Category: Prehistoric

5000-2000 BC: Quantifying astronomical time and geophysical space, using alignment, counting and geometry.

Multiple Squares to form Flattened Circle Megaliths

above: a 28 square grid with double, triple (top), and four-square rectangles (red),
plus (gray again) the triple rectangles within class B

Contents

1.     Problems with Thom’s Stone Circle Geometries.

2.     Egyptian Grids of Multiple Squares.

3.     Generating Flattened Circles using a Grid of Squares.

ABSTRACT

This paper reviews the geometries proposed by Alexander Thom for a shape called a flattened circle, survivors of these being quite commonly found in the British Isles. Thom’s proposals appear to have been rejected through (a) disbelief that the Neolithic builders of megalithic monuments could have generated such sophistication using only ropes and stakes and (b) through assertions that real structures do not obey the geometry he overlaid upon his surveys.

1. Problems with Thom’s Stone Circle Geometries

Almost all of the different types of megalithic building[1] were evolved in the fifth millennium (5,000-4,000 BC), in the area around Carnac on southern Brittany’s Atlantic coast. This includes the many circles built later in the British Isles. When Alexander Thom surveyed these [2] he found them to be remarkably technical constructions, involving sophisticated geometrical ideas. It was only in the mid-seventies, when Thom came to Carnac, that the same geometries were found applied within Carnac’s stone circles which soon afterwards were found to precede those of Britain by at least a thousand years.

After an initial public and academic enthusiasm for Thom’s work[3] British archaeologists chose, with very few exceptions, to refute the entire notion that the Neolithic could have been constructing such technical geometries. As far as our History would have it, such geometries could only have been drawn after the development[4] of a functional mathematics which culminated in Euclid’s classical work on analytic geometry, Elements. Thom’s use of geometry was therefore anachronistic and Thom surely mistaken. For archaeologists to accept Thom’s geometries would have required a revolution in thinking about the megalithic; for which there was little appetite. It was easier to work instead to falsify Thom’s hypothesis with a new type work that argued against Thom’s arguments for geometry, a megalithic yard and astronomical alignments, concluding instead, for example, that “stone circles were distorted so that the audience could see all the rites; and the principals could occupy visually focal positions facing the spectators.”, clearly indicating the still current “comfort zone” within archaeology, in which unquestioned ideas about superstitious rites are used to supersede Thom’s accurate and well founded proposals, of a megalithic technical capability. The problem with inventing ancient rites as the primary purpose for stone circle building is that, whilst refuting Thom’s proposal, it cannot itself ever be proved in a scientific sense; Talk of rites as being the reason for stone circle construction is not delivering an evidence-based scientific proof and Thom’s proposals were not disproved by such ideas.

Figure 1 Thom’s site plans of two of Britain’s finest surviving Flattened Circles, above: Castle Rigg (Type A) and below: Long Meg (Type B). Castle Rigg’s axis of symmetry points (within a degree) to Long Meg, on a bearing which follows the diagonal of a two by one (east by north) rectangle, as if (despite some Lake District mountains in between) the two sites were related when built and hence contemporaneous. site plans by Alexander Thom.

Unlike many of his detractors, Thom surveyed stone circles and through this activity was to create the first (and only) extensive corpus of stone circle site plans. Through this he left a vitally important legacy by preserving their layout against further natural and man-made degradation. The geometrical overlays and typology found within Thom’s site plans have been dismissed as unlikely, on spurious technical grounds [*], usually by people with insufficient technical background in the technical issues within his work. Thom’s later work in Carnac has proven critical in providing further alternative explanations as to how the megalithic actually constructed these stone circle geometries without Euclidian geometrical methods, using instead the system of multiple squares found to be in use in the megalithic structures around Carnac[5]; this in the late 1970’s and after Thom’s surveying seasons earlier in that decade[6].

We will later show that such a system of multiple squares would have eliminated the use of a “compass” or arcing of ropes which Thom proposed to explain how different stone geometries were achieved. Instead, a grid of squares can locate the few key points on the perimeter of a flattened circle. A design method based upon a grid of multiple squares would eliminate the main objection to Thom’s proposal of: Euclid-like geometrical process was used to build stone circle geometries.

