3) The Spider (continued)
PLEASE NOTE: Although by starting to read Hidden Landscapes at this point you will discover the geometric shape in the landscape at Glastonbury and its connection with the landscape geometry at Rennes le Chateau, there are large parts of the following sections you will not properly understand.
To experience Hidden Landscapes properly please start here
d) The Spider in the Landscape
We can find the spider a few miles east of Glastonbury. She sits on the side of a hill between the villages of West Bradley and East Pennard, within earshot of the Glastonbury Festival. If this shape, etched into the landscape in the form of steep sided stream gullies, is to be looked on as anything more than an interesting coincidence there must be far more to it than that. There is.
It is possible, quite easily, to find the first strand of this spider's 'web'. From there it is easy to draw a diagram that duplicates the landscape geometry found in the south of France in the area around Rennes le Chateau ( RLC ). By dividing the circle in the diagram in a slightly different way to that at RLC it is possible to make another discovery that draws together the threads previously discussed in Hidden Landscapes and to further develop them into something that reveals amazing possibilities for mankind.
The location of the spider:
The spider itself:
As can be seen above, the eight legs of the spider are all clearly defined, with a very well defined body in the centre. All the 8 legs are comprised of streams in deep gullies, thickly covered with large bushes and trees. One of the legs (#4) crosses an open field before joining the main stream system. The curved strip to the right of leg #5 above is a tree lined track, the stream starts just below the '5'. The streams converge and then flow away via leg #8. The 'body' is comprised of larger trees with an open central area. There is a footbridge across the stream at the bottom of the body and this is shown with a )( symbol in the image above.
Before we can continue with the geometry of the web it is essential to know a little about the enigma that is the mystery of Rennes le Chateau.
Rennes le Chateau was first brought to the attention of the English speaking world in 1972 when Henry Lincoln researched and narrated a documentary for BBC television. His third documentary about RLC, The Templar Secret shown in 1979, was co-researched with Micheal Baigent. The two went on to co-author with the late Richard Leigh the best-selling Holy Blood, Holy Grail, published in 1982. This was the book, amongst others, used in research by Dan Brown for his novel The DaVinci Code which bought the whole Rennes le Chateau business to a far wider audience. 'Business' is probably the right word as fortunes have been made by several people, writing reams about what amounts to very little.
Nearly everything about the RLC story is like a will o' the wisp - it cannot be grasped and just seems to fade away when you think you have.
The main player is a Catholic preist, Bernard Sauniere, who in 1885 came to the village of RLC as very poor, but suddenly became very rich, some say after visiting important people in Paris - or did his wealth come from placing adverts in Catholic journals around the world and then saying masses for the respondents? Today one might call it 'distant praying'. Did he spend hours walking in the local countryside just for relaxation - or was he looking for something - maybe buried treasure? When Henry Lincoln was investigating the story he was contacted by someone who claimed to be the then current Grand Master of a secret society who produced copies of supposedly ancient parchments written in code, and claimed that Sauniere had found them in a pillar while renovating the church in 1891. He also claimed several other things that are surrounded in controversy to this day. There was one thing that was found however that could not be argued with - and it was found by Henry Lincoln himself.
Lincoln realised that five mountain peaks in the RLC area were positioned in a circle. Not just any circle though. They were placed equidistant around the circumference of the circle. In other words, draw a line from one to the next and you have a regular pentagon. Lincoln then realised there was another mountain peak positioned very nearly at the centre of this pentagon. The Templars built castles on three of the peaks, joined by red lines in the diagram below.
If France itself is looked on as pentagon shaped, the position of Rennes-le-Chateau would be mid way along the lower line, as shown by the red dot in the image above.
After the documentaries, the next logical step for Henry Lincoln was to produce a book which he did in 1991, The Holy Place, published by Jonathon Cape. This was full of new realisations triggered in a large part by the work of David Wood who contacted Lincoln after seeing The Templar Secret on TV. Lincoln wrote a foreword to Wood's first book, Genisis - The First Book of Revelations published by The Baton Press in 1985. 'Genisis' is the way Wood spelled the title of his book, probably as it tended to feature Isis rather heavily!
Wood had received training in military surveying techniques and fortunate enough to own a reprographic company. By combining the two he had managed to discover what had lain hidden for centuries. He had, like Lincoln, found a five sided shape but his was a pentagram, not a pentagon. He had also found circles, squares and other shapes, all interlocking and linked together by mathematical ratios and English land measure such as the mile and pole. It all sounds very fanciful, but in fact was arrived at by a very methodical and logical step by step process. Unfortunately Wood then went on to construct a complete numerical symbolism for everything he discovered, arriving along the way at conclusions that seemed bizarre and unwarranted, and at a final conclusion that put many off the book altogether.
