#18 – Landscape Zodiacs
My attention recently has been drawn towards profound messages found within Arthurian legends it’s deep connection to the land and ancient english and welsh mythology.
Due to the research of Katherine Maltwood uncovering the Glastonbury Zodiac, the idea of huge symbols and animals being terraformed into the landscape is a bold one. But increasingly i’m finding more and more evidence and correlation. So in this podcast I look at Landscape Zodiacs found across the world, and even discuss the idea of a humungous large scale British Zodiac covering the majority of England and Wales.
Tune in… and as always enjoy, enjoy!
Podcast player
The Reconsider Simon podcast can be found on all major podcast and video streaming platforms.
Rumble video
YouTube video
BitChute
Donations
PayPal: https://paypal.me/reconsidersimon
Buy me a coffee: https://www.buymeacoffee.com/reconsidersimon
Crypto: https://commerce.coinbase.com/checkout/59655db3-eb32-4e9b-a7f7-ac1e25eae3e2
Patreon: https://www.patreon.com/ReconsiderSimon
Podcast transcript
The following text is a A.I created transcript of the podcast, so it may not be a completely accurate representation of my spoken words.
Good morning, afternoon, evening, wherever you are in the world. This is the reconsider Simon podcast. This is podcast. Number one, eight, 18. And today I’m going to be discussing the quite crazy theory of a landscape Zodiacs, and now this has been boiling in the background for a while, I guess I’ve done a recent video while I went there in April, so it was quite a while ago now, but I only recently uploaded a video to do with Glastonbury and I was exploring during that video, the idea of Glastonbury being this.
Temple of the stars, solar temple, and there’s quite wild theory, uh, penned by Catherine Maltwood back in the 1920s and thirties. Actually, Glastonbury within the landscape itself has this, you know, quite humongous array of various kind of zodiac effigies kind of baked into the land itself. It was whilst in Glastonbury that particular day that I was around Glastonbury Abbey and then became exposed to the whole idea of King Arthur and little did I know at the time that it was actually St.
George’s Day and I’d been sort of considering ideas what it was, you know, meant to be English and it was all quite. synchronistic. Um, so ever since then, I’ve been sort of pondering on King Arthur and Glastonbury and the whole kind of subject. And I did read Catherine Maltwood’s book quite a while ago about, you know, the Glastonbury Zodiac.
And it always thought at the time, yeah, that’s an interesting idea. But I guess like recently I’ve become more and more vested In that particular theory and, uh, recently read another one of our books, which is more specifically towards kind of King Arthur and the Zodiac at Glastonbury, it’s more focused on the King Arthur legends at the moment.
I’m also reading a King Arthur book. Um, so yeah, there’s just a lot to do with King Arthur and, you know, I’ve also been in the north of England, northwest of England recently, staying with family in Chester and I’ve been walking in the Welsh Hills and even where I’ve been going in terms of like big walks, there’s been a lot of, um, symbology and also just names of some of the various areas and hills.
all relating back to King Arthur again. So it’s just a huge amount of synchronicity going on in my life at the moment to do with that. I think it very much speaks to these times that, you know, Britain’s feeling more and more chaotic. I know there’s a lot of things in the media at the moment. There’s this whole thing about petition people, very, very upset with the government at the moment.
And it just feels not just in Britain, but the whole world in general is becoming more and more chaotic. You know, people are able to see the corruption more and more, in my opinion, it’s probably always been there, but just due to the energies that are flying around at the moment, um, just expanding people’s consciousness and their awareness.
I think people are seeing the corruption more and more, and there’s this whole idea that, you know, in Britain’s greatest need that King Arthur will return, he’s this very messianic kind of figure. And the whole kind of Jesus story and King Arthur. Um, there’s a lot of similarities between the two individuals and, you know, Glastonbury is very much a kind of a hotbed, it kind of anchors some of these legends into the land.
What’s very profoundly powerful about King Arthur is his ability to really span these different spiritual traditions. And you have, you know, the idea of paganism and Druidry in pre Celtic times. And obviously we’re not completely sure who these people were and exactly what all their practices were.
It’s sort of steeped in mystery. There’s a real thread of connection between that, you know, that version of King Arthur with the Christian version of King Arthur as well. So it really kind of bridges a connection between the two cultures. So the main mechanism of these landscape zodiacs, as an example, Glastonbury, where it spans even beyond the boundaries of Glastonbury itself and has these huge effigies, these potential animals etched into the landscape.
