SIGNS & SECR ETS                                                   OF THE                          GL ASTON BU RY ZODI AC ...
avalon ian Æon                          p u b l i c at i o n s                          avalon ian Æon                    ...
signs & secr ets of the glaston bu ry zodiac                                                         From the Publisher   ...
introduction                                                      M YSTERY                    	 10	 M altwood’s Triangle, ...
signs & secr ets of the glaston bu ry zodiac                                                L ist of I llustrations       ...
l i s t i o f r l l u sc t ia t i o n s                                                                 nt i odu tr on    ...
signs & secr ets of the glaston bu ry zodiac                           William Stradling’s quote about the Observatory at ...
l i s t i o f r l l u sc t ia t i o n s                                                                  nt i odu tr on   ...
introduction                                 Katharine Maltwood’s Temple of the Stars and the                           Th...
signs & secr ets of the glaston bu ry zodiac                                                         FOR EWOR D           ...
introduction                                                             Yuri Leitch                                      ...
signs & secr ets of the glaston bu ry zodiac                          essays inevitably contradict others – as is only rig...
introduction                                     Katharine Maltwood.                                            33Signs& S...
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e s say on e                                  k at h a r i n e m a lt wo o d a n d t h e o r ig i n s o f t h e z o di ac ...
signs & secr ets of the glaston bu ry zodiac                              Deacon then tells us that Dee had himself made a...
k at h a r i n e m a lt wo o d a n d t h e o r ig i n s o f t h e z o di ac                    and primary energy behind t...
e s say t wo                                                s o m e r s e t b e f o r e s o m e r s e t wa s              ...
signs & secr ets of the glaston bu ry zodiac                                                                       L ife  ...
s o m e r s e t b e f o r e s o m e r s e t wa s                                     Map of Celtic Somerset.              ...
e s say t h r e e                                                    l a ngport ’ s roya l sec r et                       ...
signs & secr ets of the glaston bu ry zodiac                           he would have been unable to unite the two         ...
e s say f our                                                    t h e m a lt wo o d l e g e n d                          ...
signs & secr ets of the glaston bu ry zodiac                           and above all Egyptianism in the wake of the Tut di...
e smsa a y c afi n e e                                                                 r y       iv                       ...
mary caine                    describe how she had first heard of the idea of a zodiac around Glastonbury in 1961 and,    ...
mary caine                                                                 Bibliogr aphy                    Caine, M., The...
e s say s i x                                                     the secret of the lord                                  ...
e n t haoy y s o bv retn                                                         a s s    n   re e      s                 ...
e s say e ig ht                              r o b e r t c o o n & o l i v e r r e i s n e r : e l l i p t i c a l n av i ...
signs & secr ets of the glaston bu ry zodiac                           unfolding of the Planetary New Jerusalem and the wi...
e s say n i n e                                   A e g y p t: T h e s ta r t e m p l e a n d t h e G i z a p l at e au   ...
A e g y p t: T h e s ta r t e m p l e a n d t h e G i z a p l at e au                                                     ...
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e s say t e n                            m a lt wo o d ’ s t r i a n g l e : t h e m i c h a e l l i n e a n d t h e pa r ...
signs & secr ets of the glaston bu ry zodiac                            The Three Pillars of Light by Katharine Maltwood, ...
Signs and Secrets of the Glastonbury Zodiac promo
Signs and Secrets of the Glastonbury Zodiac promo
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Signs and Secrets of the Glastonbury Zodiac promo
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Signs and Secrets of the Glastonbury Zodiac promo
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Signs and Secrets of the Glastonbury Zodiac promo
Signs and Secrets of the Glastonbury Zodiac promo
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Signs and Secrets of the Glastonbury Zodiac promo
Signs and Secrets of the Glastonbury Zodiac promo
Signs and Secrets of the Glastonbury Zodiac promo
Signs and Secrets of the Glastonbury Zodiac promo
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Signs and Secrets of the Glastonbury Zodiac promo
Signs and Secrets of the Glastonbury Zodiac promo
Signs and Secrets of the Glastonbury Zodiac promo
Signs and Secrets of the Glastonbury Zodiac promo
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A lavish promotional glimpse of the outstanding new anthology from Avalonian Aeon Publications, Signs and Secrets of the Glastonbury Zodiac. Now available to buy on Amazon UK.

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Signs and Secrets of the Glastonbury Zodiac promo

  1. 1. SIGNS & SECR ETS OF THE GL ASTON BU RY ZODI AC is an anthology created by a diverse group of multi-talented enthusiasts, inspired by the classic, Anthony Roberts-edited compilation, Glastonbury: Ancient Avalon, New Jerusalem. As above, so below. “Our land is the image of heaven.” Corpus Hermeticum. Asclepius. A psychogeographical Arthurian Grail extravaganza. Features Investigations into a mysterious past, intimations of an inspirational future. History, poetry, magic, mysticism, myth, music, art. Astrological gnosis. Personal transformation. Includes Previously unpublished article by Katharine Maltwood, discoverer of the Somerset terrestrial zodiac. Incredible roots of Andrew Collins’ Giza cave discovery in his visionary star temple quest. The revelation of the Melkarth landscape alignment, and its relationship to Glastonbury. Sumptuous illustrations, maps and diagrams, by artist-researcher Yuri Leitch. Honours the lineage John Dee, Frederick Bligh Bond, Mary Caine, Elizabeth Leader, Oliver Reiser, Robert Coon and others. www.facebook.com/AvalonianAeonPublications ISBN 978-0-9557696-3-4 £24.99 avalon ian Æon avalon ian Æon p u b l i c at i o n sCover visual 6b.indd 1 28/03/2013 11:40
  2. 2. avalon ian Æon p u b l i c at i o n s avalon ian Æon p u b l i c at i o n sSigns& Secrets 4.indd 3 28/03/2013 13:10
  3. 3. signs & secr ets of the glaston bu ry zodiac From the Publisher This anthology celebrates the diversity of its contributors and their perspectives. There is no ‘house style’ or policy on what the so-called Glastonbury Zodiac can be said to be, or not be. All information has been submitted in good faith but the Publisher cannot be held responsible for any inaccuracies of fact. To respect the integrity of individual styles, which in turn are an expression of the personalities of the authors, minimal editing has been imposed. * * * Dedication page v List of Illustrations viii Acknowledgements xii Foreword - Paul Weston xiv Introduction - Yuri Leitch 1 history 1 K atharine M altwood and the Origins of the Glastonbury Z odiac - Anthony Thorley 7 2 S omerset Before S omerset Was - Alan Royce 27 3 Langport’s Royal Secret: The Rose, the Portcullis and the K atherine Wheel - Shirley Whitton 33 4 The M altwood Legend: Tragedy and Hope - Hank Harrison 51 5 M ary Caine - Shirley Whitton 59 6 The Secret of the L ord: Elizabeth Leader and the Glastonbury Z odiac - Tim & Sophie Knock 69 7 Anthony Roberts - Jan Roberts & Shirley Whitton 77 8 Robert Coon and Oliver R eiser: Elliptical Navigations towards the Omega Point and World Sensorium - Paul Weston 81 9 Aegypt: the Star Temple and the Giza Plateau. The work of Andrew Collins - Paul Weston 91 viSigns& Secrets 4.indd 6 28/03/2013 13:11
