Being as it seemed that the design could only be appreciated from the air he was convinced that it was connected with extra-terrestrial mysteries and also a prophecy of rebirth in the coming Aquarian age. It has, however, inspired some remarkable visionary effusions and led many to life-changing experiences.ĭuring the early sixties Maltwood was championed by Brinsley le Poer Trench, a UFOlogist and pioneer of the ancient astronaut hypothesis. It might not be a tremendous surprise to learn that conventional history and archaeology does not endorse any of this theory. Katharine Maltwood came to believe that it was during this period, around 2,700BC, that the landscape zodiac was constructed by wandering initiates of some Middle Eastern mystery cult. It began the Babylonian New Year festivities. When, due to precession of the equinoxes, it had been in Taurus, Aldebaran was synchronised with the rivers as Sirius once was with the Nile inundation. The Mesopotamian rivers Tigris and Euphrates rise at the spring equinox. He is aiming directly at the star Aldebaran, in Taurus. Glastonbury’s Sagittarian archer seems to have a bearded face and pointed cap suggesting a middle-eastern look. Sagittarius has been variously linked with ancient deities whose names seem similar to Arthur: ie Assyrian Assur, Persian Ahura, and Phoenician Melkarth. It was the Arthur figure that helped Maltwood to determine, at least to her own satisfaction, when the mighty work was constructed and by whom. Here was his original titanic form, asleep in Avalon. The king himself was part of it, as the mounted archer of Sagittarius. Maltwood considered that the design has come together through some extraordinary process in nature that has been recognised and then enhanced through human agency. This is the Hermetic “As above, so below” par excellence. This enables one to say that a particular star has a definite corresponding location on the ground. If laying a planisphere of the same scale as the landscape zodiacal circle down upon a map, the stars of the various constellations do tend to lie within the bounds of the alleged effigies. There are three human figures in the group, Sagittarius, Virgo, and Gemini, which are taken to represent a father, mother, and child trinity and form an equilateral triangle.
Eight of the effigies are similar in size, approximately 6,000 yards in breadth. Winter signs are placed in the north, four of which are partly drawn by the River Brue, summer signs lie in the south, four drawn with the aid of the River Cary. The heads of all but one image face west. Firstly, we have zodiacal images in correct sequence pivoting around a central point. The apparent symmetry of the design seems impressive. The configuration included the usual ram, fishes, and a scorpion.
GLASTONBURY TOR ENGLAND SERIES
Pondering on various mythic beasts featured in the tale, in conjunction with the sense that it featured definite details of local topography, she came to believe in the existence of a series of effigies, generally depicting signs of the zodiac in set sequence, with a circumference of about thirty miles. Theosophically inclined mystic world-travelling sculptress Katharine Maltwood’s attention was drawn to a medieval Grail Romance, The High History of the Holy Grail or Perlesvaus, a text claiming to have drawn on documents in Glastonbury Abbey. The Glastonbury Zodiac is the most contentious and expansive of our many mysteries. Arthur Sagittarius figure by Osmund Caine.
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