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The number three refers to an important factor in the construction of the semiotics of Ch. S. Peirce. The number three is a kind of leitmotif of the theory. The whole construction of knowledge rests on primary, secondary and tertiary. Primary, secondary and tertiary are reduced to the three sides of Gottlob Frege's triangle and appear in a different terminology as representative, object and interpretant. These ternary coordinates of thought are its space and embody, in the words of Yu. S. Stepanova, three-dimensional measurement of language. According to Ch. S. Pierce, these coordinates have a teleological meaning. The very concept of Ch. S. Pierce appears as the sum of three trichotomies, which allows twenty-seven combinations of signs, of which seventeen combinations are prohibited. Only ten combinations are allowed. The idea of trinity involves 310 sign complexes. Some of them are forbidden from the standpoint of logic. Thus, the index cannot serve as an argument. In the article, this is shown by the seating of subjects at a round table. The subject opposite appears to be on the right, but is actually opposite. The universality of the trinity appears as a reasoned code of semiotic construction. The triadic nature of the concept serves as the basis for constructing the laws of semiosis. Primary is iconic, secondary is indexical, and tertiary is symbolic. Questions of trinity arise as implementation of the narrative, when the first is the beginning, the second is the end, and the third is the middle. The concept of three as the middle goes back to ancient art. The paper proposes an individual measurement of the middle as the third element. The counting tradition of the Indo-European peoples and the number of signs of the formula "faith, hope, love" are taken as the basis. The rearrangement of the elements of the formula, when the third in a row – love – occupies the middle second position, goes back to the earliest uses of this formula. This is the original approach to proving the middleness of the third in the tradition of the Indo-European peoples.

This article examines the texts of the Indo-European tradition, which narrate about the myths of the origin of peoples. Thus, a segment of the Anglo-Saxon runic series correlates with Tacitus's description of the origin of the Ingevon tribe. As a result, the parameters of the ethnically derived text are reconstructed. The parameters explain the choice of the sequence of the runes of the Anglo-Saxon Futhark. The restored text testifies that the Ingevons, who had the totem deity Ing, lived on the shores of the Ocean, and this was their homeland. Ethnogonic texts also tell about the correlation of totem and ethnonym in past eras. The German influence on the choice of the ethnonym Rus, determined by the alliterative connection of the name of the country with the name of Rurikovich, has been explained. The Rurikovich themselves came from the name of the Rhos tribe. Many ethnogonic texts are associated with sacrificial rituals. In this context, of interest is the name Italia, which takes its origin in the sacred texts of the high sacred style. The most ancient Indo-European inscription in the Lusitanian language, written in a high style and telling about the origin of the Veaminikori tribe, is analyzed. The choice of the names of sacred animals is contrasted with the profane names of the Latin prayer to the god Mars. The suouetaurilia prayer bears witness to the repertoire of sacrificial texts about dairy animals. As a result, it becomes clear that the name Italy is derived from the name uitulus in a high sacred style. Thus, the thematic contours of Indo-European texts containing ethnogonic myths about the origin of peoples are revealed. The boundaries between cultures are erased, and the Indo-European prototext comes to the fore, giving impetus to the genesis of ethnonyms, the naming of totems, as well as the names of their own tribal leaders. Thus, we can conclude that the sacred names of young dairy animals are represented in the Lusitanian language. In the rite of sacrifice, the scale of high style is attested. The name Italia refers precisely to the solemn sacred layer of vocabulary, but already as the implicit name of a Latin prayer to the god Mars. In the proportions of a proper name, rules for handling a name are incorporated, which vary from tradition to tradition. Attention is drawn to the special nature of ethnogonic texts that shed light on the origin of peoples. Cultural boundaries can be the limit that generates recognizable patterns that migrate from culture to culture.