So it might take the form of hills or earthworks that have been dug out or roads that have been built or rivers. The flow and then they all seem to converge to kind of create these animals. So as an example, you start to see a huge line in the landscape, you know, referring to Leo or to crab, you know, referring to cancer.
If this is the first time of you hearing this concept, I understand it sounds really wild and crazy, you know, just, yeah. I mean, when I first read this book, I thought, yeah, this is an interesting theory, but I’m not completely sold on it. And again, If you do a little bit of cursory research in the internet, in Google, obviously you’ll go to kind of Wikipedia and they do talk about this whole concept of landscape zodiacs.
And they will bring up research at one particular individual called Ian Burrows in 1975 and Tom Williamson and Liz Bellamy, apparently. And they discovered things like the eye of Capricorn actually was a haystack in the map that, um. Catherine Malt. Malt would suggested also, uh, Western Road of Aquarius.
The Phoenix was actually a, a road laid in 1782 and because Catherine Malt was really arguing that these, you know, huge landscape zodiacs specifically in Glastonbury was probably produced during Celtic times 1782 is far too late. For that to work. Um, but from my point of view, just sort of pushing back is that they could be flawed in their understanding how they’re approaching the subject.
It’s not necessarily that every single figure, every single line needs to be absolutely correct. Um, and I think this kind of brings, comes down to the overall concept of like, how is this happening? So in terms of the reading that I’ve done up until now, then more specifically, This podcast, you know, there’s a tension in these two concepts of whether, you know, these idea of these landscape zodiac, I mean, it could be complete bunkum, like these are just fictitious stories that people creating in their head.
So that is also an aspect, but there’s also an aspect is that you’d have these people or maybe even people who are non human, like beings with deeply spiritual powers, and also maybe very advanced technical ability, sort of coming into this landscape and shaping these large effigies. So I know that’s going to be a big leap for some people because the vast size of the Zodiacs and later on, we’re going to be talking about Zodiacs that maybe even kind of cover most of, you know, the United Kingdom, like England and Wales.
Um, and so that’s a big leap when you’re sort of talking about people consciously going in and shaping the landscape, I’m with you, it is a bit wild. Um, but you know, obviously if you kind of factor in sophisticated technology that maybe you don’t have access to, that’s also a possibility. Yeah. But there’s another more interesting idea that I’m really becoming more and more warm to, is that the fact that maybe these, uh, landscape zodiacs are happening subconsciously.
So as a collected of people, collective of people individually, we’re all sort of subconsciously, unconsciously shaping the landscape over time. So this very much speaks to ideas of Carl Jung, the Swiss psychotherapist, and the idea of archetypes and the fact that these effigies in the lands are particular archetypes that are as kind of unconsciously, subconsciously within the collective.
And also you can maybe expand an idea, you know, the idea that maybe everything has consciousness, like you have consciousness, I have consciousness. Maybe a stone and a rock has consciousness, a plant has consciousness, and maybe there’s a collective consciousness of the overall landscape of the planet.
And in some like very beautiful, like harmonic way that the human consciousness and the collective of humanity is some way interacting with the landscape of the planet to kind of form and shape these landscape zodiacs. But through the course of this podcast, I’m not just going to be concentrating on Glaston, because as I found, there’s actually.
Many more Zodiacs within the United Kingdom up to about 60, potentially. And also I started to look overall globally in the world. So there’s a lot of evidence that it’s not just happening in the United Kingdom, but there’s does seem to have real concentration of Zodiacs in the United Kingdom, which is fascinating because it’s really starting to kind of focus my attention on like what Britain was and what it used to be.
So and maybe potentially have been a very deeply spiritual place and seeing it as really as quite a large scale temple, like a spiritual temple that people would travel to for pilgrimages. On previous podcasts, I’ve touched upon this subject before, the idea of landscape zodiacs, and I think I’ve referenced this particular article before, but it’s from a website called Ancient Wisdom and the article is called Zodiac Landscape.
I just want to read a section of that article to you now. Should it be determined through future investigation that zodiacs are, as it suggested, manifesting themselves onto the landscape without conscious intervention, then it becomes reasonable to propose that this might be evidence of the existence of the primitive umbilical connection between us and the living landscape.
