Terrestrial Zodiacs Newsletter - No 06

Magazine Overview

This issue of the Terrestrial Zodiacs Newsletter (TZN), number 6, dated May 1979, is an organ dedicated to terrestrial zodiac research, edited and published by Paul Screeton. It is available free, with donations welcomed. The main cover headline is "THE AGE OF THE GLASTONBURY ZODIAC" by Sam Wildman.

The Age of the Glastonbury Zodiac by Sam Wildman

Sam Wildman challenges Katherine Maltwood's theory that the Glastonbury Zodiac was constructed around 2700 B.C. Maltwood based her dating on the equinoctial line bisecting the zodiac and the position of the star Aldebaran (Taurus) at the western end, which she argued corresponded to the spring equinox in 2700 B.C. Wildman cites Cyril Fagan's work from 1947, which demonstrated that it was a modern convention to start a zodiac at the spring equinox. Historically, one of the four bright stars nearest the ecliptic (Aldebaran, Regulus, Antares, or Spica) was used as a starting point, a system known as the "fixed zodiac" still used in India. Aldebaran was commonly used.

Wildman then explores other dating methods, focusing on the visual elements of the zodiac figures. He points out that Virgo wears a hennin, a fashion from the late Middle Ages, and Sagittarius appears to wear plate armor, also from the late medieval period. The Cancer ship's design resembles medieval ships. The zodiac-makers also substituted Christian symbols for "normal" figures: the Phoenix for Aquarius, the Dove for Libra (air signs), and the Ship for Cancer (a water sign), representing the Resurrection, the Holy Ghost, and the Church, respectively. Wildman suggests these choices imply responsibility by the monks of Glastonbury Abbey.

He further notes that the draining of marshes, which began with the Glastonbury monks in medieval times, would have affected the appearance of the Cancer and Capricorn signs. Wildman's primary dating evidence comes from analyzing the hedges along the roads and trackways that form the zodiac's lines. By counting the number of different shrubs in 30-yard stretches of hedge, which indicates the age of the hedge in centuries, he and his daughter Angela conducted counts. Their results, analyzed using a chi-squared method, suggest a 10,000 to one probability against chance, indicating the figures are real artifacts. The hedges associated with the zodiacal figures date to the 14th century, while control counts included later ones. This leads Wildman to conclude the zodiac was set up in the Middle Ages.

Addressing potential objections, Wildman argues that while medieval cartography was inaccurate, small-scale maps used for administration were likely better. He also suggests the work involved was not immense, as most roads already existed. Suppressing or modifying parts of these "forced" roads (like the one from Collard Hill) and adding a path through the woods could create figures like the bull's head. Wearyall Hill is already shaped like a fish. He reiterates that the substitutions of the Phoenix, Dove, and Ship were necessary due to the landscape's limitations.

Wildman questions whether the Glastonbury Zodiac is merely a medieval "folly" and if the work of Maltwood and others like Mary Caine should be dismissed. He believes their work applies more to a terrestrial figure that predates the zodiac itself.

Crookbarrow Hill and Other Circles

Wildman discusses Crookbarrow Hill near Worcester, a large earthwork with surrounding medieval churches, suggesting they might represent sites used for calendrical celebrations. He notes the existence of other similar circles, identified by himself and David Furlong, which show conformity with the idea of an annual cycle of monthly celebrations. Philip Heselton also identified a similar circle framework for his Holderness Zodiac, and Lewis Edwards hinted at one for the Pumpsaint Zodiac.

He believes these circles date back to Neolithic/Bronze Age times, with monthly celebrations associated with zodiac signs. He suggests the Arthurian cycle legends were linked to these, and the Glastonbury monks completed the zodiac by modifying roads and rhines. The purpose might have been to pre-empt paganism by associating the zodiac with Christian and "scientific" ideas, or simply to celebrate historical and legendary ideas.

Review: "Castle of Air" by Michael Beckett

This review by John Michell discusses Michael Beckett's privately published book, "Castle of Air." Beckett proposes that a triangle of ancient sites, including Glastonbury and Hamdon Hill, forms a "Pyramid of Albion." He attempts to unite various occult fields, claiming that Plato's and Egyptian creation myths are set here, Atlantis was the commuter territory of Southeast England, Hyperborea was Britain, the Great Pyramid represented the Albion triangle, and the "P. of A." (Pyramid of Albion) is heaven, the Holy Grail, and the Primal Womb.

