Domes of St. Basil's Cathedral - symbols of the planets of the solar system?

2024 Author: Seth Attwood | [email protected]. Last modified: 2023-12-16 15:55

Friends!

In our time on the Internet there is fragmentarily very interesting, but extremely contradictory information about the Cathedral of St. Basil the Blessed, as a model of the Solar System. Most often, authors tell deliberately unverifiable stories about events of completely different eras and nature (from the superpowers of our ancestors to the cynical remake of the 19th century).

For different authors, the domes (church) of the temple correspond to different planets in view of, for the most part, their completely arbitrary or superficial comparison (the only common thing is the presence of the Sun in the center of the temple and the number of celestial bodies).

In view of this multivariance, it is obvious that most of them are delusions or deliberate deception.

This article offers an explanation of the planets and domes correspondence that anyone can check while walking around Red Square or by studying readily available materials that correspond to modern Generally Accepted History (OI).

The main advantage of this version is the consistency of both the OI and a number of concepts of alternative historians.

Enjoy your reading!

For those who like to watch and listen to everything, there is a 20-minute video version - a link to the video on YouTube at the end of the article.

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According to a huge number of people, the most unusual religious building in Russia is the Cathedral of St. Basil the Blessed. But what is its main uniqueness: in its location and configuration, or in a halo of mystery and legends about construction? All this - and much more - can be found in many other architectural monuments: the main mystery and difference from other ancient structures is the color painting of the domes.

Indeed, the color of the walls that is striking at the first inspection, unusual for the vast majority of Orthodox churches, is the color of the walls - red - this is just the color of the building material from which the temple was built, and if the walls were plastered and painted or whitewashed in the traditional style, then only the architect I would have noticed the differences in the walls from the walls of other temples. And the seeming asymmetry (or, more precisely, irregularity) of the temple is also deceiving - its layout is based on a square traditional for Orthodox churches - in this its builders fully observed the tradition.

On the other hand, from the history of the construction of the temple that has come down to us (according to the guides and guidebooks), we know that it was built in the 16th century in memory of the Kazan campaign of Ivan the Terrible in the form of a single complex of nine churches on one base, of which of five churches, the thrones are consecrated in honor of the holidays that fell on the days of the decisive battles for Kazan: therefore, such "important" for Russian history characters like "Cyprian and Justina" or "Gregory of Armenia" appeared in the names of individual churches of the temple and have to the mysteries of the temple, as well as to Kazan, a very distant relationship. And besides, the names of churches have changed over 5 centuries (in modern terms) due to renaming in honor of sponsors of renovation work and the transfer of church inventory when dismantling neighboring churches.

You can clearly see this by examining the well-known images of the temple of the 1780s (Hilferding) and the beginning of the 19th century (Alekseev) - this is the period when the Church of St. Theodosius of the Virgin, located next to the Church of St. Basil the Blessed, was rebuilt into a utility room of the temple.

Although some hidden meaning in the names of churches, if desired, can be found - it remains to be glad that Ivan the Terrible took Kazan in the fall on the feast of the Intercession of the Virgin, and not, say, in the spring - on May 22 - then the central church would have to be named in honor of St. Christopher (psoglavets), which in our time would give rise to a lot of versions and interpretations about the secrets of St. Basil's Cathedral.

In general, the temple has undergone several reconstructions and restorations, and many of the most colorful elements of the interior decoration appeared already at the turn of the 19-20 centuries - for example, in the Church of St. Basil the Blessed, the iconostasis was made in 1895 according to the project of the curator of the Armory, architect A. M. Pavlinov, and on the 350th anniversary of the beginning of the construction of the cathedral - in 1905 - oil painting of the interior walls was carried out. Accordingly, if some secrets and riddles arose at the same time, then they clearly have nothing to do with the intentions of the builders.

Moreover, even some elements of the walls, which seemed to be more reliable witnesses of the construction of the temple than the decor elements, also changed: churches were attached to the main structure of the 16th century for 2 centuries, a hipped-roof bell tower was built, and whitewash was removed from the outer walls and floral ornaments were drawn, porches decorated with tents were added - in general, they gave the temple the playful features of a cheap princes' mansion that have come down to us, in this "rebranding", probably, not the last place was played by the specific coloring of the domes - it seems that the general style of the temple was adapted to it.

