Only two type-D stone circles (see figure 3) are
known to exist, called Roughtor (in Cornwall) and Seascale (in Cumbria). Seascale
is assessed below, for the potential this type of flattened circle had to
provide megalithic astronomers with a calendrical observatory. Seascale could also
have modelled the harmonic ratios of the visible outer planets relative to the
lunar year. Flattened to the north, Seascale now faces Sellafield nuclear
reprocessing plant (figure 1).
Stone Age astronomical monuments went through a
series of evolutionary phases: in Britain c. 3000 BC, stone circles became
widespread until the Late Bronze Age c. 1500 BC. These stone circles manifest
aspects of Late Stone Age art (10,000 – 4500 BC) seen in some of its geometrical
and symbolic forms, in particular as calendrical day tallies scored on bones.
In pre-literate societies, visual art takes on an objective technical function,
especially when focussed upon time and the cyclic phenomena observed within
time. The precedent for Britain’s stone circle culture is that of Brittany,
around Carnac in the south, from where Megalithic Ireland, England and Wales probably
got their own megalithic culture.
Readers of my article "Megalithic application of numeric time differences" will be familiar with the finding that in 32 lunar months there are almost exactly 945 days, leading to the incredibly accurate approximation (one part in 45000!) for the lunar month of 945/32 = 29.53125 days.
In the previous article on Seascale I noticed that 36 lunar months (three solar years) divided by 32 lunar months is the Pythagorean tone of 9/8. This led me to important thoughts regarding the tuning matrix of the Moon within the periods of the three outer planets, since the synod of Jupiter divided by the lunar year of 12 lunar months is the same tone, the tone that on “holy mountains” of Ernest G. McClain’s ancient tuning theory. Such tones are only found between two tonal numbers separated by two perfect fifths of 3/2, since 3/2 x 3/2 = 2.25 which, normalised to the octave of 1 to 2, is 1.125 or 9/8.
My crucial entré to planetary harmony came when I noticed musical ratios in the synodic time periods of Jupiter and Saturn relative to the lunar year. This approach differs from the norms for “harmonies of the spheres” (a.k.a. Musica Universalis) which are geometrical and spatial, rather than temporally harmonic.
The planetary harmony I found within synodic periods became the subject of my new book The Harmonic Origins of the World (pub. 2018). These synodic ratios have been parts of my work from c. 2000, then expressed as “matrix diagrams” (Matrix of Creation, figure 2 below). In my new book, I show how ancient tuning theory seems to have presented the same information, in a different type of matrix (see figure 4).
Below I connect the outer planets using two additional (and useful) kinds of diagram, the right-angled triangle (figure 1) and the Pentad (figure 5), the latter developed in the 20th century within a discipline called Systematics.