Should such a phenomena exist in the West as it is still practiced and believed to in the Orient, then Then regardless of the specifics and accuracy of these zodiacs, by recognizing them, we have entered back into the ancient and almost a casual narrative between people and their landscapes, between our unconscious imaginations, and the cosmic structure of all things.
I think that very beautifully and poetically, it really explains that whole concept that maybe these effigies, these large landscape zodiacs are being potentially produced unconsciously. And I think that, you know, I’ve sat on this idea for a while now and I’m becoming more and more seduced by it, I must admit.
It’s like Graham Hancock always says, we are a species with amnesia and he’s completely on the money. You know, history as a whole is shrouded in mystery and I’m not particularly well read in ancient history or pre Celtic times, but it does feel there’s a real loss of history, maybe through resets, you know, deliberate tampering of history on understanding of it, particularly destruction of sacred sites, which still continues to this day, unfortunately.
And as a whole Britain, you know, it’s littered with stone circles and megalithic objects. And for the majority of people, including myself up until recently, you completely ignore it. You don’t give it a second thought. You have little idea of these mechanisms and how they work and how they interact with their landscape potentially.
And it really speaks to like who we are potentially as a civilization. But that deep mystery of pre Celtic times and beyond, who knows how far that stretches back. You know, the landscape and nature was held as a real sacred place. In modern day terms, we view temples as structures that you might have in a city.
In Chester here, there’s a cathedral. You know, it’s an internal space. Um, but there’s also the very powerful idea, you know, as above, so below that the human head, we have temples and within those temple of our head is housing the mind, you know, the center of consciousness potentially, and more specifically, the pineal gland is always very much highlighted a very deeply spiritual organism within the body.
So potentially, you know, the ancients would have a real understanding of geological features, the typography, the landscape, the earth energies, the waters. And they would just see all of this interaction and they would see the largest spiritual temple within the land itself. So there’s the argument, you know, Glastonbury was this kind of outdoor temple, spiritual place, quite similar to maybe Avebury, as well as perceived as being, you know, a temple of sorts.
And it has an initiation, it has a pilgrimage, a journey that you follow, but maybe you can zoom out of the macro and go, you know, macro, look at the entire country and just sort of see the landscape as a whole as this humongous temple of sorts. Temple of the stars. And again, going back to that well known concept of as above, so below, you know, looking at nature when it mimics constellation, when it mimics.
The heavens, you know, they see really sacred forms, potentially these ancient people, and they perceived it imbues with magic in a certain way and in energy. And the ancients really gave reverence to geological forms that represented certain constellations in the sky. But moving away from the idea of like humanity as a whole, you know, maybe unconsciously creating these landscape effigies, you know, is there a space for a theory where, you know, people are actually manipulating and terraforming the land to create these great gigantic large scale animals, you know, to represent these various constellations and zodiacs in the landscape with modern thinking, our program education, the way we view the ancient world, it’s all to do with like what’s technically capable and that, that whole idea just seems completely potty.
As I said before, I’m becoming more and more convinced that Britain, especially was a large scale temple that potentially pilgrims would have taken specific routes across the land, potentially for a whole host of reasons, including like spiritual initiation, physical healing, maybe education, learning the old ways, learning the spiritual ways.
And it could be technological as well. You never know how advanced these races were in their understanding of the land and harnessing these energies. You know, I mentioned this on various podcasts, the idea that the use of natural materials in a particular placement in the land, the geometry of the objects, you know, this is a real lost technology, but we still truly don’t understand.
And I think actually some of these ideas are really coming up to the surface, coming up to the collective is what I’m discussing now. So if you’re on board with the idea that potentially the stone circles or other megalithic objects, you know, weren’t just about just creating a spiritual space that was more behind this, that maybe you can take a step further and think about the idea of like, if the landscape was consciously being created in some way, The creation of these objects being carved into the landscape, massive earthworks, roads, streams, hills, valleys, that whole idea of like sculpturing the landscape in the world is a really bold one.
And we’ll need specific technology to be able to achieve it as well. And when you talk about energy, that whole idea of astrology and a lot of these animals, these figures, these symbols, you know, it all represents energy. It’s a way of describing energy. Essentially, you know, these constellations have particular flavor of energy.