  4. 4. introduction M YSTERY 10 M altwood’s Triangle, the Michael Line and the Parallelogram - Yuri Leitch 109 11 The Discovery of the Melkarth Line - Yuri Leitch 119 12 The Pre-M altwood Z odiacs of Glastonbury - Alan Royce 147 13 Bligh B ond’s Rose Stone Vigil - Alan Royce 159 14 The Mystery of the High History - Paul Weston 169 15 The L amb of Street, S omerset - Katharine Maltwood 183 16 K atharine M altwood’s ‘The L amb of Street’: A Commentary - Anthony Thorley 185 17 The John Dee Enigma - Yuri Leitch 191 18 Star M ap on the Earth - Loné Bang 201 19 Gwena: G oddess of the Summer L ands - Yuri Leitch 211 20 The Faery Initiations of the Thirteen Dreamers and the Fairy Oath of Friendship - Coleston Brown 221 i n s pi r at i o n 21 The Z odiac Memory Theatre - John Wadsworth 233 22 Sacred S ong of the Landscape - Bahli Mans-Morris 245 23 ‘She Who Whispers Your Name’ - Casey Jon 253 24 The S omerset Star Temple: The R eturn to Holy L and - Emma Stow 259 25 Composing the Glastonbury Zodiac - Francesca LaFae 269 26 A Journey of Healing in the Glastonbury Zodiac - Vicki Burke 277 27 The Gateway to the Temple of the Stars: The Royal Secret and the Guardian Hound - David Hatfield 287 28 Weaving Heaven and E arth - Celia Thomas 295 29 Astro-A ligments of Avalon: Pisces - Gail Cornwell 299 30 Sacred Springs, Wells and Prayer R ibbons - Beth Heatley 305 31 Contemplating Z odiacal Dreamtime - Anthony Thorley 309 List of Contributors 329    viiSigns& Secrets 4.indd 7 28/03/2013 13:11
  5. 5. signs & secr ets of the glaston bu ry zodiac L ist of I llustrations Most of the illustrations were supplied to our designer, Bernard Chandler, in full colour. Bernard had to convert each image to black and white, adjusting tone and contrast to bring out the best of each picture – 122 images, a great task. Abbr ev iations Wiki Commons – images from Wikimedia Commons are ‘free use’, which means that they are public domain and copyright free (image titles given in this book may not be the same titles as given on the Wikimedia Commons website – file names change). Nikki Sanders – Nikki Sanders was once the warden of Chilton Priory (she is now retired). In 2001 she gave Yuri Leitch a number of photographs that she had acquired during her own research into Katharine Maltwood. Royce & Leitch – illustrations and diagrams drawn by Alan Royce (often on café napkins), shaded, enhanced and text-embedded by Yuri Leitch. Katharine Maltwood’s Temple of the Stars and the Three Drops of Blood upon the centre of the Table of the Graal – drawing by Yuri Leitch page xiii Katharine Maltwood – Nikki Sanders 3 Madame Helena Petrovna Blavatsky – Wiki Commons 8 Orion and the Zodiac Ecliptic – drawing by Yuri Leitch 14 Katharine Maltwood and her hospital staff, circa 1915 – Nikki Sanders 18 Katharine Maltwood, by Nico Jungman, 1905 – Wiki Commons 21 Detail of Katharine Maltwood’s Arthurian Map – endpiece from the 1929 edition of The High History of the Holy Graal, published by J. M. Dent 23 Map of Celtic Somerset – Royce & Leitch 29 The Sign of the Langport Arms – photograph by Yuri Leitch 34 Arms of Edward IV on The George & Pilgrim, Glastonbury – photograph by Yuri Leitch 34 The Beaufort Family Tree – drawing by Yuri Leitch 35 Margaret Beaufort – photograph by Yuri Leitch 42 Elizabeth Woodville – Wiki Commons 44 Katharine Maltwood’s Magna Mater, sculpted in 1910 – Wiki Commons 52 Inside Katharine Maltwood’s Hospital, circa 1915 – Nikki Sanders 53 The Entrance to the Tower of Chilton Priory – photograph by Yuri Leitch 54 A Casting of ‘Magna Mater’, still in situ, in the tower of Chilton Priory – photograph by Yuri Leitch 56 The Kingston Zodiac – by Mary Caine 60 Glastonbury Tor – drawing by Mary Caine 65 Mary Caine – Shirley Whitton’s archive 67 viiiSigns& Secrets 4.indd 8 28/03/2013 13:11
  6. 6. l i s t i o f r l l u sc t ia t i o n s nt i odu tr on The Great Hound of the River Parrett – by Elizabeth Leader page 71 Elizabeth Leader at Chalice Well – Tim & Sophie Knock archive 73 Elizabeth Leader in 1973 – Hank Harrison archive 76 Glastonbury: Ancient Avalon, New Jerusalem – Jan Roberts, Zodiac House 78 Aquarian Phoenix – drawing by Chandira, from Avalonian Aeon by Paul Weston 87 Map of Planetary Chakra system – Copyright Robert Coon 89 Knight of Danbury Robert de St. Clere – drawing by Yuri Leitch, from Avalonian Aeon by Paul Weston 93 St. Mary’s Chapel Geometry – drawing by Bernard Chandler, from an original by Bernard G, from Avalonian Aeon by Paul Weston 95 Original Diagram by Bernard G, from his Notebook – Andrew Collins archive, from Avalonian Aeon by Paul Weston 97 Priest and Cosmocrator at the entrance to the Giza Crystal Chambers – drawing by Yuri Leitch from an original by Bernard G, from Avalonian Aeon by Paul Weston 100 Giza Crystal Chambers Plan – drawing by Bernard Chandler, from an original by Bernard G, from Avalonian Aeon by Paul Weston 101 ‘The Three Pillars of Light’, circa 1944 – drawing by Katharine Maltwood 110 ‘Maltwood’s Triangle’ – drawing by Yuri Leitch 111 The St. Michael Line evolved from Maltwood’s Triangle – drawing by Yuri Leitch 111 The Somerset Parallelogram – drawing by Yuri Leitch 113 The Fire Signs at Stoke-sub-Hamdon church – photograph by Yuri Leitch 114 Hood Family Coat of Arms, Butleigh church – photograph by Yuri Leitch 115 The Head of Templecombe – photograph by Yuri Leitch 116 Knights Templar Zodiac Cross – drawing by Yuri Leitch 116 Dr John Dee’s Birth Chart – Wiki Commons 117 The Full Enclosure – drawing by Yuri Leitch 117 Detail of William Hole’s map of Somerset, from Drayton’s ‘Poly-Olbion’ – Wiki Commons 121 The Effigy of Libra – drawing by Yuri Leitch 124 The Spring at Druly Hill - source of the River Brue – photograph by Yuri Leitch 125 Tree of Life, Hornblotton church – photograph by Yuri Leitch 126 Moses Striking the Rock, Hornblotton Church – photograph by Yuri Leitch 127 Maltwood’s Equinox Line – drawing by Yuri Leitch 128 Cover of the Temple of the Stars, First Edition – photographed by Yuri Leitch, with geometric lines superimposed by Yuri Leitch 129 King Alfred’s Tower, near Stourhead – Wiki Commons 130 Nymph of the Grotto, Stourhead – photograph by Yuri Leitch 131 Theseus and the Labyrinth – drawing by Yuri Leitch 132 Bahli Mans-Morris at Stourhead – photograph by Yuri Leitch 133 Bow-shot – drawing by Yuri Leitch 134 The Melkarth Line – drawing by Yuri Leitch 137 ixSigns& Secrets 4.indd 9 28/03/2013 13:11
  7. 7. signs & secr ets of the glaston bu ry zodiac William Stradling’s quote about the Observatory at Chilton Priory – photograph by Yuri Leitch page 139 Park Wood and the ‘Finger of God’ – drawing by Katharine Maltwood, Hank Harrison archive 141 Firebird (unfinished) – painting by Yuri Leitch 144 Mercury and Rosmerta – drawing by Alan Royce 147 Sacred Valley of the Dobunnic Cult – Royce & Leitch 148 The Dobunnic Cauldron – Royce & Leitch 149 Dobunnic Coin and Jupiter Column – drawing by Alan Royce 150 Temple Locations around the Somerset Levels – Royce & Leitch 150 The Augur’s Compass – Royce & Leitch 151 The Pitney Villa Mosaic – Royce & Leitch 152 The Virtues and the Zodiac – Royce & Leitch 153 The Blue Bowl Pilgrimage Route – Royce & Leitch 154 Several Ways to Read the Layout of the Blue Bowl Pilgrimage Route – Royce & Leitch 154 Bligh Bond’s ‘Laura’ – Royce & Leitch 155 The Royal Stars at Dawn on 12th September – Royce & Leitch 155 All Three Zodiacs Interlaced – Royce & Leitch 156 The Two Heaver Descriptions – Royce & Leitch 157 The Wall Sculpture ‘Avallon’ by Katharine Maltwood, Chilton Priory – photograph by Yuri Leitch 161 The Golden Dawn Tarot Attributes – drawing by Alan Royce 162 A Mithraic Tauroctony – Wiki Commons 162 Moses and the Brazen Serpent, Hornblotton Church – photograph by Yuri Leitch 163 Saxon Rood Cross – Wiki Commons 163 Saxon Rood Cross as Royal Star Cross – Royce & Leitch 163 The Chalice Well Lid as a Zodiac – Royce & Leitch 164 The Holy Grail by Katharine Maltwood, 1922 – photograph by Anthony Thorley 165 Katharine Maltwood’s Avallon Wall Sculpture, Chilton Priory – photograph by Yuri Leitch 165 The Jewel of the 18th Degree of Ancient and Accepted Scottish Rite Freemasonry – Wiki Commons 166 The Stars at Dawn on 13th September 1924 – drawing by Alan Royce 167 Mysterium Artorius – painting by Yuri Leitch, based on the original frontispiece for the 1898 version of The High History of the Holy Graal 169 Henry de Blois, in the British Museum – Wiki Commons 177 The Lamb of Street – created by Anthony Thorley 184 Joseph of Arimathea by William Blake – Wiki Commons 188 Elias Ashmole – Wiki Commons 193 Edward Kelley, a Magician – Wiki Commons 194 Stained Glass Window of St. Dunstan – Wiki Commons 195 xSigns& Secrets 4.indd 10 28/03/2013 13:11
