Terrestrial Zodiacs Newsletter - No 07

Magazine Overview

Title: TERRESTRIAL ZODIACS NEWSLETTER
Issue: 6
Volume: 1
Date: December 1979
Publisher: Paul Screeton
Country: United Kingdom
ISSN: 0149-9905

This issue of the Terrestrial Zodiacs Newsletter focuses on the exploration and interpretation of terrestrial zodiacs, large-scale figures or patterns found on the landscape that are believed to represent astrological or mythological concepts.

"Allison Gross" (Ugliest Witch in the North Country or Everywhere) by Steve Hamilton

Steve Hamilton investigates the potential origins and blueprint of terrestrial zodiacs, pondering if they were manmade and remembered in folklore. He connects the northern folksong/tale of Alison (Allison) Gross to terrestrial zodiacs, particularly the Stanley or Fleet Shot Hill zodiacs. The story describes how Alison Gross lures a man, refuses his refusal, and turns him into a worm, only for him to be restored by his sister. Hamilton draws parallels between the story's elements and zodiacal figures, suggesting a connection to Leo and Virgo, and possibly Adam and Eve, with Snakes Lane in Trent Park potentially referencing the serpent in Eden. He proposes a reptile or Hydra-like figure for some zodiacs, with the snake's back being a road and "Leeching Beech Gutter" appearing within the outline. He notes that lines from the song, immortalised by Steeleye Span, clearly reference zodiacs, providing specific verse examples.

Letters from Sam Wildman

Sam Wildman contributes a letter discussing the process of collecting and sorting facts in ufology, likening it to a "vague state" until sufficient evidence is gathered. He expresses skepticism about "way-out ideas" and figures suggested by researchers like Mollie Carey and A.D. Jack, finding it difficult to identify them on maps. He compares terrestrial zodiac figures to "national" hill figures like the Howgill Black Horse and the Prestatyn fish, suggesting that while individual figures can be mistaken, a pattern of multiple figures is harder to dismiss. He mentions a profile of a woman's head and shoulders formed by windups near Mordiford, attributing it to chance, and similarly views Carey's and Jack's figures as coincidental. He also notes a red dragon figure in the hills near Boston, which he believes is a natural formation.

"Questions Arising on 'The Age of the Glastonbury Zodiac'" by MMIS

MMIS responds to points raised by Sam Wildman regarding the Glastonbury Zodiac. He supports Wildman's identification of the star Aldebaran as the initial point and the Sumerian origin theory based on the "equinox line." MMIS discusses zodiacal iconography as a key to understanding origins, citing the work of Nigel Pennick and himself. He highlights the practical work of hedge counting to date roads used in zodiac outlines, demonstrating they are older than surrounding roads, thus proving the figures are "real artefacts." However, he cautions that hedge counting provides relative dating and cannot establish absolute age, only a "no later than" timeframe. MMIS also considers the attractive theory that terrestrial zodiacs are based on earlier calendar circles, like the one at Crookbarrow Hill.

Further Examination of Terrestrial Zodiacs and Scorpion Symbolism

The author continues to explore the placement of zodiac signs and their connection to historical sites. They suggest looking at points where figures touch, potentially marking old or sacred places, citing examples in the Glastonbury Zodiac like Ponters Ball and Glastonbury Abbey. The author questions the necessity of equidistant markers and renews the search for calendar circles, suggesting a Neolithic/Bronze Age origin for terrestrial zodiacs.

A significant portion of this section addresses the presence of the Scorpion in terrestrial zodiacs. The author questions why it is consistently sought, noting that in the Glastonbury Zodiac, the Scorpion figure is often unconvincing and appears in two different versions. They point out that the Scorpion originates from Mesopotamia and symbolizes hostility, and its presence in Britain is likely due to the celestial zodiac. The author suggests that researchers may be looking for what they expect to find, potentially obscuring other interpretations. They propose alternatives based on British legend, where the sacred king is killed by a poisoned spear, a wild boar, or a serpent, all of which share qualities with Scorpio (sharpness, penetration, poison, treachery). The author suggests that terrestrial zodiacs are part of the "Mysteries of Britain" and their origins may be British or Celtic, rather than Sumerian or Atlantean. They propose mentally erasing the Scorpion to find other figures like spearmen or wild boars.