The Regular PentagramThe Extended Pentagram found by David Woods
( Based on a circle of 15 divisions )( Although one point is outside the circle all points are still 36o)
Some of the geometry that was analised in depth in Genisis
(click the image to enlarge)
Henry Lincoln was asked and agreed to write a foreword to the book. He started it with the word 'Amazement!', ending it with 'Amazing! Amazing!!' He preserved his dignity and kept the repect of his readers by including 'I must stress that in this statement - indeed in all I have to say about this book - I am concerned only with the demonstrable geometry, mathematics and measure which the author set out.' In speaking of this in The Holy Place Lincoln concludes '.... he looked at the wonder - and then obscured it. This is a salutary lesson to those who would lead themselves to their own pre-determined conclusions.' This is indeed a lesson to anyone who attempts to reconcile the irreconcilable, to unravel the unravelable, to fathom the unfathomable. It is a lesson to all adventurers, all scientists and all seekers of the truth. I can assure the reader that this was keenly borne in mind throughout the research and writing of Hidden Landscapes and the work that is to follow.
I had just read David Wood's Genisis when I discovered the spider's shape on the Ordnance Survey map of Glastonbury. It was the summer of 1986 and I was staying in a tent at a camp site (sadly no longer in existence) at the foot of Glastonbury Tor. I had been there for several weeks and had begun to feel quite at home exploring the countryside around and its connection with the myths and legends of the area. I had found a spider, a definite spider, and I knew that if it was to be more than a mere coincidence it would have to mesh in with other things. Despite realising this I was not prepared for what I ultimately found.
I scoured the map and found something odd. The spider was near the village of West Bradley and I had found Bradley Spring - over 6 miles away. I remembered something in Wood's Genesis about springs and their connection with healing. I remembered too the mythological and folk beliefs associated with spiders: weaving the web and weft of life, the thread of time, and their association with healing. Healing. I read the paragraph in Wood's book: 'Aesculapius was the Greek God of medicine associated with healing by medicinal springs or spas....'
Wood also wrote how he had unexpectedly found a copy of Le Serpent Rouge, the poem that purports to give cryptic clues to the Rennes le Chateau mystery, mentioned earlier, here and how it comprised thirteen verses, one for each of the twelve signs of the zodiac and an extra verse for the thirteenth star sign that the sun passes through, the constellation Ophiuchus, the serpent holder, alternatively known as Aesculapius. He told how the constellation Ophiuchus appears in the plane of the ecliptic - the passage of the sun around the sky during the year - between Scorpio and Sagittarius, and he told how directly opposite the zodiac to Scorpio/Sagittarius is Gemini/Taurus, the 'Min' of Gemini then combining with the 'Taur' of Taurus, to give us the minotaur!?
Wood then went through some of the verses of Le Serpent Rouge, mentioning how the verse for Aries describes the Charles Perrault fairy tale Sleeping Beauty, describing her as a 'queen of a lost kingdom' who was asleep with her servants in a castle until released by a prince cutting through the undergrowth to wake her and her servants up. Wood saw the Goddess Isis as being depicted as Sleeping Beauty.
The next verse was Pisces. It starts " This friend, how will you know him? His name is a mystery but his number is that of a famous seal ..." The famous seal is probably the Seal of Solomon, making 'his number' 33 or 333 or 3 in any of its combinations. 'His name' is either refering to Solomon or the mystery associated with his name, ie wisdom. As 'wisdom' is the last word in Wood's translation of the poem, and written in capitals, we can assume you would know 'this friend' by the name Wisdom. In other words, wisdom will lead you to the answer.
The Star of DavidThe Seal of Solomon
( Representing the linking of Heaven and Earth )( Representing the linking of ? and ? )
Unfortunately, Woods did not see the name of this friend as wisdom. Neither did he see the number 33 or 333 etc. Which is surprising, as by an almost unbelievable coincidence the illustration he gave that confused the Seal of Solomon with the Star of David was labelled 'Figure 33.'
Oh, David, how close you came. Your amazing work on the geometry of Rennes le Chateau allowed Henry Lincoln to find linked geometries and enabled me to find what I did at Glastonbury. If only your copious logic had been balanced with a little intuition!
I drew a line on the map from the footbridge on the lower edge of the spider to the tiny blue ring that marks Bradley Spring. I noticed immediately that the line touched the very tip of the 'ear' of Park Wood, a wood near the village of Butleigh, shaped exactly like an animal's head. By another coincidence the line just missed a dot on the map marking a monument in a large wood not far from Bradley Spring. I went to sleep that night with no idea what to do with the line, but with a strange certainty that I was about to find something of significance.
The next morning I was equally certain of what I should do. I simply copied David Wood's extended pentagram and its surrounding circle onto the map. As Wood's construction is roughly symmetrical about a line drawn through its centre, (its angles vary by up to 1o from the 'correct' 36o), I decided to draw in a centre line at 18o from the spider to Bradley Spring line. This second line just missed the staggered crossroads at the bottom of the map sheet labelled Christian's Cross. As Wood's angles were not exactly the theoretically correct ones I decided to draw the line through Christian's Cross. I measured the angle as 17o. The next line I drew at 18o to the second line, 35o to the first, again from the footbridge on the lower edge of the spider, down the map. Just before it went off the map it passed directly through the church at Keinton Mandeville. I eagerly attached the next map to the first and extended the line to make its length the same as the distance from the spider to Bradley Spring. I was expecting this end point to have something of significance about it but was disappointed: just open countryside. But there was something just a little further back up the line. I had an idea. The spider to the monument = 33.5 cm. The spider down this line 33.5 cm = Pleasant Spot. I could not believe it! There seemed to be an area/field on the outskirts of Charlton Adam known as Pleasant Spot and it formed the lower right hand corner of the diagram I was constructing!