  8. 8. l i s t i o f r l l u sc t ia t i o n s nt i odu tr on Dr John Dee – Wiki Commons page 200 The Twelve Houses of the Star Temple – drawing by Yuri Leitch 202 Scorpionic Pew-End in Alford Church – photograph by Yuri Leitch 206 The Claw and the Dove – drawing by Yuri Leitch 208 Tyto Alba – drawing by Yuri Leitch 212 Blodeuwedd – painting by Yuri Leitch 218 Fairy Dream-Weaver – drawing by Jessie Skillen 224 The Effigy of Leo – drawing by Yuri Leitch 238 Zodiac Wizard’s Cloak – John Wadsworth’s archive 243 All Women – photograph by Casey Jon 246 Bahli – photograph by Celia Thomas 248 Seer – photograph by Bodhi Maia 258 The Chalice Well lid – photograph by Wiki Commons 260 The Hood Monument – photograph by Yuri Leitch 263 Members of the Maltwood Moot at the Great Yew in Park Wood – photograph by Yuri Leitch 266 King Arthur Meets Lady Guinevere, by Arthur Pyle – Wiki Commons 270 Queen Guinevere’s Maying, by John Collier – Wiki Commons 271 Camelot, by Gustave Doré – Wiki Commons 273 Aquarius – drawing by Yuri Leitch 280 Members of the Maltwood Moot, Lammas 2010 – photograph by Yuri Leitch 284 Vicki Burke – Vicki Burke archive 286 The Glastonbury Zodiac – drawing by Yuri Leitch 288 The Girt Dog’s Head – drawing by Yuri Leitch 289 The Hanging Chapel and Masonic Lodge, Langport – photograph by Yuri Leitch 290 David Hatfield’s Roundhouse, Wagg Drove – photograph by David Hatfield 293 Mary and Child, Stained Glass Window, St. Mary Magdalene’s Church, Keinton Mandeville – photograph by Yuri Leitch 295 St. Mary Magdalene’s Church, Keinton Mandeville – photograph by Yuri Leitch 296 Rose Window in St. Mary Magdalene’s Church, Keinton Mandeville – photograph by Yuri Leitch 297 Glastonbury Tor within a Vesica-Piscis – Gail Cornwell archive 299 Pisces and the Equinoxes – Gail Cornwell archive 300 Mercator’s Pisces – Wiki Commons 301 Wearyall Hill and the Tor Vesica-Piscis – Gail Cornwell archive 302 The Queen Beech – photograph by Yuri Leitch 308 The Head of the Girt Dog of Langport – composite photograph by Katharine Maltwood 312    xiSigns& Secrets 4.indd 11 28/03/2013 13:11
  9. 9. introduction Katharine Maltwood’s Temple of the Stars and the Three Drops of Blood upon the centre of the Table of the Graal. xiiiSigns& Secrets 4.indd 13 28/03/2013 13:11
  10. 10. signs & secr ets of the glaston bu ry zodiac FOR EWOR D T he first meeting of the Maltwood Moot, convened by Yuri Leitch and dedicated to all matters pertaining to the controversial topic of the Glastonbury Zodiac, occurred in January 2010. It soon became apparent that the combination of diverse people and subject matter was generating excitement and the feeling of something significant buzzing in the airwaves. It wasn’t long before the idea of an anthology was born and a lot of writing began. The project went through some interesting phases and seemed complete and ready for publication by 2011 but the process stalled. I put it out of my mind as I had to give attention to my own writing and had virtually forgotten it when I met Yuri in the street in autumn 2012. I asked him in passing about the anthology and learnt that it was still in suspended animation. Circumstances had considerably changed for me. My mother, Iris Weston, had died earlier in the year and the complexities of house-selling and probate had just been completed, leaving me in a position to affirm that I could publish the work. For me personally, it would be a wonder- ful way to help transmute the powerful emotions associated with her departure, and have something surprising, new, and wonderful, to further remember her by. As a result of this, the project was revitalised and took a fuller form than originally envisaged. It was decided to honour all of the main contributors to the subject of the Glastonbury Zodiac. Essays by myself, featuring the work of Robert Coon, Oliver Reiser, and Andrew Collins are now included. The template of the anthology was always the Anthony Roberts-edited Glastonbury: Ancient Avalon, New Jerusalem, first published back in 1977. It is wonderful to have a contribution from his wife, Janet, who had a piece in that work herself, honouring her late husband. It has been a great pleasure to bring in Bernard Chandler to work on production and layout. His extensive experience and artistic sensibilities have been a perfect complement for Yuri Leitch to work with, maximised as he was with a plethora of illustrations and diagrams. This project was conceived in a spirit of inclusiveness, whereby sober research and visionary effusions would feature together as an indication of the incredible spectrum of response the landscape configurations have inspired. After a number of wonderful meetings, including fine times in the heart of the star temple at Park Wood, and much outpouring of expansive ideas into written form, the Maltwood Moot has finally manifested Signs & Secrets of the Glastonbury Zodiac. Paul Weston. Glastonbury. New Moon in Capricorn. January, 11th 2013. xivSigns& Secrets 4.indd 14 28/03/2013 13:11
  11. 11. introduction Yuri Leitch Of sacred temples – there was once a time when even the great pyramids of Egypt were nothing more than a vision in someone’s mind. W elcome to the first anthology created by the Maltwood Moot. Here is a unique and inspiring collection of thought-provoking essays; brain food packed with goodness. Drawn together by a passionate love for sacred landscape, a deep appreciation of the wonders of life and the beauty of mystery, the Maltwood Moot is a maverick collective of intellectuals, dreamers, historians, artists, established authors, as yet unknown armchair enthusiasts, mystics and musicians. A fascinating discovery was made, between the First and Second World Wars, by an enigmatic visionary, within the beautiful mist-laden landscape of the Summer Lands. Katharine Emma Maltwood’s Temple of the Stars, now familiarised as the Glastonbury Zodiac, has been inspiring and intriguing people ever since. Some people believe absolutely in its solid reality whilst others dismiss it as Katharine’s eccentric invention. The truth is it does not matter. Whether you believe it to be thousands of years old or a twentieth-century delusion, the Glastonbury Zodiac exists now and it isn’t going to go away. Books have been written about it, films have been made, conferences and lectures have been given and, for more than eighty years, ever-growing numbers of pilgrims and tourists have been visiting Glastonbury each year to walk upon its sacred soil. Even if it is just an invention, this enigma is already an antique. If nothing more than the dream of an imaginative mind, it stands proud as a visionary work of pure genius, unequalled in its glorious audacity. This vision is immense. Nature in all her beauty: soft rolling hills, secret little woods, ruined and active churches, snaking rivers and mysterious weirs, hidden footbridges, ancient hill forts, and the heavens mirrored on the ground in figures greater than the naked eye can perceive. Swans, deer, badgers, cows, dragonflies, butterflies, bumblebees, wild flowers, nature reserves, annoying midges and mud! It is Paradise. The truth is that there is a great deal of evidence to suggest that this vision is not just Katharine’s invention. Meaningful curiosities that support her discovery pre-date her own lifetime. There is a long tradition of strange things going on in the Somerset landscape: Romano- British temples upon hill-tops aligned with seasonal astronomical events; medieval church builders erecting St. Michael churches across the land in a seemingly straight line; and, over the centuries, different occultists and mystics casting their own vision of magic upon the land. The essays presented to you here express a variety of thoughts and insights, ideas, revelations, discoveries, facts and ponderings. Coming from such a rich range of sources, some 1Signs& Secrets 4.indd 1 28/03/2013 13:11
