3) The Spider (continued)
" .... In the pages which follow, dear reader, are the results of a dream
which nursed me from the bizarre to the unknown. .... "
From the final verse, Capricorn, in Le Serpent Rouge - author unknown.
I had gone to bed late, very late. My mind was reeling with the complexities of my task and the knowledge that I must now reveal what I knew. It had been so many years ago that I first walked the maze, yet I remembered every step.
I had spent the day alternately in my chair and in front of the map, alternately using the logic and the creative sides of my brain to find the design on the map and then write it up. Right brain, left brain, up then down, left then right. I was truly in an uneasy chair, my mind whirling round without motion.
I was asleep but seeing a circle. It was as though I was standing looking at a gigantic pie before me. There was a portion of the pie marked out. 27o. I was fighting to concentrate on the 27o. Then the rest became clear. If the part marked out was 27o then the remainder was 333o. I was more awake now. I looked at the clock. 3.33. Then I realised that the date was 30th June, 30/6 - all the ingredients for a 360o pie - yet I was not surprised. Yet again I had been shown the way.
I had been looking for lengths because at Rennes le Chateau it was the distances involved that seemed important. Maybe at Glastonbury the angles are more important, especially 27o.
d) The Web
Apparently David Wood realised that the symbolism demanded that there were further parts to the geometry to complete the story he had uncovered. He further realised that a conjunction of a six pointed Star of David with the extended pentagram he had already discovered would be just what was needed. He worked out how it would be joined to the pentagram (see diagram below) and then set about finding it on the map.
Extended Pentagram and the Star of DavidThe Extended Pentagram and the 'Star of Set'
(the theoretical diagram)as found by David Wood (click the image to enlarge)
As can be seen in the diagram on the left above, the theoretically correct diagram (not shown in Genisis, but in Geneset 9 years later) shows that the Star of David is placed such that the lower edge of the upward pointing triangle shares the same position and length as the line linking the two 'arms' of the extended pentagram. This positioning allows the circle that surrounds the Sar of David to be equal in size to the circle that surounding the extended pentagram and at one point to share radii. This special geometric relationship between two circles, known as a vesica, has many strange properties, one of which is being able to define the shape of the hexagon, the bounding shape of the Star of David.
Because the extended pentagrams at both Rennes le Chateau (RLC) and Glastonbury are not theoretically correct - their angles are not all 36o - the theoretically correct Star of David cannot be drawn. Fortunately David Wood did not need it to be theoretically correct. The story he had derived from the symbolism of the geometry did not speak of things being correct. Far from it. They spoke of a disaster being played out. The actors used in this play seemed to be the ancient Egyptian gods and goddesses Set, Isis, Osiris and Nut, whose initials spell out SION, the name of the secret society (The Priory of Sion) that is purported to guard the secrets of Rennes le Chateau. David Wood worked out that the myths surrounding the four players were being enacted in the landscape, in the geometry he had found. He/the geometry, had given Set the number 6 and it was Set's 'set piece' that was missing from the play. The six pointed Star of David, suitably modified, would perform the part.
It is necessary to 'deconstruct' this part of the geometry so that we know how to rebuild it at Glastonbury.
Note how the theme of 6's is continued at RLC
Thankfully Glastonbury is totally different !
(Use in conjunction with map above)
(Based on a diagram from David Wood's Genisis)
As can be seen from the two diagrams above, the top point of the Star of David is altered so that it coincides with the top point of the extended pentagram. This means that the two lower angles of that triangle are reduced from 60o to 54o, while consequently, the top angle is increased from 60o to 72o. Note that the left hand corner is still located on the left hand point of the 'arms' of the RLC pentagram but to keep the right hand corner at 54o that point of the triangle has moved a little, effectively 'cutting off' a small piece of the 'correct' 60o triangle. David Wood calls his readers' attention to the words spoken by Jesus in Mark 5:30 "If thy right hand offends thee, cut it off."
