Author of the Month AoM Message Board

## White Island on the Ocean (cont.)Seven Landscape Mysteries of Bronze Age Britain, A Unified TheoryBy William Glyn-Jones

Now the long side is divided into two lengths, and the ratio of the shorter of these to the longer is the same as the ratio of the longer to the sum of the two. This is the Golden Ratio, in which, as with political systems where ma'at or eunomy is present - the effective running of the polis made up of individuals - as with such systems the relationship of the parts is found by factoring in the whole of which they are parts. It is a proportion that has repeatedly been found to be aesthetically pleasing, and it is still used widely today. Since it is this that makes the 2 by 1 rectangle so interesting to the Hermetic-Platonic artist and architect, I reasoned that I would expect to find something of significance at the Golden Section of the line in question. I had to now use a different name for the line. I couldn't call it the St Michael Line anymore; I wanted as far as possible to leave that line alone, allowing it its own existence whether as a new or old idea, and to treat this 2 by 1 line as a different entity. I toyed with long names like the Foundational Vitruvian Hypotenuse, but the Golden Diagonal will suffice. So I was after the Golden Section point along the Golden Diagonal.

Marking off the Golden Section of the long side of a 2 by 1 rectangle using the length of the diagonal minus the short side. Right: this same geometry in use in an Egyptian depiction of the Spirit Double of an Official standing in a 2 by 1 'False' Door, with the geometry superimposed. (Various researchers, such as, notably, Else Christie Evans in Geometry in Egyptian Art, have observed that the Golden Section is absolutely rife in Egyptian imagery.)

I had a map in front of me with the line marked along it. With a long ruler, I measured the full length, calculated the Golden Proportion of that, and then measured again to find that suitable spot for the Polis of Ma'at, for Eldorado, the City of Gold. Here was the first revelation. No matter how many times I measured it, the Golden Section of the 2 by 1 diagonal from West Point to East Point through Glastonbury Tor exactly pinpointed the most significant archaeological site in the whole of the Thames Valley, a complex of sites once including an enormous double henge with cursus. It was, of course, that Dorchester-on-Thames site that we have spoken of already.

I began to feel exited. Very exited. I visited Dorchester-on-Thames. Repeatedly. I coined a name for the scheme: Angleland. I even had a vision while lying in bed of a great vortex of light rising from the Dorchester site up into the skies. I felt I had something. Dorchester-on-Thames was a very important centre, perhaps even a royal capital, for thousands of years. There is even an old Welsh story in The Mabinogion - Lludd and Llevelys - that describes how in order to end a fight between two dragons that had been plaguing the land, a measurement of the width and breath of the country was made, with consultation from the king's brother in Gaul, resulting in the pin-pointing of a site in the region of Oxford, and then a beaker of golden mead was buried as part of the healing rite. Oxford is a short way upstream from Dorchester, and in ancient times it was the latter that was the big centre. The place where the mead was buried became known as Dinas Emrys, according to the story, the Fort of Ambrosius, although perhaps it makes more sense that Emrys comes not from the male name Ambrosius but from "ambrosia" in reference to the honey mead, because the story says that it was from the time of the burying of the honey mead onwards that it took this name. (These thoughts of the Fort of the Honey Mead might lead us to the talk in the Taliesin poetry of the Castle of the Honey Mead, but let's not get distracted.) Dinas Emrys is associated with the fight between the two dragons not only in The Mabinogion but also in Geoffrey of Monmouth, but there it has become associated with the Mount Snowdon region. This would be strange - why bury the mead at Mound Snowdon in Wales if the place located by the measurement of the land was near Oxford? A solution presents itself when we consider the Dorchester-on-Thames location. There are two distinctive and well-known prominences in this location called the Sinodun Hills, crowned by those famous copses painting by Nash, the Whittenham Clumps. "Snowdon" could hardly be more similar to "Sinodun", and on one of these two hills, Castle Hill by name, there are to this day the earthen ditches of an ancient hill-fort. This, I suggest, is Dinas Emrys, the Fort of Ambrosia, and this is where the beaker of ambrosia was buried. I've already mentioned that Dorchester is a Beaker Burial site. As an intriguing footnote to the Lludd story, I might mention that The Mabinogion says that before this site was called the Fort of Emrys it was previously known as the fort of a noble youth named Ffaraon Dandde, translated as "Flaming Pharaoh".

I should contact Michel, it seemed to me. A few positive words from him and I could entice publishers to help me share this scheme by means of a published book. Thousands of readers would result in a strengthening of the Morphic Fields of this geometric idea of place, grounding it into the landscape, and thus collectively we could awaken the Albion Osiris, I reasoned, and dreamed of how we could thus activate the foundation of a eunomous High Culture, a New Renaissance or High Civilization of ma'at with its glorious shining capital at Dorecester, The Golden Castle, complete with dreaming spires, Isis statues (this is the spot where the Thames becomes the Isis), Vitruvian temples and Hermetic academies!

But from my written correspondence with Michel it became clear that he didn't want to abandon his St Michael's Line with its 27' bearing. He admitted that "the 26.6' angle is interesting", appreciated the spirit in which I was working, and complemented the attractiveness of presentation, but there was not the emphatic backing of the 2 by 1 angle I'd hoped for. His reaction was understandable: he was now used to defending the Line against all comers.

I pushed on with my investigations. Once I had received this encouragement (from the Dorchester surprise) for the notion that the 2 by 1 alignment was important because of the relation of that rectangle to Sacred Geometry, I had to ask myself the question of how the 2 by 1 rectangle is itself generated by geometric means using compass and straight edge. The answer is through the simple Vesica Pisces pattern, the most elementary generative pattern in Sacred Geometry - generative in the sense that many other forms can be arrived at from this. Having realized this, it next made sense to have a look at how the pattern related to the landscape. One of the two all important intersection points of the Vesica pattern turned out to be on dry land, and intriguingly it pinpointed a sacred site of Piscean pilgrimage even more important in its day than Glastonbury, the greatest of all Britain's pilgrimage centers during the Christian period, namely Canterbury.