  12. 12. signs & secr ets of the glaston bu ry zodiac essays inevitably contradict others – as is only right. The Maltwood Moot is a collective of free-thinking individuals and there is no dogma to which we are bound; we are supportive friends and that is all that really matters. Some of us believe that the Elizabethan astrologer, Dr John Dee, knew about the Glastonbury Zodiac and others do not. Some of us believe that Joseph of Arimathea brought Christianity to Glastonbury in the first century whilst others disagree. Within these pages many passionately argued, contentious, and sometimes contradictory ideas are to be found. The true pilgrim’s path is one of self-discovery and only you, dear reader, can choose which path through the woods to walk. Enjoy the journey. ‘All magic is based on the law of sympathy – that is, the assumption that things act on one another at a distance because of their being secretly linked together by invisible bonds which would account for the laying out of the star effigies on earth. I have no doubt, when conceived, this Paradise Garden was indeed heaven on earth; even now, those who understand its import cannot but be filled with wonder, awe and reverence, for it is the cradle of the Holy Grail, the inspiration of true knighthood, “a magic casement opening on the foam of perilous seas, in faery lands forlorn”.’ K atharine E mma M altwood The Enchantments of Britain Katharine Maltwood was a magical lady, literally, an occultist and a mystic. She was very charismatic. She was the inspiration for an esoteric novel (The House of Fulfilment by Lily Adams Beck) and she consciously used her London studio as a temple/shrine to inspire higher consciousness within her audience. She was well read and intelligent; her books are jam-packed with many references to ancient Mystery Traditions and their revivalism. She used symbolism from Druidic, Theosophical, Masonic, Mithraic, Babylonian, Egyptian, Old Testament and many other traditions. She wove all of these influences together and veiled these esoteric concepts inside the garments of Arthurian Romance. Her Temple of the Stars conceals brilliant, complex geometry; as well as many other things. To dismiss her Zodiac, without admiring her genius, is to throw the baby out with the bath water – and in so doing, to deliberately ignore great Art, Vision, Culture, Inspiration, Magic and Wonder. May this book help you to make a profound connection with our sacred land. Essay Thirty, ‘Sacred Springs, Wells and Prayer Ribbons’ by Beth Heatley, although not directly referenced to Glastonbury or the Zodiac, is specifically included to guide the reader into the symbiotic process of self and environmental healing. Enjoy these essays, written by brave souls who have been happy to throw caution to the wind and to dive into the weir of all possibilities. Be inspired. Yuri Leitch, Glastonbury, 2012    2Signs& Secrets 4.indd 2 28/03/2013 13:11
  13. 13. introduction Katharine Maltwood. 33Signs& Secrets AW for PRINT.indd 3 28/03/2013 17:02
  14. 14.      Signs& Secrets 4.indd 5 28/03/2013 13:11
  15. 15. e s say on e k at h a r i n e m a lt wo o d a n d t h e o r ig i n s o f t h e z o di ac Anthony Thorley K atharine emma maltwood (1878–1961), artist, sculptor and mystical scholar, made no public statement about her discovery of the Glastonbury Zodiac before 1935, when she anonymously published A Guide to Glastonbury’s Temple of the Stars.1 Two years later, using the name K. E. Maltwood, she broke her anonymity and in 1937 published the Air View Supplement to her Guide.2 However, many sources report her working on the Somerset Zodiac in the 1920s, so two questions must be asked: when did Maltwood actually first discover the Glastonbury Zodiac? And what factors led to that discovery? Although a number of intriguing sources – evidence from stories of West Country saints, local history, legends and folklore – point to the possibility of a landscape zodiac in Somerset, there is no published account regarding the certain existence of landscape zodiacs before 1888, when Madame Blavatsky first described their existence in The Secret Doctrine.3 So we can say that in the absence of any earlier descriptions than 1888, the concept of a landscape zodiac has to be considered a modern idea.4 However, before turning to the thoughts and contribution of Madame Blavatsky, it is useful to clarify a consistently recurring misrepresentation regarding Elizabeth I’s astrologer, the infamous Dr John Dee (1527–1609). It was the late Anthony Roberts (1940–1990), writer, esotericist and committed Glastonian, who first quoted an account of Dr Dee which appeared in a biography of Dee by Richard Deacon in 1968.5 Deacon seems to indicate that the Glastonbury Zodiac was known in the sixteenth century, informing us that ‘[c]ertainly there is evidence that Dee mapped some of the zodiacal effigies in this district, though the puzzle is how he found the key or code to locate them’.6 1 Anonymous (Katharine Emma Maltwood), A Guide to Glastonbury’s Temple of the Stars (John M. Watkins, London: 1935). 2 Maltwood, K. E., Air View Supplement to A Guide to Glastonbury’s Temple of the Stars (John M. Watkins, London: 1937). 3 Blavatsky, H. P., The Secret Doctrine: The Synthesis of Science, Religion and Philosophy (Theosophical University Press, Pasadena, California: 1974 [1888]). 4 The concept of the landscape zodiac may be a modern idea, but many of the zodiacs themselves have convincing features which suggest centuries of coherent development before their modern recognition. The basis for this accumulating coherence and evidence for an apparent early presence of zodiacal features in the landscape are issues being addressed by the author in his current postgraduate research. 5 Roberts, A., Atlantean Traditions of Ancient Britain (Unicorn Bookshop, Camarthen: 1974) p.15 6 Deacon, R., John Dee: Scientist, Geographer, Astrologer and Secret Agent to Elizabeth I (Frederick Muller, London: 1968) p.174 7Signs& Secrets 4.indd 7 28/03/2013 12:58
  16. 16. signs & secr ets of the glaston bu ry zodiac Deacon then tells us that Dee had himself made a map of the district on which he had noted that: The starres which agree with their reproductions on the ground do lye onlie on the celestial path of the Sonne, moon and planets, with the notable exception of Orion and Hercules… all the greater starres of Sagittarius fall in the hinde quarters of the horse, while Altair, Tarazed and Alschain from Aquilla do fall on its cheste… thus is astrologie and astronomie carefullie and exactly married and measured in a scientific reproduction of the heavens which shews that the ancients understode all which today the lerned know to be factes 7 Identification of Dee’s map or the actual source of his words has proved to be elusive. The late Mary Caine (1916–2008) pursued the basis of the quotation through correspondence with Deacon, but no original documentary evidence was ever forthcoming, and as she never received satisfactory answers to her queries, she came to the conclusion that the map did not exist and that the quotation was a hoax,8 although it continues to be referenced in respected books.9 Invention does seem to be the most likely explanation as the words ‘all the greater starres of Sagittarius fall on the hinde quarters of the horse, while Altair, Tarazed and Alschain from Aquilla do fall on its cheste’ seem unerringly to echo Katharine Maltwood’s original 1935 account, which, although long out of print, was accessible to Deacon in the 1964 reprint.10 Maltwood’s actual words are: ‘All the greater stars of Sagittarius fall on the hind quarters of the horse. On its chest fall Altair, Tarazed and Alschain from Aquila…’ 11 Why Deacon, whose book was otherwise unconnected with landscape zodiacs, should apparently plagiarise Maltwood and create this clumsy pastiche of sixteenth-century literary style in order to link Dr Dee to the Glastonbury Zodiac must remain to this day one of the many unsolved mysteries of zodiac studies. In 1877, Helena Petrovna Blavatsky (1831–1891), the indefatigable driving force Madame Helena Petrovna Blavatsky. 7 Deacon, R., John Dee, pp.131–132 8 Caine, M., Pers. Comm. Conversation with the author on 30.3.01. 9 For example in Mann, N. R., The Isle of Avalon: Sacred Mysteries of Arthur and Glastonbury (Green Magic, London: 2001) pp.94–95 10 Maltwood, K. E., A Guide to Glastonbury’s Temple of the Stars (James Clarke, London: 1964). 11 Maltwood, K. E., A Guide (1935) p.10 8Signs& Secrets 4.indd 8 28/03/2013 12:58
