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So we’ve looked at the central Solar Zone and the Mercury Zones in the Britain Centred Global Hermetic Scheme, a scheme which echoes the Original Egyptian Scheme and grows out of the geodetic foundation of the British Pyramid Plan. Let us move to the next planet and see what Serendipity gives us for the Venus zones.
If you look at Venus’ journey round the Sun, you can mark the point where its angular distance is furthest from the Sun from our viewpoint, which is the tangent point between the Venus orbital circuit and a line extending from our viewpoint, Earth. Because neither our orbit nor the Venusian one is exactly circular (but rather elliptical) this maximum angle will vary from circuit to circuit, but what you’ll notice is that it is often (and is never too far from) half a right angle. This allows you to work out the relative distance of Venus from the Sun compared to Earth’s distance from the Sun, conceiving the orbits in the simplified form of circles.
The Venus Orbit size calculated from Maximum Elongation Angle
Associations between Aphrodite and the planet Venus are very old (scholars tell us her cult was imported from the East, where she was Astarte – who had long been associated with the planet – and the Hellenistic period Greeks measured latitude, as with Eratosthenes’ calculation for the size of the Earth, and they also had a heliocentric conception, from Hipparchus.
So, putting that all together, if they’d wanted to, they could have used Delphi (“the centre of the Earth”) and Heliopolis (“City of the Sun”) as the Earth and Sun latitudes respectively, then found the latitude corresponding to the Venus distance from the Sun as compared to the Earth distance, and then they could have realised that this corresponded to the sea just south of Aphrodite’s island of Cytherea, the very place where Venus was said to be born from the Surf before stepping ashore on the island. There is a little rocky islet just off the south coast which is said to be the dismembered member of Ouranos, out of which the seed came that floated on the waves as surf, and from which the goddess emerged.
However, it was long before the Hellenistic period when Hesiod put ink to scroll and described this birth taking place in the sea off Cythera. Therefore, we are in the zone of Serendipity and non-linearity. To understand how this fits so well, we should perhaps ask Hesiod himself where he got his ideas from. He tells us his inspiration came from the Muses, who say some false things but also some true things, not just about the past, but also the future:
From the Heliconian Muses let us begin to sing, who hold the great and holy mount of Helicon, and dance on soft feet about the deep-blue spring and the altar of the almighty son of Cronos…one day they taught Hesiod glorious song while he was shepherding his lambs under holy Helicon, and this word first the goddesses said to me – the Muses of Olympus, daughters of Zeus who holds the aegis: “…we know how to speak many false things as though they were true; but we know, when we will, to utter true things”….and [they] breathed into me a divine voice to celebrate things that shall be and things there were aforetime; and they bade me sing of the race of the blessed gods…
And so the Muses help him to sing of Aphrodite:
…And so soon as…[Zeus}… had cut off the members with flint and cast them from the land into the surging sea, they were swept away over the main a long time: and a white foam spread around them from the immortal flesh, and in it there grew a maiden. First she drew near holy Cythera…and came forth an awful and lovely goddess, and grass grew up about her beneath her shapely feet….gods and men call Aphrodite, and the foam-born goddess and rich-crowned Cytherea, because she grew amid the foam, and Cytherea because she reached Cythera…And with her went Eros, and comely Desire followed her.
Do we allow these Muses actual existence? Or should we take this an an allegory for the peculiar non-linear way things work within the zones of inspiration, creativity and synchronicity? Take your pick, but here we shall use the latter as the terminology of choice, speaking of such schemes as emerging out of a Field of Synchronicity.
Certainly the Greeks themselves would view this finding as a validation of an ancient Vision rather than proof that their ancestors had worked out what they had just worked out long before them and encoded it into myth. They believed visions could sometimes – but not always – be prophetic.
Equally, the Hellenistic scholars could have looked at relative latitudes within Egypt, taking the capital of Upper Egypt and city of the sun god Amun-Ra, namely Thebes (which was in fact known as Uppper Egyptian Heliopolis) as defining the solar latitude, and extending to Egyptian North point on the apex of the Delta as the other extreme of the Sun-Earth distance, and noticed that this time it also worked for the city of Hermes and the planet of Hermes (Mercury), namely his city of Egyptian Hermopolis (Hermes-Town), as well as the Temple of the Foreign Aphrodite (Astarte-Aphrodite as foreign Hathor) in Memphis, for the planet Venus, as mentioned earlier along the Yellow Link Road, and since the Hermetic Texts were composed in Hellenistic Alexandria, its also conceivable that this could be the origin of the statements there to the effect that Egypt was made in an image of the Cosmos with temples to the planetary gods and a solar centre, as also described earlier along the Yellow Link Road.
It is not the Delphi-Heliopolis/Earth-Sun scheme that we are concerned with on these pages, and neither is it the Thebes-centered scheme, but rather the Britain-centered scheme, but here too I want to re-emphasise that this is not a historical theory but an emergence, a teasing into being by the whisperings of the Muses.
