Goddess of Time in the Sky

Explores the relationship between ancient astronomical practices and megalithic cultures, highlighting how early societies understood time through celestial cycles. It contrasts matrilineal hunter-gatherer societies with later patriarchal agricultural ones, suggesting that megalithic structures reflect deep, sacred knowledge of the cosmos and have influenced subsequent architectural designs across civilizations.

Above: (center) The form of the Minoan “horns of consecration”, on the island of Crete, followed (outside) the form of the manifestations of Venus in her synodic period.

Time appears to march on at what seems a constant rate. In this way time has two opposite directions, the somewhat known past and the largely unknown future. However, events in the sky repeat and so they can be predicted as seasons within a year or lunar phases within a month. Even before modern calendars, stone age humans counted the days in a month to understand recurrence of the menstrual period and know when moonlight would be strong again at night.

Figure 1 (above) L’Abri Blanchard Tally Bone 30,000 BP with (below) Alexander Marshack’s interpretation, showing marks as days shaped to express the moon’s phase, over 59 whole days or two lunar months.

Two months happen to equal 59 whole days: a lunar month is 29.53 days long, just over twenty-nine and a half, which is half of 59. In the artifact shown on the top of figure 1, each day was carved upon a flat bone, each mark appearing varied in shape and depth to show the moon’s changed phase on a given day. The flat bone enabled a cyclic shape to be used, of 59 marks, which “ate its own tail”: showing there were always the same number of days in two “moons”. This sameness emerges from dividing the recurring time of the solar day into the time of the month’s phases over two months, to give the recurring whole number of 59, then forever useful as a knowledge object.

The solar day is clearly the same duration every day and two lunar months clearly repeat twice after 59 days. But our modern life is the extended straight line of day numbers belonging to unequal months of the sun so that the loops that recur are lost in the framework of man-made time. The stone age “lesson from nature” was, that events in the sky largely run according to a definite schedule along cyclic paths, most of these being along the path of the sun, along which the sun, moon, and planets follow their own cyclicities, seen from the earth. This reliable cyclicity shaped our notion of an unchanging realm of Eternity, different to Life upon the Earth as our ever-developing present moments within Existence. In this way, knowledge from the sky came to be considered sacred, and interconnected through numbers when counted as days and months, especially through counting the often identically sized discs of the Sun and Moon and their respective years.

While astronomy started as a stone age hobby it later became a tribal science quite unlike our own astrophysics. Only latterly could farmers support city specialists that would assimilate this prehistoric science, by forming religious sciences and cosmologies in the East, of Egypt, Babylonia, India, China and so on. But millennia later, the 16th century altogether discarded this geocentric view-from-the-Earth and adopted a new heliocentric view of a solar system:  this enabled the planetary orbits of the sun to be clearly seen as mathematical ellipses by Kepler, a system soon seen to be held together by Newton’s newly intuited force called gravity, of the central sun’s large mass.

If counting the moon had synchronised both female fertility and male hunting then this shaped the format we call the hunter-gatherer, who foraged for food before there was farming. Their women formed a naturally less-mobile core for the tribe and its children, the men hunting over extensive ranges. All adults were used to working together for the greater good and, since they were in-common descended from the women, so a matrilineal society was an effective format for problems requiring larger groups.

Stone age art of the goddess seems to have been very varied and geometrical (see Language of the Goddess by Marija Gimbutas). In Sacred Geometry in Ancient Goddess Cultures, myexperience in analysing megalithic sites had caused me to question whether the megalithic monuments were the work of Neolithic or New Stone Age farming revolution moving west from the Middle East where it started. Because the farming revolution was only slowly advancing through central Europe towards the Atlantic coast (see figure 2) it was pretty much avoiding the Mediterranean. For a start, the megalithic revolution was largely taking place within the islands and hinterlands of the Mediterranean and Atlantic Coast of Europe, between 5000BC and 2500BC. It was therefore much more likely to have have been carried out by the late middle stone age (Mesolithic) people, before the farming way-of-life arrived. And the indigenous culture of old Europe was mesolithic, well established and centred around women, foraging, and matrilineage (using your mother’s name) rather than the neolithic norm, led by men, farming and patrilineage (using your father’s name).

Figure 2 The journey of the Neolithic from the Middle East (see colored circles), via central Europe, was in stark contrast to the dating (dark circles) of megalithic sites on the Mediterranean and Atlantic coasts: And the neolithic were patriarchal farmers using the seasonal year while the late middle stone age were matriarchal foragers, truly interested in the sacred time world of the celestial objects, and hence building and using the megalithic observatories. [Globe by Google Earth, data from Barry Cunliffe and Bettina Schulz Paulsson]. Figure 1.1 in Sacred Geometry in Ancient Goddess Cultures.