Like you might drink a particular wine, but there are so many different varieties of wine and different tastes and different ways. It fills your mouth and the tanginess kind of signatures to a glass of wine potentially. It’s the same for energy and it’s just the ancient way of describing these energies and in, you know, the forms that they see in the landscape, in their reality around them.
I’m assuming with some of these ancient cultures, you know, their civilizations were marred with streetlights that kind of dry, drown out the night sky. Obviously it feels like it’s a hell of a lot more people on the planet than there ever has been potentially. So back then there was probably a lot more of a connection with the night sky.
You have this brilliant, you know, display of light every single night, moving around, you know, creating these stories and you’re creating these energies that you’re feeling. So it’s, that’s the reason why, you know, various cultures around the world, the night sky, the stars, the moon, the sun are all so important.
And the lady that really kicked off this whole viewing of the landscape in this way with these kind of huge constellations in the landscape is Catherine Maltwood and she’s a 20th century writer and artist. originally stems from Victoria in Canada. And the reason why she stumbled over this idea that she was actually commissioned to create an illustrative map of King Arthur and his connections to Glastonbury.
And it was whilst working on this map that she had visions of Glastonbury and this huge zodiac with these land effigies. Um, but you know, through reading her book, she specifically points towards these Chaldean and Sumerian priests coming over to United Kingdom roughly 2700 BC. And these were the individuals who were actually shaping the landscape.
to create the Zodiac. That was her opinion, her theory. The idea of Glastonbury really being a temple of stars gained popularity, but not straight away. It was a few decades later, you had certain key individuals stepping forward and then starting to see Zodiacs in other locations in the country. And particularly with the United Kingdom, people have seen them in Kingston, which is outside of London.
Pewsey and Wiltshire, which is roughly around the Southwest of the United Kingdom. Sussex used to where I used to live Southeast, just like nearly on the coast. And then in terms of worldwide, I’m going to be talking about the Nazca lines as well. Can we argue that that is potentially a zodiac? There is some names here that I can’t pronounce.
I’m just going to give you the countries. There’s some in France, there’s some in Italy, United States, Egypt. People have argued that Giza, Zodiacs, I guess that includes like the pyramids in terms of them potentially being a Zodiac landscape. So yeah, just all around. It just seems like a kind of worldwide potential phenomenon.
But all of these locations I’ve just discussed there, they’re all very specific, you know, Kingston’s a specific area, Sussex is a specific area, you know, you could potentially walk these areas. Um, but what I’m going to talk about now is something on a more grander, larger scale. And it actually blew my socks off, blew my mind.
Became really, really excited by this idea. And it was upon researching for this podcast, I just stumbled across the idea that maybe landscape zodiacs are bigger than a particular local area that it could stretch across an entire island, such as Britain. And I came across a name, Francis Bacon, not the painter who recently died, but the 16th century philosopher and statesman.
And apparently he was alive from 1561 to 1626. And he’s chiefly known as the. Attorney General and Lord Chancellor of England to King James the first. Overall, I’ve heard the name, I knew Francis Bacon, the painter, a lot, you know, more, um, but he, this Francis Bacon of the 15th and 16th century appears to have been a very impressive thinker and he gave foundation to modern day science and thinking and empirical research and logic.
And I think maybe he would be disappointed the way that science has actually progressed. But his original idea, which I think feels sadly lacking at the moment, is nature and the cosmos should be understood and observed and blending these mystical ideas into scientific thought. This is the way I think it should be.
But it was connected with Francis Bacon that I stumbled across, uh, organization that seems to have a link to him called the Francis Bacon Research Trust. And I’ll leave a link to this in the description so you can check it out for yourself. I really do advise you do, but they had a PDF on their website and it basically gave evidence for a larger scale Zodiac.
So not on a micro scale, like in Glastonbury, Sussex, but this one’s. Big, it’s like large, big scale covering the majority of Wales in England. And this is all detailed in this PDF, but it was reading this, that everything really started to click into place. I really found it quite profound. I had what, you know, people would describe as a download, you know, really powerful, start to understand this subject.
a lot more real moment of clarity and perception about how this potentially might work. To my knowledge, I don’t think Francis Bacon, I should iterate originally came up this idea. I could be wrong. Um, it seems the ideas came from within this organization that’s sort of loosely linked to Francis Bacon. I don’t know why.