  17. 17. k at h a r i n e m a lt wo o d a n d t h e o r ig i n s o f t h e z o di ac and primary energy behind the founding of Theosophy,12 presented to the world Isis Unveiled, her huge two-volume account of the role of ancient mystery traditions in the development, past, present and future, of mankind.13 In this first major outing of her radical ideas, Blavatsky dismays the critical reader, as she appears to pursue her subject with encyclopaedic erudition but actually displays less a reasoned analysis and more of a constructive conflation of ideas that justify the means to present her conclusions. Nonetheless, however critically we might view her output nearly a century and a half later, we cannot deny her creative drive in raising many new ideas and connections, flawed though they might be. In this vast work, there are only a few references to astrology and the zodiac, and she tends to take a rather understated and reserved position on these subjects, as if she privately acknowledges their universal importance but is also holding the most inner mysteries and significance of these areas close to her chest: the enduring esoteric! 12 The Theosophical Society was co-founded by Blavatsky in 1875. 13 Blavatsky, H. P., Isis Unveiled: A Master-key of the Mysteries of Ancient and Modern Science and Theology (J. W. Bouton, New York: 1887 [1877]). 9Signs& Secrets 4.indd 9 28/03/2013 12:58
  18. 18. e s say t wo s o m e r s e t b e f o r e s o m e r s e t wa s Alan Royce A strange title, you may say, but I will explain. Somerset derives from the Saxon name Someresaetas, meaning Summer Settlers (People of the Summer Lands), yet our interest is in a time before any Saxon had set foot on these moors and hills. While Jesus lived in far off Judea these lands had their own life, and it is this life I want to outline in preparation for the ideas put forth in this book. How can we picture this Somerset that was not Somerset in the time of Christ? Let’s just take it layer by layer. First, the basis of it all: T he L and The higher areas were laid out much as they are now, but the rivers and the coastline were noticeably different. Much of the land was tidal creeks and salt marsh, and the river courses were primarily natural, unmodified by man. Some land was being reclaimed in various places for settlement, but this was not a major feature of the landscape. The large area of raised peat bog between Wedmore and the Poldens, from Burtle to Meare, forced the River Brue to flow north towards the Bleadney Gap to join the Axe, which at that time was a tidal estuary called Isca (Fish). This early Brue was sluggish and meandering, and flooded seasonally, surrounding the Glastonbury peninsula with shallow lakes. Glastonbury is from Saxon, Glaestinges-burg, ‘the ditched and palisaded enclosure of the people of Glaest’. Glaest may be a clan name but is more likely to be a reference to the winter lakes derived from Glas, meaning, blue/green/shiny. Settlements tended to be small and dispersed, and sited where they could make best use of the different resources around them – places within walking distance of good water- sources, raised land for small fields, access to the moors for winter fishing and bird-catching, and summer pasturage when the floods had subsided. Timber came from the woods on otherwise unusable slopes and from the water-loving willow and alder on the wetland edges. The area as a whole was remarkably fertile and productive and probably supported quite a large population with ease. • • • 27Signs& Secrets 4.indd 27 28/03/2013 12:58
  19. 19. signs & secr ets of the glaston bu ry zodiac L ife The way of life was reasonably peaceful and not vastly different in technology from village life in the Middle Ages. However, social structure was probably based around extended families and relatives, and perhaps slaves, all living in hedged compounds with roundhouses, granaries, cattle pens and the like. This might have been more reminiscent of a Zulu kraal than an English village. Laid over this mesh of basic settlements, connecting tracks and cattle droves were larger structures. Some parts of the Levels, for instance, may have been a royal hunting preserve, complete with ditched and banked assembly enclosures dedicated to the winter hunting god Cunomaglos (Prince Hound or Prince of Hounds – linked by the Romans to their Apollo) at the entry points on its boundaries. Places like Glastonbury, Dundon Beacon, Lamyatt and Brean Down seem to have been border shrines, the former representing the two tribes in the area, the latter defining the ends of the Mendips as another great royal hunting preserve and a metal trade route. Roman-style temple buildings were added to these sites some time after the Roman invasion, although not always exactly on the original sacred enclosure. At Lamyatt, for example, the original site is a simple banked area to the northwest. The ditched and banked enclosures on hills that we now call ‘hill-forts’ were by no means just that. Some were certainly defended spaces (important perhaps to minor kings), although they were just as likely to guard grain-stores or valuable herds of cattle as serve as fortresses. Many were more religious in function, defined precincts of a certain god or goddess perhaps, or places where folk assembled for particular seasonal rites which might be combined with games, fairs and political councils. Also, as with the Sidhe, the royal courts moved from enclosure to enclosure through the year, partly for reasons of religion, and in part so as not to overly deplete any one area. There were no towns as such (towns were a continental idea which were only just beginning to cross the Channel further east), merely stable sites at which a temporary township might be set up when desired, almost like a modern music festival.overnments 28Signs& Secrets 4.indd 28 28/03/2013 12:58
  20. 20. s o m e r s e t b e f o r e s o m e r s e t wa s Map of Celtic Somerset. 29Signs& Secrets 4.indd 29 28/03/2013 12:58
  21. 21. e s say t h r e e l a ngport ’ s roya l sec r et T H E R O S E , T H E P O R T C U L L I S and T H E K AT H E R I N E W H E E L Shirley Whitton ‘Yet men say in many parts of England that King Arthur is not dead, but had by the will of our Lord Jesus into another place [sic], and men say that he shall come again…I will not say it shall be so, but rather will I say that here in this world he changed his life. But many men say there is written upon his tomb this verse: “Hic jacet Arturus, Rex quondam, Rexque futurus.”’ S o wrote sir thomas malory in his famous work, Le Morte d’Arthur, written around the year 1470 and published later by William Caxton. But is Arthur really buried in Glastonbury or are the thousands of pilgrims who come each year in search of him merely perpetuating a myth created by medieval kings who chose to claim him as their own? It is an intriguing fact that, even today, every first-born son of an English monarch is likely to have Arthur in his name. Equally fascinating, though less well-known however, is their line of descent from a seed sewn in Somerset soil several centuries ago. A few miles to the south-west of Glastonbury lies the mellow old town of Langport. The guidebooks tell us it is the gateway to the Somerset Levels, but Langport is far more than that. It is a town of many secrets, a place where two worlds meet. On the sign of the Langport Arms (shielded and protected by a portcullis) is an unusual but lovely representation of the five- petalled Tudor Rose created by England’s first Tudor king, Henry vii , to celebrate his victory over Richard iii at the Battle of Bosworth Field in 1485, bringing to an end the turbulent era in English history now known as the Wars of the Roses. The Tudor Rose encompasses the triumph of Henry’s red dragon over Richard’s white boar as well as the union of the two warring houses of York and Lancaster (represented by the white and red roses respectively), but why is it here in a remote corner of the Somerset Levels? Its colour symbolism – the blending of the white and the red – hides yet another rose, the so-called ‘rose of alchemy’, born of the sacred bonding of the Red King with the White Queen, an ideal which underpinned Henry’s subsequent marriage to Elizabeth of York. Without her dowry, the powerful legacy left by her father, Edward iv (Richard’s elder brother and England’s first Yorkist king), 33Signs& Secrets 4.indd 33 28/03/2013 12:58
