This is an esoteric and a numerical analysis of Saint Paul's fourteen epistles and their influence on how Dante Alighieri's (1265-1321) esoterically structured La Divina Commedia's mathematical system. My analysis of Saint Paul's numerical data is incomplete; however, completing that analysis was not the purpose of this paper. Demonstrating how Dante Alighieri borrowed his ideas from Saint Paul was the purpose for writing this paper.

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SAINT PAUL’S MATHEMATICAL SYSTEM AND ITS
INFLUENCE ON DANTE ALIGHIERI’S COMPOSITIONAL
STRUCTURE USE TO CODIFIED LA DIVINA COMMEDIA
William John Meegan
More than thirty years ago (April 1983) I envisaged that Dante Alighieri borrowed his ideas for his compositional
structure of La Divina Commedia from the compositional structure of Saint Paul’s fourteen epistles; however, the
only similarity that I could find at the time was that each of them wrote one hundred (100) chapters in their work.
For me at the time that was not enough of evidence to drag Saint Paul into the historical mythoi of La Divina
Commedia; though, Dante uses his theology throughout La Divina Commedia. Also there were some very
problematic questions that would be raised if there was substantial evidence that Saint Paul did codify and
structure a mathematical system into his fourteen epistles. For example, how could Saint Paul have written each
of the fourteen epistles spontaneously if he had planned out exactly how many verses he would write in each of
the one hundred chapters that he would put pen to paper before he began writing his thesis and that’s exactly
what his work turns out to be: a spiritual thesis; though, they may have been epistles to several Churches and/or
individuals? I am not saying Saint Paul’s epistles are not spiritual they certainly are but they have much more
spiritually to say to the laity than what we have in the exoteric
texts. My main theme thirty years ago was to see Saint Paul’s one
hundred chapters in a cycle producing a graphic image of a tent
since he was a tent maker. I did envisage that image; however, it
was meaningless at the time.
I decided today May 4, 2014 to revisit my analysis on Saint Paul’s
mathematical structure seeing I had thirty years of experience
dealing with the Esoteric Science codified to ancient literature.
My first action was simplicity itself. I worked up a chart in the
Microsoft Excel Program and listed the books, the amount of
chapters in each book and the amount of verses in each chapter
and then reach a total for each of the fourteen books (see chart
above); thus, I had before me the raw numerical data of Saint
Paul’s fourteen epistles comprising one hundred (100) chapters.
The above chart illustrates the bear rudiments of Saint Paul’s
numerical data in his fourteen epistles. What I did not recognize
thirty years ago was the similarity in the numerical data to Dante
Alighieri’s Thirteen Base Numbers. Note there are four epistles
with two sixteen chapters and two thirteen chapters. Dante did a like pattern in his numerical structure of the
Thirteen Base Numbers (see chart culled out of La Divina Commedia’s mathematics). Dante’s compositional
structure is merely a variation on Saint Paul’s method, which is quite acceptable seeing it is not plagiarism:

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meaning it is not an exact copy of Saint Paul work. Saint Paul uses the amount of chapters in an epistle; whereas,
Dante fixes the amount of times he will use a Base Number. Where Saint Paul uses an epistle to denote the
amount of verses each chapter will use Dante uses the Base Number a designated amount of times to determine
the amount of verses used that coincides with Saint Paul’s usage of numerical data.
The mythoi of Saint Paul’s life and his writings represent the foundation upon which much of Christianity’s
literature and artworks are based. The graphic patterns in Saint Paul’s epistles are found throughout the basilicas,
cathedrals and museums of Catholicism. I am not here saying it is just Saint Paul. Saint John’s Revelations of Jesus
Christ and the layout of the New Jerusalem also was an influence on Catholic literature and art; however, all of this
hails back to the esoteric writings in the first chapter of Genesis. The whole Old and New Testaments are
mathematically structured. It is necessary that the laity see all of these variations on the esoteric science that is
the foundation of Catholicism’s ministry and its artworks, which has a great deal to do with that ministry.
Below I produced a graphic image of that cycle I mention above about Saint Paul being a tent maker. It will benefit
the reader greatly to do a comparative analysis of Dante Alighieri’s La Divina Commedia’s Mathematical System
and Saint Paul’s compositional structure.