Um, but yeah, I just want to be upfront with you. I think it’d be a good idea, I think they will more eloquently describe some of these ideas. I might read you some extracts from this particular PDF, this document, and it’s titled The British Landscape Zodiac. The British Landscape Zodiac is an archetypal energy pattern that underlies the landscape of Britain.
A pattern that appears to have been originally laid out by the Celtic people, the Britons, or the Bithonic race, and which the Romans and subsequent rulers and wisdom holders seem to have recognized and used right up until the time of the Tudors and even into the 18th century. The archetypal pattern is that of the Zodiac or the Wheel of Life.
divided into various geometric patterns, such as 12 equal sections or signs. The division into 12 unequal signs was also used, with the width of each sign or section matching the width of its zodiacal constellation. This unequal sign division, and thus the creation of constellations of different whips when the pattern is projected onto the sky, appears to have been for the purposes of marrying 12 fold geometry with 10 fold geometry, for a division of the zodiac into 10 sections was also used.
The zodiac, subdivided into 12 or 10 divisions, was a pattern habitually used by the Celtic people and other races. By means of which they laid out and mapped their local and national landscapes in a recognisable way and at the same time married the wisdom of the sky, heavens, with the land, earth. In this way, both history and myth were joined together in a way that expressed the wisdom and the people could relate to each other and find each other according to where they lived within the organised and mythologised landscape.
If you look at the PDF, there’s various maps in there, which are very illustrative, very helpful. I do suggest you take a look, but like for the benefit of just, you know, describing this audibly. Um, if you look at the United Kingdom, you have this huge circle, basically, and it’s covering the majority of England.
Wales up into the Wards Cumbia, which is the kind of county before you start heading into Scotland. Um, but there is the idea that you, the Zodiac didn’t, wasn’t purely within England and Wales. There was a Scottish one and there was an Irish one. But if you look in this ecliptic, this landscape, Zodiac, which covers Wales in England, the central Point.
Of this map is called High Cross, which is an actual place I’d never heard of before. It’s quite small, I think, but this is to the right of Birmingham. And Birmingham has been quite a large city in the Midlands. Some of you in the rest of the world have seen Peaky Blinders, the gang that’s in that, that’s based in Birmingham.
So High Cross, which is to the right of Birmingham, is the central point of the Zodiac. And just to describe, you know, some of the other locations, you have Sagittarius, which is the southeast roughly, and kind of goes into London. And then Cheshire, where I’m at the moment, it seems that that’s kind of Aries.
Um, so you see the various constellations all around this wheel and it kind of defines those various areas, very crazy aspect of this Zodiac, this constellation, that if you’re looking at the country of Wales, which is, you know, the country to the right hand side. of England. It sort of sticks out, just looking over into Ireland.
Um, I’m about sort of 10 minutes from the border. I can drive there in about 10 minutes. I’m in Chester. But if you look on the Zodiac, this map, uh, you have this animal called Cetus, which takes up the majority of whales. And this relates to the constellation of Cetus, which is very much apparently a whale type creature.
It is a mythical creature. Um, it’s very much found in, um, Greek mythology is a sea monster and Perseus and Heracles needed to slay this particular animal. Um, so yeah, it’s just fascinating. You got like this whale like animal is potentially defining why the country is called Wales. Um, I did a little bit of research to kind of confirm this idea to see if there’s anything else out there.
Um, a lot of the things that I found seemed to poo poo this idea. Um, and their reason they said that Wales is called Wales is just due to etymology and the development of language. And there was no bearing to kind of the constellations of the stars at all. But yeah, for me, that’s quite a wild connection.
The reason why Wales is called Wales because of the Cetus constellation. Referring back to the extract, the really profound bit that really kind of got me thinking and I got quite excited about was the fact by means of which they laid out a map their local and national landscapes in a recognizable way.
And at the same time, married the wisdom of the sky, heavens and the land, the earth. So it’s this paragraph, I had a huge light bulb moment because obviously we’re well used to now you have GPS, electronic GPS, you can find yourself anywhere in the world, like easily in the sea, on land. And prior to that, obviously, you know, sailors are charting their way on the seas using charts.