I now decided to take the monument and Pleasant Spot as the lower corners of this pentagram with the spider as the top.
From my pencil point at Pleasant Spot I drew a line at 36o to the line I had just drawn, going right across the map heading towards Glastonbury. I had a rough idea where this corner was going to be by looking at the shape of David Wood's pentagram and scaling it up. Open countryside again. The only thing marked on the map of significance was a spot height in metres. It was 9 which is 3 x 3 but I was hoping for something more than a construction that depended on number coincidence for its validity. The angle at the bottom right hand corner would then be 34o which would put it outside the 1o angle tolerance obtained by David Wood. I was not sure.
The final angle was from the monument on the first line eastwards over the centre of the pentagram. I drew this line at 36o and needed to find its length. I measured from Pleasant Spot to the 9 metre spot height mark. 27 cm or 3 x 3 x 3. Oh dear. Maybe it was just number coincidence after all. I then marked the line from the monument at 27 cm long. OK, now for the circle.
David Wood found his circle first, by discovering a circle of churches from a central point he had found by geometric construction from a line he had been able to find from something said in the poem Le Serpent Rouge. I had got round all of that by simply building up his finished pentagram around the Rennes le Chateau area on my map around the Glastonbury area. I was certain before I started I was going to find something, in the same way that I knew I was going to find something in the landscape of Britain of which Hidden Landscapes describes just a small part as explained here.
I knew the centre of the circle would not be far from the central(ish) line I had drawn from the spider to Christian's Cross as 1 or 2o error in the regular extended pentagram's 36o corners is not going to put it out very far. As a first trial I put my large homemade wooden armed compass on the line at a random point and checked the four corner positions I had marked. It seemed I needed to lower the compass point down the central line. I put it on the small square I had previously noticed this central line just missed, set the compass point to go through the monument and span it round to Pleasant Spot. Yes, spot on. Round to the line end just east of Lydford Fair Place. What!! I had not noticed the name of the village until now. This was what I had hoped for. Coincidences that were too much to be mere coincidences, and on the ground, provable. Next, the 9 metre spot height mark. The pencil went right through it. I was amazed.
I had found the five points of the extended pentagram and had the circle with its centre at something that was marked on the map. All the corners were at particular places that were marked on the map - except for Lydford fair Place which was a whole village. Then I noticed something I had been dreading. As mentioned here the Glastonbury area is maybe covered by something called the Glastonbury Zodiac. (Although another very strange terrestrial zodiac here allowed me to discover a totally staggering goose and rider that is completely visible here, that was not until two years after this Glastonbury discovery).
What I had noticed was that the circle cut the line from the monument at the peak of a curve in the road out of Lydford Fair Place. This hump formed the end of the tail, ie the sting, of the scorpion that formed the figure representing Scorpio in the Glastonbury terrestrial Zodiac. My dread was that instead of finding a neat and simple shape that was easy to prove, it would get tangled in this 'supposed to be there maybe' Glastonbury Zodiac. Now I could see myself becoming the out of depth interpreter of some vast waking nightmare. Actually the whole thing turned out to be quite easy to interpret as both the geometry and interpretation follow on from the geometry and interpretation at Rennes le Chateau. AND it is easy to see where David Wood went wrong in his interpretation.
In short, I took the intersection of the circle that had gone through the other three corners with the line from the monument as it touched the end of Scorpio's tail to be the fifth angle of the extended pentagram of Glastonbury. All that remains is to link this point with the 9 metre spot height with a final line to complete the drawing of the pentagram.
Summary of coincidences at this stage:
5 corners, all with marked points on the map, 2 of them similar names. 1 of them with a height of 9 metres (3 x 3). Pleasant Spot to 9 metre corner a distance on the map of 27 cms (3 x 3 x 3).
I found the 9 M and 27 cms coincidences on their own to be a little tenuous to say the least, so looked for other measurements. Unbelievably, the circle I had just drawn was slightly over 27 cms in diameter but the distance from the top point to Christian's Cross is 33 cms. It was while I was playing about with the ruler that I made a strange discovery.
I was trying the ruler from every significant point to everywhere else to try to find a 9, 27 or 33 link when I measured from Christian's Cross to Barton St David Church and found it to be precisely 9 cms.
Then Barton St David church to the pentagram corner at Pleasant Spot: precisely 11 cms.
Barton St David church to the pentagram corner at Lydford Fair Place: precisely 12 cms.
Barton St David church to West Lydford church: precisely 10 cms.