Figure 2 the geometries of Flattened Circles (left to right) called Types A, B and D

In the case of the Type A (flattened) stone circles proposed by Thom, I demonstrate below that accepting Thom’s interpretation of its shape is a necessary stepping stone to understanding how this could be achieved by a pre-arithmetic megalithic of the fifth millennium BC.

2. Egyptian Grids of Multiple Squares

The monuments of Carnac demonstrate the use of multiple squares and, because of their antiquity –one to two thousand years before the Pyramid Age – it appears likely that the later use of multiple squares in Dynastic Egypt demonstrates how such a technique could function as a pre-arithmetical geometrical framework. By the Middle Kingdom, the Egyptians had put stylus to papyrus to describe their mathematics in a document called the Rhind Manuscript. This recorded a system of geometry based around pre-Ptolemaic ideas, which included the use of a grid of multiple squares.

At Carnac, the angular extremes of sunrise and sunset, on the horizon during the year, followed the lesser angle of a 3-4-5 triangle whilst in the Rhind Manuscript one finds a “canevas” [*] or grid-based diagram, in which both of the acute angles of this 3-4-5 triangle, held primary to the Egyptians, are shown to be generated by the summed diagonal angles of either; two double squares or two triple squares. The resulting grid is then 14 squares by 14 squares, and this is exactly the grid upon which the Type A stone circles can most easily be constructed, if one excludes the use of ropes and stakes to achieve this design.

Figure 3 of a Rhind diagram showing evolution of a 3-4-5 triangle within a 14 by 14 grid of squares

Such a use of multiple squares, as a template on which to construct a stone circle geometry, raises the question of the side length used, since they all need to be identical and so the ability to create identical lengths would certainly suggest an accurate system of measures, or metrology, was in use. This leads into another bitter dispute, concerning the existence of Alexander Thom’s found measure, the megalithic yard, as being a primary unit of measure maintained accurately by the megalithic builders throughout the British Isles and Brittany. Thom did not know enough about historical metrology to see that the megalithic yard might well have been accompanied by systematic variations applied to its length or indeed, that other measures might also have been evolved. His proposal of an accurate megalithic yard, like that of exact stone circle geometries, also came to be rejected by archaeologists, who themselves knew very little about historical metrology[7] [*], pointed to cases where Alexander Thom’s hypothesis of a singular measure in use within megalithic Britain was muddied by the presence also of other standard units of measure.

3. Generating Flattened Circles using a Grid of Squares

One of the key objections for the megalithic concerning ropes to construct flattened circles is the necessity for measured radii and their centres. If Thom’s Type A or Type B flattened circles were instead constructed using a grid of squares, then some of the key points where a flattened circle’s radius of curvature changes (of which there are only four) must be points of intersection within the grid . This became clear through considering the Type A geometry and specifically its implicit double triangles, as possible right triangles.

Robin Heath has already noted[8] that these triangles are close to the invariant ratio, in their longest sides, of the (lengths of) time found between the eclipse year and the solar year, and this ratio is also to be found between the solar year and the thirteen lunar month year.

The baseline of such a right triangle is found to be 6/7 of the diameter MN of the Type A flattened circle and this implies, given the left-right symmetry of this form, that this key point at the end of the hypotenuse (where the radius of curvature changes) would sit on the corner of a grid point within a 14 by 14 square grid as a length equal to twelve grid units. The forming circle used by Thom, of diameter MN, would then inscribe the grid square.

Figure 4 Type A drawn on a 14 square grid

We also know, from Carnac, that the astronomers used a triple square to frame this right triangle which then relates the periods of eclipse and solar year. Since the vertical position of the key point is 12 units, then to left and right the key points either end of the central flattened arc are 4 units, either side of the central axis. To right and left of these triple squares can be found two four squares, that express with perfect accuracy the relationship of the lunar year to the solar year, as diagonal. These four squares have a baseline of twelve grid squares which exactly matches the number of lunar months within the lunar year.

One can then see within the 14 square grid that many multiple squares can be found, for example the triple squares either side of the vertical centreline have two four-square rectangles to the right and left (shown in red below, the ripple-squares being blue). These leave a row of 14 by 2 squares at the top which can be seen as a seven-square, the rectangle whose diagonal to side alignment is found between a double and a triple square.

