The Stonehenge trilithons as synods of Venus

Figure 1 The five Trilithons of Stonehenge 3, highlighted in yellow within the Sarsen ring to express the five evening and morning star couplets which occur in eight practical years of 365 days. Plan from Megalithic Remains in Britain and Brittany, Oxford U.P. Central portion is fig.3, upside down to match the horseshoe of trilithons..

Inside the Sarsen ring of Stonehenge, there once stood a group of five trilithons, each made up of two uprights and a lintel stone, repeating the unique style of building found in the Sarsen ring. However the Trilithons were higher than the sarsens, punctuating an elliptical cup shape towards the midsummer sunrise, the axis of Stonehenge and its solstice-marking “heel” stone.

The Horns of Venus

The symbolism therefore involved (a) the Sun, (b) the number five of the trilithons while (c) expressed something involving close pairs. The dominant astronomical significance of the number 5 comes through the brightest planetary phenomenon of all, in which the planet Venus approaches the Earth, as Venus approaches from the east, preceding the Sun in the evening sky. It is often therefore called the Evening Star. Venus then shoots past the sun and reappears in the morning sky, again growing in brightness as the Morning Star.

Figure 2 The Horns of Venus when the evening and morning “stars” are visualised over an extended present moment of the Venus synodic period of 1.6 (⅝) practical years of 365 days. Fig. 2.2 of my Matrix of Creation, Inner Traditions, 2004 . (Drawn by Robin Heath.)

The original astronomers of the megalithic only saw the planetary system from the Earth and not (conceptually) from the Sun, as we do today. That is, they were naturally geocentric whilst the present worldview is heliocentric.

The astronomers could study cosmic time periods without arithmetic, through counting days, using a constant unit length to mark each single day adding up to a fixed length of days. Through such counting they would see 365 whole days between the solstices and (more reliably) between the equinoxes (when the Sun moves most rapidly on the horizon). It was also quite obvious that the horns of Venus were bracketing the Sun, just as the elliptical cup of the trilithons they erected at Stonehenge bracketed the solstitial sun, a sun which travels every day from east to west.

Five-ness in the Zodiac

If the earth was their viewpoint then the Zodiac of the sun’s path over the year could, like the Sarsen Circle, be seen as a circle of 365 days, and when the time between evening or morning stars was counted, the result was 584 days between the horn-like and brilliant manifestations of Venus. 584 days is 219 days more than 365 days. The sun has therefore moved 3/5th of a year forward and hence it became noticeable, as stated above, that 1/5th of the practical year is 73 days, the practical year 5 units of 73 days long whilst the Venus synod is 8 units of 73 days long. The Venus synod therefore has exactly 1.6 (8/5) practical years between its phenomena.

Figure 3 The Horns of evening (E) and morning (M) stars shown upon the circle of the Zodiac, each successive pair 3/5ths advanced within the solar year. [from Joachim Schultz, Movement and Rhythms of the Stars, Floris, 1986, fig 88]

The form of Venus upon the Zodiac therefore describes a 5-fold pentacle star. This would later make the number 5 and all of its properties, sacred by association to the planet Venus who became the leading goddess of the Ancient Near East. The Golden Proportion or Mean (1.618034…), often seen in Classical and Neoclassical architecture, has the number 5 as its root. Also, many living bodies share forms derived from the number 5, or of the Fibonacci approximations to the Golden Mean.

The Fibonacci series (of 1, 1, 2, 3 ,5 ,8 ,13 ,21, …) has successive numbers that sum to give the next number, and each new ratio, between successive numbers in the series, yields an ever-better approximation to the Golden Mean: (2, 1.5, 1.6, 1.6, 1.617, …).

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Fibonacci in Jupiter’s 12-fold Heaven

The Fibonacci series is an ideal pattern, widely found within living systems, in which the present magnitude or location of something is the product of two previous magnitudes or locations of it. The next magnitude will again be the sum of the last two magnitudes in what is, an algorithmic pattern producing approximation to the Golden Mean (designated by the Greek letter φ,’phi’). As the series gets larger, the ratio (or proportion) between successive magnitudes will better approximate the irrational value of φ = 1.618033 … – which has an unlimited fractional part whilst the virtue of the Fibonacci numbers within the Series is that they are integers forming rational fractions.

Jupiter taken by the Wide Field Hubble Telescope by NASA, ESA, and A. Simon (Goddard Space Flight Center)
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Venus: Planet of Harmony: part 1

Venus has played a strong role in mankind’s imagination, being a bright object in the sky in the evening sky and then the morning sky, whilst also viewed as the primary female goddess of the Ancient Near East. To recent astronomers, she is covered in impenetrable clouds, whilst the invention of radar revealed a rocky sister planet to Earth but with no life as we know it. It is perennially associated with the pentagon, because its synodic periods draw out a pentagon within the zodiac in 8 solar years. The reasons it does so are intriguing to say the least, and we explore the unusual numerical characteristics of Venus seen from Earth.

(adapted from a 1994 text, using 2020 hindsight)

The Venus cycle of eight years in which a morning or evening star has five manifestations, dividing the zodiac into a pentagram (Figure 1.6 Sacred Number and the Origins of Civilization)

Part 1: A Nearly Golden Mean

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John Michell’s Perpetual Choirs

15 April 2017 Views: 10450

In 1972  John Michell inferred an enormous ten-sided form nearly sixty three miles across, in which important historical and neolithic sites had been intended as ten vertices around an ancient centre, signified by a Whiteleafed Oak.

Figure 1 The Decagon of Perpetual Choirs, anchored upon Stonehenge, the Solstice sunrise in summer and set in winter

Michell had previously [1991 now The Sacred Center, 2009] developed the idea of the enchantment of the land as an actual practice; land areas were enchanted by using a geometrical pattern integrated with myths and ritual calendars, enacted within that framework. This  was long before, around 930, such a pattern was being established of thing-places in Iceland. The idea of thing places is still find-able in English names such as Goring, the centre northeast of Stonehenge, where the summer solstice sun arose.

“Perpetual choirs were a Celtic institution, from pagan into early Christian times. In Iola Morganwg’s Triads of Britain, translated from Welsh, it is stated that ‘in each of these three choirs there were 24,000 saints; that is,
there were a hundred for every hour of the day and the night in rotation, perpetuating the praise and service of God without rest or intermission.’ ”  – The Measure of Albion

“Three of the choirs were located at Stonehenge, at Glastonbury, and near Llantwit Major in Wales. Others appear to have been at Goring-on- Thames and at Croft Hill in Leicestershire, a traditional site of ritual,  legal, and popular assemblies.” The Dimensions of Paradise


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