Over the last seven thousand years, hunter-gathering humans have been transformed into the “modern” norms of citizens (city dwellers) through a series of metamorphoses during which the intellect developed ever-larger descriptions of the world. Past civilizations and even some tribal groups have left wonders in their wake, a result of uncanny skills – mental and physical – which, being hard to repeat today, cannot be considered primitive. Buildings such as Stonehenge and the Great Pyramid of Giza are felt anomalous, because of the mathematics implied by their construction. Our notational mathematics only arose much later and so, a different maths must have preceded ours.
We have also inherited texts from ancient times. Spoken language evolved before there was any writing with which to create texts. Writing developed in three main ways: (1) Pictographic writing evolved into hieroglyphs, like those of Egyptian texts, carved on stone or inked onto papyrus, (2) the Sumerians used cross-hatched lines on clay tablets, to make symbols representing the syllables within speech. Cuneiform allowed the many languages of the ancient Near East to be recorded, since all spoken language is made of syllables, (3) the Phoenicians developed the alphabet, which was perfected in Iron Age Greece through identifying more phonemes, including the vowels. The Greek language enabled individual writers to think new thoughts through writing down their ideas; a new habit that competed with information passed down through the oral tradition. Ironically though, writing down oral stories allowed their survival, as the oral tradition became more-or-less extinct. And surviving oral texts give otherwise missing insights into the intellectual life behind prehistoric monuments.
Figure 7.5 The widespread tradition of a God who changes the astrological Age, through the Precession of the Equinoxes: Top left, Mithras as Sol Invictus; top right, Mithras slaying the Age of Taurus; bottom left, Aion, God of Ages; and bottom right, Orphic God Phanes. Mithras slaying the Age of Taurus (photo by Tim Prevett courtesy of the Segontium Museum, 2005)
This article has been extracted from my 4th book Sacred Number and the Lords of Time as being a fairly self-contained read. The “great time” in the heading is the Precession of the Equinoxes or Great Year of Plato, in which god-like human figures are posited in ancient times as governing the Age named after the Zodiacal sign in which the sun sits at the spring equinox, today the age of Pisces is about to become the age of Aquarius, but the Current Era corresponds to the age of Pisces, inaugurated by the birth of Jesus, hence also called A.D. for “anno dominie” or “year of Our Lord”.
Figure 7.4. The conceptual model of Great Time as two bands at right angles, joined at the equinoctial points where the celestial meridian of the Age crosses the equator and ecliptic
In this model of precession (figure 7.4), a north-south ring of ages, explains an enduring feature within at least some of the mysteries found in late antiquity. In Greco-Roman times some mystery cults presented their god within a vertical elliptical band upon which the zodiacal constellations were marked (see figure 7.5).4 these all represented a god who could command time and affect what happened upon the earth. the iconography of these gods and their associated myths reveals the many aspects of such a god’s powers and intruded upon many aspects of the religious iconography and mythology of the ancient world, as was demonstrated by the authors of Hamlet’s Mill.
The clear relationship to the zodiac, when shown in a vertical setting for such a god, suggests that the above model of precessional time had been developed and become widespread in the preceding thousand years. this precessional iconography showed an epoch-making and hence history-making godhead who could bend the everyday powers of Helios-Ra, the sun, by moving the equinoctial crossing points of the sun and affect the world by moving the ecliptic and displacing the stars relative to the framework of heaven. Perhaps the clearest presentation of such a precessional cult in late antiquity was that of mithras.5
The cult of Mithras gave the precessional god the name “of Persia”, as if from there. But he appears adapted from the Greek god Perseus, who rode the winged horse Pegasus and killed the Gorgon (of solar imagery) while rescuing Cassiopeia (held in chains as a sacrifice to a sea monster). This cult took as its main image the Tauroctony, a tableau in which a youthful Mithras, in his signature Phrygian cap and cape, is killing a bull while looking away.
Figure 7.6. Tauroctony in Kunsthistorisches Museum, Vienna. Precessional god Mithras presents his killing of the bull Taurus, at what was then the spring equinox. He is shown between his two equinoctial Dioscuroi, spring on the viewer’s right and autumn on the left, Cautes and Cautopates. The diametrically opposite constellation of Scorpio is shown below.