Having gone this far it is now time to take Saint Paul’s one hundred chapters and place them sequentially into the
10 x 10 matrix, which I called the UNIVERSAL MATHEMATICAL MATRIX: Prima Materia (Perennial Matrix) as Dante
Alighieri did with his one hundred cantos/chapters. Using the chart above outlining Saint Paul’s fourteen epistles
numerical data it is not difficult to place this data into the 10 x 10 matrix. The next task was to do exactly what
Dante Alighieri did with his 10 x 10 matrix. In Saint Paul’s 14-Epistles I reduced every one of the one hundred
chapter’s amount of verses down to their lowest common denominator and then color coded them into the
Zodiac’s Quadruplicities: Cardinal (1-4-7 Yellow), Fixed (2-5-8 Red) and Mutable (3-6-9 Blue) signs. The patterns in
the matrix are in absolute chaos. There are other ways of analyzing this data, which I will leave for a later date.

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Because of my knowledge of how Dante Alighieri codified his 100-cantos/chapters to his Mathematical Matrix I
was able quickly to discern how Saint Paul put into order this chaos that he planned.
The key to understanding Saint Paul’s and Dante Alighieri’s mathematics is the Kamea of Saturn: i.e. 3 x 3 square
using each of the first nine digits once and each row, column and diagonal totals to fifteen. About ninety percent
of my analysis on Dante Alighieri’s La Divina Commedia Mathematics was based upon my understanding of how he
used the Kamea of Saturn. This is because it took almost to 1994 for me to discover the UNIVERSAL
MATHEMATICAL MATRIX and how Dante Alighieri used it to codify his La Divina Commedia. From start to finish it
took me almost twelve years to envisage a matrix that antiquity used but modernity no longer uses overtly.
I created another chart, which dealt with just the first nine numbers. In Saint Paul’s 10 x 10-matrix I totaled the
amount of verses each of the first nine numbers used individually. This enabled me to classify the 100-chapters
very quickly into data that I could use to further my analysis.

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It was not difficult to take those nine totals representing Saint Paul’s one hundred (100) chapters and start working
them into the Kamea of Saturn before I found how Saint Paul’s used his data.
Notice St Paul’s Kamea 1, all Saint Paul had to do to conceive his compositional structure for his epistles was to
outline the 3 x 3 square into a concise pattern totaling one hundred (100). He then created another pattern, which
coincided with the glyph of the Capricorn Symbol, which is the sign of the Zodiac that is ruled by the planet Saturn:
hence the usage of the Kamea of Saturn. The Jews believe that they are ruled by the planet Saturn. In forming this
Capricorn Symbol into a 3 x 3 square he then correlated each of the groups of three numbers to the Zodiac’s
Quadruplicities: Cardinal (1-4-7 Yellow), Fixed (2-5-8 Red) and Mutable (3-6-9 Blue) signs. Notice how La Divina
Commedia’s Kamea of Saturn is worked by Dante similar to St Paul’s Kamea 1.
St Paul’s Kamea 2 is worked by Saint Paul very similar to how the KAMEA OF SATURN is numerically laid out. All
Saint Paul did was reduce the amount of time the first nine numbers were used in his one hundred chapter and
reduced them to their lowest common denominators. St Paul’s Kamea 2 uses half of the numerical pattern in the
rows, columns and diagonal in the KAMEA OF SATURN, which again goes to illustrating where Saint Paul initially
obtains his esoteric ideas.
When comparing Purgatorio’s Kamea to St Paul’s Kamea 1 it is not difficult to envisage that they are duplicate
patterns. Take St Paul’s Kamea 1 and rotate it clockwise or counterclockwise and it eventually will arrange itself to
align with Dante’s Purgatorio’s Kamea. Here is where the definitive evidence comes in besides the other data
presented.
What is most intriguing about Saint Paul’s numerical data and Dante’s Alighieri’s compositional structure of La
Divina Commedia is seen in how Dante Alighieri worked the Capricorn Symbol in the Kamea of Saturn to coincide
perfectly with St Paul’s Kamea 2. Here the clockwise and counterclockwise maneuver is not necessary to align and
synch with the other graphic image.
