Utility of the Ushtogai Square to count the Nodal Period

Using Google Earth, a large landform was found in Kazakhstan (Dmitriy Dey, 2007); a square 940 feet across with diagonals, made of evenly spaced mounds. We will demonstrate how the square could have counted the lunar nodal period of 6800 days (18.617 solar years)

 images courtesy of Wild Ticket

Counting the Lunar Nodal Period

One can see the side length of the square contains seventeen (17) mounds, with 16 even distances between the mounds. Were one to count each side as 17 mounds, then four times 17 gives 68 which reminds us of the 6800 days in the moon’s nodal period of 18.617 years. If 17 can be multiplied by 100, then one could count the nodal period in days, and to do this one notices that the diagonals have one central space, around which each of four arms are 10 mounds long.

The Ushtogai Square from above, north to the top.

Each side length of 17 mounds forms a triangle to the central space, perhaps for central control, with two sides (left and right) of 10 mounds each. As with our own decimal counting of units and tens (as in 12) there could have been a day marker placed in the center.  On day 1, it was moved to the first mound on the left. Every day, the left marker moves towards the left corner mound. Upon reaching the corner, two things happen.

  1. The day marker returns to the center and,
  2. A ten-day marker then starts its own journey to the right hand corner.

The left-hand day counting would continue on the next day, for ten more days, whereupon the same action, incrementing the ten counter, would mark another ten days in a further step between mounds, towards the right hand corner.

After 100 days, the marker of ten-day periods has reached the right hand corner and a new hundred day marker is deployed, to record hundreds of days per mound. Only after the first 100 days is the hundred marker placed upon the left-hand corner mound (that might have represented 100 days after the maximum standstill of the moon.)

The counting scheme for one quarter of the nodal period, repeated in each quadrant to count 6800 days

All of the above is repeated, slowly moving the hundred-day counter from the left corner to the right, at which time the moon no longer exceeds the solar extremes of summer and winter solstice in its range of rising and setting every orbit of, on average, 27.32166 days.

In conclusion …

There is a very beautiful correspondence between the geometry of Ushtogai and the nodal period of the moon. But in a following article we will explore the parallel meaning of this monument as a counter of lunar months: to use the outer perimeter to study the Metonic and Saros eclipse periods.

There is a second article on Ustogai here.

For more information on this sort of astronomical counting in the prehistoric period, and of the details of the major time periods of the moon and sun,
these can be found in my books,
Sacred Number and the Lords of Time and
Sacred Geometry: Language of the Angels.

The Stonehenge Crop Circle of 2002

One sees most clearly how a single concrete measure such as 58 feet can take the meaning of the design into the numbers required to create it. However, metrology of feet and types of feet can hide the elegance of a design.

photo by Steve Alexander of TemporaryTemples.co.uk

I received Michael Glickman’s Crop Circles: The Bones of God at the weekend and each chapter is a nicely written and paced introduction to a given years worth of crop circles generally in the noughties. The above is the second in proximity to Stonehenge reminding keen croppers of an earlier one. This cicle preceeded the late-season (August) circle at Crooked Soley that I have an analysis of soon to be posted, drawing on Allan Brown’s small book on it.

Glickman’s chapter 10 : Stonehenge Ribbons and Crooked Soley provided a tentative analysis of the Ribbons as having the ends of the ribbons measuring 58 feet. The design was observed as making use of a single half circle building block for most of the emergent six arms emerging from the center. Michael suggested that there were 13 equal units of 58 feet across the structure.

Figure 10.4 Showing thirteen divisions of one of the three diameters of ribbons. photo: Steve Alexander.

From this I was able to observe that clearly the divisions were not equal in size and the white ones were clearly smaller as was the central circle’s diameter. Scanning the picture and placing it in my Visio program, so that a rectangle of 58mm was equal to the diameter of the right hand ribbon end, it was possible to determine that the ratio between these lengths was 5 to 4, or 5/4, from which the shorter white length must be 46.4 feet and that the diameter can be seen as 9 units across, that is 104.4 feet. The unit is 104.4 feet divided by 9 which equals 11.6 feet, which is 10 feet of 1.16 feet, the root reciprocal of the Russian foot of 7/6 feet, that is 7/6 feet divided by 175/176 (= 1.16). Going down the “Russian” root led to the diagram below.