Conclusions

Clearly there are alternative ways of generating a flattened circle geometry that using stakes and ropes (geometry as we know it). We know that the Egyptians used grids within square grids of constant unit size and that multiple square rectangles were clearly used at Carnac in the megalithic (c. 4000 BC) before dynastic Egypt began, and by the time of the Rhind papyrus (Middle Kingdom) a system for containing irrationality of numbers had developed a school using grids, and what could be done with them. Ever since the Ancient world, this practice of “modularizing” buildings along rectangular or triangular “lines” became a key practical method outside of algebraic maths. It is therefore highly likely that grids gave the megalithic and later builders a canvas upon which to design and achieve accurate geometries not then rectalinear.

Some other resources.

More on the practical models of such early practices see my book Sacred Geometry: Language of the Angels. For more on flattened and multiple squares, please see chapter two of Sacred Number and the Lords of Time.

see also my youTube video of a talk at Megalithomania in 2015.

[1] ] Megalithic building types include standing stones, stone circles, stone rows, dolmen, chambered and other cairns.

[2] between 1934 and 1978

[3] during the late 1960s and early 1970s

[4] over two thousand miles away in the ancient near east

[5] [AAK and Howard Crowhurst]

[6] His survey can be found

[7] Historical metrology is a scattered remnant of the metrological system employed within the British stone circles and also within the Egyptian pyramids. It is this latter application of metrology in the ancient near east which spread metrology, though such an idea has also been opposed by archaeologists working in the near east.

[8] Sun, Moon and Stonehenge by Robin Heath 1998

Astronomical Rock Art at Stoupe Brow, Fylingdales

first published 28 October 2016

I recently came across Rock Art and Ritual by Brian Smith and Alan Walker, (subtitled Interpreting the Prehistoric landscapes of the North York Moors. Stroud: History Press 2008. 38.). It tells the story: Following a wildfire of many square miles of the North Yorkshire Moors, thought ecologically devastating, those interested in its few decorated stones headed out to see how these antiquities had fared.

Background

Fire had revealed many more stones carrying rock art or in organised groups. An urgent archaeological effort would be required before the inevitable regrowth of vegetation.


Figure 1 Neolithic stone from Fylingdales Moor | Credit: Graham Lee, North York Moors National Park Authority.

A photo of one stone in particular attracted my attention, at a site called Stoupe Brow (a.k.a. Brow Moor) near Fylingdales, North Yorkshire.

Continue reading “Astronomical Rock Art at Stoupe Brow, Fylingdales”

Chalk Drums to Symbolise Pi and Layout Monuments

December 2016 in numbersciences.org Hits: 3872

Three Folkton Chalk Drums found in a young girl’s grave
©Trustees of the British Museum ]

Perhaps as early as 4000 BC, there was a tradition of making chalk drums. Three highly decorated examples were found in a grave dated between 2600 and 2000 BC in Folkton, northern England and one undecorated chalk drum in southern England at Lavant in an upland downs known for a henge and many other neolithic features discovered in a recent community LIDAR project. The Lavant LIDAR project and the chalk drum found there are the first two articles in PAST, the Newsletter of The Prehistoric Society. (number 83. Summer 2016.) It gives the height and radius of both the Folkton drums 15, 16 and 17 and the Lavant drum, presenting these as a graph as below.


Adapted graphic showing diameters in inches (above in red) as well as mm, and the possible PI relationships for the chalk drum diameters, key to the fact that such drums can be rolled. In line with megalithic numeracy, the simple yet accurate value of 22/7 for PI is shown.
Continue reading “Chalk Drums to Symbolise Pi and Layout Monuments”

Music of the Olmec Heads

Seventeen colossal carved heads are known, each made out of large basalt boulders. The heads shown here, from the city of San Lorenzo [1200-900 BCE], are a distinctive feature of the Olmec civilization of ancient Mesoamerica. In the absence of any evidence, they are thought to be portraits of individual Olmec rulers but here I propose the heads represented musical ratios connected to the ancient Dorian heptachord, natural to tuning by perfect fifths and fourths. In the small Olmec city of Chalcatzingo [900-500BCE] , Olmec knowledge of tuning theory is made clear in Monument 1, of La Reina the Queen (though called El Rey, the King, despite female attire), whose symbolism portrays musical harmony and its relationship to the geocentric planetary world *(see picture at end).