Barton St David church to the disused church north of East Lydford: precisely 14 cms.
Barton St David church to Kingweston Cross (a wayside cross): precisely 6 cms.
Barton St David church to Butleigh Cross (a crossroads with a wayside cross): precisely 8 cms.
Barton St David church to Wickham's Cross (a crossroads): precisely 14 cms.
Barton St David church to Kingsdon Church: precisely 24 cms.
Barton St David church to St Benedict's church Glastonbury: precisely 33 cms!
Kingsdon church is so far to the south of the main figure that it is probably just a coincidence. St Benedict's too, although on the map bang on 33 cms has no obvious reason to be drawn to our attention. (The main Glastonbury church, St John's, was just over 33 cms, 33 cms being in the churchyard). Other near misses were East Lydford church at 13.1 cms and the monument at 14.9 cms, ie nearly 15 cms.
Maybe the 33cms to the church of St Benedict's at Glastonbury is not a coincidence after all. On researching I find that St Benedict's is the meeting point of a 'ley line' from St Benedict's through St John's church at Glastonbury to Wells Cathedral and another from St Benedict's, along the main axis of Glastonbury Abbey, through other sites before reaching Stonehenge. As recorded by John Michell and many others. But then ley lines don't exist. Do they?
If we look back at the measurements we see that they range from 6 cms to 14, with 7 and 13 absent. Is our attention being deliberately drawn to these numbers? It is a coincidence that we have only the numbers to do it in this way, no extras. 7 and 13 have featured earlier in Hidden Landscapes, particularly 7; but we shall have to wait and see. 14 features twice. Is this significant?
While looking at the lines around Barton St David church it was noticed that two of them just happened to be at 90o, an exact right angle. By sheer coincidence the two points that happen to be 'on the square' with Barton St David church are the two pentagram corners that again, by absolute coincidence, just happen to have similar names: Lydford Fair Place and Pleasant Spot.
While examining the map to see why the monument was such a near miss, but a miss never the less, something else was noticed. The monument, Barton St David church and the disused church at East Lydford are in a straight line. Draw a line on the map from the monument to the disused church at East Lydford and the line will go straight through Barton St David church. Not only that. The line you have just drawn will be perfectly parallel to the Ordnance Survey east - west grid lines on the map. This line is on the square with the planet itself.
We are now brought neatly into the next part of David Wood's construction, for not only did he find the pentagram and its surrounding circle at Rennes le Chateau, but he also found a rectangle around his design.
Wood found that the rectangle around the pentagram was tilted over clockwise by an angle of 20o but the pentagram itself was orientated due north - south. My pentagram was canted over clockwise and I had just found an east - west orientation, so I drew the rectangle north - south knowing that Wood gave an angle measurement that I could check against. He had measured the angle from the right hand side of the short axis of the rectangle at the centre of the circle to the top left corner of his rectangle and found it to be 33o. I measured the equivalent angle on mine and found it to be 36o. Oh dear! It had been going so well till now! I also found something else. Due west of the centre of the circle was the point of the right hand 'arm' at Lydford Fair Place; two more places 'on the square'. I next measured the size of the rectangle and got quite a shock - 27 cm wide by 333 mm tall!
I now realised I could check another of David Wood's angles. He found on his diagram that the angle from the centre of the circle, across the axis of the rectangle and then back across to the point at the left hand 'arm', the 9 metre spot height on my diagram, was 6.6o. I checked on my Glastonbury diagram. The angle was 33o. I checked again. I could not believe what I was seeing with my own eyes. Absolutely, unmistakably 33o. My head swam. If this diagram at Glastonbury has the capability of transforming 6.6 into 33 what does that mean? I could not help but equate 6.6 with 666, while the numbers 33 and 3 x 3 x 3 spoke of perfection. Everything I had found then and everything I have found since speaks of the spiritual nature of man and the opportunity we have for change. If 666, 6.6 and the like spoke of the fall of man, then 33, 3 x 3 x 3 etc would be his redemption.
Woods had looked at the diagram at Rennes le Chateau and seen only the physical and interpreted it in terms of the sexual and of physical disaster, a comet. I was beginning to see that it could be interpreted in other ways, especially now there were two diagrams, so obviously linked in both geometry and meaning.
Before I could look at the meaning however, I had to finish looking at the geometry.
Woods had found two other coincidences on his diagram and both were easy to check on the one I had constructed around Glastonbury. The first is a line that runs from the left hand 'leg' of the pentagram through the junction of the lines going from the left 'arm' to the right 'arm' and the point of the pentagram to the lower right 'leg'. On the RLC diagram the line goes out to the castle at Arques. I checked mine. The line runs across the junction of the two lines straight on to ........ Hornblotton church! In fact Arques castle plays an important role in the construction of what might be described as an 'overlay' on the main structure that Woods drew. I found that Hornblotton church plays precisely the same role in the Glastonbury construction.
The second 'coincidence' is that the old French zero meridian runs through the right hand side of Woods construction, parallel to the central axis of the pentagram and links in with it by cutting through various line junctions etc.
