Bernard I. Pietsch
Archeo-Metrologist, Author and Lecturer
With more than 50 years of independent investigation behind him, Bernard brings a wealth of intellectual acumen to the study of ancient art and architecture. The breadth of his survey includes research into all manner of cyclic occurrence: biological rhythms in plants and animals, astronomical periodicities, the dynamics of earth magnetism, tidal phenomenon and more. “The culmination of our understanding of the natural order,” says Pietsch “is the recognition of the pervasiveness of the Gold Proportion. The Golden Ratio can be detected in the substructure of all processes whether biological, physical or astronomical. It is fundamental to all the questions regarding chaos, fractals, the unified field, the expansion of the universe.” Mr. Pietsch addresses the questions: “What is driving the Golden Proportion? Why is it ubiquitous?” in several abstracts from a larger work in progress unfolding on his web site The Philosopher’s Stone at: www.sonic.net/bernard
Most recently Mr. Pietsch’s attention has been given to exploring the architectural remnants of lost civilizations. He notes: “It is not the civilizations that have been lost; it is we who have lost contact with the inner knowledge upon which those great civilizations were built. Our goal is to re-connect with the mind of those who placed their knowledge of the universal into the repositories of antiquity: whether it be works of art, oral tradition, literature, architecture or the structure of music.”
Using the instruments of measure, mathematics and geometry, Bernard’s approach to reading the great monuments is original and innovative. He has recovered the source of ancient systems of measure, which he refers to as the Essential Canon of Measure. The origin of this Canon he says, “is neither culturally derived nor invented, but rather emergent. It is an amalgam of biological, astronomical, chemical and geo-magnetic harmonics infused with the physiological rhythms of the human body. The Essential Canon of Measure informs the metrological systems of the ancient world.” Bernard finds indication of its use in stone circles, dolmens, obelisks and pyramids on every continent. By applying the Canon to the great stone monuments of antiquity, he is able to read the intended communication of the designer of the work.
Using the process of Archaeo-metrology, Mr. Pietsch articulates the meaning of numerous stone works. His approach brings fresh insight to the perennial mysteries of old. For example:
Is there significance to the floor stones in the King’s Chamber of the Great Pyramid? “The geometry and measurements of the 20 blocks represent a table of the elements of the planets. The accumulation of astronomical observation necessary for such a feat indicates that the designer of the chamber had extensive astronomical knowledge at least 5000 years ago.”
Why are the courses (levels) of the Great Pyramid varying heights? “The Pyramid can be read like a giant tree ring, each course representing one year. The gradual rise and fall in the heights of the levels, 206 in all, was governed by the measure of change in the level of water in a nearby well.” Bernard likens the entire pyramid to a “206-year data base”an immense read-out of the knowledge of cycles crafted on a massive scale.” This and other significant discoveries with regard to the Great Pyramid were published in a 1972 monograph entitled Voices In Stone. Updated abstracts are now available in “Perspectives on the Great Pyramid” on the web site.
Are there any modern monuments? The Washington Monument is a modern day variation on the form of the Egyptian Obelisk. The esoteric implications of this monument are exposed for the first time by Mr. Pietsch’s treatment of its dimensions and geometry which rival any in antiquity. Find out more on the web site: www.sonic.net/bernard/
In the web article, “Stone of Heaven” Bernard traces the geometric origin of a traditional Chinese ritual object carved from jade, the Pi Disc. “The complexity and eloquence of the piece is a mathematical wonder, and will certainly stimulate a re- evaluation of the ancient jades.” More recently Bernard has been investigating other jade ritual objects. “The Pi Disk, Ts’hung and classic Music Stone (C’hing) are libraries of information in jade, which had never been deciphered.” An essay on the geometry of these ancient forms is forth coming.
Although metrological language may elude those not conversant with mathematics, Bernard also offers numerous physical models. He holds himself to the challenge of being able to demonstrate a concept with an object available “within a radius of 20 feet.” Using the tools of the Cannon of Measure, Mr. Pietsch says anyone could read the monuments that he has decoded. “I investigate objects upon which I can lay my tape measure…I’d rather draw my conclusions from the stone or the art work itself, rather than appeal to the commentaries of others.”
©Bernard I. Pietsch