* These mysteries were visible using the ancient tuning theories of Ernest G. McClain, who believed the Maya had received many things from the ancient near east. Chapter Eight of Harmonic Origins of the World was devoted to harmonic culture of the Olmec, the parent culture of later Toltec, Maya, and Aztec civilizations of Mexico.

Monument 5 at Chatcatzinga has the negative shape of two rectangles at right angles to each other, with radiating carved strips framing the shape like waves emanating from the space through which the sky is seen. The rectangles are approximately 3 by 5 square or of a 5 by 5 square with its corner squares removed.

Monument 5 at Chalcatzingo is a framed hollow shape. The multiple squares have been added to show that, if the inner points are a square then the four cardinal cutouts are described by triple squares.

The important to see that the Olmec colossal heads were all formed as a carved down oval shape, that would fit the height to width ratio of a rectangular block. For example, three heads from San Lorenzo appear to have a ratio 4 in height to 3 in width, which in music is the ascending fourth (note) of our modern diatonic (major or Ionian) scale.

Even narrower is the fourth head at San Lorenzo, whose height is three to a width of two. This is the ratio of the perfect fifth, so called as the fifth note of the major scale.

And finally (for this short study), the ratio 6/5 can be seen in Head 9 of San Lorenzo and also at La Venta’s Monument 1 (below).

MUSICAL RATIOS

If the heads were conceived in this way, the different ratios apply when seen face on. The corners of the heads were probably rounded out from a supplied slab with the correct ratio between height and width. The corners would then round-out to form helmets and chins and the face added.

And as a group, the six heads sit within in a hierarchy of whole number ratios, each between two small numbers, different by one. At San Lorenzo, Head 4 looks higher status than Head 9 and this is because of its ratio 3/2 (a musical fifth or cubit), relative to the 6/5 of Head 9. We now call the fifth note dominant while the fourths (Heads 1, 5 and 8) are called subdominant. These two are the foundation stones of Plato’s World Soul {6 8 9 12}, within a low number octave {6 12} then having three main intervals {4/3 9/8 4/3}* where 4/3 times 9/8 equals 3/2, the dominant fifth.

*Harmonic numbers, more or less responsible for musical harmony, divide only by the first three primes {2 3 5} so that the numbers between six and twelve can only support four harmonic numbers {8 9 10}

San Lorenzo existed between 1200 to 900 BCE, and in the ancient Near East there are no clear statements for primacy of the octave {2/1}, nor was it apparent in practical musical instruments before the 1st Millennium BCE, according to Richard Dumbrill: Music was largely five noted (pentatonic) and sometimes nine-noted (enneadic) with two players. However, the eight notes of the octave could instead be arrived at, in practice, by the ear, using only fifths and fourths to fill out the six inner tones of a single octave; starting from the highest and lowest tones (identical sounding notes differing by 2/1). A single musical scale results from a harp tuned in this way: the ancient heptachord: it had two somewhat dissonant semitone (called “leftovers” in Greek), intervals seen between E-F and B-C on our keyboards (with no black note between). Our D would then be “do“, and the symmetrical scale we today call Dorian.

The order of the Dorian scale is tone, semitone, tone, tone, tone, semitone, tone {T S T T T S T} and the early intervals of the Dorian {9/8 S 6/5 4/3 3/2} are the ratios also found in these Olmec Heads*. The ancient heptachord** could therefore have inspired the Olmec Heads to follow the natural order tuned by fourths and fifths.

*I did not consciously select these images of Heads but rather, around 2017, they were easily found on the web. Only this week did I root out my work on the heads and put them in order of relative width.

**here updated to the use of all three early prime numbers {2 3 5} and hence part of Just Intonation in which the two semitones are stretched at the expense of two tones of 9/8 to become 10/9, a change of 81/80.
(The Babylonians used all three of these tones in their harmonic numbers.)