My analysis of Michael Glickman’s figure reveals a span of 580 Russian Feet.

There are parallax errors so I have had to show the ideal designed shortened across the left-hand of the design, but the design has many numerical aspects where each arm is 27 units so that two arms are 54 which, plus the center, gives 58 times 10 equaling 580 Russian feet. But then I noted that 58 feet, divided by 5, gave the unit as 11.6 English feet while 58 feet divides into the 58 unit diameter across the crop circle.

Now we see a set of multiples of 29 are there as numbers {29 58 87 116 145 174 203 232 261 … }. The reciprocal Russian at 1.16 feet and the unit of 11.6 feet are decimal echoes of the number 29. The formula of the Proto Megalithic yard is 87/32 feet and 261/8 inches.

To be continued

One sees most clearly how a single concrete measure such as 58 feet can take the meaning of the design into the numbers required to create it.

Pauli’s Cosmic Dream

above: Wolfgang Pauli, ca. 1924. Wikipedia CC BY 4.0

Renowned psychiatrist Carl Jung had an intellectual friend in Wolfgang Pauli, a leading theoretical scientist in the development of quantum mechanics who had offered (with others) a third perspective to the deterministic physics of Newton and relativistic physics of Einstein. For example, Pauli’s Exclusion Principle explained how sub atomic particles of the same type could be connected to each other (entangled) on the level of the very small.

Dream analysis with Carl Jung opened Pauli up to the inner worlds of alchemy, archetypes, and dreams. Pauli recounted his dreams to Jung who would analyze their symbolism. One dream is of special interest here since it concerned a cosmic clock with two discs with a common center: one vertical and the other horizontal. The vertical disc was blue with a silver lining upon which were 32 divisions and the hand of a clock pointing to a division. The horizontal disc was divided into four differently colored quadrants, surrounded by a golden ring.

above: A visualization of Pauli’s report of his dream of the Cosmic Clock. The black bird would traditionally be a member of the Corvus or Crow family. In the original one sees 32 rings punctuating the outer ring. below: Jane Roberts colored it, noting it resembled Ezekiel’s vision. 

Continue reading “Pauli’s Cosmic Dream”

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

Continue reading “Cologne Cathedral Facade as Double Square”

Chartres 3: Design of West Façade

The design of the twin towers of Chartres point to an extraordinary understanding of its designers, quite unlike pre or modern understandings of the outer planets and their harmonic ratios. We have already seen a propensity for using the ordinary English foot to indicate days-as-feet within the structure. The Façade hosts what is perhaps the most famous “rose window”, though it was only in later centuries that it would be termed thus, as the cult of the Virgin Mary became more widespread. But this cathedral was strongly dedicated to the Virgin, when built.

The two towers are separated by the same distance as the rose window is above the footings, namely 100 feet, while the façade is 150 feet wide. This has led me to rationalize the façade as being six units across of 25 feet, while the façade appears to end (and the towers begin) 200 feet above the footings.

Interpretation of the western Facade as composed as towers 4 apart, width 6 apart and height 8 units, all of 25 feet. The Rose Window is held within two 3,4,5 triangles within a wall of 2 units square.

That is the façade was therefore designed as a three by four rectangle, the rose window centrally located within a square of side length 50 feet.

In simplest units of 50 feet, 8 by 6 becomes the proportion 4 by 3, with diagonals that are 10 units (that is, 250 feet) where the rose is at the crossings of those diagonals, held between two 3,4,5 triangles.

This first Pythagorean triangle holds all of the ratios of regular musical harmony, having 4/3 (fourth), 5/4 (major third), 6/5 (minor third) between its sides, which multiplied together equal 60 and summed equal 12.