The next thing that has to change is the circle surrounding this deformed 'Star of Set' as David Wood calls it. We have three points, the points of the modified 60o triangle, and therefore can easily find a place to put the point of the compasses to form the enclosing circle. In fact at RLC it is very easy as the Chateau de Blanchefort is obligingly placed on the map at precisely the correct position. As can be seen in the diagram above on the right, the lowest point of the circle as drawn does not coincide with the centre of the circle surrounding the pentagram but coincides with the 'crutch' position of the pentagram, the junction of the lines linking the 'legs' with the 'arms'.
Now the downward pointing triangle is drawn. Two lines are drawn in an upwards direction from the centre spot of the pentagram's surrounding circle at 30o from the vertical. But how long should they be? This is easily answered as the left hand side of this triangle passes through the church at Luc sur Aude and then continues to the peak of Pech de Luc. The right hand side of the triangle can be extended to the peak of Mont Redon where it meets the top edge of the rectangle surrounding the pentagram at RLC that also passes through this summit. Now the circle has to be drawn.
For this to work, the summits of Pech de Luc and Mont Redon have to be the same distance from the Chateau de Blanchefort. They are. And what is more - so is the Chateau d'Arques! Also on this circle is the peak of La Berco Petito (on the line across the top of the circle around the pentagram) and the chateau at Couza. There is now just one more circle to complete the geometry.
The first step in drawing this circle is to find the geometric centre of this 'Star of Set' which is done quite easily by joining the opposite corners of the star. From this centre David Wood then drew a circle going through the top point of the pentagram / top point of the star. This circle also passes through the junction of the right hand side of the upward pointing triangle with the line going from the point of the left 'leg' of the pentagram to the Chateau d'Arques. Also to be seen in the diagram above are the numerous alignments on the line from Chateau d'Arques to the geometric centre of this star.
Now we can move to the map at Glastonbury!
The layout at Glastonbury is similar to that at Rennes le Chateau except for one slight complication. At RLC a line from the centre of the pentagram's circle to the pentagram's top point crosses the line linking the pentagram's arms at 90o; at Glastonbury it does not. At Glastonbury we are attempting to draw two triangles that need to be 'on the square' with each other, so we will have to take this 'out of square' into account.
We shall start, as at RLC, with the triangle that sits on the pentagram. The left hand corner of this triangle corresponds with the point of the left hand 'arm' of the pentagram, the 9 metre spot height mark. We can draw in the left hand line from the 9 M mark to the top point of the pentagram. Next we need to accurately mark the right hand corner. I did this by using a square sat on the line that joins the two 'arms' to draw a line down from the point of the pentagram to just cross the line. This is the mid point of the first triangle's base line. I found it was precisely 11 cm from here to the 9 M mark. The right hand corner can now be marked at 22 cm from the 9 M mark. as the distance from the 9 M point to the pentagram point at Lydford Fair Place is 22.7 cm we have moved this corner 7 mm away from it's theoretically correct position at Lydford Fair Place. We can now draw the right hand triangle side from the 22 cm mark to top point of the pentagram at the footbridge.
Now the first circle can be drawn. This needs to go through the three triangle corners and to help us we know that the centre point will be somewhere on the line we drew to help us find the base line mid point. When the circle is examined it can be seen that the only significant point it seems to go through is the 33 M spot height at Barton St David.
Now for the second triangle. We know that the lowest point of the second triangle is at the centre of the circle that surrounds the pentagram and that a line from this point to the top point of the pentagram is not square to the line between the two 'arms'. We are in danger of drawing a lop sided star so must be vigilant! By using the square again we can draw a line from the centre of the pentagram's circle such that it does cut the line between the 'arm' points at 90o thus giving us the framework we need. This line, that should be extended up to the level of the centre of the first circle, runs along side the line that helped us to find the mid point of the first triangle's base line but is 3.5 mm away from it. We can now draw out the two sides of our triangle at 30o to the 'vertical' we have just drawn. We now have the same problem as at RLC: how far do the sides go?
At Glastonbury I simply drew a circle using the same centre as the circle around the first triangle with the radius set to go through the church at Hornblotton, our equivalent to the Chateau d'Arques, the main control point for the upper geometry at RLC. By extending the left hand line of the triangle until it touches the circle just drawn we find we have a side length of 26 cm precisely. We are drawing an equilateral triangle - which means that the three sides must be the same length. Extending the right hand side to a length of 26 cm will take it through the circle but then a line joining the two 26 cm points will itself be 26 cm long - and this top line is parallel with the base line of this star configuration. Although we have 'burst through' the side of the circle, we have drawn a perfect equilateral triangle - and that is what matters.