The international zero meridian was established at the Greenwich Observatory and officially recognised in 1884. But the English line was not the first to have been created. The Paris Observatoire established a line as long ago as 1669. Although accepting the English line, the French still mark the old line on their maps. It is this line that David Woods refers to as the 'meridian line'. Interestingly, the architect of the Observatoire was Claude Perrault. His brother Charles was the author of Sleeping Beauty which runs as something of a theme through Le Serpent Rouge.
I of course had no zero meridian nearby and my pentagram was tipped over at an angle of 32o. While measuring this angle it was obvious that there was something nearby that looked as if it ran parallel to the 32o axis of the pentagram. The Fosse Way, an ancient trackway, runs precisely parallel to the axis of the pentagram, although at Glastonbury this line runs not through the main diagram, as it does at Rennes le Chateau, but outside it, between the right hand 'arm' at Lydford Fair Place and the church at Hornblotton.
Despite yet another feature at RLC being duplicated at Glastonbury I felt that there had to be some other links with the Fosse Way to mesh it in to the overall pattern. It did not take long to find them.
As the only line to leave the main pentagram/retangle area of the diagram left the pentagram via the junction of two of the petagram's lines, I decided to try another line through that point. Starting from? The centre of the circle seemed a reasonable choice. The line crosses the Fosse Way at an angle of 33o!
Looking at the route the Fosse Way took, something stood out. It was perfectly straight all along the length of the main axis of the pentagram, but towards the right 'leg' of the pentagram at Pleasant Spot the Fosse Way took a sudden change of direction. It did not change direction by much, but it did so at a specific point, one that the A37, the main road that follows the course of the Fosse Way, took three dramatic corners to avoid. Very strange. In an effort to find the reason for this I put a 24 inch steel rule along the diverted section of the Fosse Way to see where a line extended from it would lead. It led straight to Hornblotton Church. I was sure there would be more to it than that. Then I found it. A line that leaves this displaced section of the Fosse Way at right angles, such that it just skims the bottom of the circle, goes straight through Bradley Spring!
This seems to be a suitable place to take stock of what has been found and to ask the questions
"Is it more than mere coincidence?" and " What, if anything, does it mean?"
Just like the Goose and Rider here there are so many coincidences, although unlike the Goose and Rider these are not so easy to see. Once drawn out on the map however, they are all visible and each corresponds to something similar in France in the area of the Languedoc around Rennes le Chateau, as discovered by David Wood.
Is it more than mere coincidence? I was always taught that for something to be real rather than mere illusory it has to be detectable, measurable and repeatable. Detectable? Certainly, two people have found what on first sight seem to be similar constructions. They found them in different ways though each saw clues in other people's work that ultimately led them to their discovery. Detectable by a machine? Probably not. Detectable? They have been found, so by that very definition they are detectable. Measurable? They have been measured and the measurements have been recorded. Repeatable? There are two and although not identical, share so many features that they must surely be of the same family.
Maybe there are more than two - there is evidence of something similar in Nova Scotia. Linked pentagram and Seal of Solomon designs have been found involving no less than five Oak Islands. Also involved in the geometry are several Point Pleasants, Pleasant Valleys and Pleasant Points. Website www.vortexmaps.com
If something exists then it is of science and worthy of study by science. Unfortunately, whether something is deemed to exist, even in the 21st century, is not always judged by logical parameters. Of course, anything that does exist has and will continue to exist irrespective of our knowledge or acceptance of its existence. Anyone put off by a pentagram should read here.
What if anything does it mean? David Wood was very clear about what he thought the design at RLC was telling us. He analised it in a strictly logical way and came up with what to him was a very logical explanation. The information he had fitted, and it gave him a logical answer that was totally bizarre and unbelievable to most of the people who read his book. His geometry though truly was amazing!!
The problem is that these drawings are not logical. Although they were drawn and measured in a logical way, they are the very opposite of logical. It is as though someone has taken what we accept as 'real' and torn it up before our eyes and revealed something that was hidden there all the time, but obscured by our perception of reality. This is not 'logical' as we know it, but neither is quantum physics.
Already in Hidden Landscapes it has been shown how something as illogical as a "does not exist" terrestrial zodiac can lead to the finding of something equally unbelievable but that definitely does exist. The lesson throughout has been that we will never understand these things by logic alone. Once the missing ingredient is found we can proceed with wisdom as described in Le Serpent Rouge and go on to find the answer.
Before we can find the answer we have to look a little at the 'overlays' on the design that David Wood found and find our own at Glastonbury. Only then can we look in all directions and see the wonders unveiled before us.
First though it might pay us to look at the mathematics and logic used in the interpretation that was originally given to the geometry at RLC by David Wood. This is not a 'David Wood bashing session'. This is done purely so that we can see a 'logical' way of looking at things and the problems it brings and then look for an alternative method.