  22. 22. signs & secr ets of the glaston bu ry zodiac he would have been unable to unite the two warring Houses and claim his title as England’s next ‘Once and Future King’.1 Carved into the outer wall of the fifteenth- century George and Pilgrim Inn at Glastonbury is Edward’s coat of arms, supported by the Black Bull of Clare (representing his Plantagenet line from Edward iii) together with the White Lion of Mortimer (his descent from the Welsh Princes) topped by a sunburst with his White Rose of York blooming at the side. The inn was founded during Edward’s reign to shelter weary pilgrims who had travelled many miles to Glastonbury, then a major pilgrimage centre. At the slipper The sign of the Langport Arms. chapel (now called Jacoby Cottage), their worn-out shoes were exchanged for a pair of soft felt slippers to ease their way as they paid homage, not just to their God, but to that other great king, Arthur himself, said to have been buried within the confines of the Abbey walls. There are many versions of the supposed inscription on his grave, but perhaps the most famous is Sir Thomas Malory’s: Hic jacet Arturus, Rex quondam, Rexque futurus – ‘Here lies Arthur, King once and King to be’. Much of the speculation surrounding his legend has been inspired by Malory’s Le Morte d’Arthur, written under Edward’s gaze and fostering a now-familiar image of the ancient Sun King that seems to have preserved him forever against the backdrop of the Middle Ages. The only English monarch ever to have lost and regained his throne, Edward was a generous patron of Glastonbury Abbey. He set up his court as a new Camelot and adopted Arthur as a role model, but his twenty-two-year reign (1461–1483) has been overshadowed by the bitter battles he fought to achieve it and eclipsed by the might of the Tudor dynasty that followed it. After the defeat of his successor and younger brother, Richard iii, the White Rose Arms of Edward iv on the front of the George and Pilgrim, Glastonbury. of York and the Red Rose of Lancaster were fused into the now familiar Tudor Rose which became the emblem of England. A truly alchemical rose, however, is said to be red within and white without, and Henry chose to reverse this process, creating a rose that is white within and red without and the story of how this came about is hidden behind the portcullis that jealously guards his Tudor Rose on the sign of the Langport Arms. 34Signs& Secrets 4.indd 34 28/03/2013 12:58
  23. 23. e s say f our t h e m a lt wo o d l e g e n d Hank Harrison A ny discussion of k. e. maltwood must cover several points if there is ever to be a chance of agreement. First, we can all agree Maltwood was a genius and a bit eccentric, but we also need to discuss her extraordinary set of circumstances, her marriage, and her societal position as a liberated woman in an era when the majority of women were still not allowed to vote. Secondly, we need to discuss her husband, John Maltwood, because in all my years covering the Maltwood research I have never heard anything but clichés about him. When I first began looking into the Maltwoods I was fortunate enough to speak to several people who knew more about them than most. I was privileged to interview Janette Jackson (who had known Katharine Maltwood) in her flat in Hammersmith, and I was more than gratified to join rilko [Research Into Lost Knowledge Organisation] and speak to Elizabeth Leader on several occasions over a full decade. These conversations were taped. After I began work in Glastonbury I met and interviewed Mary Caine, and finally I was fortunate enough to meet a woman who once worked as a housekeeper for the Maltwoods. All of these women had nothing but nice things to say about Mrs Maltwood but they were not all so supportive of her husband and all of them, to one degree or another, claimed John’s chauvinism was oppressive. This is in contrast to the comments found on-line in support of the Maltwood Museum and Library at the University of Victoria in British Columbia, so after long inner debate I must assume the truth lies somewhere between. Thirdly we need to discuss the impact of Katharine’s extraordinary discoveries and how they have played out now that we are over one decade into the 21st century; that is, nearly a full century after her initial discoveries were made. Katharine and John Maltwood are well covered in Wikipedia and elsewhere, but hardly anyone understood Katharine’s true degree of enlightenment or, conversely, her deep sadness… or perhaps I should refer to her emotional state, especially before her death, and her sense of alienation and loneliness. The fabulous portrait of her as a young woman by Nico Jungman, a Dutch painter who became a British citizen and close friend in the Arts and Crafts movement, shows us how she looked in 1896 when she astonished her peers with her personality and beauty at the Slade School at the University of London, where she studied sculpture and was known as Katharine Sapsworth, the daughter of a wealthy leather merchant with offices near the Tanners Guild. Like most students of that first New Age, she was enthralled with Buddhism, yoga, Theosophy 51Signs& Secrets 4.indd 51 28/03/2013 12:58
  24. 24. signs & secr ets of the glaston bu ry zodiac and above all Egyptianism in the wake of the Tut discoveries, and all of these things inspired her art. But also like most Victorian women, a good marriage was important to her. The Maltwoods had no children and we have very few details regarding just how Katharine met her husband, but there may have been an element of Masonic prearrangement to it through her father’s contacts in the tanning industry. The official story goes that they were childhood sweethearts and that they carried on a ‘whirlwind romance’, ending in a small wedding witnessed by her father and her mother on April 2nd 1901, but all was not as it seems. 52Signs& Secrets 4.indd 52 28/03/2013 12:58
  25. 25. e smsa a y c afi n e e r y iv Shirley Whitton O n the 15th of february 2008, in the charming old Norman church of St. Nicholas at Thames Ditton in Surrey, a group of people gathered to say goodbye to an old friend, Mary Caine, who had died at the end of January aged 91.Mary is best known for her books, The Glastonbury Zodiac: Key to the Mysteries of Britain, in which she built on the pioneering work of Katharine Maltwood; Celtic Saints and the Glastonbury Zodiac; and of course The Kingston Zodiac, the corresponding landscape temple which she herself so uniquely identified. Slightly larger (at some sixteen miles across), the zodiacal constellations fall on Kingston’s earthly effigies in much the same way as Glastonbury’s and, as Mary always said, ‘similar coincidences still attend those who search within it’. Her home town of Kingston sits at the hub of this great wheel and Mary (who had built up an intimate relationship with its contours over many years) was always most at home within its boundaries. The Zodiac itself, she believed, was the graphic illustration of the divine laws, its pattern secretly implied in both the Old and New Testaments. ‘Are these zodiacs not the thumbprint of the Creator?’ she wrote; ‘as with all great art, the very style betrays the artist.’ And she too had her own unique style. A gifted artist and inspiring teacher, she could also write – moreover she was a storyteller in the true bardic tradition. Wonderful tales are woven into the pages of her books, books that are alive with the wisdom, the wit and the charm that made her such a joy to be with. I picked up an early version of The Kingston Zodiac in 1978, its year of publication, and I have it still although it was to be many more years before I got to know her really well. ‘A zodiac around Kingston – too much!’ she remarked at the outset. ‘Can it compare with Glastonbury as a Mecca for Grail questers? Long-haired idealists don’t play guitars in Richmond Park or wash their jeans in Coombe Springs.’ Well, some of us did actually – and years later a few long-haired relics from that bygone era (still trying to adjust to the modern world) were more than keen to rediscover that landscape with Mary (now in her eighties) at the helm. Her little ‘Zodiac Group’ (the reforming of an earlier one) began in 2002 after Sue Sheridan, then chairman of The Gatekeeper Trust, had invited Mary to speak at their spring conference: As Above So Below: Zodiacs in the Landscape. ‘She spoke with such lucidity, giving us expert information on a subject about which she was not only passionate, but to which she had devoted her life,’ said Sue. I myself was especially interested to hear her 59Signs& Secrets 4.indd 59 28/03/2013 12:58