If we extend the right hand side until it measures 26 cm we extend past the circle. No matter. I reasoned that if we could cut short the base line of the first triangle by 7 mm then we could extend the equivalent line of the second triangle by .... the hairs on my neck stood up - it was 7 mm precisely. What had been cut off on the upward pointing triangle - the one representing earthly things - man, had been restored by the downward pointing triangle, the one representing heaven. Balance. Perfection.
Then I realised that it was not perfection after all as the only reason we had got to this point was that the diagram was imperfect to start with: one triangle had all the wrong angles and the centres were out of alignment by 3.5 mm. The diagram at Rennes le Chateau was all about us being imperfect - and the diagram at Glastonbury had just proved it!
There is still the smaller circle based on the geometric centre of the two triangles left to draw. The geometric centre is easily found by joining the opposite pairs of corners. (NB: do not use the top or bottom corners for this as at Glastonbury they are out of line [see below]). Where the two lines cross is the centre of the circle. I located the point that this 'test circle' should pass through: the crossing point of the circle around the pentagram with the line from the monument to Hornblotton church. I set the compasses to pass through the top point of the pentagram with the point of the compasses on the newly found geometric centre. I span the compasses round, not really expecting the pencil to pass through the test point. I was stunned - the pencil passed exactly through the test point. Perfection (at least in the geometry) after all.
This was incredible. How it is possible for two pieces of geometry, related, but totally different, to correspond exactly in such a precise way is totally beyond me. Then stipulate that it has to correspond with features on the ground and tell a story by means of the distances and angles involved, and you have a task that is, I believe, totally beyond the capability of man. Having witnessed the stupidity of so many intelligent people I am certain of it.
What is this part of the diagram trying to tell us? If the accepted meaning of the Star of David can be trusted then it seems to be saying that man, the upward pointing star, is imperfect, whilst heaven, represented by the perfect downwards pointing star, will 'burst through' the constraints surrounding man, represented by the enclosing circle, to restore balance. Could "restore balance" mean to help mankind - to give him guidance? I believe it does.
The Star of Hope sat on top of the arms of the 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)
This does seem incredible. To say the least, it seems pretty fanciful - however good the geometry! But how good is the geometry? OK, it was perfect - as far as it went. But I was getting a strange feeling. Was there more? At Rennes le Chateau the centres of the two triangles were in line with the top of the pentagram. At Glastonbury they were not, yet the circle around the 'perfect' triangle used the centre that rightly belonged to the 'imperfect' triangle. Had I drawn it properly? Should I have used a different centre?
I measured the diameter of the large triangle's circle. 333 mm. I checked the 'check' circle. A radius of 9 cm precisely. All the dimensions of these triangles were precise, just like the distances from the church at Barton St David. I measured from the centre of the circles around the triangles to the centre of the 'check' circle. 27 mm. Threes were everywhere, yet I was drawn to the two parallel lines I had drawn while finding the centre lines of the two triangles. The two lines were a mere 3.5 millimetres apart, yet it could have been a thousand miles. Something had to connect them, to make them merge.
I looked at the map. The centre of the two circles that go around the two triangles was on one line, 3.5 mm away was the other line. I was drawn to the area between them. There was a pond, and in the same small enclosure, a small building. I remembered a line from Le Serpent Rouge: "I began my journey in the shadows and completed it in the light." We had literally begun our journey in the shadows as the footbridge is overhung with foliage, and we had ended it metaphysically in the light: the light of heavenly intervention bursting through the constraints of man to replace what he had lost - the missing 7 mm. I read the next line from the verse (Libra): "At the window of the ruined house I looked across the trees denuded by Autumn." Certainly the trees would have been denuded by autumn, for we were standing on Arthur, the two lines 3.5 mm apart are in the middle of his back. The outline of his breeches, marked out on one side by Breeches Lane, certainly gives us the impression that it is his back that is towards us. Arthur of course, representing Sagittarius, covers November 22nd to December 21st, the end of autumn / beginning of winter.
