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

Of course, I had to pay a visit. Not being a Christian, I was surprised by how beautiful, satisfying and harmonious I found the vision of the great cathedral of Canterbury, the experience reminding me of the feeling I had when visiting the Athenian Pathenon, and with all those gothic arches it is, appropriately enough, a veritable temple of the Vesica Pisces. Considered architecturally, the religion of the cathedrals can seem to be its opposite, a celebration of the generative goddess, and nowhere more so than at the great temple of Cunnit-Borough. The Gothic Arch is a British innovation, a fulfillment here of the need in architecture for some vernacular element, being first employed in, if I remember correctly, Durham. I even found some arches in the Canterbury temple carved in relief that made the link to this pattern of overlapping circles explicit, as my photo here shows.

The Cantebury Tales of Chaucer mark the beginning of the diffusion of the Renaissance into England, and here is a geometric foundation worthy of Hermes Trismegistus himself, right on the site of what was previously a classical Roman city complete with temples and amphitheatres, baths, mosaics and the lot. If Canterbury's integration with the sacred geodetic 2 by 1 rectangle was just a coincidence then it was a wonderful and elegant one.

But the Christian period is tangential to our investigation here, and these were still the first steps along the path of discovery.

The Two Giants

While I was considering these matters, I read a book called The Keys to the Temple by David Furlong (http://www.kch42.dial.pipex.com/keys_intro.htm ). If you follow the link you will see that the climax of his work was what appears to be a reference through an arrangement of sites in Wiltshire to the cross-section geometry of the Great Pyramid of Khufu. In addition, the St Michael Alignment forms a basis for the pattern, and Furlong also reveals a method for creating this pyramid cross-section triangle from the Vesica Pisces pattern, which by extension integrates it also with the 2 by 1 rectangle. With the obvious contextual links to my own work, as well as the geometric links, I wondered whether it would be worth inserting the pyramid cross-section into the great 2 by 1 rectangle I had arrived at, to see what would be located at the position of the all important King's Chamber.

What I discovered blew my socks off. In the cross section of the pyramid a shaft extends up from the King's Chamber which aligned upon the culmination of Orion's Belt in the Pyramid Age. I discovered that right at the end of this shaft on the map, just where it levels out to enter the King's Chamber, is an image of that same constellation, Orion, carved into the chalk, namely the Cerne Abbas Giant. I've appended at the end of this piece some longitude and latitude calculations to show just how accurate this is.

The Orion shaft points up at the southern sky, while the north face of the pyramid looks up towards the northern sky, the context appropriate to the Long Man standing at geometric point just outside the northern slope in the diagram. So for some reason the Master Builders chose the rotate the cross section diagram so that the south face is on the east side, and the north is on the west.

What on Earth had I uncovered? With its perfect context, the Orion of Cerne was a great deal more than I had expected to find from so quirky a notion as inserting the pyramid triangle onto the landscape within the 2 by 1 rectangle. I'll be honest, I was a bit shaken. I put the map down and went into town and headed for the nearest pub, deliberately thinking blokey thoughts in an attempt to stabilize my mind back into the familiar world. I drank a beer, and even contemplated playing a fruit machine. I looked over to the one that was in the pub. It's theme? Egypt, and the pyramids. Gasp! Clearly this thing was not something I could sweep under the carpet. I'd come too far down this path of discovery to turn back. I had to see it through. Was it just an astounding coincidence, or had the secrets of the Great Pyramid been encoded into the British landscape long ago as a kind of treasure map? The latter was of course possible, which entailed so much work by those ancients that it was inconceivable for me to ignore it and not bring it to light. All that planning, sweat, and effort, and as far as I knew I was the only person on Earth who knew about it…clearly I wasn't going to let them down.

As summer drew on I grew in courage and, feeling more like the Nicholas Cage character in National Treasure than the Tom Hanks character in The Da Vinci Code, I even paid Cerne Abbas a visit, finding the village to be idyllic.

It seems that this quirky discovery had raced me several steps forward all at once, giving me answers for questions I hadn't even posed, solutions to clues when I didn't even know what the clues were. It wasn't that I couldn't understand why they would have done this, it was simply that I couldn't quite figure out how I had managed to uncover it without even following a proper trail of clues. As far as the motivations behind the scheme are concerned we may consider a story that was written down in Egypt in the Middle Kingdom. According to this story the pharaoh Khufu was concerned to find the details of the Chambers of Thoth so that he could incorporate their configuration into the internal chambers of his "horizon", the Great Pyramid. Clearly this configuration was felt to have some talismanic power, and it was probably this same power which the surveyor officials set about invoking in Britain by means of a grand geodetic scheme.

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