NEXT: to come

Interpreting Chartres
  1. the cosmic coding of its towers in height
  2. the harmony in its towers
  3. design of the west façade

Yet to come: the design of the Rose Window.

Using Circumpolar Marker Stars

The marker stars within the circumpolar or arctic region of the sky have always included Ursa Major and Ursa Minor, the Great and Little Bear (arctic meaning “of the bears” in Greek), even though the location of the celestial North Pole circles systematically through the ages around the pole of the solar system, the ecliptic pole. In 4000 BC our pole star in Ursa Minor, called Polaris, was far away from the north pole and it reached a quite extreme azimuth to east and west each day, corresponding to the position of the sun (on the horizon in 4000 BCE at this latitude) at the midsummer solstice sunrise. This means angular alignments may be present to other important circumpolar stars in some of the stones initiating the Alignments at Le Menec, when these are viewed from the centre of the cromlech’s circle implicit in its egg-shaped perimeter.

This original “forming circle” of the cromlech could be used as an observatory circle, able to record angular alignments. Therefore the distinctive “table” stone which aligns to the cromlech’s centre at summer solstice sunrise, also marked the extreme angle (to the east) of Polaris, alpha Ursa Minor, our present northern polestar. That is, in 4000 BCE Polaris stood directly above the table stone, once per day – whether visible or not.

Such a maximum elongation of a circumpolar star is the extreme easterly or westerly movement of the star, during its anti-clockwise orbit around the north pole. Thus, if the northern horizon were raised (figure 5) until it passed through the north pole, the maximum circumpolar positions for a star to east and west would be equally spaced, either side of the north pole. If these extreme positions are brought down to the Horizon in azimuth, the angles between these extremes forms a unique range of azimuths on the ground between (a) the horizon (b) a foresight such as a menhir and (c) an observer at a backsight. Observations of these extreme elongations naturally enable the pole (true north) to be accurately established from the observing point as the point in the middle of that range. A marker stone can usefully locate a circumpolar star at one of these maximum elongations and come to symbolize that important star. A star’s location could have been brought down to the horizon using a vertical pole or plumb bob, between the elongated star and the horizon, at which point menhirs could later be placed, relative to a fixed viewing centre or backsight. This method of maximum elongations would have escaped the atmospheric effects associated with observing stars on the horizon which causes a variable angle of their visual extinction below which stars disappear before reaching the horizon.

Figure 5.The Maximum Elongation of Circumpolar Stars is a twice daily event when, looking at the horizon, the star’s circumpolar “orbit” momentarily stops moving east or west at maximum elongation in azimuth and reverses its motion.

At Le Menec the azimuths of the brightest circumpolar stars, at maximum elongation, appear to have been strongly associated with the leading stones of the western alignments (see figure 6). However, it is likely that only one of these circumpolar stars was used as a primary reference marker, for the purpose of measuring sidereal time at night when this star was visible.

Figure 6 Some of the associations between circumpolar stars and stones in the western alignments. These alignments are all to the maximum easterly elongations, perhaps established during the building of the sidereal observatory and only later formalized into leading stones at the start of different rows. Dubhe was then selected as the primary marker star for the Le Menec observatory.

To achieve continuous measurements of sidereal time from the circumpolar stars requires a simple geometrical arrangement that can draw down to earth the observed position of maximum elongation to east and west for one bright circumpolar star, the observatory’s marker star. A rectangle must then be constructed to the north of the cromlech’s east-west diameter and containing within it the observatory’s northern semicircle. The northern corners must align with, relative to the centre of the circle, the eastern and western elongations of the chosen marker star. For Le Menec the rectangle had to be extended northwards until it reached the first stone of row 6[1]. This stone is aligned, from the centre, to the maximum eastern elongation of Dubhe or alpha Ursa Major. The first stone of row 6 is therefore the menhir marking Dubhe. To the south, the initial stones of further rows all stand on the eastern edge of this rectangle, so that any point on the rectangle’s north face could be brought down, unobstructed, to the circumference of the circle.