In the tableau above, Mithras has two important attendants to right and left. both have their legs crossed indicating the points of crossing for the sun on the celestial equator and each carrying a torch that represents the movement of the sun at each of these equinoxes (see figure 7.6). on the right side the figure, Cautes, represents the spring equinox, with the sun torch pointing upward to how that the summer lies ahead. The light of Cautes’ torch is shown touching he mouth of the bull of Taurus, indicating the scene takes place at the spring equinox. on the left side we find Cautopates, the fall equinox, whose torch is pointing downward to the left indicating the winter to come. at the feet of Mithras is the Scorpion (the constellation of Scorpio) and serpent carrier Orpheuchus, both diametrically opposite the constellation of Perseus in the sky.
Figure 7.7. The constellations of Perseus (top) and Serpens/Orphiuchus (bottom), opposite each other in the celestial Earth. They formed part of the new meridian after the vernal equinox, and hence the precessional meridian, left Taurus. From Urania’s Mirror, a boxed set of 32 constellation cards engraved by Sidney Hall, published in 1825
In the constellation of Perseus, we find Perseus holding the Medusa’s head (the variable star Algol), which is iconic of the sun in Taurus at the spring equinox being cut off by the precessional god who stands above Aries, the new world age. Perseus is therefore part of the vertical colure or meridian of that age, presented upon the celestial earth of the stars. Such stellar iconography developed without sculpture or scriptural myths, since the night sky and its named constellations could illustrate the story.
The well-educated Jesus stood at the end of a dying age. Within the walls of a new temple mount, he was aware that the Jewish people were expecting a new dispensation and also that the mystery sects, popular with the Greeks, Romans, and Jews, were actually religious remnants of an astronomical fact, that the equinoctial sun had moved on before and was moving now from Aries to Pisces. Within four centuries the Roman empire would be declared Christian, but this would involve a Christianity quite unlike the early church, a Jesus quite unlike the original person, and a Christian scripture quite unlike those that circulated among early Christians. Where Mithras, aeon, Phanes, and Sol Invictus had once stood, Jesus would come to stand, as “Christ in majesty,” shown with the same precessional iconography that once accompanied the earlier precessional deities.
Figure 7.8. The central western gate at Chartres Cathedral holds Jesus as Cosmocrator exactly following the form of the ancient Mystery cult precessional iconography. The elliptical has been replaced by a vesica pisces, especially suited to the Gothic style of this early thirteenth-century cathedral.
On later icons Jesus was depicted as Lord of the World, the Pantocrator or cosmocrator (see figure 7.8). He was shown on a majestic throne, usually with his feet on an orb representing the earth, within a vesica pisces (instead of the elliptical of mystery cult iconography) and surrounded by the evangelists, these being openly associated with the fixed signs of the zodiac: Aquarius (the man), Leo (the Lion), Taurus (the ox), and Scorpio as an eagle.* Jesus came to be known in the early church as the fish because the Greek for fish ΙΧΘΥΣ (ichthys) is an acronym for Ίησοῦς Χριστός, Θεοῦ Υἱός, Σωτήρ, (Iēsous Christos, Theou Yios, Sōtēr), which translates into English as “Jesus Christ, God’s Son, Savior.” this iconic acronym was compatible with his being the Lord of the age of Pisces and a fisher of men. his mother was represented, within the first three gospels, as the constellation opposite to Pisces, Virgo the Virgin. “the Virgin” was a common motif within Greek myths of parthenogenesis (παρθένος, parthenos, meaning “virgin,” and γένεσις, genesis, meaning “birth”), applied when a god gives birth to a hero through a mortal woman or as when Athena emerged from the head of Zeus.
There needed to be sufficient cosmological compatibility for an agreed form of Christianity to be accepted by the adherents of the other important mystery schools as the single religion of Rome. Thus Jesus came to be born on Mithras’s birthday of December 25th, three days after the winter solstice. This must have reassured the initiates of the Mithraic mysteries, many of whom were Roman legionnaires or other people of position in the Roman empire. Many other signature features of Mithras were incorporated into Jesus as well, such as the virgin birth, his death at the age of thirty-three, and so on, so as to make him recognizable as a precessional hero, something not widely recognized today.
extracted from Sacred Number and the Lords of Time, chapter 7: From Egypt to Jesus pp 182-187 by Richard Heath (Inner Traditions 2014), available worldwide – see top right sidebar.