The Clash of the Titans

Being indigenous, the matrilineal tribes were far more likely and able to innovate the megalithic astronomy which effectively inherited from the long tradition of day counting seen on the stone age tallies like the Blanchard plaque. But this continuity of interest in the sky conflicts with the today’s model of history and our foundation myth for modern science, as grandchild of ancient Near Eastern civilizations and exact sciences, fuelled by farming on fertile soils using irrigation.

Through comparing day counts, sky time could be given geometrical forms such as the circle, square and rectangle/triangle, these rightfully considered sacred by the coherent megalithic culture on Europe’s shores. The civilization was numerate, intelligent, but not stone age in the vernacular sense, of having no ability to reason. Having an extended family of adults and no urgent need to seasonally grow crops, conserve seeds or tend their animals, nature already provided food through foraging There was a natural collaborative workforce and this perhaps explains the dearth of neolithic settlement noted alongside the earliest megalithic monuments.

Having overcome this misnomer that megaliths were automatically neolithic, a further work is required to see why our own science cannot understand the sky phenomena in the way the stone age must have. We do not today study the synodic periods of the planets because they are seen as a merely incidental composite of the planetary orbits and our solar year. But, and quite unexpectedly, the view from the Earth is supremely important since the structure of time on earth is a phenomenon reflecting the form and structure of the numerical world. This would suggest that the earth was, in some way, influenced by the abstract world of numbers to have formed  this type of time environment. This might also suggest that the evolution of Life was an intended outcome for the third planet.

Having discarded the earth-centred model of the universe and having rid ourselves of the religions and gods proposed to explain this phenomenon, modern humans are free to live in an accidental universe where one is just alive  on an existential line-of-time with no end except for death, and without any appreciation of the deeper structural recurrences, implicate within the sky. Instead there is a hotch potch Roman calendar whose roots were literally man-made.

Figure 3 Fibonacci Golden Mean. 1.618 is found in the Fibonacci approximation of 8/5 = 1.6 of the practical year of 365 days to the Venus Synod 584 days. Venus was seen as the youthful goddess, Earth as the mother of all that lives and the Moon as the wise older goddess, these together forming the ancient Triple Goddess. [photo by C. Messier for Wikipedia] see section Statues representing Knowledge in Sacred Geometry in Ancient Goddess Cultures, pages 106 to 111.

The Greek myths referred to women, but in ways designed to put matrilineage norms in a bad light. The patriarchal farmers of Jupiter-Zeus had defeated the religion of the Goddess, whose representatives had snakes (perhaps the dreadlocks of the Medusa or knowledge of the snake shaped ecliptic, see figure 3) or had kept men sexually enslaved on an island (as in the Odyssey) or sacrificed a sacred king after “a year …” (of 364 days) “… and a day” (making 365 in all). Our 7-day week derived from this Saturnian year of 364 days (52 weeks), named because the synod of Saturn is exactly 378 days (54 weeks) while the synod of Jupiter is 57 weeks. In this one is seeing through a series of invisible filters, that the ancient Greeks were against the tribal age that had preceded farming and cities, when women rather than men were most important to that way-of-life. And the western Enlightenment adopted the heliocentric planets as a binary removing the foundations of a vast past cultural corpus of religious and pre-scientific thought that had quite reasonably shown something special about the world that modern science would never choose to see. If we can fathom megalithic astronomy, its uniquely powerful discoveries will reveal what the religious texts were about: that the environment of the earth is no accident within in the universe, but that it is that of a planet for the evolution of Life.

Megalithic discoveries had been transmitted, only subconsciously, into the cultural subconscious of the later civilizations, and it was and is still informing and infecting our arts and the classical form of numeracy called mathematics. This diffusion had benefited from the clash of the Titans, namely between the matriarchal and patriarchal ways-of-life in the Eastern Mediterranean and Levant. It would be recorded in the intellectual life of the Greeks and Hebrews, thus informing Islamic then Christian world view, as a code of numbers and stories often agreeing with those of the East.

Continuity in Sacred Building

If you know how to look, one finds the units of measure and geometries of the megalithic repeated in later sacred buildings, built under disparate religions as if the design of sacred buildings had some sort of megalithic origin. The Chinese, Indian, Buddhist, Minoan, Classical Greek, Romanesque, Islamic, South Asian, Amerindian, Gothic, Sufi, and Renaissance buildings draw upon common geometric and metrological blueprints relating, for example, to the relative size of the Earth and  Moon, and the sophisticated celestial time cycles such as the eclipse phenomena, as if to celebrate the cosmic environment even though many religions had conceptualized the heavens as if not found in the sky.

