The Sacred Geometry of Sacred Time
in the Olympiad and the Mayan Calendar Round (cont.)
By William Glyn-Jones
The Olympiad Calendar
You may have noticed that the above - 2004, 2012, etc - are all Olympics years, while the Ancient Greeks from at least the Hellenistic period used the four-year Olympic period, the Olympiad, as a calendar unit when cataloguing important historical events. The Summer 2004 Olympics were in Greece, with the Summer 2012 in London eight years later. The Olympiad period is of course not eight years but four years. However, although there was not a Venus transit in early June 2008, there was a "superior conjunction" of Venus and the Sun. In other words, Venus went passed the Sun, but not fully aligned in the vertical plane, so she didn't actually pass across the face of the Sun. The same will be true in early June 2016. In fact, the four year period, half of the Venus cycle, is marked out continually by these conjunctions, so that the halving of the 8-year period to the more frequent 4 years makes a great deal of sense.
But there seems to be something spookily elegant about the fact that the first time the Olympics were held in London was in the summer of 1908. This means that the 2012 London Games are being held exactly 104 years after the first London Games,
which is of course the Double Calendar Round of 13 x 13 = 169 Venus years -
the Olympian Venus Round -
and this can be counted with the 13 & 20 day wheels making Tzolkins interlocking with Haabs right
the way through, to culminate with a Venus/Sun transit in 2012!
Now we're really Tzlokin.
The other London Olympics was in 1948, which is the 5/8 Fibonacci / Golden Section measuring backwards from 2012 to 1908.
As well as the games of Olympia, the Greeks also held major games at their sacred site of Delphi, and the original period for these was the full eight years. Plato spoke of how the planets come into alignment after eight full years in his book Timaeus and it is assumed that this was a reference to the Venus cycle; the Delphic period was probably inaugurated to follow the Venus cycle. Poussin's beautiful painting Parnassus, showing the crowning of a poet with a laurel wreath at Delphi while he drinks from a chalice of inspiration proffered by Apollo, can only refer to the Delphic games, since these included not just athletic but also musical and poetic contests, and the winners were indeed crowned with Apollo's plant, the laurel. Notice that Poussin has included a reclining Venus figure centrally placed. (As it happens, one of the rare Venus Transits occurred in 1632, shortly after this painting was completed.)
Delphi was the home of the most famous and revered prophetesses and sibyls, and of course Sacred Time structures become most potent in consciousnesses where there is also a honed ability to feel time, past and to some extent future, because time itself is the raw substance that is alchemically enriched by the sacred geometry of these patterns. Without this the geometric calendars are like cooking paella without the paella. Time is sensed through the feelings, from whence the information is translated into ideas via the Eye of the Mind. The ability to use feelings as a prophetic sense organ is enhanced if the emotions are calm yet sensitive - the ideal state for the feeling body. This state is easier to attain when we plug into the Earth, grounding into the sweet, deep, blissful vibration of Gaia. So, for example, the custodians of the Greek oracle at Dodona walked bare foot on the soil, and the first oracle at Delphi received her utterances from Ge, Gaia, the "First Condition" of R.J.Stewart's elemental communications (e.g. in The Power within the Land.)
Poussin's Parnassus painting was inspired by the similar Parnassus of Raphael, which in turn was inspired by Mantegna's equivalent painting, also known as Parnassus but which surely shows in fact Mount Helicon, with its two springs, one brought into existence by the stamping of the hoof of Pegasus (who Mantegna shows) and with the dancing Muses, sacred to Helicon, where they had a temple, also shown. As well as these features, Mantegna's scene is watched over by Mars and Venus in embrace. As the art historian Edgar Wind described in Pagan Mysteries of the Renaissance this theme of Venus united with (and thus tempering) Mars was championed by Renaissance Neo-Platonists as an alchemical fusion vital to the health and vitality of things, and the implication in the painting is that this union vivifies culture (represented by the Muses). This leads us on to an extraordinary fact - the synodic period (of the retrograde movements) of Mars in our sky is 780 days, precisely 3 Tzolkin periods of 260 days! So every 3 Venus Rounds (3 x 104 years) the cycles are fully synchronized. And so Mars and Venus are united by the Tzolkin!