We became familiar with the same geometry during the discussion of Egyptian geodesy when looking at the British Pyramid Plan, when dealing with such things as the placement of the King’s Chamber in the Great Pyramid, the Balance of the Two Lands, and the two British chalk giants.[i]
Because of the slightly elliptical orbit of Venus, we can talk of four latitudes in our geodetic scheme: the minimum, middle, maximum and also the geometric orbit distances, where the geometric is the idealised, geometric-mathematical Balance of the Lands ratio of the average Earth orbit distance.
The Maximum Venus orbit latitude meets the coast of the Isle of Wight at the site of Osborne House in East Cowes. This really is a most elegant synchronicity, for here we have a beautiful, large, two-thousand-year-old ancient marble of the goddess, right at the Maximum Venus latitude, and surrounded by other Venuses. This is the only genuinely ancient statue in the Osborne House collection. Since she arrived at Osborne House in the Victorian period she has stood in a specially designed scallop-shell niche, the scallop shell covered in gold leaf.
At the other end of the same corridor there is another near life-size marble Venus-type kneeling to kiss the cheek of a cupid. This corridor leads to a large window looking out across the sea to the north of the Isle of White, i.e. the stretch of water that includes the Half-way House and, toward the far shore, the Inner Station Venus latitudes, and the same view also takes in the statue of the main fountain of the terrace garden at the rear of Osborne House: a bronze copy of the famous crouching Venus. There are yet more Venuses on the site, including two copies of the Venus of Knidos, one large and outside, the other smaller and inside. The private beach of Osborne House is a very pretty little idyll.
The Marine Venus from Osborne House, East Cowes, Isle of Wight
Watercolour by James Roberts (1852) showing Marine Venus in situ in scallop shell niche in the Grand Corridor, Osborne House, East Cowes, Isle of Wight
Crouching Venus Statue, Osborne House, Cowes
More Venuses from Osborne House, the right-hand copying the famous Venus of Knidos
In a general and vague sense, the south coast of Britain in East and West Sussex and Hampshire meanders around our four Venusian latitudes. This means that there are certain spots along this Venusian Riviera where the latitude in question coincides with the shore, i.e. the place where sea and land meet. The shore is the place where waves break, where surf is generated, while Venus is the goddess who in myth was born from the surf, stepping ashore from the waves in an event which even accounts for her name of Aphrodite, aphros meaning ‘surf’ in Ancient Greek.
Also, near to the ‘geometric’ Venus latitude is a Roman mosaic, the Venus Rising from the Waves (with scallop shell) in Hemsworth, Dorset. This mosaic, now in the British Museum, actually shows the goddess at the moment of her surf-born shell-carried arrival on the shore. This ‘geometric’ line also passes across the bay off the shore of Brighton, and meets the beach at Saltdean at the eastern extreme of the parish of Brighton.
Brighton has been personified as a Venus in art. Rex Whistler’s Allegory: H.R.H, the Prince Regent Awakening the Spirit of Brighton was originally painted onto the wallpaper of a room in Brighton, and it now hangs framed and on show for visitors in the Brighton Pavilion. The female nude wears a sash with writing indicating that she is the Spirit of Brighton, and she is clearly modelled on the reclining Venus in Cabanal’s famous Birth of Venus, also shown here. This gives us Venus as the goddess of Brighton.
Allegory: H.R.H, the Prince Regent Awakening the Spirit of Brighton, Whistler portraying Brighton as Venus, after Cabanal
Birth of Venus, Cabanal
This was not the first time the creative Muse had indicated a connection between Venus and Brighton. Back in 1776 a contributor to the Lewes Journal wrote the following in a poem called On the Ladies Bathing at Brighthelmston (an old name for Brighton.)
From foaming waves the Goddess Venus sprung,
How true I know not -thus the poets’ sung—
That on its curling waves, the rattling tide
Safe wafted her to shore in all her pride.
Tho’ it’s false, the tale will always please us.
To read of love, of beauty, and a Venus.
But when on Brighton’s sands the lovely Fair
Smile at the rocks and hollow surges dare ;
When here so many Queens of Love we see
Caress the waves and wanton in the sea,
We justly, Brighton, love thy envied shore,
Poets, adieu to fables, lie no more!
From dreams and fancy – they their Venus drew;
Of these we feel the charms, and know it true,
No more, ye rhymers, in romantic strain,
Sing one Venus when here so many reign.
Extract from On the Ladies Bathing at Brighton, The Lewes Journal, 1776
The same theme is taken up in the relief within a niche on a building on the seafront at the end of West Street, next to Brighton Beach, shown here below. The figure is Aphrodite/Venus. Eroses fly above her, as in the Cabanal. The goddess has just been born from the surf of the sea, as we know because she rides now in her scallop-shell boat. This clearly references the shore upon which this hotel is located, namely that of Brighton, so by extension the message is: this is the shore of Venus.