"The Lion, The Unicorn and The Zodiacs" by Rosemary Pardoe

Rosemary Pardoe examines the connection between the myths of the lion and unicorn and terrestrial zodiacs. She notes that researchers have not widely applied these myths to TZs. Pardoe discusses the traditional method of trapping a unicorn with a virgin and an alternative method where a lion hides behind a tree, allowing the unicorn to impale its horn, after which the lion can attack. This method is mentioned in Spenser's "Fairie Queene" and Grimm's "The Brave Little Tailor." Odell Shepard's "The Lore of the Unicorn" suggests this myth might be older than the "Holy Hunt" allegory.

Pardoe observes that in many TZs, Leo (lion) and Capricorn (unicorn) are diametrically opposed, and the unicorn often points its horn towards the lion, sometimes through the zodiac's center. She notes that in some zodiacs, the center is a wood or wooded area, questioning if this is a coincidence and if a wooded area originally formed the center of all zodiacs. In cases where there is no central wood, the unicorn's horn itself might be a wood.

She discusses Shepard's explanation that the lion and unicorn represent the sun and moon, finding it not entirely convincing but acknowledging its possibilities. Pardoe also explores Mary Caine's theory that the unicorn's horn was a water purifier. She investigates how many zodiacs feature a water source within the Capricorn figure. Examples include the River Roding at Ongar, an ancient fish-pond forming the horn at Winchester, and the River Linnet at Bury. At Old Bolingbroke, the tip of Capricorn's horn touches the remains of a castle that controlled the water supply. Pardoe expresses caution regarding Caine's explanation for the Scottish heraldic unicorn's origin, stating that its true origin is unknown.

Letter from Steve Satchwell

Steve Satchwell writes about information to support terrestrial zodiac (TZ) research, focusing on a legend from Boston, Lincolnshire. The legend states that the breezes around Boston Stump are the result of a struggle between St Botolph and the Devil, with the saint forcing the dragon to point something out. Satchwell notes that the dragon appears to be communicating with its rider, but the rider doesn't seem to have strong control over the serpent. He mentions being posted out of Lincolnshire, making further research difficult.

Satchwell proposes a new theory for terrestrial zodiacs: that they are laid out on water, specifically rivers, streams, and underground streams. These water lines would be traced to the surface using water divination and then permanently marked by roads and tracks. He acknowledges that this might seem far-fetched but points to the profusion of geodetic phenomena produced by underground water, citing Guy Underwood's book "Pattern of the Past," which states that geodetic lines often trace old roads. Satchwell's preliminary dowsing suggests this is true. He notes that the "fluidity" of figures in the Old Bolingbroke Zodiac, merging into each other, led him to the water system idea. He believes this theory aligns with Underwood's ideas on ancient sacred sites, reinforcing the reality of the TZ phenomenon.

Continuing TZ Bibliography

The issue includes a bibliography of books and articles related to Terrestrial Zodiacs, covering works from 1973 to 1979.

Recurring Themes and Editorial Stance

The newsletter consistently explores the intersection of landscape features, folklore, mythology, and ancient history with the concept of terrestrial zodiacs. The editorial stance appears to be one of open inquiry, encouraging researchers to share findings, question assumptions, and explore various theories, from iconographical analysis to folkloric connections and geodetic principles. There is a clear emphasis on empirical research, such as hedge counting and dowsing, but also an openness to speculative interpretations and the potential for ancient, possibly pre-Christian or Neolithic, origins for these landscape patterns. The publication acts as a platform for disseminating research and fostering discussion within the ufology and archaeoastronomy communities.