To understand these intervals as numbers required the difference between two string lengths be divided into the lengths of the two strings, this giving the ratio of the Head in question. The intervals of the heptachord would become known and the same ratios achieved within the Heads, carved out as blocks cut out into the very simple rectangular ratios, made of multiple squares.

The rectangular ratio of Head 4, expressed within multiple squares as 3 by 2.

The early numbers have this power, to define these early musical ratios {2/1 3/2 4/3 5/4 6/5}, which are the large musical tones {octave fifth fourth major-third minor-third}. These ratios are also very simple rectangular geometries which, combined with cosmological ideas based around planetary resonance, would have quite simply allowed Heads to be carved as the intervals they represented. The intervals would then have both a planetary and musical significance in the Olmec religion and state structure.

Frontispiece to Part Three of Harmonic Origins of the World: War in Heaven
The seven caves of Chicomoztoc, from which arose the Aztec, Olmec and
other Nahuatl-speaking peoples of Mexico. The seven tribes or rivers of the old world are here seven wombs, resembling the octaves of different modal scales, and perhaps including two who make war and sacrifice to overturn/redeem/re-create the world.

A Musical Cosmogenesis

Everything in music comes out of the number one, the vibrating string, which is then modified in length to create an interval. Two strings at right angles, held within a framework such as Monument 5 (if other things like tension, material, etc.were the same) would generate intervals between “pure” tones. However Monument 5 is not probably symbolic but rather, it was probably laid flat like a grand piano (see top illustration). Wooden posts could hold fixings, to make a framework for one (or more) musical strings of different length, at right angles to a reference string. This would be a duo-chord or potentially a cross-strung harp. Within the four inner points of Monument 5 is a square notionally side length. In the image of Monument 1, and variations in height and width from the number ONE were visualized in stone as emanating waves of sound.

The highest numbers lead to the smallest ratio of 6/5 then the 6/5 ratio of Head 9 can be placed with five squares between the inner points and the 3/2 ratio of Head 2 then fills the vertical space left open within Chalcatzingo’s Monument 5.

Monument 5’s horizontal gap can embrace the denominator of a Head’s ratio (as notionally equal to ONE) so that the inner points define a square side ONE, and the full vertical dimension then embraces the 3/2 ratio of the tallest, that of Head 2.

It may well be that this monument was carved for use in tuning experiments and was then erected at Chalcatzingo to celebrate later centuries of progress in tuning theory since the San Lorenzo Heads were made. By the time of Chalcatzingo, musical theory appears to have advanced, to generate the seven different scales of Just intonation (hence the seven caves of origin above), whose smallest limiting number must then be 2880 (or 4 x 720), the number presented (as if in a thought bubble) upon the head of a royal female harmonist (La Reina), see below. She is shown seeing the tones created by that number, now supporting two symmetrical tritones. The lunar eclipse year was also shown above her head (that is, in her mind) as the newly appeared number 1875, at that limit. This latter story probably dates around 600 BCE. This, and much more besides, can be found in my Harmonic Origins of the World, Chapter Eight: Quetzcoatl’s Brave New World.

Figure 5.8 Picture of an ancient female harmonist realizing the matrix for 144 x 20 = 2880. If we tilt our tone circle so that the harmonist is D and her cave is the octave, then the octave is an arc from bottom to top, of the limit. Above and below form two tetrachords to A and D, separated by a middle tritone pain, a-flat and g-sharp. Art by by Michael D Coe, 1965: permission given.

Double squares: Venus and the Golden Mean

The humble square, with side length equal to one unit, is like the number one. It’s area is one square unit and, when we add another identical square to one side, the double square appears. Above right the Egyptian Djed column is shown within a double square. The Djed is the rotating earth which the gods and demons have a tug of war over. This is also a key story in the Indian tradition, called The Churning of the Oceans, where the churning creates both the food of the gods (soma) and every wonderful thing that emerges upon the Earth. In this, the double square symbolized the northern and southern hemispheres of the Earth. The anthropomorphic form Djed shown above has elbows indicative of the Double square.

Figure 1 The churning of the ocean (Samudra Manthan in Sanskrit)

The Djed appears to be the general principle of rotation of, and apparent motion around, the earth.