So, apart from the unusual colors of the domes, there seems to be nothing mysterious, but two points should be noted:

1. The Cathedral of St. Basil the Blessed is traditionally called by the name of a small annex (side-altar) to it, erected a quarter of a century after the construction of the temple itself. The cathedral was not fully heated, so services were held in it only in the warm season, but the chapel of St. Basil the Blessed was warm and services were held daily. The importance of this extension is evidenced by the strength of the tradition, with which, despite the official name “Cathedral of the Intercession of the Most Holy Mother of God in the Moat”, given by the name of the central church, people have been calling the building by the name of Basil the Blessed for more than four centuries. Although it is quite natural to call the building by the largest and tallest church, and not by a small aisle.

2. The temple consists of two floors or tiers (there is no basement in it) - the first one consists of a special technical underground space under the temple, called the basement, on which stands the entire main structure of the temple and the already mentioned St. Basil's Church. And on the second are all the other churches of the temple. Those. St. Basil's side-altar is, as it were, the foundation of the entire church, which in my opinion is an architectural allegory, emphasizing some more important significance of the small side-altar of St. Basil the Blessed in front of the other churches of the complex that are much higher in height.

Let's look at the temple from above, it is obvious that one of the first associations for any person, at least occasionally attending astronomy lessons, will be a heliocentric model of the solar system: the Sun, 4 gas giants and 4 terrestrial planets.

Generally speaking, this is not surprising, since almost any Orthodox and not only a temple from this perspective will be somewhat similar to one or another star-planetary system, since there are always 4 domes at the tops of the square underlying the construction of the temple can be correlated with the known ones. antiquity planets (or, for example, with 4 evangelists - as the educated ministers of the Orthodox Church explain, when they manage to talk about the planning of churches).

Let's try to compare the planets and churches: it is obvious that the Sun will correspond to the central church with a golden dome, especially since gold in many cultures is associated with the Sun.

It should be taken into account that the heliocentric model is relatively young, for many centuries the Earth was considered the stationary center of the universe, around which the celestial bodies moved. Therefore, the importance of the Earth, its superiority over other planets could not but be reflected in the layout of the temple. Here another obvious association arises: if the temple is persistently called by the name of one of the side-altars, then the Earth probably corresponds to the Church of St. Basil the Blessed, next to it is the Church of the Three Patriarchs, which is quite naturally associated with the Moon. These associations are quite interesting, but, of course, there is little to prove it.

Now let's pay attention to the so-called "solar symbols", widely known in Russian architecture and applied art, which can be found on many objects that surrounded Russian people in everyday life up to the 20th century. There is a large amount of literature on solar symbols, from which we know that one of the most common symbols was the multi-lobed swirling symbol, which displayed movement. Quite naturally, the direction of twisting meant either the direction of movement or the direction opposite to the movement.

Then the domes of the Cathedral of St. Basil the Blessed, you can try to consider taking into account similar symbolism and try to compare the 4 terrestrial planets - 4 small churches, and 4 gas giants - 4 large churches.

We know from elementary astronomy that if you look at the solar system from the north pole of the sun, then all the planets revolve around the sun counterclockwise and, in turn, except for Venus and Uranus, revolve around their axis in the same direction. The domes of the churches of St. Basil the Blessed (Earth) and the Three Patriarchs (Moon) are twisted in one direction - and correspond to the natural tendency for the inhabitants of the northern hemisphere to mentally look at the solar system from the north pole of the Sun. Further, the reasoning becomes quite harmonious: when walking around the temple counterclockwise, in front of the Church of St. Basil the Blessed is the Church of Alexander Svirsky, whose dome is twisted in the opposite direction - this is very similar to the planet Venus, which rotates around its axis in a completely opposite direction than the rest of the planets (except for Uranus, which rotates lying on its side, i.e. at an angle of 90 degrees).

Here we will immediately jump ahead, since the only dome that does not contain signs of movement is the uniformly striped dome of the large church of Cyprian and Justina - then it is natural to associate this church with Uranus. Moreover, the direction of the stripes is one of a kind, very ingeniously indicates a strong anomalous rotation, especially if we compare it with the pattern corresponding to the ultra-fast rotation of Jupiter (which we will consider further), and the color exactly matches the natural color of the planet, when observed through a telescope. and the "star" color - thanks to which this last planet, barely visible from the Earth with the naked eye, was mistaken for a faint star.

