Mary Chapel Glastonbury Abbey.
My recently published book Avalonian Aeon, a multi-faceted autobiographical look at the complete Glastonbury experience, includes previously unpublished material from the archives of historical mysteries researcher Andrew Collins. Psychic questing in Glastonbury with a remarkably talented visionary named Bernard in the mid-eighties was crucial to the later development of his work and led directly to his interest in what may lie beneath the Giza plateau, a subject he has recently returned to with his spectacular book Beneath the Pyramids.
Here is the first of a few extracts from Avalonian Aeon I will post here that link Glastonbury and Giza. They certainly represent unconventional modes of investigation and I (and Andrew Collins) make no dogmatic claims as to the validity of the ideas. The material is nonetheless striking and therefore may be potentially stimulating. It ultimately served to lead Andrew Collins to something very tangible. I would hope it may encourage you to buy Avalonian Aeon.
Andrew Collins
"Around this time, Bernard visited Canterbury Cathedral with his family and viewed what is known as the Opus Alexandrinum mosaic. He mentioned to his wife that there was a similar one on the floor in Glastonbury Abbey and it included a zodiac and lines set into the stones. Having virtually no knowledge of the abbey’s history he didn’t realise until he spoke to Andy that it no longer existed. He was able to see it still with his inner eye so clearly that he could draw it and discuss it in detail.
The Company of Avalon monks of Glastonbury Abbey as depicted in large painting on display in museum there.
The design on the floor of the Old Church referred to by William of Malmesbury and Bligh Bond’s monks was apparently reproduced in the new Mary chapel, signifying the position of the original building. John Michell had paid particular attention to it when suggesting that the abbey’s foundational geometry embodied the ancient wisdom code and represented the New Jerusalem celestial archetype during the Christian cycle.
Bernard saw an outer and inner circle. Within the two were twelve spheres, in four groups of three, containing symbols for the signs of the zodiac. In the middle of the inner circle was a square. Its corners could not be seen as they were cut across by a Maltese cross whose points reached out to the edge of the inner circle. From the sides of the square that were visible, four triangles reached out to the edge of the inner circle, indicating the cardinal points. Sixteen lines ran out from the centre of the design, through the twelve spheres and four triangles beyond its outer circle to sixteen small pillars along the base of the chapel walls, each about two feet tall, on which were further symbols. The twelve lines passing through the zodiacal signs could be continued out beyond the building to the locations of the fabled twelve huts and further across the Glastonbury landscape and beyond.
The twelve zodiacal spheres and central point were coloured gold by ochre tiles. The outer circle in which the spheres were set was red terracotta as was the Maltese cross and cardinal point triangles. Beaten lead lines marked the geometry of the design. Somehow the whole thing was to be perceived as in motion. Each part of the levels of geometrical design was revolving. The Maltese cross was moving at one speed, the triangles from the square at another. A series of colours was produced by this that came to form one colour. The colours also had sound correlations."
This text has also just been posted on the excellent Ishtar's Gate site but with only the grid plan diagram as visual accompaniment.
Check out the site for a wide range of topics concerning historical mysteries of mystical and magical interest.
www.ishtarsgate.com