For this reason, my books can explore buildings of the historical period in the same way as megalithic buildings, to demonstrate this continuity of an invisible language, as if there were people with megalithic knowledge behind the construction of buildings without the outer religion officially acknowledging this fact. And in some strange way, I and others are recapitulating ancient works as to their meaning, by employing skills belonging to the past. For example,

  • In Cappadocia, Turkey, stone cut churches inexplicably contain high levels of meaning in their dimensions and definition of circular apse and rectangular naos occupied by hermit monks.
  • Angkor Wat is shown to be a massive statement of astronomical cyclicities alongside an outer meaning of Vedic mythological carving and Indian temple design.
  • St Peter’s Basilica was a renaissance rebuilding involving many great architects, including Michaelangelo who displayed sacred geometrical skill in translating a Greek square-cross basilica design into a Latin cross cathedral design, through the golden mean relationship of a square to such a rectangle (see figure 4). St Peter’s tomb is then in the centre of a model of the Earth and Moon.

Figure 4: St Peter’s Basilica: Sacred buildings followed geometrical and numerical rules that reflect both the cycles of the sky and the geometrical methods and numerical results of the megalithic. [plan courtesy The New York Metropolitan Museum]

Chapter 11 demonstrates that the equal perimeter model of the earth and moon had been related to the now-abandoned geocentric model. The Earth is at the centre (of course) and a system of growing square areas, for each planet’s synod, grows to embrace the whole figure to show it was the archetypal form taken as the norm for Buddhist Mandalas. And mandalas have recently been used by Jungian therapists and others to enable interaction with the subconscious mind. This suggests that our very being, as micro-cosmos, is part of the Earth and its planetary Sky environment of time. Celestial time appears to be a carrier wave for reality and not just a straight line.

Figure 4 The geometry of Equal Perimeter circle and square, with moon circles, showing the influence of the time world of the earth and moon, as the true basis for far-eastern designs called mandalas.
[photo: Cesar Ojeda 17th century Tibetan -Five Deity Mandala from Sacred Number: Language of the Angels. Fig 7.20]

References

Cunliffe, Barry. Europe Between the Oceans: 9000 BC to AD 1000. Yale 2008.

Gimbutas,Marija. The Language of the Goddess. Thames & Hudson 1989.

Heath, Richard.

______Sacred Geometry in Ancient Goddess Cultures. Inner Traditions 2024.

______Sacred Geometry: Language of the Angels. Inner Traditions 2021.

______Tragic Loss of the Geocentric Arts and Sciences: When Poetry was the Language of Cosmology, NewDawnMagazine.com #185***

Marshack, Alexander. The Roots of Civilization: The Cognitive Beginnings of Man’s first Art, Symbol and Notation. Weidenfeld and Nicolson 1972.

Paulsson, Bettina Schulz. Time and Stone. The Emergence and Development of Megaliths and Megalithic Societies in Europe. Archaeopress 2017.

Cubes: The Ancient Division of the Whole

Volume as cubes reveal the wholeness of number as deriving from the unit cube as corner stone defining side length and “volume” of the whole.

The first cube (above left) is a single cube of side length one. One is its own cornerstone. The first cubic number is two to the power of three, with side length two and volume equal to eight cubes that define the unit corner stone.

In modern thinking, and functional arithmetic, volume increases with side length but the cube itself, as archetype of space, is merely divided by the side length of the unit cornerstone, which is 1/8th the volume and therefore reciprocal to the volume of 8 leaving the cube singular.

This may not seem important but, by dividing a whole cube, one is releasing more and more of the very real behavior that exists between numbers, within the cube. For example the number 8 gives relations between numbers 1 to 8, such as the powers of two {1,2,4,8} and the harmonic ratios {2/1, 3/2, 4/3,5/4,6/5}. These can give an important spine of {4/3, 5/4,6/5} which equals 6/3 = 2 of the yet to (numerically) be octave of eight note classes. Moving to side length 3, the cube of three is twenty seven (27), as seen in figure above, top right. To obtain it, the corner stone must be side length 1/3, and volume 1/27 so that, in these units, the volume of the cube is 27.

If one were to reciprocally double the 1/3 side length, each cornerstone unit would have 8 subunits, so that the volume of 27 would be times 8 which equals Plato’s number of 216. Another view is then that the cornerstone side length has divided the bottom right cube into six units which number, 6, cubed, is 216 a perfect number for Plato.

By accepting the cube of one as the whole, this form of thinking reciprocally divides that whole side length to generate an inner structure within the whole cube of one, equal to the denominator of the reciprocation. The role of the whole is then to be the arithmetic mean between a number and its reciprocal. This procedure maintains balance between what is smaller than the whole (the reciprocal) and what is larger than the whole (in this case the volume).

In ancient tuning theory this was expressed by the two hexchords descending and ascending from the tonic (we might call do), expressed by the two hands. The octave of eight and the cube are both wholes to be broken into by numbers greater than one by means of reciprocation.

Ernest G. McClain revealed the scale of such thinking was massive, whilst also but secretly reciprocal, so that a limiting number could express how different wholes will behave due to their inner diversity of numbers at work within them.