In one of the documents purporting to hold clues to the RLC mystery the number 681 is mentioned.
||681 refers to the year 681. This year does feature in the history of RLC.
||681 refers to the fact that in a right angled triangle with sides in the ratio of 3:4:5 the three angles are 36.87o, 53.13o and 90o and these angles just happen to have sine values of 0.6, 0.8 and 1.
||681 refers to Phi ( Φ ), also known as the golden ratio, the golden mean, the divine proportion etc. Found everywhere in nature and in times past used by man in architecture and art, eg the proportions of the Parthenon and throughout Renaissance art. This ratio is 1.618 to 1. Divide 1 by Phi and you get 0.618. The numbers are not in the correct order but when you realise that just before "681" came a sentence that ended "Poussin and Teniers hold the key" and their paintings were riddled with divine proportion, it is at least a possibility that 681 refers to Phi / Poussin and Teniers / a clue that can be found by finding what connection 681 has with a work by Poussin and a linked work by Teniers.
||681 refers to something not mentioned above, even something not connected with geometry or mathematics.
||any combination of the above, or none at all.
Naturally David Wood went for Option
Two, and found his 3:4:5 triangle with the hypotenuse coinciding
with the Paris Meridian, the top corner where the top edge of the rectangle cuts the meridian, the lower corner where the bottom edge of the rectangle cuts the meridian and the right angle bang on Rennes le Chateau.
He then went on to convert the distance of his triangles three sides to 'Ancient Units' (don't ask, it is far too complicated) and by a further entirely logically made connection, arrived at a figure of 397938.0349 for one of the sides. This was then taken as 0.397938034 and looked on as a cosine value. The angle this equates to is then 23.44933816 or 23o 27'. (There are 60 minutes ( ' )in a degree and 60 seconds ( " ) in a minute).
As we all know, 23o 27' is the angle of tilt of the earth!
This calculation is described in David Wood's second book, Geneset,
published in 1994 by Bellevue Books which he co-authored
with Ian Campbell.
Geneset developed the theme of Genisis, though morphing it into a slightly different direction.
We have all experienced what happens when we overhear just one snippet of a conversation - we fill in the missing parts until we have something that makes sense.
If we hear a little more, we add that to our version so that it still makes sense. Yes, it does make sense, but when we are told what the conversation is really about it is easy to see where we went wrong.
Will the extra bits of this 'conversation' we
will get from the geometry at Glastonbury
enable us to piece together the whole conversation? How can we ever know that?
What can be said is that at Glastonbury we are fortunate in having an already existing layer of meaning with which this geometry dovetails, so making its meaning easier to fathom and in turn helping us to be more confident in the meaning we give it.
David Wood did then realise
that if 681 is taken as a sine, (yes, a play on words), then it would become 0.681, equivalent to the angle 42.921836o or 42o 55'
18.6" (note the 681 in reverse at the end). This just happens to be the angle of latitude of the very area the RLC design occupies. Either 0.682 or 0.680 for instance puts you
10 miles either north or south. The equivalent number for the Glastonbury design would be 778. To arrive at it I used the latitude 51o 5.3' read off the map
as the centre of the circle, giving 51.08833333 degrees and a sine value of 0.778115261. A sine value of exactly 0.778 gives an angle of 51.07782028o or 50o 4' 40.15" so no flash 778 on the end,
but never mind, 778 does find itself in the decimal version of the angle.
Coincidence? You decide! And no more schoolboy mathematics. Promise.
Seriously though, David Wood did do a truly excellent job of the geometry of RLC, and an equally good job of the mathematical relationships. I am certain that if he had the extra information that is available now, his interpretation would have been different.
As an experiment I tried looking for an angle of 23o 27' (the angle of tilt of the earth) in the geometry at Glastonbury. I thought I might have found it so I measured the lengths of the two longest sides of the right angled triangle involved, to calculate the angle. 23o 41', one quarter of one degree out. And this was after extending the triangle sides to the edge of the map for maximum accuracy. Yet all that is neccessary is to change the two measurements by less than one quarter of one millimetre and you hit the magic 23o 27'. What limits of accuracy are allowed? Should we expect perfection?
So is the line I found that goes from the centre of the circle to meet the Fosse Way at an angle of 33o elevated from the horizontal by 23o 27'? The truth is I don't know, but I suspect that a very large scale map might show small inaccuracies in the present map and drawing that add up to make the changes necessary to produce an angle of exactly 23o 27'.
Maybe we are simply being shown that we should have faith.
The Glastonbury Pentagram - click the image to enlarge
(when viewing the enlarged image click lower rh corner (IE) or click on image (Firefox) to see full size)
My original intention was to end this section on the line above but as these things do, it wouldn't let me rest until I had developed it a little more. So here I am, back again after unravelling the geometry and writing half the words for the next section!
My omissions were two-fold - I failed to look for the equivalent of the Paris meridian and consequently did not look for the equivalent of the triangle that gave David Wood his convolutedly found 23º 47' angle. We can find it directly as an angle; so maybe that was what the dream was about (see next section) - but I haven't yet found pie (pi, ) although I did find another type of triangle.
