 3 folk fathoms or 5.28 cm, and the height is 3 royal fathoms or 5.92 m. (Involuntarily it arises question: didn’t the ancient Russian names of fathoms coincide with the ancient Egyptian ones?)

And finally, next to the ascent road to the pyramid Khafre lies on guard huge Sphinx- a stone lion with a human head. Carved from a single rock, it measures 57 m in length and 20 m in height. In length, double counting is possible - 40 small fathoms (56.96 m) or 22 large fathoms, which is 56.85 m, and 7 in height city ​​fathoms, and in meters 19.94 m.

Thus, there is every reason to believe that all rooms and objects of the pyramid complex at Giza were designed and built using measuring instruments that were completely proportionate Old Russian fathoms.

Let us now return to the beginning of the construction of the pyramids and see whether the ancient Russian system of measuring instruments was used during their construction.

So, the first of the erected pyramids is the pyramid Djoser. According to various sources, its height is 60 or 61 m. The sides of the base are 115 x 125 m. Exactly 25 great fathoms fit into 61 m. And according to the dimensions of the sides - 72 masonry fathoms or 114.98 m and 71 folk fathoms or 124.96 m. If we take the area fenced off by a wall on which the pyramid complex was erected, then it is a rectangle 545 x 277 m. These parameters can form 2 combinations of fathoms: the length is 260 fathoms of the pharaoh or 544.65 m, 276 fathoms of the king or 544.82 m; the width is 206 smaller fathoms, i.e. 276.99 m or 140 Greek fathoms - length 276.48 m. The use of specific fathoms can only be clarified by external measurement with an accuracy of ± 3 cm. It turns out that already From the first pyramid, Egyptian builders used a systematic set of measuring instruments.

Let's continue looking at the pyramids. Pyramid Huni in Meidum: 146 x 146 m, height 118 m(?). On the side there are 83 folk fathoms or 74 official fathoms, and the length of the side is 146.08 m. In height there are 67 folk fathoms (117.92 m), and this apparently shows that the height was measured with an error.

Pyramid Sneferu in Dashur has a base of 185.5 x 185.5 m and a height of about 100 m. Probably, the measurements are also not entirely accurate. 123 simple fathoms are laid to the side, and its length is 185.48 m, and in height - 41 great fathoms, i.e. 100.04 m.

And the last pyramid Sneferu in the same Dashur. Its parameters are 218.5 x 221.5 m and height 104.4 m. And in this case, inaccuracy in measuring the sides is likely. The height is 104.38 m or 56 church fathoms. And here inaccuracy is possible, since some sources estimate the height at 92 m, and this is exactly 61 fathoms simple.