There are other Venuses around the city. For example, behind the Mercure hotel at the junction of the King’s Road and Norfolk Street is a statue of Boticelli’s Birth of Venus, and a small copy of the Venus of Milos stands in a niche in a building on Upper North Street, and a large blue copy of the same statue stands in the Havanna Spoon restaurant in Hove, and a smaller one in the Arcadia Cafe near Churchill Square, and there is also a figurine of Venus being born from a scallop in Riddle and Finn’s fish restaurant in the Lanes.
The beautiful and iconic shore of Cuckmere Haven, a few miles east along the coast from Brighton, is at 50.759°N, is exactly at the Middle Venus latitude in the Hermetic geodetic scheme. Little Hampton’s beach is at the idealised geometric version of the Venus latitude, i.e. the Balance-of-the-Lands, as we get into the Chichester area.
Of course, there is a northern version of the Scheme, where the latitude zones range out to the north of the solar centre, rather than the south. The north of England has its own Venus mosaic, the Rudston Manor Venus Mosaic, and when it was at its original location of Rudston, East Yorkshire, it was at 54.09° latitude, not far from the northern version of the geometric Venus latitude, at 54.16°, before being moved to the Hull museum.
Of course, with Venus being born-of-the-surf, and surf being at the border of land and sea, we should look to the coast. In this northern reflection of the Scheme the Balance of the Lands latitude runs through the northern part of Morecambe Bay on the East Coast. Venus is present in Morecambe Bay as a sculpture on the shore on an area just north of the town of Morecambe, on an area of grass called Scalestone Point. The much-loved sculpture was created by Shane Johnstone. The statue shows a mother and child, and locally it has come to be known as the Venus and Cupid sculpture, to the extent that when a trust was set up to make sure the statue stays in place, this trust was named the Venus and Cupid Art Trust. The Trust organizes events such as the Venus Cross Bay Walk, the Venus Promenade Fair and the Venus Promenade Fun Run. Although She is here somewhat south of Her latitude zone, She sits on the shore looking out across Her beautiful bay (the northern part of which is in Her zone) as shown in this photo, with the Lakeland Hills beyond.
The northern Middle Venus orbit runs through Grange-Over-Sands.[i] A little further to the west, the valley of the Duddon River also runs through the northern Venus zone. Wordsworth wrote a series of 34 sonnets to and about this Duddon, the first being about the source and the rest being about the various stages of the river down to the sea. During the course of this rather delightful series he imagines the valley of the Duddon to be the haunt of Love. For example, after describing in Sonnet IX how an elderly person finds it harder than a young person to cross the river on a series of stepping stones, in the next sonnet he continues seamlessly, describing two young lovers who cross the river while ‘frolic Loves’ observe them from a high rock, pleased at their victory over mortal hearts:-
Not so that Pair whose youthful spirits dance
With prompt emotion, urging them to pass;
A sweet confusion checks the Shepherd-lass;
Blushing she eyes the dizzy flood askance;
To stop ashamed–too timid to advance;
She ventures once again–another pause!
His outstretched hand He tauntingly withdraws–
She sues for help with piteous utterance!
Chidden she chides again; the thrilling touch
Both feel, when he renews the wished-for aid:
Ah! if their fluttering hearts should stir too much,
Should beat too strongly, both may be betrayed.
The frolic Loves, who, from yon high rock, see
The struggle, clap their wings for victory!
With Venus as the queen of Love and mother of Eros, this is all highly appropriate for a vale located in the Venus zone in the Scheme.
[i] Grange is in a more peaceful, sheltered location than Morecambe, protected as it is from the incoming weather from the Irish Sea. There have been times when storm surges have hit Morecambe quite violently while just nine miles away in Grange the sea remains calm. A storm surge happens when three things combine: low pressure, high wind, and high tide. Grange is protected from the wind coming in from the West, so the tide may be a high one and pressure low but without the wind the sea remains calm and does not flood the shore. With Venus being She-Who-Calms-the-Sea, the fact that the middle Venus orbit goes through Grange, by happy coincidence, is appropriate.
[ii] Hathor is the Egyptian Aphrodite-Venus, as the Greeks and Romans themselves acknowledged, and we find her in a mediator role in the battle of Set and Horus over where the boundary between their respective kingdoms of Upper and Lower Egypt should be. Ra, the Sun god, sided with Set, and Isis, the mother goddess, sided with Horus. Ra went into reclusion, refusing to take part in further discussions until he was cheered and brought back to the table after watching the beautiful dance of Hathor. So Hathor is appropriate because this boundary line also represents mediation, the place of balance between two realms, the equivalent of the border between the realm of Horus and Set at Memphis in Egypt, and in Britain it mediates between the elemental realms of Land and Sea. By linking the Balance of Land and Sea concept to planetary orbit distances and Ma’at, there is a resonance with the life-generating and life-sustaining principles: the Earth is at just the right distance from the Sun for water to be present on the planet in liquid form. If you moved Earth closer to Sun there would be less Sea in both an actual sense and in terms of our geometry, for Venus, the Shore, would be nearer to Earth relative to that new shorter distance to the Sun. Venus fits all this as a goddess of generation, but only because she’s at the right relative distance, you see?