Returning to the small churches, we see that the Church of Alexander Svirsky is preceded by the Church of Varlaam Khutynsky, the dome of which is made in the form of small protrusions, with alternating yellow and green colors, which, apparently, symbolizes the very rapid movements in the sky of the most rapidly rotating solar planet around the Sun system - Mercury, which is not accidentally due to its mobility got its name (Mercury - in honor of mercury, well, or mercury in honor of Mercury, which is completely irrelevant for us).

The remaining planet of the terrestrial group - Mars, obviously, should be correlated with the Church of St. - this is the alchemical connection of the planet Mars, which is responsible for iron (metal) with Mercury, the planet-mercury, because many alchemists considered it possible to separate mercury from any metal, due to the dual nature of mercury (metal, which also manifests itself as a liquid). In addition, although Mars is called the "red planet", but if you look at its modern photographs, then the surface of Mars, orange with a slightly reddish tint, is immeasurably more similar to the color of the dome of the Church of St. Gregory of Armenian than just red.

There are 4 gas giants left, and we have already compared Uranus with the church of Cyprian and Justina, it is logical to assume that since the sequence of small churches corresponds to the order of the terrestrial planets in the direction of their rotation around the Sun, then the same order will be performed for large churches and gas giants … Then the Church of St. Nicholas Velikoretsky will correspond to Jupiter, the Church of the Holy Trinity to Saturn, and the Church of the Lord's Entry into Jerusalem to Neptune.

Domes will fully correspond to the planets, taking into account the principle: the farther it is from the Earth, the less is known about it. Accordingly, the appearance of Jupiter ideally matches the red and white parallel stripes on the dome of the Church of St. very accurately show this.

In more or less normal telescopes, Saturn is seen as slightly yellow or slightly brown, but in astrology, the color green has long been attributed to Saturn (apparently for some reasons of an astrological nature). In combination with the green and white symbol of rotational movement in the right direction, painted on the dome of the Church of the Holy Trinity, we see an excellent correspondence to the level of knowledge about Saturn in the early 17th century - all the more, Galileo Galilei himself studied it in a telescope specially designed by him.

Galileo, according to historians of science in 1612-13, also studied Neptune, but did not report the discovery of a new planet (it is believed that, probably, due to the remoteness and peculiarities of Neptune's motion, Galileo did not understand that it was a planet). Therefore, the existence of Neptune remained officially unknown for a long time, and it is believed that Neptune was discovered in the 19th century on the basis of calculations, but perhaps it was precisely Neptune's peculiarity to periodically make an apparent retrograde motion, drawing imaginary loops for an observer from Earth against the background of stars reflected in the drawing on the dome of the church The Entry of the Lord into Jerusalem in the form of a different appearance from other domes: the symbol of rotation is twisted in the opposite direction, sharply different colors and a spiked surface (like the dome of the Church of Barlaam Khutynsky, corresponding to Mercury, which possibly means some unpredictability or instability of behavior).

So, we got the correspondence of domes and, possibly, churches to the planets:

HEAVENLY BODY	DOME OF THE CHURCH
The sun	Protection of the Holy Virgin (Pokrovskaya)
Mercury	Varlaam Khutynsky
Venus	Alexander Svirsky
Land	Basil the Blessed
moon	Three Patriarchs (John the Merciful)
Mars	Gregory of Armenian
Jupiter	Nikola Velikoretsky (Nicholas the Wonderworker)
Saturn	Holy Trinity (Trinity)
Uranus	Cyprian and Justina (Adrian and Natalia)
Neptune	Entry of the Lord into Jerusalem

In this list, all celestial bodies, except for Uranus and Neptune, are quite easily visible from Earth with the naked eye and have been used in astrology since ancient times. Uranus is considered to be discovered by William Herschel in 1781, and Neptune, as you know, was discovered on the basis of calculations in 1846, and disputes about the discoverer are still in dispute. At the same time, it was established that Galileo observed Neptune almost 2, 5 centuries before its official discovery, and after all, Neptune is located farther from the Earth than Uranus, and unlike Uranus, is not visible to the naked eye. Obviously, Galileo had the technical ability to observe Uranus visible from Earth through a telescope, since he studied Neptune, invisible without a telescope.

Galileo is not considered the discoverer of Neptune, because he did not advertise his discovery (he allegedly did not understand that he had found a new planet), but we know from history that in 1616 the Catholic Church banned Copernicus's heliocentric model (which Galileo promoted), but about complex Galileo's relationship with the Inquisition, at least at the level “but it still turns,” is now known even to preschoolers: therefore, public discussions of the existence of new planets then were not questions of science, but religion with all the ensuing dangers for scientists.