The second omission was holding back something I found that although found and fitting in well for this section I thought would lead in to the section after next decoding it all - No!
Firstly, the Paris Meridian. I had kind of assumed that as the Fosse Way does run parallel to the axis of the pentagram, albeit outside of the pentagram itself, it does take the place of the meridian here at Glastonbury. - OK, maybe it does on one level, but if we look at the geometry at RLC, The meridian serves as the backbone for the 3:4:5, or '681' triangle David Wood found. Also, the meridian passes through the top and bottom lines of the rectangle that encloses the pentagram and also passes through the junction of two of the pentagram's lines.
Putting a vertical line on the map at Glastonbury through the crossing point of the pentagram's lines from the spider to Pleasant Spot and the monument to Lydford Fair Place will give a line that does pass through the top and bottom lines of the rectangle. It has to link in with other things, and it does in a very surprising but most convincing way. At RLC the meridian runs up out of the rectangle into very hilly countryside. The shading on the French map (IGN 2347 OT) that covers this area clearly outlines the shape of an ass / donkey type animal. The meridian passes through it's genital area.
At Glastonbury the 'meridian' line passes through the centre of the genital area of the figure that represents Sagittarius in the Glastonbury zodiac. This figure is depicted as a horse and rider, with the rider having been unseated by one of the claws of Scorpio's scorpion. The rider is seen as Arthur, the hero King of British myth and legend, the scorpion as his evil brother Mordred, or in an Egyptian context, Osiris and his evil brother Set.
The main story surrounding Arthur is of the search for the Holy Grail. The whole point of the search for the Holy Grail is to find it and then use it to heal the Fisher King - who is mortally wounded in his thighs, ie his genitals. The Fisher King is said to represent us all and the Holy Grail is said to be able to heal us all, to restore a golden age.
Isis is the one who attempted to heal Osiris but failed because she could not find the phallus - he remained mortally wounded in the genitals, an exact equivalent of the Fisher King. And here is Isis in the British Avalon, the Celtic underworld, positioned between the tail of Mordred's scorpion and the rider's position on Arthur's horse, drawing the attack away from the British hero. The right 'arm' of her pentagram holds back the sting in the tail of the beast as Mordred / Set desperately tries to finish off Arthur and Isis herself.
Isis is depicted here in Avalon, the Celtic underworld, the abode of the dead. Is she dead? If she was once the goddess of wisdom, overthrown and defeated by an invading religion, with her symbols stripped from her, then yes, the underworld is where she would be consigned. Her symbols would be assigned to the victor. The serpent of wisdom? The serpent would have been just one of her symbols. The serpent as a symbol of Isis? Isis sits in the Glastonbury zodiac between Sagittarius and Scorpio, right where you would expect to find the 13th sign of the zodiac - the serpent holder. The spider as a symbol of Isis? Le Serpent Rouge seems to know! It plainly talks of Isis - embalming and embalmed. What is the only creature to embalm it's food? Now she too is embalmed - imprisoned in the underworld with Arthur and Osiris, Mordred and Set, playing out a symbolic scene designed to help mankind. Why do we need help? We, like Arthur, have lost our balance. We have fallen so far we are on the verge of destroying the planet. That cannot be allowed to happen.
So who decides, who makes the rules? We each decide, we each have free will and are free to use it as we will. Who made the Glastonbury zodiac, who made the geometric designs? When Mrs Maltwood found the zodiac in 1927 she must have wondered whether the laying out of something so vast to such a degree of accuracy and intricacy was possible at the time she calculated for it's construction (2700 BC). We have the advantage of modern mapping and mathematical techniques yet we would have great difficulty in even conceiving of such a project, let alone carrying it out. Could we have combined the intricacy and accuracy with the symbolism neccessary at both Rennes le Chateau and Glastonbury - and combined it with the Glastonbury zodiac that accurately depicts the heavens? Of couse not! We don't have to! As we have already seen in the very easy to see, but as yet unseen, Goose and Rider, if it is neccessary, it will happen. Things will appear in the landscape, taking thousands, if not millions, of years to form. Poems will be written that no one will understand, yet can be applied to two locations, not one. Myths will be passed down from mother to son that both will find equally inscrutable yet strangely compelling. - Why??
This is no hastily put together rescue mission. This has been planned since the beginning of time. This is a rite of passage, of leaving one stage in our evolution and entering another. In fact the word 'leaving' is not correct for we are not leaving, we are becoming. Like a caterpillar becoming a butterfly, it is time for us to find our true colours - to change into what we really are. A time for the precocious teenager who 'knows' they are right to change into the adult who 'feels' they have a lot to learn - to remove our boundaries, to know that we are a part of something greater. The next great frontier is not found without, but within - ourselves. It is time for us to cross that boundary....
....to truly become.
It is done! Now I too am guilty of the same crime Robert Graves has been accused of. I have written something I never meant to. It just happened. I plead guilty, but the words will not be changed. What is written cannot be erased.
As is no doubt becoming clearer, nature is a symphony. Life is a dance to the music of time - something else David Wood found encoded into his geometry. I had almost forgotten, the geometry.
