This was published as The GeodeticUnits of measures and monumental measurements relating to the numerical definition of the shape of the Earth by the late megalithic. And Musicological Significance Of The Shorter Side Length Of The Parthenon As Hekatompedon Or ‘Hundred-Footer’ in Music and Deep Memory: Speculations in ancient mathematics, tuning, and tradition, in memoriam Ernest G. McClain. Edited by Bryan Carr and Richard Dumbrill. pub: Lulu. photo: Steve Swayne for Wikipedia on Parthenon.
This note responds to Kapraff and McClain’s preceding paper, in which they discover a many-faceted musical symbolism in the Parthenon. Specifically, Ernst Berger’s new measurements include the shorter side of the triple pedestal of the monument as an accurate length to represent one second of the double meridian of the earth. By applying a knowledge of ancient metrologyThe application of units of length to problems of measurement, design, comparison or calculation., Anne Bulckens’ doctoral derivations of a root foot can resolve to a pygme of 9/8 feet, of which one second of latitude would contain 90 such feet. However, as a ‘hundred footer’, the foot length should then be 81/80 (1.0125) feet, the ratio of the syntonic comma. This would indicate a replacement, by Classical times, of the geographical constant of 1.01376 feet within the model of the earth since the original model, by the late megalithic, assumed that the meridian was exactly half of the mean circumference of the earth. These alternative geographical constants co-incidentally represent the ubiquitous theme in ancient musicology of the transition between Pythagorean and Just tunings and their respective commas of Pythagorean 1.01364 … (in metrology 1.01376) and syntonic 81/80 (1.0125).
By Classical times the term hekatompedon or ‘hundred-footer’ had evolved, to describe the ideal dimensionality of Greek peristyle temples. One of the earliest, the Heraion of Samos, came to be 100 feet long by the end of the 8th century, in contrast to the surface width of the Parthenon’s stylobyte which had been established as in the range 101.141 (Stuart, c.1750) to 101.341 (Penrose in 1888) feet.
Recent measurements in 1982 by Ernst Berger found that the top surface of the stylobyte was just over 101.25 feet wide4 and that the most frequently occurring length was 857.6 mm. Anne Bulckens’ corresponding foot measure for this would be a step of 2.5 feet, each of 9/8 (1.125) feet, to within
one part in 2500; a foot length called a pygme within historical metrology, after the size of small men first mentioned when Herakles was travelling back from India6. The shorter ends of the Parthenon’s stylobyte would then be 90 such feet across.
However, should the two ends be divided by 100, the required foot length of 101.25 feet becomes a microvariation of the English footThe standard prehistoric foot (of 12 inches) representing a unity from which all other foot measures came to be formed, as rational fractions of the foot, a fact hidden within our historical metrology [Neal, 2000]., namely 81/80 (1.0125) feet, a ratio identical with the syntonic comma. This is another ratio crucial to the history of ancient tuning theory; being found between pure Pythagorean tones (9/8) and their counterparts within just tuning (10/9); when string lengths are given specific whole number lengths to specify their pitches intellectually.
1. Hurwit, Jeffrey M., (1987), The Art and Culture of Early Greece, 1100-480 B.C., Cornell: Ithaca, 74-77
2. Berriman, A.E., (1953) Historical Metrology, London:
Dent. IX, 116-120.
3. Berger, E., ed. (1986) Parthenon-Kongress Basel, 2 Vols, Mainz: Philipp von Zabern.
4. an average noted by Berriman, 119.
5. Bulckens, A.M. (1999) The Parthenon’s Main Design Proportion and its Meaning, [Ph.D. Dissertation], Geelong: Deakin University, 269 pp. ; (2001) The Parthenon’s Symmetry in Symmetry: Art and Science (Fifth Interdisciplinary Symmetry Congress and Exhibition of the ISIS-Symmetry), (Sydney, 2001), no. 1-2, pp. 38-41.
