“By ‘Sacred geometry’ is meant that art and science at the same time, conceived to render symbolically, in graphic form, the essence of the order of the Universe; so much so that his works are referred to as ‘psycho-pneuma-cosmograms. By ‘psyche’ is meant the anima mundi, the property that makes the cosmos and its entities alive; by ‘pneuma’ is meant the transcendent Divine Spirit, without which the cosmos would not have the slightest existence; ‘cosmogram’, finally, denotes the representation in finite forms of the infinite universe.
Each of these works condenses in the symbol the relationship between time and Eternity, between becoming and Being, between the here of existence and the absolute elsewhere of transcendence.
Its basic elements are the circle, the sphere, the ‘seed’, the ‘flower’, the ‘fruit’ of life, which find synthesis in ‘The Cube of Metraton’, which integrates and transcends them in the symbol of the total Universe, of the here and the elsewhere, of time and eternity.
To complete the elements of sacred geometry, we must speak of the ‘Platonic solids’, described for the first time in the West by Plato in his ‘Timaeus’.
They are the tetrahedron, the hexahedron, the octahedron, the dodecahedron, and the icosahedron; in their quality as archetypes, they encompass virtually every possible form. We find them, in fact, in the final synthesis that is the ‘Metatron Cube’, to which we refer in the analysis dedicated to it.”