I included the 5 x 5 matrix – Capricorn Symbol by Fours to illustrate that Dante codified the Capricorn Symbol into
his work numerous times. Beatrice Dante’s so-called eternal love was said to be born in January, which is in the
sign of Capricorn and ruled by Saturn. Ostensibly Beatrice is Dante’s reason for having such an obsession with the
sign of Capricorn, which I would dispute seeing that the first two verses of Genesis also codifies the Capricorn
Symbol into its texts and then there is the additional epistles of Saint Paul that gives credence to the Capricorn
Symbol usage in literary graphics long before Beatrice became a fictional character in La Divina Commedia. Dante
may be guilty of just aligning the name of Beatrice to the same spiritual principle that other authors have.
Saint Paul’s Fourteen Epistles’ Numerical Data
2336 / 1.618064 = 1443.72738… / 1.618034 = 892.2725… / 3.14159 = 284.019…
Here Saint Paul divides the amount of verses in the one hundred chapters of his fourteen epistles twice by the
Golden Ratio and once by the formula of Pi to achieve his goal.
Dante Alighieri’s La Divina Commedia’s Numerical Data
14,233 / 3.14159 = 4530.50461… / 3.14159 = 1442.1044… / 1.618034 = 891.2695… / 3.14159 = 283.6999…
Dante’s database of verses is a little more than six times that of Saint Paul’s: 14,233 x 2336 = 6.09…; hence, the
reason that Dante would start out with using the formula for Pi twice to quickly reduce his database in order to
align himself with Saint Paul’s first calculation. Notice how Dante’s last three calculations align very closely to Saint
Paul’s three calculations.
What were Saint Paul and Dante Alighieri trying to achieve with the compositional structures of their works?
I stopped calculating on both Saint Paul’s and Dante Alighieri’s quantity of verses when the number 284 was
obtained; though, I did recognize the number 892 in that array of calculations. Saint Paul’s numerical data does
not perfectly align with Dante Alighieri’s numerical data and vice versa; however, these are acceptable margins of

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error seeing that both authors are dealing with different numerical quantities. In fact they are as close
mathematically as it is possible to achieve given their limited numerical databases. This is the art of esotericism,
which deal with hidden spiritual symbolism not the ideal mathematical perfection.
I proffer the hypothesis that both Saint Paul and Dante Alighieri were trying to obtain the number 284, which, at
least for me, directly points to Gian Lorenzo Bernini’s colonnades in Saint Peter’s Square. That puts 142-colonades
on each side of Saint Peter’s Square. The number 142 is the Gematria value of
the first letter of Genesis: BETH. These 284-colonades symbolically represent the
arms of Jesus Christ embracing the world. Pi times 284 is very close to the
number 888, which is the Gematria value of the name ‘Jesus’. But where does
Saint Paul get his ideas, which later Dante was influenced by?
The First Chapter of Genesis’ Numerical Data
In the first chapter of Genesis there are 32-uses of the Hebrew word Elohym,
which is translated God. The word ELOHYM when broken down into its five
constituent letters to their lowest common denominators produces the formula
for Pi: 3.1415. This is important to grasp concerning what I am about to discuss, which relates directly to where
Saint Paul obtain his ideas for his numerical database.
The number-32 has an aggregate of 528 and when the 32-Elohyms are placed into a circle it is 32-smalls circles
creating the larger circle. The circumference of 528 emits the diameter of 168 (amount
of hours in a week). For a full discussion on the first chapter of Genesis in relationship
to Saint Peter’s Square read my paper: THE CATHOLIC CHURCH: An Ancient and Modern
Day Mystery School. This circle of 32-Elohym literally represents the Vesica Piscis: thus,
the Vesica Piscis is produce by two intersecting circles. If one circle represents a
circumference of 528 with a diameter of 168 then both cycles have to be equal; hence,
the diameters of both cycles meet creating the Vesica Piscis. This mystically implies that
the two 168 merges as one; hence, 360 + 168 + 360 = 888, which is the Gematria value
of the name JESUS. The number 888 represents the mystical circumference of both cycles, which has the Vesica
Piscis inside their union. The diameter of 888 = 282.659… Again there is a number close to the number 284. Let
me point out clearly that in no way am I saying that two circles of equal size each with the circumference of 528
merging into a Vesica Piscis will create a circumference and diameter of 888 / 3.14159 = 282.659…
“The mathematical ratio of the height of the Vesica Piscis to the width across its center is the square root of 3, or 1.7320508. The
ratios 265:153 = 1.7320261... and 1351:780 = 1.7320513... are two of a series of approximations to this value, each with the
property that no better approximation can be obtained with smaller whole numbers.
