Category: Matrix of Creation

First published in 2002 republished 2004

The Martian Moon Resonance

As with the other outer planets, Mars has a resonant relationship with the Lunar Year. UPDATED.

When I wrote Matrix of Creation in 2001, many planetary resonances were revealed and most of these involved small whole-number relationships between both sidereal and synodic periods in the solar system. At that time, only the Jupiter and Saturn synods (of the two visible outer planets) had been identified, as 9/8 and 16/15 of the lunar year (see chapter 9). The implied units of these ratios were 1.5 and 0.8 lunar months (respectively).

Mars is closer to the Earth and Moon than these giant planets and, since all the giants have numerical ratios to the lunar year, what of Mars whose synodic period is effectively 780 days: This is over 2 solar years (2.14) and 2.2 lunar years, a fractional relationship of 11/5 lunar years. That the moon has such a simple fractional relationship with all of the outer planets implies a previously unknown (at least in recent times) principle, in which the moon is gravitationally affected by the “loops of proximity”, seen when such planets approach, at a frequency defined by their synodic period. In the case of Mars this is very long, proximity happening every 780 days.

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Cologne Cathedral Facade as Double Square

image: The Gothic cathedral of Cologne by night, by Robert Breuer CC-SA 3.0

On the matter of facades of Gothic cathedrals, I hark back to previous work (February 2018) on Cologne cathedral. This was published in a past website that was destroyed by its RAID backup system!

As we have seen with Chartres, some excellent lithographs with scales can often exist online from which one can interpret their sacred geometrical form and even the possible measures used to build that form. The Gothic norm for a facade seem more closely followed at Cologne facade which has two towers of (nearly) equal height.

We saw at Chartres that an underlying geometry using multiple squares may have been used to define a facade and bend it towards a suitable presentation of astronomical time, in a hidden world view that God’s heaven for the Earth is actually to be found in the sky as a pattern of time. This knowledge emerged with the megaliths and, in the medieval, it appeared again in monumental religious buildings built by masons who had inherited a passed-down but secret tradition.

A Prologue to Cathedral Music

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Astronomy 4: The Planetary Matrix

The re-discovery of the ancient planetary matrix, seen through three my three books: Matrix of Creation, Harmonic Origins of the World and Sacred Geometry: Language of the Angels.

Harmonic Origins of the World inserted the astronomical observations of my previous books into an ancient harmonic matrix, alluded to using the sacred numbers found in many religious stories and the works of Plato, who might have been the savior of what Pythagoras had garnered from ancient mystery centers circa. 600 BC. According to the late Ernest G. McClain*, Plato’s harmonic technology had been widely practiced in the Ancient Near East so that, to the initiated, the stories were technical whilst, to the general population, they were entertaining and uplifting stories, set within eternity. Ancient prose narratives and poetic allusions conserved the ancient knowledge. Before the invention of phonetic writing in Classical Greece, spoken (oral) stories were performed in public venues. Archaic stories such as those attributed to Homer and Hesiod, gave rise to the Greek theatres and stepped agoras of towns. Special people called rhapsodes animated epic stories of all sorts and some have survived through their being written down. At the same time, alongside this transition to genuine literacy, new types of sacred buildings and spaces emerged, these also carrying the sacred numbers and measures of the megalithic to Classical Greece, Rome, Byzantium and elsewhere, including India and China.

* American musicologist and writer, in the 1970s, of The Pythagorean Plato and The Myth of Invariance. website

Work towards a full harmonic matrix for the planets

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Saturn’s “Measuring” of the Lunar Month

Video

How the Moon was seen to be like Saturn in expressing the Sacred Number 28.

illustrated SCRIPT

To measure the length of a lunar orbit, one needs to see any prominent stars that the moon is passing by in her orbit.

This sort of procedure is implied in Indian astronomy, and other traditions, where the sky was first divided into 28 or 27 equal parts, called lunar mansions (nakshatras).

The lunar mansion on a given day was identified by the name of the lunar mansion seen behind it.  In B.C. 2350, the system started with the spring equinox which stood on the seven sisters or Krittikas.

This was in the Zodiac constellation Taurus the Bull, but the mansion, one of 28, was called Ashwini – the Horse’s Head. In this way Indians still speak of “the moon in Ashwini”.

The division into 28 probably came from the observation of Saturn’s loops which resembled the twenty seven and a third days for a lunar orbit, though the first is a frequency of synods while the latter is a frequency of earth rotations, both relative to the ecliptic / Signs / Mansions.

Hounds & Jackals as Venus Counter

The Petrie Museum has a game called Hounds & Jackals or 58 holes, from Egypt’s Middle Kingdom and widely found elsewhere, in the ancient world. Two players had a set of sharp ended sticks with animal heads, which sat in each of the 29 + 29 = 58 holes. The top hole is larger (as with the Cretan 34-hole circular kernos, at Malia in Crete).

Cretan 34-hole Kernos

One can see the possibilities in such artifacts stored objective numerical information while being kept, within the cultural life of the people, through having a valuable everyday purpose (rather like the 52 playing cards do). This was exactly how Gurdjieff saw it that, he proposed a meeting of wise men in Babylon, it was seen that ancient knowledge would be forgotten were it not that art, games, buildings, dances, music and so on were designed to incorporate the knowledge until such time that human would be able, once again, to understand what they meant. In his book Beelzebub’s Tales he termed such artifacts as being logominisms, loosely translating to “meaning objects”.

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Book: Matrix of Creation

Sacred numbers arose from ancient man’s observation of the heavens, and represent the secrets of cosmic proportion and alignment. The ancients understood that the ripeness of the natural world is the perfection of ratio and that the planetary system–and time itself–is a creation of number. We have forgotten what our ancestors once knew: that numbers and their properties create the forms of the world.