ABOVE: South rose window in Angers Cathedral of Saint Maurice. Stained glass by Andre Robin created after the fire of 1451. At centre, Christ of the Apocalypse, in glory (Revelation 21:5). At bottom, 12 radial windows showing 12 elders, crowned and playing musical instruments, rejoicing, indicating the remade world (the heavenly Jerusalem). At top, circular ends of 12 radial windows showing the 12 signs of the Zodiac, indicating the incarnation of Christ as a man on earth under the stars. Sequence from left to right has last 2 signs before first, i.e. Aquarius/Water-bearer (grey), Pisces/Fish (grey), Aries/Ram, Taurus/Bull (yellow), Gemini/Twins, Cancer/Crab (red), Leo/Lion (yellow), Virgo/Virgin, Libra/Scales, Scorpio/Scorpion, Sagittarius/Archer, Capricorn/He-goat (blue background) photo: Chiswick Chap for Wikipedia Foundation.
The Moon was the means by which a 12-fold harmony became established on the Earth. This harmonization occurred through the lengthening of the lunar month until 12 months fitted, in a special way, within the solar year. The excess of the solar year over the lunar year of 12 months became 7/19 lunar months, causing seven extra whole months over 19 years. This 19-year (235 month) Metonic period was well-known to the ancient world, and it leads to the remarkably short cycle for the pattern of similar eclipses, we call the Saros period, which repeat every 18 years (235 minus 12 months = 223 months). And eclipses are highly visible because the disk of the Moon has come to be the same angular size as the disk of the Sun, causing total solar eclipses.
Sheikh Lotfollah Mosque is one of the masterpieces of Iranian architecture that was built during the Safavid Empire, standing on the eastern side of Naqsh-i Jahan Square, Esfahan, Iran. Construction of the mosque started in 1603 and was finished in 1619. for Wikipedia by Phillip Maiwald
The Golden Mean (1.618034) or Phi (Greek letter) is renowned for the behavior of it’s reciprocal and square which are 0.618034 and 2.618034 respectively; that is, the fractional part stays the same. Phi is a unique singularity in number. While irrational, shown here to only 6 figures, it is its infinite fractional part which is responsible for Phi’s special properties.
The Fibonacci series: Found in sacred buildings (above), it is also present in the way living forms develop. Many other series of initial number pairs tend towards generating better and better approximations to Phi. This was most famously the Fibonacci series of 0 1 1 2 3 5 8 13 21 34 55 89 … (each right hand result is the simple sum of the two preceding numbers (0+0 = 1, 1+1=2, etc.
Rex Bear talked to me by Zoom on the 11th March; about the extensive background of my new book Sacred Geometry: Language of the Angels. Below is embedded from the Leak Project YouTube channel.
In the previous article, it was shown that the form of the trilithons, of five taller double sarsens approximating to a five-pointed star, matches the astronomical phenomena of the successive morning and evening stars, as Venus approaches Earth from the east and then recedes to the west as the morning pass. On approach, the planet rises in the evening sky and then dives into the evening sun and if one traces this motion it have the appearance of a horn. Venus shoots past the sun and reappears in the morning sky as the sun rises, creating another traced horn shape, symmetrical to the evening.
Figure 1
In support of the form of the trilithons resembling five successive double horns of Venus over 8 years, the width of the inner faces can also be interpreted as to their length being one megalithic rod, that is 2.5 megalithic yards. The distance between each pillar is ¼ of a megalithic rod so that, each inner face is divided by 4 of these units which units are 5/8ths of a megalithic yard, the ratio of the practical year of 365 days relative to the Venus synod of 584 days (365 / 584 = 5/8), the common factor between the two periods being 73 days.
The combined inner width of each pair of supports would therefore symbolize 8 x 73 days, or 584 days. Five of these pairs would then be 5 x 584 days, which equals 2920 days, this time period also being 8 x 365 days or eight practical years.
The inner surfaces lie on an ellipse which can be framed by a 5 by 8 rectangle whose sides are exactly the diameters required to form a day-counting circle for 365 day-inches (116.136 inches) and 584 day-inches (185.818 inches). The 365 day-inch circle (shown red and dashed in figure 4) has its centre in the center of the ellipse and so would have touched the two trilithons at A and B, at a tangent to their faces.
Figure 2 The Venus count of 584 day-inches (shown blue and dashed) was concentric to both the bluestone and sarsen circles, sitting inside of the bluestone circle.
The high degree of correlation between,
the five-fold form of the Venus synod and the five couplets of trilithons,
the summed inner widths of the trilithons as being 5 x 8 = 40 units of 73 days = 2920 days.
the out-rectangle of the inner ellipse being 8 by 5 and
the rectangle’s sides being the diameters of two circles of 584 inches and 365 inches, suitable for day-inch counting,
……. points to the 5-fold horseshoe of trilithons as a “temple” to the unique astronomical behavior of Venus in its synodic relationship to the solar year of 365 whole days.
No other compelling explanation exists, though many interpretions have been proposed such as