The 'meridian ' line at Glastonbury does not have to be extended outside of the rectangle to cut through the 'genitals' of Arthur, who represents mankind. The line meets the top line of the rectangle on his genitals, the lower end of the line cuts through the lower line of the rectangle very close to where the Fosse Way crosses it. We now need to look for triangles using these two crossing places as the top and bottom of the longest side in our equivalent of David Wood's 3:4:5 triangle. As we already know the length of the longest side is 333 mm, the same as the height of the rectangle, it is easy to divide it up into three fifths and four fifths. Armed with these figures, it was while I was looking in the four possible places for evidence of this '681' triangle with the aid of the compasses that I wondered whether I was doing what nature does when these figures are 'layed out'. I wondered too whether nature too 'strikes an arc' with her compass equivalent, when invisible lines of force would take the place of my pencil arcs until they find a crossing point, or in her case, the vectors are in balance. Is this the way that it is done? I have no idea, but no doubt one day we shall work it out.
I was unable to find an exact match, but the arcs crossed very close to Hornblotton church, a degree or so reduction in the angle would have got it. I reset the compasses to 269.5 mm, the length neccessary to find a particular angle, still using the 333 mm 'meridian' as the major side. This angle is always seen as one of a pair, for it is 51º 51' 14.3", the base angle of the Great Pyramid of Giza, a definite connection with Isis, Set and Osiris etc - so I used the 333 mm line as the base and drew the pyramid's outline. This time one side passed straight through the church at Hornblotton!
We seem to have found a pyramid in the landscape while trying to find the '681' triangle. I still haven't found it, but did find a triangle based on the 'meridian line of 333 mm with an angle of 23 27' that lines up to the diagram as a whole in a most surprising way.
When first constructing the basic outline of the pentagram, the second line I drew was a line to act as the central axis of the whole thing - just to give it some shape, some form. The actual positioning of this line never seemed very solid - I drew it to Christian's Cross, but a line from there to the peak of the pentagram missed (just) the centre of the circle. Despite this, the length of the line to Christian's Cross was 33 cm, so obviously something of significance is going on.
When I could not find a '681' (3:4:5) triangle I decided to look for a right angle triangle with 23º 27' as one of the other angles. I calculated the lengths required to get an exact point for the position of the 90º angle: 305.5 mm from the top of the 333 mm meridian and 132.5 mm from the bottom. This brings you to a point right alongside the Christian's Cross crossroads. Measuring the distance from the peak of the pentagram at the footbridge I was glad to see the rule was passing right through the centre of the circle surrounding the pentagram. I was staggered when I saw that the right angle point of the 23º 27' triangle lined up precisely with the 33 cm mark of the steel rule.
We now had a definite centre axis, the backbone of the whole design, and it lined up right through the centre of the circle surrounding the design, with a length of 33 cm to Christian's Cross. If this line is the backbone, the central axis, then it is the thing that holds everything else together, the thing on which everything else depends. Ask any Christian about the cross and they will think of only one thing: the cross on which Christ was crucified in his 33rd year.
I had been worried about the reaction to a pentagram, now there is something worse, or should that be better? It has been said throughout Hidden Landscapes that the design at Glastonbury is only a small part of something far greater. Is this the proof? It sounds very pompous, but it is only history that can judge.
Before moving on to the next section there is my second omission to put right. David Wood found another occurrence of 6.6. This time a distance of 6.6 miles between the 'crutch' of the pentagram and a line drawn between the two feet points. On the design at Glastonbury this is found to be 7.7 cm.
Sixes transformed into sevens and threes are a feature of this design and with the prominence given to the symbolism of Christian's Cross we can only think of 666. Fear not, everything is taken care of in the section after next where we shall be solving the conundrum of the sevens.
We should not leave without having another quick look at the pyramid we found and a surprise it has hidden away.
The centre line coincides on the map ( to within 2 mm ) with an east west grid line
| Base legth
| Side length
||( 27 cm )
||3 x 3 x 3
||( 21 cm )
||7 + 7 + 7
1) For those who are wondering whether there may be a pyramid hidden away in the same location at Rennes le Chateau let me say that I have checked and there does not seem to be an equivalent there. The line misses the Chateau d'Arques by 5 mm on the map. The angle needed to hit the spot is approx 55º.
2) For those not happy with the fact that I was not able to find a '681' triangle this is the best I can do:
By extending the 333 mm 'meridian' line down the map by 3 mm the crossing point of the 'meridian' with the Fosse Way will be reached. By using this 336 mm point as a new base corner for one side, the other side will still pass through Hornblotton church. The new side length will be 272 mm and the new height is 214 mm. More importantly the triangle's centre line will now only be 0.5 mm away from the grid line labelled 33. It was while I was doing the calculations that I halved the 336 base to find 168 hidden inside. A step too far? You decide!
The Glastonbury Pyramid - click the image to enlarge
(when viewing the enlarged image click lower rh corner (IE) or click on image (Firefox) to see full size)