In turn, Copernicus published his work on the heliocentric model 12 years before the construction of St. Basil's Cathedral. In the preface to his work, Copernicus argued that it would not be better for him, following the example of the ancient mystical societies, to spread his ideas only in a close circle of like-minded people. And, most likely, he did so, at least for a while.

In support of my version of solving the mystery of the domes of the Cathedral of St. Basil the Blessed, several more points additionally testify:

It is unlikely that the architects, when building the temple, initially laid a heliocentric model for the placement of churches and the coloring of domes in accordance with the rotation of the planets, taking into account the fact that such knowledge should first have become the property of astronomers. It is very likely that the symbolism of correspondence was laid during the reconstructions of the 1680s (when the temple began to “blush” - 70 years after Galileo's studies of Saturn and Neptune, i.e. his research in astronomy could reach the architects) or even the 1780s - when it was dismantled the last of the attached churches - the Church of St. Theodosius the Virgin (this gave a correspondence to the number of buildings and celestial bodies, and the heliocentric model was already quite widely known).

Although the temple is considered to be built in 1555-1560, colored domes appeared on it later: not earlier than after a fire at the end of the 16th century, i.e. they were unlikely to have anything to do with the architects' idea.

In addition, since ancient times, the correspondence of the days of the week to the planets has been known, these names have been transferred from the Latin language to modern European languages: from Monday - the day of the moon, to Sunday - for the sun. Let's start sequentially connecting segments corresponding to the planets-days of the week of the Church of the Intercession Cathedral.

And what do we see? We got a heptagon with a wedge towards the central church of the Intercession of the Virgin, this looks like another system - but the wedge is clearly superfluous. But here it is appropriate to recall the existence of another side-altar next to the Church of St. Basil the Blessed - the Nativity of the Virgin. Why are there two buildings associated with the Mother of God in one cathedral?

Here is the answer: the side-altar of the Nativity of the Virgin was most likely made in order to transfer the top of the heptagon into it. The fact is that the regular heptagon has been often used by mystics since ancient times in the form of a heptagram of the days of the week - a seven-pointed star, on the opposite peaks of which there are astrological symbols of the planets, a rarer and less colorful version of the heptagram assumes the sequential placement of the days of the week at the vertices of the regular heptagon.

Why a simple shape was used, and not a star, becomes clear if we remember that a ruler without divisions and a compass were considered divine geometric tools (this gave rise to the famous unsolvable problem of squaring a circle), and a regular heptagon, like a circle equal to a square, cannot be built only “divine instruments. " This "imperfection of the material world", I think, is deliberately reflected in the form of a distorted heptagram of the days of the week in the form of cathedral churches.

Also, in the domes, and especially in large churches, one can easily see Aristotle's "Square of Opposites" - a diagram of the interaction of the four elements - Fire, Water, Earth and Air.

And in the forms of the elements of the domes of 4 small churches and the 1st large - the Church of the Entry into Jerusalem - the famous five Platonic bodies - regular polyhedrons that the great philosopher compared with the properties of the five elements - Fire, Water, Earth, Air and Logos.

If desired, you can find the same Platonic solids in the form of elements - but this will require work in 3d design systems, although even simply focusing on a two-dimensional scan of Platonic solids with some skill, the observer will find a lot of interesting things in the buildings and domes of St. Basil's Cathedral.

The author unraveled the secret of coloring the domes of St. Basil's Cathedral back in the late 90s of the 20th century, but, unfortunately, these studies did not interest serious publications, and publications on freak resources would only discredit this discovery … Fortunately, with the advent of YouTube and a large amount of graphic material on the Internet, the author has the opportunity to post the results in a format convenient for mass perception using a large number of images. According to Google, no one has yet published similar detailed studies, although a completely obvious idea with a planetary matching of domes has long been in the air of the Internet, but no one has thought of beyond the level of elementary and partial assumptions (according to the author of the article). Since the above results are self-evident and with some persistence they could have been obtained by almost any researcher, the author does not claim priority (and does not accept such claims), but simply shares information.

The author apologizes for possible inaccuracies and errors, which he corrects as much as possible. Also, the author periodically improves the article and introduces additional materials and therefore asks to indicate a link to the original article when copying or reposting.

Thank you for your attention, goodbye!

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