My mind sieved the options, the meaning of the lines of the poem, the meaning of the lines on the ground. Was there a house, a ruined house, right between the lines? Then I remembered - there was! There was a ruined house, a cottage. I had found it, stumbled upon it, all those years ago, when I had realised the meaning of the sevens. I was looking for another leafy lane and had got confused, taken the wrong direction, turned a corner and came across the most enchanting stretch of road I had ever encountered. Today it is still magical, but back then we had to turn round and retrace our steps. We stopped at a gateway and looked over to see a neatly mown enclosure. About thirty yards away was a tree covered pond and behind and to the right of that, a ruined cottage. How could I ever forget it? The ruined cottage was right between the lines! this must be the place, the centre we have been looking for, the place where our hopes and dreams combine.
I read the rest of the verse: "At the summit of the mountain, the cross stood out from the crest of the midday sun. It was the fourteenth and highest of all with 35 cm. Here, then, is my knight's tower on the circuit of the divine horseman of the abyss." There are no mountains on the Somerset Levels. There is a Tor though. It is the mystical hill that is visible from miles away and is just outside the town of Glastonbury, itself the legendary centre of the fabled Grail Quest. It is reputed to be the site of the first church in Britain, when Joseph of Arimathea sailed from the Holy Land and landed near Bridgwater with his followers. When they reached Glastonbury he planted his staff on Wearyall Hill. The staff is said to have taken root, turning into a beautiful flowering thorn which was taken as a sign that they had reached the end of their journey. Today, each Christmas, the Queen is sent a cutting from the rare flowering thorn bush that grows on the site; rare in the UK because the flowering thorn is more usually found in the Holy Land.
Actually, the thorn that is sent to the Queen is cut from a daughter bush in the churchyard of St John's Church, Glastonbury, in a ceremony just before Christmas.
Thinking about it, the 33 cm line from the church at Barton St David that did not quite reach
St John's church would have reached the position of the thorn bush in the churchyard.
Glastonbury is looked on as a very strange, mystical and spiritual place: the holiest place in the UK and one of the great spiritual places of the planet. We are finding all manner of strange and mystical things in the landscape of Glastonbury. Let us now continue our quest.
We are now leaving the trail that David Wood left for us as we have to blaze our own through this strange landscape that has taken on a new meaning, an extra dimension. We have to find new things and new connections and initially Le Serpent Rouge will be our guide.
We have come a long way: as Le Serpent Rouge says: ".... from the shadows into the light." But we have not yet completed it. We have found the ruined house mentioned in the poem but there is more, a lot more. Le Serpent Rouge says that you are looking out of the windows of the ruined house. From there (ignoring the tree foliage that may be in your way) you should be able to see a mountain and at the summit, a cross that stands out from the crest of the midday sun. 'It' will be the fourteenth and biggest of all with 35 cm. So is 'It' the cross, the crest of the midday sun or the mountain summit? The cross could even be part of a coat of arms containing the sun as one of it's symbols, maybe even a mountain as another. Whatever it is / was, it 'had' 35 cm and was the highest of all. Highest what? Honour? Degree of acheivement? 35 cm tall and the highest coat of arms on a wall somewhere? The permutations are endless.
I only had a map and a steel rule, so measured on the map 35 cm from the ruined house, this new-found point of balance of the triangles. Nothing. Then I noticed the coincidence that the two lines that found the individual centre lines for the two triangles were 3.5 mm apart, and here we were looking for something that was 35 cm, 100 times greater. Was it a coincidence? I thought I would try 3.5 cm instead, 10 times greater. As soon as I put the compass point on the small square representing the ruined cottage I could see that I had found it.
The pencil point just touched the line of the right hand side of the pentagram's upper tip, the part going towards the footbridge. I span the compass round. The circle just touched the line of the left hand side of the pentagram's tip. This small 7 cm diameter circle also went through Baltonsborough church. Another seven, another good sign, but was this it? Was this the end, the climax of our quest? A circle, stuffed like a ball that has been kicked by a petulant child, in the 'V' of a penagram?
What about the church? Was that special?
Did it fit the clues?
1) Could you see it from the ruined house? Not sure.