Archimedes of Syracuse, in his On the Measurement of the Circle uses these ratios as
upper and lower bounds: ” The square root of three would
symbolize the Trinity and I’ll get to that in a moment.
The reason that I am discussing these measurements of the Vesica Piscis is
to point out that 153 is the aggregate of the number seventeen, which is the
Hebrew letter PEI, which will be discussed further below as the empyrean.
One of the interesting things about Saint Peter’s Square is that there are
140-statues of saints adorning the top of the colonnades and there are
twelve disciples, and Christ in the center of them, atop the entrance portico
of Saint Peter’s Basilica totaling 153-statues. There are no coincidences
especially when dealing with all this symbolism in Saint Peter’s Square. The
number seventeen is said to represent the merger of the spiritual and the
material: the merger of the unconscious mind and the ego. Seventeen also
breaks down into 8 + 9, which symbolically represent the Zodiac signs Scorpio and Sagittarius, which in the center
of these two signs the Galactic Core can be seen.

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What must be realized about symbolism is that redundancy is built into the esoteric system as if it was holographic
in nature. Everything in the sacred scriptures has already been discussed in the texts previously on a symbolic
level. The first Vesica Piscis in Genesis if found in the first letter: BETH. Beth represents the light of the world: i.e.
a Dyson Sphere with the sun in the center. Beth represents the EGO, which encapsulates itself in a bubble. This is
why the EGO symbolically represents the sun. Beth symbolizes a container just as a bubble does.
Before I continue let me point out that the wording of the Old Testament is diametrically opposite to the wording
of the New Testament; thus, if I mentioned that the light of the world is the sun, this has nothing to with the New
Testament saying that Christ is the light of the world. Symbolically, to Christ the sun is darkness because its light
blankets out the stars of the universe. It is a battle royal between order and
chaos. The mythoi of Emperor Constantine and Emperor Maxentius battle on
the Milvian Bridge is analogous to a commentary on the Hebrew letter BETH. In
the name Constantine is the word CONSTANT: i.e. Order; whereas, in the name
Maxentius is the word MAX: i.e. Maximum or Chaos. The Milvian Bridge
symbolizes the coming together of the opposites illustrating a psychic
Armageddon. This is why in the mythoi of Emperor Constantine he doesn’t have
his vision of the Cross until he is about to launch the battle on the Milvian
Bridge. The Cross represents the coming together of the opposites: horizontal
(east and west) and vertical (north and south) merging as one. This is what the
mythoi of first word of Genesis: BERESHITH is all about.
BERESHITH is an amalgamation of two Hebrew letters: BETH and RESH: i.e. BE-
RESH-ITH. These letters/words: BETH and RESH represent two Dyson Spheres
merging as one creating the Vesica Piscis. The Zohar (a Jewish mystical work on
the Torah) teaches that YUD represents Yahweh (sun) and ALEPH represents
Elohym (Moon); thus it can be seen how the word BERESHITH represents the
Cross. BETH is spelt in Hebrew letters: beth-yud-tav; whereas, RESH is spelt
resh-aleph-shin (Elohym separating the heavens and the earth). The center of
the Cross points to the Galactic Core, representing the infinite UNKNOWN GOD.
The Zohar further says, that Bereshith represent the ‘ordinal directions. C.G.
Jung describes this in his Analytical Psychology in his own word calling it the Pelican or the Birth of Consciousness.