Figure 7 shows how the form of the circumpolar region, within the “orbit” of Dubhe, is repeated by the cromlech’s forming circle. It is also true that the “northern line” then has the same length as the diameter of the forming circle, which has therefore been metrologically harmonized with row 6’s initial stone and the alignment to Dubhe in the east.

This arrangement has the consequence that wherever Dubhe is (above the northern line and when seen on a sightline passing through the centre of the cromlech) its east-west location in the sky can be brought down, directly south, to two points on the forming circle of the observatory – all due to the star observation having been made upon a length equal to the circle’s diameter (the Northern Line of figures 7 and 8). One of these two points, on the northern or southern semicircle of the observatory, must then correspond exactly to where Dubhe is in its “orbit” around the north pole, as in figure 8.

So, what is being measured here and what would be the significance of having such a capability? Whilst the movement of all the stars is being accurately measured, using this northern line and forming circle combination, the monument also has a reciprocal meaning. The forming circle also represents the earth’s rotation towards the east, the cause ofthe star’s apparent motion. This is because, when looking north, the familiar direction of rotation of the stars, when looking south, is reversed from a rightwards motion to a leftwards, anticlockwise motion. Circumpolar motion therefore directly represents the rotation of the earth. The Dubhe marker star would have represented the movement of a point on the surface of the earth, moving forever to the east. Perhaps more to the point, the eastern and western horizon are moving as two opposed points on its circular path, each moving at about the same angular speed as Dubhe. This deepens the view of the forming circle as representing those ecliptic longitudes in which the fixed stars, rising or setting on the eastern and western horizons, are fixed locations on the circle through which these horizons are moving as markers on the circle’s circumference.

These two views, of a moving earth and of a moving background of stars, could be interchangeable when understood and both viewpoints are equally useful and were probably relevant to the operation of this observatory. Whilst the circumpolar stars move around the pole, the eastern and western horizon move opposite each other, running along the ecliptic, as the Earth rotates. The first view enables an act of measurement which would have given astronomers access to sidereal time and the second view provided knowledge of where the eastern and western horizons were located viz a vis the equatorial stars and therefore knowledge of which part of the ecliptic was currently rising or setting.

Figure 8 Recreating the circumpolar region with marker star Dubhe at the correct angle on the forming circle of the western cromlech. The star’s alignment on the northern line is dropped to the south so as to touch the two points of the circumference corresponding to that location on the circle’s diameter: one of these will be the angle of Dubhe as seen within the circumpolar sky but now accurately locatable in angle, on the observatory circle.

Dubhe had, in 4000BCE, a fortunate relationship to the circumpolar sky and equatorial constellations which would have been very useful. When Dubhe reached its maximum eastern elongation (marked by the first stone in the sixth row) the ecliptic’s summer solstice point was rising in the east. However, Dubhe’s maximum western elongation did not correspond to the winter solstice, this due to the obliquity of the ecliptic relative to north. It is the Autumn Equinoctal point of the ecliptic that is rising to the east at Dubhe’s maximum western elongation. It was when Dubhe was closest to the northern horizon, that the other, winter solstice point was found rising on the ecliptic. It is important to realize that these observational facts were true every day, even when the sun was not at one of these points within the ecliptic’s year circle.

NEXT:

CONTENTS

This paper proposes that an unfamiliar type of circumpolar astronomy was practiced by the time Le Menec was built, around 4000 BCE.

  1. Abstract
  2. Start of Carnac’s Alignments
  3. as Sidereal Observatory
  4. using Circumpolar Marker Stars
  5. dividing the Circumpolar stars
  6. maintaining Sidereal Time in Daylight
  7. measuring the Moon’s Progress
  8. as Type 1 Egg
  9. transition from Le Manio
  10. the Octon of 4 Eclipse Years
  11. building of Western Alignments
  12. key lengths of Time on Earth

[1] Thom’s row VI.