  26. 26. mary caine describe how she had first heard of the idea of a zodiac around Glastonbury in 1961 and, fascinated, had written immediately to Mrs Maltwood, who by then had moved to Canada. A few months later she received a letter from Maltwood’s husband informing her that his wife had died at almost exactly the time Mary had written. ‘It seemed like fate,’ she said, knowing she had to take up the baton and carry on with the work (though Mary has always been diffident about her own discoveries, saying always that she was using information gleaned by others). 61Signs& Secrets 4.indd 61 28/03/2013 12:58
  27. 27. mary caine Bibliogr aphy Caine, M., The Glastonbury Zodiac – Key to the Mysteries of Britain. 25 Kingston Hill, Surrey, 1978. Caine, M., Celtic Saints and the Glastonbury Zodiac. Capal Bann, 1998. Caine, M., The Kingston Zodiac. Capal Bann, 2000. DVD s of the Glastonbury and Kingston Zodiacs are available from the Gatekeeper Trust (Email: secretary@gatekeeper.org.uk).    67Signs& Secrets 4.indd 67 28/03/2013 12:58
  28. 28. e s say s i x the secret of the lord ELIZABETH LEADER AND THE GL A STON BU RY ZODI AC Tim & Sophie Knock E lizabeth leader was recently described (by Anthony Thorley, no less), as the third of the ‘three great ladies of the Glastonbury Zodiac’. Though nothing like as well known as Katharine Maltwood and Mary Caine, Elizabeth dedicated the best part of 70 years of her life to the subject and was greatly respected in esoteric circles. Elizabeth was born in Somerset on 1st May 1908. She grew up immersed in local folklore, and, having been introduced to the idea of the Zodiac by an article in The Lady magazine, studied Glastonbury and specifically the Glastonbury Zodiac right up until her death in the summer of 1998. She was convinced that Mrs Maltwood had rediscovered one of Britain’s great treasures and that further study of the Zodiac was vital and would prove most rewarding. Along with her personal esoteric studies, Elizabeth was instrumental in setting up the Research Into Lost Knowledge Organisation (RILKO) in 1969, an organisation providing an influential platform for the dissemination of hidden knowledge incorporated in myth and legend, number and geometry, art and music, and she remained an active RILKO member for the rest of her life. On a personal level, we first met Elizabeth in 1996, shortly after our own initiation into the energies of Avalon (but that’s another story). We were told about her by a friend who had attended one of her infrequent talks, and calling her out of the blue, she immediately invited us over. At that time we were living in London and Elizabeth was based in a small (and somewhat decrepit) flat in Chelsea, which she shared with her small Yorkshire Terrier called Pepper (and soon known affectionately to us as the Stink Pig). She was a striking lady, with sharply piercing blue eyes, a wonderful shock of spiky, white hair and a gently eccentric, playful demeanour. Meeting her, it was easy to imagine that she was part of a long line of druids, witches, magicians, and mystics helping to keep safe the esoteric secrets of this land through the ages. We quickly became firm friends and regular visitors to her flat each Tuesday afternoon, with a definite sense that Elizabeth was passing on some of her valuable information and wisdom to us. Over tea and biscuits, she would range across a variety of subjects from recent radio plays to the theatre of her youth, with us constantly trying to bring her back to more overtly spiritual matters – and especially to the mysteries of Glastonbury. On this, she was rarely disappointing. Well read, intellectually rigorous, a (to coin her own phrase) ‘careful worker’ – the afternoons would race by and we would leave inspired with fresh ideas and a renewed sense of connection and purpose. 69Signs& Secrets 4.indd 69 28/03/2013 12:58
  29. 29. e n t haoy y s o bv retn a s s n re e s Jan Roberts & Shirley Whitton I n 1969 Anthony Roberts founded Zodiac House Publications in collaboration with his wife Jan. In 1976 under the name of Zodiac House, he published Glastonbury: Ancient Avalon, New Jerusalem, an anthology of the landscape geomancy around Glastonbury. This very influential book of essays was taken up by the large publishing house Rider & Company in 1978, and has been an enigmatic presence in Glastonbury bookshops ever since. 1978 was also the year that Tony’s close spiritual friend Mary Caine published her Glastonbury Zodiac, Key to the Mysteries of Britain. Anthony offered up his anthology as a ‘beginning... a mystical tool for the individual seeker’. Amongst its twelve contributors, each putting forward their own suggestions as to why Glastonbury possesses such a magical potency, were Mary herself, Tony’s wife Jan and other visionary notables such as John Michell and Nigel Pennick plus an afterword by Colin Wilson. Mary wrote specifically about Katharine Maltwood’s Glastonbury Zodiac, describing it as ‘the secret source of Avalon’s mystique... the bubbling fount of all the Glastonbury legends’. Mary and Tony were trailblazers, opening the way for new generations of seekers prepared to carry on the work. Signs & Secrets of the Glastonbury Zodiac is just one step in that direction and is the first anthology (thirty-four years later) to follow Anthony’s original. Shirley Whitton J an R oberts e x plains how the first G lastonbury anthology began In 1972 the phone rang at our flat in Fulham. It was Mary Caine who wanted to know all about my husband, Anthony Roberts. She was very direct and I asked her her business. “Atlantean” was her reply. Many years later she told me that she had heard me tell Tony, “You’ve got a right one here!” and of course he had, but so had she. She had heard about Tony’s Atlantean Traditions in Ancient Britain and she came round immediately, spiritually interrogated us and bought all his booklets. She did not leave our flat for hours. She and Tony burned with ancient remembrance, arguing out ideas and interpretations that made sense only to them. We visited her at her Kingston Hill house where great ‘eureka’ moments followed after copious amounts of home-made wine tastings had been the order of the afternoon, followed by sing-songs round the grand piano. 77Signs& Secrets 4.indd 77 28/03/2013 12:59
