Recent analysis of animal bones within Durrington Walls indicated, to the archaeologists involved, that people had travelled there from all over the British mainland, along with animals then eaten inside the henge. But what would these people be doing there? It had earlier been suggested that an elite responsible for building Stonehenge lived in a wooden roundhouse within the henge ( see figure 1). So, people may have come from elsewhere to help the building works now found between Stonehenge and Avebury.
More recently, pits have been found  within a circular strip that I notice lies between 3168 feet and 4038 feet from Durrington Walls, a boundary 864 feet wide. The pits may contain the material remains of the building elite and perhaps of those workers who died, functioning like nearby barrows but vertically.
This post aims to explain why this might have been done according to a significant geometrical pattern. In the megalithic, numbers played an active role and this perhaps inspired the myth of Atlantis recorded by Plato – the classical Greek writer who transmitted the ancient notion that numbers had a causative role in forming the “world soul”, rather than our usage for number: a means to quantify things within civilized societies or laws of nature.
The ancient notion of tuning matrices, intuited by Ernest G. McClain in the 1970s, was based on the cross-multiples of the powers of prime numbers three and five, placed in an table where the two primes define two dimensions, where the powers are ordinal (0,1,2,3,4, etc…) and the dimension for prime number 5, an upward diagonal over a horizontal extent of the powers of prime number 3. Whilst harmonic numbers have been found in the ancient world as cuneiform lists (e.g. the Nippur List circa 2,200 BCE), these “regular” numbers would have been known to only have factors of the first three prime numbers 2, 3 and 5 (amenable to their base-60 arithmetic). Furthermore, the prime number two would have been seen as not instrumental in placingwhere, on such harmonic matrices, each harmonic number can be seen on a harmonic matrix (in religious terms perhaps a holy mountain), as
“right” according to its powers of 3.
“above” according to its powers of 5.
The role of odd primes within octaves
An inherent duality of perspective was established, between seeing each regular number as a whole integer number and seeing it as made up of powers of the two odd two prime numbers, their harmonic composition of the powers of 3 and 5 (see figure 1). It was obvious then as now that regular numbers were the product of three different prime numbers, each raised to different powers of itself, and that the primes 3 and 5 had the special power of both (a) creating musical intervals within octaves between numerical tones and (b) uniquely locating each numerical tone upon a mountain of numerical powers of 3 and 5.