2) Was it on the summit of a mountain? No, unless the church itself was the mountain.
3) Has it got a cross? Not visible now, maybe once.
4) Stands out from the midday sun? It is west of the ruined house. Really it needs to be south, so, No
5) Fourteenth? ???
6) Highest of all with 35 cm? ???
7) Is it "My knight's tower on the circuit of the divine horseman of the abyss."
a) Knight's tower? The church has a tower. Yes
b) On the circuit of the divine horseman of the abyss?
On a circle? Yes
Of the divine horseman? If Arthur is meant, then, Yes
Of the abyss? Does this small circle with a diameter of 7 cm with a centre that is on the carefully hidden balance point of these two triangles, imperfect man and perfect heaven, represent the abyss? No - absolutely, categorically it does not!
What next? I thought of one possibility. The hill in the middle of Arthur's back might be a candidate. It was a hill - just. It might be visible if you looked out of the window of the cottage at 90º. It was called Windmill Hill so no doubt at one time there was a windmill on the top, maybe with four sails, so a cross of a kind. The other criteria though, particularly the one I thought to be the most important, 35 cm: No.
It was time for a rethink. I examined the poem. I made a breakthrough. The second and third lines are a sort of 'politician's statement'. You assume that the first statement is linked to the second. When it all goes wrong you hear the 'get out' line: "That's not what I said!" I assumed the statement about looking out of the window was linked to seeing the mountain. It wasn't. There is no "and" between the statements. They are seperate actions.
Then I made another breakthrough, the one that gave me the key. On the way, I looked through David Wood's Genisis for clues. I found an alignment relevant to this part of the geometry.
In writing these two sections and the next, as yet unwritten section, I have deconstructed David Wood's superbly constructed geometry - only because it has been necessary to lead us onward at Glastonbury. There is plenty more in his books that has not been mentioned, including a lot more geometry. It is a great shame that many people who heard of his two books were not able to separate the geometry from his conclusions; consequently he did not get much joy from these masterpieces to which he devoted much of this life. I hope that at last these bring him the retirement he deserves.
Part of David Wood's geometry constructs another circle, offset to the one drawn around the pentagram. There is more geometry to it, but the culmination was the locating of a point that should be in alignment (relative to the central axis of the pentagram) with the point we have used as the centre of the 'check' circle for our 'Star of David'. We can locate this point by simply finding the crossing point of two lines. One of the lines we already have: the line that goes from the monument to Hornblotton church. The second line, we have to construct.
The second line goes from the crossing point of the 333 mm diameter circle around the 'perfect' triangle of our Star of David with the line of the pentagram that goes from the footbridge to Pleasant Spot (on a footpath in the centre of Keinton Mandeville) to the pentagram point at the 9 M spot height mark. When this line is drawn, it will cross the line from the monument to Hornblotton church very near to a footpath 'crossroads'. In fact it is a convenient coincidence that most of the major places on the whole construction are easily accessible via footpaths. Even the immaculately mown enclosure containing the ruined cottage and it's pond has a footpath along one edge! Conveniently placed footpaths and odd names abound. Note the oddly named Breadstone Farm near to the place we have just found.
We now measure the distance of this spot from the axis of the pentagram and compare it to the distance of the centre of the 'check' circle from the axis of the pentagram. On David Wood's diagram the two distances are the same. Here they are not. The check circle's centre is 1 mm away from the central axis, the lower mark is 4 mm away. In all that we have found so far this is only the second instance of a change from David Wood's findings at RLC not being clearly symbolic of a change for the better at Glastonbury. (The first being 33° at RLC changing to 36° at Glastonbury here). Maybe it is the case that the symbolism of the overall geometry overrides the imperfection of these two centres being out of alignment and it could be that in this instance the 33 / 36 are showing us there is always perfection to be found in imperfection and visa versa. What we have found though by looking again at the central axis is that the ruined cottage is located right on the central axis of the pentagram - just where (symbolically) it should be.
What is noticeable about the line from Keinton Mandeville to the 9 M spot height mark is that it crosses the first line of the pentagram at the place where it touches the ear tip of the strange animal head shape that is Park Wood.
We can now return to the problem of the next move in our quest.