In this example, a musical code for planetary resonance is revealed within the metrology of the Parthenon (above), implied tone set (right) and octave mountain of numbers below 1440 (left bottom). In this case the number 24 has been multiplied by 60 to give a limiting number of 1440. The cornerstone in this case is bottom left of the mountain = 1024, a pure power of 210.

By simply quoting a limiting number, in passing, ancient texts could, in the hands of an initiate, create an enormous world of tonal and impied religious meaning – through a kind of harmonic allusion.

It is only by using the conceptual approach of the ancients, that their intellectual life can be recovered – just by adding the waters of number and some powers of imagination.

Harmony of the Biblical Patriarchs

This extract from The Harmonic Origins of the World (p58-62) shows how what are taken to be arbitrary numbers, in the narrative of the Patriarchs, expressed knowledge of planetary resonances.

above: Diagram of the Bible code of “holy mountains”: Products of the powers of five upwards and of the powers of three across, each mountain within a limiting number if note D is {60, 120, 45, 180, 720} .

Female archetype Eve, “mother of all living,” becomes Abram’s wife Sarai. Childless, Abram was encouraged (by Sarai) to have first son Ishmael by concubine Hagar, but the Lord God (the mountain god whose number sums to 345) renames Sarai as Sarah and Abram as Abraham. At a miraculous 90 years of age she gives birth to Isaac (“he laughs”), then reportedly dies at 180 years old. It is harmonically relevant that (a) the giving of heh = 5 to both Sarah and Abraham elevates them from their former selves onto the second row, “stepping up” like the god Ea in Sumeria, and that (b) Adam’s number 45 has now been doubled to 90 and can form an octaval womb in which Isaac can be born, his life to then end at the doubling of Sarah’s 90 years to 180 years.

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Why numbers manifest living planets

above: The human essence class related to four other classes in J.G. Bennett’s Gurdjieff: Making a New World. Appendix II. page 290. This systematics presents the human essence class which eats the germinal essence of Life, but is “eaten” by cosmic individuality, the purpose of the universe. The range of human potential is from living like an animal to living like an angel or demiurge, then helping the cosmic process.

  1. Preface
  2. Primacy of low whole numbers
  3. Why numbers manifest living planets
  4. Numbers, Constants and Phenomenology
  5. Phenomenology as an Act of Will

Please enjoy the text below which is ©2023 Richard Heath: all rights reserved.

The human essence class is a new type of participation within the universe where the creation can form its own creative Will, in harmony with the will that creates the universe. The higher intelligences have a different relationship to the creation than human intelligence. It is based upon this Universal Will (to create the universe) which has manifested a world we can only experience from outside of it. And the creative tip of creation* is the universal life principle that led to the human world where it is possible to participate in the intelligence behind the world, through a  transformation into an Individuality, creative according their own pattern while harmonious with the universal will.

*creative tip: The evolving part of organic life is humanity. Humanity also has its evolving part but we will speak of this later; in the meantime we will take humanity as a whole. If humanity does not evolve it means that the evolution of organic life will stop and this in its turn will cause the growth of the ray of creation to stop. At the same time if humanity ceases to evolve it becomes useless from the point of view of the aims for which it was created and as such it may be destroyed. In this way the cessation of evolution may mean the destruction of humanity.

In Search of the Miraculous. P.D. Ouspensky. 306.
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Chartres 2: the harmony in its towers

In the previous post, the difference in height of the two towers was seen to have an exoteric and an esoteric meaning. Exoterically, the taller tower is sometimes called the sun tower, probably because the globe at its top (below its cross) is about 365 feet-as-days (hence representing the sun and its year). From this fact, the lower tower was considered lunar , since the lunar year is “not as long” and so less high. However, one must go to the top of the cross on the lower tower to achieve the height of 354.367 feet-as-days (hence representing the moon and its year).

This article presents a deeper meaning, that the difference in the full heights of the two towers represents the musical intervals of the synods of Saturn and Jupiter, relative to the lunar year: cunningly encoded within the full height of the solar tower as the Saturn synod of 378 feet-as-days, which is 16/15 of the lunar year. To have made the taller tower higher, to achieve the Jupiter synod, was impractical so that, instead, Jupiter was symbolized by the lunar year of 12 lunar months while Saturn was 12 “months” of 28 days, the 336-foot high globe of the moon tower, as shown below.

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Chartres 1: the cosmic coding of its towers in height

The lunar crescent atop the “moon” tower’s cross.

Chartres, in north-west France, is a very special version of the Gothic transcept cathedral design. Having burnt down more than once, due to wooden ceilings, its reconstruction over many building seasons and different masonic teams, as funds permitted, would have needed strong organizing ideas to inform the work (as per Master Masons of Chartres by John James).

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