The god Isis is (as a planet) Venus and is shown (fig.2) offering up the sun disk: another Djed is below, with her Ankh symbol of Life atop the Djed, now having female arms . This sun most probably points to the practical year as 365 days which is 5/8 of the Venus synod of 584 days. (This ratio of 1.6 is the sixth note of the octave 1 to 2.)

In figure 2, two female attendants provide the duality which one might take to be her two famous manifestations of (firstly) the brightest Evening Star, as the sun goes down, and then (after that) the brightest Morning Star before the sun rises. Above there is duality again with three baboons either side of the sun, perhaps representing the six visible planets: Moon, Venus and Mercury: Jupiter, Saturn, Mars and their “tug of war”.

Figure 2 The creation of Horus-Ra from out of an ankh with female arms atop a djed. from Budge 1899, also fig. 7.8 of Richard Heath, The Harmonic Origins of the World.

The numbers 5 and 8 are Fibonacci approximations {1 2 3 5 8 13 21 34 …} to the golden mean, a transcendent number {1.618034…} which rational numbers can only approximate. Venus and the Earth have clearly settled into orbits around the sun resonant with Fibonacci ratios since the Venus orbital period (224.701 days) is 8/13 of the solar year. And it is this fact that eventuates in what we see on Earth, namely the manifestations of Venus every 8/5 of a practical year. of 365 days.

Figure 3 The double square, its in-circle and out-circle manifesting golden rectangles around itself.

In this post, I developed a result sent to me, that a square drawn within the upper hemisphere of a circle must define a golden mean rectangle either side from its height of 1 and the remaining radius of 0.618034… and so it can be seen that the divine principle of the Golden Mean emanates from the double square, either side of each square, when the double square is embraced by a circle drawn from its center. Obviously, on Earth and between orbits (of Venus and Earth), the Golden Mean (also called Phi) has to be approximated by whole number ratios but the principle is present within the geometry and its out-circle. Schwaller de Lubicz thought the dynastic Egyptians held the Golden Mean to be “the fundamental scisson” (literally “scissor cut”) in the range one to two and, its reciprocal can be seen to share the portion over 1 (figure 3).

One can see that geometry and the early numbers would have been seen as two aspects of what we call space and time, in which “things” are separate from each other in Existence but somehow conjoined within Eternity. What we call order is in fact an achievement of harmony made possible by the arranging and fitting of parts to form a coherent whole. It is this insight which gave meaning to their study of geometry and numbers from the prehistoric onwards, into the recorded history of early civilizations. The meaning for Life on Earth became encoded within ancient and prehistoric symbols, whose geometrical and numerical language of expression went to the heart of phenomena.

Story of Three Similar Triangles

first published on 24 May 2012,

Figure 1 Robin Heath’s original set of three right angled triangles that exploited the 3:2 points to make intermediate hypotenuses so as to achieve numerically accurate time lengths in units of lunar or solar months and lunar orbits.

Interpreting Lochmariaquer in 2012, an early discovery was of a near-Pythagorean triangle with sides 18, 19 and 6. This year (2018) I found that triangle as between the start of the Erdevan Alignments near Carnac. But how did our work on cosmic N:N+1 triangles get started?

Robin Heath’s earliest work, A Key to Stonehenge (1993) placed his Lunation Triangle within a sequence of three right-angled triangles which could easily be constructed using one megalithic yard per lunar month. These would then have been useful in generating some key lengths proportional to the lunar year:  

  • the number of lunar months in the solar year,
  • the number of lunar orbits in the solar year and 
  • the length of the eclipse year in 30-day months. 

all in lunar months. These triangles are to be constructed using the number series 11, 12, 13, 14 so as to form N:N+1 triangles (see figure 1).

n.b. In the 1990s the primary geometry used to explore megalithic astronomy was N:N+1 triangles, where N could be non-integer, since the lunation triangle was just such whilst easily set out using the 12:13:5 Pythagorean triangle and forming the intermediate hypotenuse to the 3 point of the 5 side. In the 11:12 and 13:14 triangles, the short side is not equal to 5.

Continue reading “Story of Three Similar Triangles”