But where did ALEPH come from, who now separates the heavens (resh) and the earth (shin). All letters, words
and verses after the first letter of Genesis is redundant: this has already been discussed. The Zohar further says
that all creation is made through BETH, which symbolizes ego-consciousness
(sun). That is why BETH has a numerical value of two (2) and RESH has a
numerical value of two hundred (200), which can be reduces down to its lowest
common denominator of two (2) returning to be governed by ego-
consciousness instead of spirituality. RESH originated from the empyrean. This
is not a hypothesis. The first two verses of Genesis can literally be read from
the six letters of the word BERESHITH. The gulf between the first two verses of
Genesis denotes the place where the Galactic Core resides in the galaxy. Those
that know anything about the Zodiac constellations knows that between
Scorpio and Sagittarius the Galactic Core is visible; however, prior to the
Galactic Core is Cygnus the Swan, which is known as the Northern Cross. The
arrows of Scorpio and Sagittarius intersect creating another Cross. This goes
perfectly with the interpretation of the first word of Genesis: BERESHITH. The first four chapters of Genesis
represents the entire cycle of the Zodiac and its twelve constellations. The first two verses of Genesis represent
Scorpio and Sagittarius respectively. I will not go into all that here.

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BETH is not the first letter of the sacred scriptures. The seventeenth letter of the Hebrew alphabet is called PEI,
which symbolically means ‘MOUTH’, and has a numerical value of eighty (80). The mouth has 32-teeth and the
reason that there are 32-Elohyms in the first chapter of Genesis depicting the Kabbalistic Tree of Life. It is this
letter PEI that inundates and surrounds the letter BETH in the white area of the page. The letter PEI symbolically
creates the letter BETH. This is not vice versa because the letter BETH has to be written out in the time/space
continuum. In Hinduism that white space would be a flash of bright light represent ATMAN the higher spiritual
self; whereas, in Egypt ATMUN is called the God of Creation. Thus it is only through BETH that PEI can express
itself or be understood just as the only way the moon can be seen is by the light of the sun. PEI can only be
grasped indirectly as the Unknown God. Thus when the power of PEI come through BETH it Is in the form of RESH.
Thus we could mythologize the first word of Genesis as Emperor Constantine (BETH) battling Emperor Maxentius
(PEI). By RESH coming into creation it is symbolically the cutting of the umbilical cord. Emperor Constantine is no
longer BETH he represent both BETH and RESH. BETH (2) and PEI (80) symbolize the first letter of Genesis this is
why the obelisk in Saint Peter’s Square is 82-feet high: obelisk with a Cross on top.
In the letter RESH is the letter ALEPH, which is spelt out Aleph (1), Lemmed (30) and Pei (80), which totals to 111,
which symbolically represents the TRINITY, because 111 represent Aleph (1), Yud (10) and Qoph (100). These
three letters are interchangeable and the three letters represent the Trinity; thus, RESH, is the Word made flesh.
The word BERESHITH being the amalgamation of BETH and RESH is reminiscence of a human hybrid plant. Unless
the new species of plant is humanly maintained it will revert back to its original species of plants. This is the same
thing that happens to a person having a vision. Unless he or she is
eternally vigilant in his or her love for God the EGO (Satan) reclaim
control. This is why RESH has the numerical value of two hundred (200)
to put that point upfront and in your face at all times. This degeneration
of human creations happens with everything that man puts his hands to.
Unless there is eternal maintenance it will revert back to the elements.
Yet, when God makes something there is the seed within itself.
Initially it is said that Constantine was a pagan who worshipped all the
gods of his day. This represents Constantine as a sun god (ego-
consciousness) existing within his own bubble. The empire (psyche) was
falling apart as will happen with every egocentric individual. In the
spiritual vision of the psychic Armageddon Emperor Constantine is
destine to win and Emperor Maxentius has to loose and drown in the Tiber River. The river (water) represents the
unconscious mind. Only through the ego can order be reestablished into set rules and regulations in which the
individual can live out his life in the world in peace. For Emperor Maxentius (unconscious mind) to have won the
battle on the Milvian Bridge with his overpowering forces there would have been eternal chaos. This is what a
spiritual vision does to the psyche: this is why the Milvian Bridge had to break apart tossing Emperor Maxentius off
his horse. Emperor Maxentius is then absorbed back into the unconscious mind (Tiber River). The vision reorders
the psyche giving it a new raison d’être. I found it quite affirming that after the body of Emperor Maxentius was
washed ashore his head was decapitated and displayed in the empire and throughout Africa. The word RESH in
Hebrew is define as HEAD besides be defined as FIRST. It is as if the sacred scriptures are cultural and mythological
templates as to how the faithful can artistically express themselves without getting themselves into heresy.