Beckett further proposes a neo-Darwinian human evolution theory, suggesting humanity resulted from a godform's metamorphosis into the physical dimension. He argues that spiritual beings chose procreation on Earth rather than androgynously in another dimension. His work traces mankind's history to Neolithic times and the development of megalithic culture, asserting stones were erected magically. He concludes with a hopeful, millenarian note about Merlin's Castle of Air reappearing and the "Pyramid of Albion" acting as a "transporter room" for a crippled "USS Enterprise," leading to a new reality.

Michell notes the book is mimeographed and somewhat inky but promises better reproduction in future editions.

Old Testament References to Capricorn and Other Effigies in the Glastonbury Zodiac by John Michell

John Michell examines the Glastonbury Zodiac, acknowledging Mrs. Maltwood's interpretation of landscape features as forms of gods and beasts. He focuses on the Capricorn effigy, whose horn is formed by the ancient earthwork Ponter's Ball. This earthwork is theorized to have been a jetty for ships in times of higher water levels in the Avalon district.

Michell highlights similarities between the Glastonbury Zodiac and scenes in "The High History of the Holy Grail," and more significantly, the correspondence with the Zodiac of the twelve tribes described in the 49th chapter of Genesis. He explains that Genesis 49:13 describes Dan as a "serpent by the way, an adder in the path," which he interprets as Scorpio. The effigy of the scorpion stinging the rear end of the horse in the Sagittarius figure, with the rider falling, is seen as a faithful depiction of this verse.

Most remarkably, Michell identifies the tribe Zebulon with Capricorn. He quotes Sir William Drummond's "Oedipus Judaicus," which suggests Zebulon should be represented by Capricorn. Drummond's reasoning, supported by the Genesis verse "Zebulon shall dwell at the haven of the sea; and he shall be an haven of ships," aligns with Ponter's Ball serving as a haven. The effigy of the ship Argo on Somerton Moor, in its low-lying position, would have been submerged at high tide, with Capricorn's horn rising above the flood, thus acting as a haven. Drummond also noted that the ship Argo constellation descends below the horizon when the sign of Capricorn rises.

Michell points out the legendary connection between Somerset place names (like Somerton) and Sumeria, suggesting an esoteric tradition common to Britain and the East. He lists books referred to, including Drummond's "Oedipus Judaicus," Trench's "Temple of the Stars," and Heaver's "Somerset's Prehistoric Zodiac Circle."

The Great Bear Effigy of Warminster and Glastonbury by Mollie Carey

Mollie Carey describes her investigation into a "Great Bear" effigy, which she believes links Warminster and Glastonbury. She followed clues from St Aldhelm, entering "the maze of the ancient British Mysteries." The bear effigy's features are traced along roads and landscape features. The right ear starts near Semington, following roads to Trowbridge, Farleigh, Hungerford, and Norton St Phillip. The left ear goes past Hemington to Warminster. The nose is formed by the road at Cold Harbour, and the chin by the main street of Warminster. The leg follows roads past Crockerton and the Deverills, turning at Mere to form the paw. The other leg joins at Brambles Farm and follows the railway, with the inner elbow formed by an old Roman road.

Carey notes that the name "Maiden" is important on these effigies. She suggests the barrows might be blueprints for these effigies and that they are part of a larger tableau across Britain, with Glastonbury not being the most significant place (Stonehenge is described as insignificant in comparison). She mentions finding the head of another dragon effigy in the Peak District and is seeking help to piece together these discoveries.

She notes that a Wiltshire terrestrial zodiac is being worked on secretly, possibly involving Cley Hill. Carey believes the bear effigy represents the Great Bear constellation, and the "winged messenger" is indicated by the road from the mouth of a bird to Warminster. She mentions "Bear" pubs and the "Bear Ford," and the "Green Dragon" pub near St. Martin's church, linking Martin to the winged messenger. She speculates if this effigy represents King Arthur, given the name's possible origin from Welsh names for the Great Bear constellation.

Glastonbury Midsummer Festival

A brief announcement for the Glastonbury Midsummer Festival (June 24-30) on the Isle of Avalon, listing activities such as a dragon procession, workshops, lectures, and talks.

MOOT '79

This section announces that The Ley Hunter magazine is celebrating its tenth anniversary with an event in Glastonbury on June 16-17. The moot will include talks by Paul Devereux, Paul Screeton, John Michell, Tom Graves, and Geoffrey Ashe, as well as a film by Mary Caine and a picnic. An admission charge will apply.