6. Philostrates of Lemnos (c. 190 – c. 230 AD) Imagines Heracles among the Pygmies, see Loeb Classical Library
A recent article by Jay Kapraff and Ernest McClain observes that the width of the Parthenon symbolically defined one second of latitude (taking surface lengths as linear fractions of latitude). This implies the double meridian length was known within 0.003% of its modern estimation.
A geodetic symbolism was apparently given to shorter side length of the Parthenon, making it smaller than it would have been if modelled on the circumference of the earth as one 3,600th of one 360th part of the mean earth. If so, this geodetic meaning of the Parthenon can be compared with monuments built two thousand years earlier, such as Stonehenge and the Great Pyramid of Giza, within which the relationship of the mean earth was specified, relative to the polar radius, using the same metrological system.
The ancient model of the earth, recovered by John Neal and John Michell, used three different approximations of π to model the distortion of
the rotating planet relative to its mean, or perfectly spherical, size. In that model, the Meridian was assumed to be half the circumference of the mean earth of 44 times 126 (131,383.296) feet or 24,883.2 miles. Had the Parthenon’s builders used this model then its ends would be 101.376 feet in width and one hundredth of this would be a foot of 1.01376 feet, the foot known as the ‘Standard Geographical’ Greek foot.
The mean circumference of the earth (24,883.2 miles) and the actual double meridian length (24,859.868 miles) are in the same ratio as the geographical foot of 1.01376 (3168/3125) and 1.0125 feet: the 81/80 foot measure that makes the Parthenon’s 101.25 feet a ‘hundred footer’. It is therefore reasonable to assume that, between the building of Stonehenge and Great Pyramid (by 2,500 B.C.) and the building of the Parthenon (designed by 447 B.C.), a more accurate
measurement of the Meridian had superseded the previous assumption, within the old model, that the Meridian was half the length of the mean earth circumference.
7. The Proportional System of the Parthenon, in preparation for the In Memoriam volume for Ernest McClainAmerican Cryptologist and Pythagorean Musicologist who decoded Plato's cryptic numerical ciphers in The Pythagorean Plato. The Myth of Invariance showed limiting numbers had been an ancient way of defining the onset of key musical tuning realities, then coded into many religious texts. Wikipedia. (1918-2014)
8. Michell by 1980 and Neal, fully formed, by 2000.
9. Neal, John (2000) All Done With Mirrors, Secret Academy, London.
10. Michell, John (1982) Ancient Metrology, Pentacle Books, Bristol, 1982; (2008 new ed.) Dimensions of Paradise, Inner Traditions: Rochester.
Further to this, one can see how the transition from Pythagorean to just tuning systems is strangely present in the relationship between the mean earth circumference and the actual meridian length, since the geographical constant of 1.01376 is near identical to the Pythagorean comma of 1.0136433 while the (chosen) ratio of 1.0125 is the syntonic comma and this, times 100, is near identical to the actual length of one second of latitude which would be 100 times 1.0128 feet, just one third of an inch different from a more
The Parthenon ‘Hundred footer’ was able to dimensionally reference one second of the Meridian by having its shorter sides one hundred feet of 1.0125 feet long. Aligned to north, this presented accurate Classical knowledge of the
Meridian’s length. The monument expresses other musicological features via its metrology: the 81/80 foot unit is 125/128 of the Athenian foot of 1.0368 feet, a musical interval called the minor diesis, also found within just intonationA musical tuning system improving the Pythagorean system of tuning by fifths (3/2), by introducing thirds (5/4 and 6/5) to obtain multiple scales. and equaling the deficiency of three major thirds to the octave
12 The latter prevalent in other aspects of the monument, see Kappraff, J. and McClain, E.G. (2005: Spring–Fall) The Proportions of the Parthenon: A work of musically inspired architecture, Music in Art: International Journal for Music Iconography, Vol. 30/1–2.
13 A non-harmonic 79/78 feet.