Notice how Emperor Constantine remains as the sun-god; however, he was not now a worshipper of paganism but
rather he worship Christ. Christ became the new sun God; because, He represents the merger of ego-
consciousness and the unconscious mind. The Milvian Bridge, like the cutting of the umbilical cord, had to break
apart because that is what connected ego-consciousness to the unconscious mind causing the vision to come
about. The bridge remaining intact would have caused untold amount of psychic incidences in the mind of
Emperor Constantine. When the unconscious mind takes over it drives the ego insane and this is seen throughout
the world in all psychotic cases.

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IN CONCLUSION
Revisiting Saint Paul’s numerical data after thirty years has pleasantly surprised me in many ways especially in how
quickly I was able to gather together the evidence of how his work influenced La Divina Commedia compositional
structure.
As short as this paper is, it is certainly going to raise some eyebrows and throw up many red flags as to who the
author(s) of those fourteen epistles are. Who, really, was Saint Paul???...
In my view, Saint Paul is that fictional character (the generic man) that represents the everyday man that has a
spiritual vision. Getting tossed from his horse as his mythoi would have it is Saint Paul getting tossed from his ego:
i.e. horse. The horse has always symbolized the psyche. Ego-consciousness is what kills Christians and the mythoi
of Saint Paul have him as a Christian slayer before he had his vision of Christ.
It was not my intention to revisit all the mathematics in the first chapter of Genesis, which the above is but the tip
of the iceberg. I have gone over all of it in my previous writings. I went over just enough of the mathematics in the
first chapter of Genesis for the reader to recognize that Saint Paul had a source material that influenced him and
Dante Alighieri sources could very well have been Saint Paul and his sources throughout the Old Testament.
These mathematical discoveries in Saint Paul’s epistles go to confirm my lifetime thesis that Christianity was
complete at the dawn of its inception. In other words the basic paradigm was set into motion when Christ was
given birth into the world.
The first three letters into creation are BETH (2), RESH (200) and ALEPH (1) spelling out the word SEPARATED: i.e.
CREATED. Numerically, in these letters lowest common denominators this would read 221 or 212. Each number
two represents BETH and has the Gematria value of 142, which would represent one of the long colonnades
stretching across Saint Peter’s Square. Both BETHS would represent the two wide open arms and ALEPH the
number one between them would represent the Vesica Piscis. I see this as Christ gathering the peoples of the
world to himself in the New Jerusalem: i.e. the Garden of Eden.
I’ll give several more calculations in the first chapter of Genesis that goes to this above nuance in Saint Peter’s
Square. There are 434 words in the first chapter, which has the symbolic value as DOOR (Daleth): i.e. “knock and
the door will open”. In those 434 words there are 69-groups of words held together by 80-hyphen. The number-
69 is important because there are 1449-words in the first four chapters of Genesis representing the Seven Light
Chakras and the letters of the Hebrew coder: 1449 / 7 = 207 (Gematria value of Light) and/or 1449 / 69 = 21. The
22nd
group of 69 (as in 22-letters of the Hebrew coder or 22-smaller light chakras) is in the 69-groups of words held
together by 80-hyphen. These 69-groups of words total to 142-words. The number 80 (hyphens) symbolizes PEI
inundating those words; however, notice how unimportant hyphens are in reading the texts. They are as
unimportant as the empyrean and the moon without sunlight (ego-consciousness) shining on them. Since 142-
symbolizes BETH what we are witnessing in this esoteric calculation is the rebirth of the first letter of Genesis. This
is why Gian Lorenzo Bernini’s colonnades can be called the arms of Christ because the ego is working with Christ.
It may interest the reader to know that the sixth day of creation has exactly 149-words: i.e. 80 + 69, which goes to
the diametrically different ways that Yahweh (sun = ego) and the Elohym (moon = unconscious mind) have of
making or separating Adam into his or her image. As it can be seen I have illustrated PEI (80) brought into play
three times in the first chapter of Genesis: actually there are four and there may be others. The first 21-words of
Genesis are in the first two verses, which have a total of eighty (80) letters, which goes to these verses being a
direct commentary on the word BERESHITH.