Readers' Forum

From Peter M. Hughes: Hughes questions the newsletter's encouragement of doubts about Junior Technician Satchwell's "leonine dragon," arguing that the lion and dragon are inextricably mixed, citing the story of Sir Percival. He notes that St. Leonard, a dragon slayer, is often associated with the Leo sector in potential zodiacs, and that the Glastonbury Leo effigy resembles the beast on the Welsh flag.

From Sam Wildman: Wildman offers general comments applicable to proposed zodiacs:
1. Lack of maps makes judging figures difficult.
2. Overemphasis on place-names, which can be tricky (e.g., interpreting Ermine Street as "Arm-in-Street").
3. Some figures on maps are unimpressive.
4. Place-names are often in recognizable English, supporting a later date hypothesis; earlier names would likely be more twisted.
5. The focus on zodiacs might be due to the ease of identifying 12 figures in order, potentially overlooking single figures.
He agrees that "something is going on" and predicts about a dozen zodiacs will withstand criticism.

From Nigel Pennick: Pennick comments on the republication of Lewis Edwards's piece, noting that Michael Scott, an I.G.R. member, has donated two Edwards maps (Pumpsaint Zodiac and Llansannan Zodiac) to the I.G.R. He expresses difficulty in reproducing these large maps and mentions a "go" at the Royal Society of Arts regarding the "Maltwood scandal."

Reviews

"The Welsh Temple of the Zodiac" by Lewis Edwards: Reviewed by Vince Russett. This is a duplicated pamphlet, a republication of articles from the journal "Research" in the 1940s. The reviewer notes that interest in terrestrial zodiacs may be waning but finds them geomythical formations. Edwards's zodiac, the second suggested for Wales, is different from Glastonbury's. The reviewer recommends it for those who enjoyed "Temple of the Stars" or Mary Caine's "Glastonbury Zodiac."

"The Lambton Worm & Other Northumbrian Dragon Legends" by Paul Screeton: This book is available from Paul Screeton.

Donations and Submissions

Donations are acknowledged from Steve Satchwell, Elizabeth Gaudry, and Peter M. Hughes. The next issue will include articles by Steve Hamilton and a map of the Bolingbroke T.Z. Readers are encouraged to submit material.

A Gift of ACME Water to Glastonbury Tor by Jill Bruce

Jill Bruce describes an exhibition called "Earth Forces" at the ACME Gallery in London (September/October 1978). During the exhibition, they collected "ACME WATER" from rain that fell on cups used by visitors for herb teas. They took this water to Glastonbury Tor on May 1st as a reciprocal gift. Despite heavy rain, about a dozen people participated in a ceremony, scattering the water and celebrating the "phoenix and its rebirth and the birth of a new year." They imparted information on the zodiac to Yorkshire schoolchildren and observed an area of light over Wearyall Hill.

The Glastonbury Tor by John Foster Forbes

John Foster Forbes, with a psychometric reading by Iris Campbell, discusses the Glastonbury Tor. Forbes posits that the earth is a "fallen world" and that its current state is an inversion of its original potency. He describes visiting the Tor with Miss Campbell and sensing its energies. They felt that beneath the abbey lie vast, deep catacombs caused by natural upheavals, which act as "fire channels" for the world's magnetic currents. These currents, generated during the solidification of the Earth's crust in the time of Atlantis, are now "sealed up within human creation."

The Tor is described as being over an epicenter of magnetism, with five channels connecting to the east, north, south, west, and southeast. The southeast channel is untampered with and a source of untapped energy. The other channels are sometimes impaired by contact elsewhere. Forbes suggests that monks at Glastonbury, aware of these "terrestrial-cum-celestial mysteries," prayed for world peace by projecting thoughts to the underworld. This action, he believes, released "fallen elementals of air" who had become destructive. He states that only by reinstating these elemental powers can peace be restored, and that phenomena attributed to "acts of God" are actually caused by this underlying disharmony.

Recurring Themes and Editorial Stance

The newsletter consistently explores the concept of terrestrial zodiacs, interpreting landscape features as ancient astronomical or symbolic representations. There is a strong emphasis on the Glastonbury Zodiac and its potential connections to medieval history, Christian symbolism, and ancient esoteric traditions. The publication appears to be a platform for researchers like Sam Wildman, John Michell, and Mollie Carey to present their theories, often challenging earlier interpretations or proposing new ones. The editorial stance, as evidenced by Paul Screeton's publication of these diverse articles, is open to exploring unconventional ideas related to archaeology, mythology, and ancient mysteries, particularly within the British landscape. The newsletter also serves as a hub for communication among researchers, evident in the Readers' Forum and acknowledgments of contributions.