  30. 30. e s say e ig ht r o b e r t c o o n & o l i v e r r e i s n e r : e l l i p t i c a l n av i g a t i o n s Paul Weston I n ‘voyage to avalon ’ Robert Coon described himself as ‘an immortalist philosopher who has been initiated into all major World Religions and has unified Cabalistic Invocation, ley-line and earth chakra research, and astrology into the Magickal Art of Celestial Alchemy.’ His visionary work has placed the Somerset star temple within a global mystical context, providing a perspective that has been hugely influential in terms of how Glastonbury is seen as a sacred site and an acceptance of the bewildering blend of influences it seems to comfortably accommodate. Coon is a lineal descendent of Mormon founder Joseph Smith, famously visited by an angelic being named Moroni who led him to uncover inscribed tablets. By some mystical process Smith was able to decipher the script and thereby create the Book of Mormon. It told the wild tale of the lost tribes of Israel going walkabout and crossing the Atlantic to settle in the Americas. Much scorn has been heaped on the idea but it seems to broadcast across the psychic airwaves in a manner suggestive of a weird truth. This family heritage proved useful on July 1st 1967, at the peak of the Summer of Love, when Robert Coon was living in Boulder, Colorado. In Voyage to Avalon he recalled how, just after midnight, ‘a Physically Immortal human from the Realm of Shambhala instantly and fully materialised within my room. He was not a shimmering vision, but rather a rock solid, Clear human being as real as you or me. This man wore a white robe, held a wooden staff in one hand, had long white hair and beard. He looked incredibly ancient – yet had the radiant Flesh of Eternal Youth.’ This being was none other than the Prophet Elijah, who has apparently also manifested as Merlin, Hermes Trismegistus, and Enoch. Coon affirmed that this event served to initiate him into the Melchizedek Priesthood. He was also allegedly empowered to reactivate Aleister Crowley’s magickal order, the AA (Argenteum Astrum), which he referred to as the Omega Point Foundation. An enormous cosmic download was communicated that was to be released to the world in astrologically determined stages over the coming decades until 1993. What rapidly developed was a vision of the birth of the Aquarian Age from a location in Southern England. The “global heart chakra” would open there and an “Omega Point” be activated that would lead to the 81Signs& Secrets 4.indd 81 28/03/2013 12:59
  31. 31. signs & secr ets of the glaston bu ry zodiac unfolding of the Planetary New Jerusalem and the widespread attainment of physical immortality! Within a few months Robert had narrowed it down to the specific location of Glastonbury, a place that he had never visited. The big event there was scheduled for 1984, seventeen years in the future. There was much to be accomplished in the interim. Robert Coon’s work was astrologically determined to an exceptional extent. He attached considerable importance to what he called the Melchizedek cycle. This is a twelve-year phase relating to Jupiter that begins with the one-year period that the planet is in Aries. In recent years these have been, 1963, ’75, ’87, ’99, and 2011. It would be a major inner cycle in the unfolding of his global magick. He came to believe that his work had been partly set up in 1963 when the Melchizedek immortals, Coon’s version of the Secret Chiefs, conferred to set up three astrologically determined events at Mount Shasta. These triple culminations of Pluto-Uranus in Virgo conjunctions ‘activated the New Age movement in California’. 82Signs& Secrets 4.indd 82 28/03/2013 12:59
  32. 32. e s say n i n e A e g y p t: T h e s ta r t e m p l e a n d t h e G i z a p l at e au THE WOR K OF A NDR EW COLLI NS Paul Weston T he somerset star temple has inspired some remarkable inner journeys and processes. Admittedly far from consensus co-ordinates and resisting historical and archaeological investigation, it could at least be characterised as a potent psychogeographical zone. We can grant poets and mystics the indulgence of finding results satisfactory to them in its multitudinous aethyrs but are always aware of its tenuous nature. Has anyone ever been directly led to something tangible by it? Something to give us pause for thought? I believe the answer is yes and the particular result in question and the path leading to it is in fact mind-bendingly spectacular. Historical mysteries author Andrew Collins has produced a large corpus of distinct work that has been controversial and often well received. From the Ashes of Angels, Gods of Eden, Gateway to Atlantis, The Cygnus Mystery, and Beneath the Pyramids represent just some of his output. It is the last named that concerns us here. In Beneath the Pyramids Collins recounted his rediscovery of a cave system, forgotten by modern archaeologists, underneath the Giza plateau. It was the culmination of a decades-long interest in the subject of the fabled Hall of Records, an interest fully engaged whilst in the middle of a unique journey around the Glastonbury Zodiac during the 1980s. Collins was one of the originators of what he termed Psychic Questing. Historical mysteries, usually with a mystical magical component of some kind, were investigated through taking psychics out into the landscape and being open to all manner of intuitive processes. There was a conscious suspension of disbelief in order to work with information from trance states, dreams, omens, synchronicities, and so on. If historical research could show that some of the material was accurate, and none of the details necessarily inaccurate, then it was considered acceptable to take a gamble and work with it. The most controversial aspect of questing concerned the apparent retrieval of physical artefacts from concealed locations as detailed in Collins’ cult classics works The Black Alchemist and The Seventh Sword. In early 1983 a number of clues from different psychics and a visionary experience of his own drew Andrew Collins’ attention towards the area around Glastonbury and in particular a place named Kingweston, which he discovered was situated in the vicinity of the Leo effigy in the terrestrial Zodiac. Engaging with the clues and visiting the location triggered what appeared to be a past-life saga in which Collins had been a medieval knight on a kind of Grail Quest. 91Signs& Secrets 4.indd 91 28/03/2013 12:59
  33. 33. A e g y p t: T h e s ta r t e m p l e a n d t h e G i z a p l at e au EAST WEST St. Mary’s Chapel geometry. 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. Robert de St. Clere and Phillip de Clara Vallis had travelled together to Somerset in September 1285 and this prompted their apparent modern reincarnations to visit Glastonbury for the first time together at the same time of year in 1984, almost 700 years later. 95Signs& Secrets 4.indd 95 28/03/2013 12:59
  34. 34.      Signs& Secrets 4.indd 107 28/03/2013 12:59
  35. 35. e s say t e n m a lt wo o d ’ s t r i a n g l e : t h e m i c h a e l l i n e a n d t h e pa r a l l e l o g r a m Yuri Leitch I t is my intention with this essay to explain some of the deliberately concealed landscape secrets hidden within Katharine Maltwood’s A Guide to Glastonbury’s Temple of the Stars. In the Introduction to her first book, Katharine made it quite clear that her readers should be looking for hidden meanings within her skilfully constructed paragraphs: ‘…these ancient landmarks should reveal more than one lost secret.’ The above statement is followed shortly afterwards by a line within a quote from The High History of the Holy Graal: ‘…for the secret things of the sacrament ought none to tell openly…’ These subliminal statements should have been enough to kick the reader’s subconscious mind into alertness and expectation of treasures waiting to be found. A little later on she writes: ‘This world being unworthy, the Graal was said to be removed, yet not hidden, for it is always discernible by any one worthy or qualified to see it.’ Katharine then delivers her first blatant clue, an enigmatic statement about some local landscape geometry, then she says nothing more about it as if she were deliberately daring the reader to look deeper into the mystery for themselves; she writes: ‘Alfred’s Fort at Athelney and Camelot Castle of South Cadbury are both eleven miles from the Isle of Avalon.’ ‘Alfred’s Fort’ is an affectionate term for Burrowbridge Mump, which is the nose of the Girt Dog of Langport. The Girt Dog is a landscape effigy, five miles long from nose to tail, that guards the Glastonbury Zodiac. ‘Camelot Castle’ is the Iron Age hill-fort of South Cadbury, and of course, by ‘Isle of Avalon’ she means Glastonbury Tor. Each location is a prominent hill in the Somerset landscape – I refer to this as ‘Maltwood’s Triangle’. 109Signs& Secrets 4.indd 109 28/03/2013 12:59
  36. 36. signs & secr ets of the glaston bu ry zodiac The Three Pillars of Light by Katharine Maltwood, circa 1944. 110Signs& Secrets 4.indd 110 28/03/2013 12:59

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