I had been examining the verse for Libra, describing the ruined cottage and the mountain etc when I suddenly realised it was all wrong - totally wrong. Why was it the verse for Libra? We were standing on Arthur's back. He was Sagittarius. Then I saw why it had to be Libra. This poem was originally written in French. For "Libra" the French use the word "Balance". The ruined cottage was indeed the point of Balance in the whole diagram. But the point of the Grail is to do something with it. What does the balancing?
Surely that is depicted by the triangle bursting through the circle. The point of the triangle - that must be it!
I picked up the compasses, I felt for the last time, and set them to 35 cm. But I already knew where they were going. Where else could it be? Where else is there a hill that for miles around looks like a mountain? With a tower on the top? The tower of an ancient church, a memory of the very first church in the British Isles! Where else could it be?
I put the compass point on the small triangle marking the summit and put the pencil on the map far away from the fateful triangle. I slowly drew an arc, looking for anything else that might qualify. There was nothing, not one thing. There was no obstacle now between the pencil point and the corner of the triangle that symbolised everything that man had hoped for in the past and would dream of in the future. But for the present, the world was in a mess and we needed help so much.
Is this what would reverse the rot? Could this be the answer? The pencil came to rest precisely on the tip of the triangle. It was the Tor !
This was amazing, truly amazing!! The geometry was perfect, faultless, breathtaking in it's complexity, yet total simplicity. And the clarity of the symbolism - mind-boggling! Yet we still had to answer the questions set by the lines of Libra.
1) Visible from the ruined cottage?Does not matter!
2) Summit of a mountain? In comparison to surroundings -Yes!
3) A cross? Once a church, soYes!
4) Stands out from the midday sun????
5a) Highest of all????
b) With 35 cm?Yes!
6) Is it "my knight's tower on the circuit of the divine horseman of the abyss."
a) Knights tower? Church tower on summit, soYes!
b) On the circuit of the divine horseman of the abyss? The divine horseman is Arthur, who represents us all. As the stars of Sagittarius move around the ecliptic they fall exactly on the Tor. He is the divine horseman consigned in our stead to Avalon, the Celtic underworld, the abyss.
so, 6b) - Yes!
4) Standing out from the midday sun? On his 'circuit', when he is at the Tor, Arthur's body is rotated to fall due south of the tower. If at midday we were to stand at the summit of the mountain and look up at the tower where the cross had once been, we would indeed see the sun silhouetted against it, for we, from our position on the very edge of the abyss, would be looking due south.
The observant would notice Arthur too, arms stretched out, pinned on this story-board of the sun, on his eternal circuit. The observant may believe the head of Arthur's horse is hidden from view but they would be mistaken, for it does not exist. Arthur is a true centaur, half-man half-beast. Yet wait -
- look - he is growing legs. Maybe the time is coming when he will want to walk on his own legs.
4) - Yes!
5) Fourteenth and highest of all with 35 cm? We know that the line has a length of 35 cm. Is this what is meant? Is ' it ' a line? Is it the fourteenth line? Is it the highest of all? It is the highest of all. It is the most northerly, rises highest from the ground and is the highest symbolically, linking the influence from above with the Tor. Is it the fourteenth line? Let us count them.
The circle around it1
The upward pointing triangle3
The downward pointing triangle 3
The circles surrounding them2
So we have fourteen lines already. No! Count them on the map - we have only thirteen lines already! How? Because one of the triangle's lines shares it's presence with the line linking the two 'arm' points of the pentagram, remember? So we can remove one from our count making only thirteen. This will make the 35 cm line the fourteenth and highest of all.
5) - Yes!
Yes to all the questions Yes Yes Yes
Showing the 35 cm line to Glastonbury Tor
click the image to enlarge
(when viewing the enlarged image click lower rh corner (IE) or click on image (Firefox) to see full size)
Yes we have found it! But what have we found, what does it mean? We have before us a great symbolic drawing, but we have to interpret it for ourselves! There is nobody here to do it for us!
What shall we do??
We have to do what we have done before. We have to interpret the clues as best we can and brick upon brick, build the answer. We have myth and legend, clues from the past, the great religions of the world, our own experience - and Le Serpent Rouge. We need to make a start straight away for there is no time to lose.