And then before that, using really rudimentary tools, such as using the sun and the moon and the stars to kind of locate and get to various places. So I was like, Oh yeah, of course. If you’re imbuing the land with these constellations gives everything context. I mean, apart from the really obvious deep spiritual reasoning between connecting to the land, to the heavens, you know, as above, so below you’re, you know, you’re creating a connection, you’re marrying up these particular energies of these constellations with the land as that aspect to it.
But there’s also the really practical aspect of navigating the land. You know, to get from one place to another and know where you are and you could know certain people and where they live and you can navigate using the stars to find people. So it’s like, you know, my mate Dave lives in Gemini, which if you look at the map, looks roughly Cheshire kind of Manchester area, but I live in Virgo, which is kind of Lincolnshire, sort of Northeast.
So to get to see him in Gemini, I’ve got to travel through Leo. cancer to get there to see Dave, to see my friend. So the beautiful solution of this is that also you can then just look at the night sky and you can kind of map where you want to go in the land by looking up. Um, so yeah, just really just profound.
Uh, understanding and download on this whole subject. Um, and I guess it’s only really works when you’re starting to perceive maybe the landscape is actually terraformed. It’s actually being formed by these individuals, these priests in some way to enable this to happen. But actually having thought about it, you don’t necessarily need to terraform anything.
You can still, you know, give particular areas constellations. Maybe there is a marrying up in some way, maybe there is correlation in particular natural forms of these constellations. I’m not sure. Um, but it’s still really amazing, powerful, like simple way to really kind of like navigate the landscape using the stars because you kind of transferred the stars into the land itself.
I mean, it’s, it’s amazing. And again, this PDF document just really just like solidified. Actually, I’m quite liking this idea of landscape zodiacs. Now I’m sort of quite on board with it, just so many spiritual underpinnings, but just really practical reasonings for existing as well. Like, I think it’s fine.
Actually, if you look at it, I mean, on the macro level in terms of United Kingdom and England and Wales having a, Zodiac and Scotland, Scotland and Ireland. And on the micro, when you’re going to Glastonbury, it makes complete sense because you still need to navigate within your local area. And again, if you sort of give various constellations, the area in the lands, obviously it’s going to help you to navigate as well, but it’s funny because as I was reading this PDF, just to sort of recreate what happened is like every paragraph, I was like, wow, no way I have to stop for a bit, think about it, just absorb the information, just, yeah, it was Just, my mind was just so blown at the time.
But anyway, returning back to the article, the wisdom lying behind the use of the 10 fold and 12 fold geometry relates to the idea of the rose blooming upon the cross. The twelvefold geometry is based upon that of the cross, a symbol of light, and the immortal of the divine self. The tenfold geometry is based upon the pentagram and the penta alpha, representative of the mortal human being, and symbolized by the five petaled rose, marrying heaven and earth, and of the immortal and mortal, in love, is the essence of all wisdom.
They represent the double truth, expressed as immortal and mortal, spiritual and natural, heaven and earth, ideal and real, perfect and imperfect, and in terms of the zodiacal signs, equal and unequal. The truth of being and the truth of knowing is another expression of the double truth. Again, this paragraph blew my tiny little mind.
I just found it so profound. This idea of marrying up these double truths and creating balance and harmony, the immortality of the heaven. When you look above linked to mortality in the land below, obviously as human beings, we have a finite life in this 3d kind of environment. I just find it very, very poetic, very, very beautiful.
I mean, I’ve been thinking quite regularly about this idea of dualistic thought and maybe it’s linked. Maybe it’s not linked. The external environments at the moment, you know, the world around us, there’s so much polarized thinking, you know, people have these very hardcore opinions about how things are and the way things should be.
And you put in, in reality, you know, humanity is littered with contradictions, contradictions everywhere. I’d laugh actually at the amount of contradictions I have. I mean, I can rage against corporate culture, but I feel, and I can feel repelled by it. You know, I don’t like it. Yeah. Yet professionally as a designer, I prefer working for these big companies because there’s more budget, there’s less stress for me, you know?
So again, this is a huge contradiction. You know, I’m not practicing what I’m preaching. And again, you know, if you look at sort of romantic relationships, you can deeply love someone, you can, you know, your girlfriend, your boyfriend or whoever, you can deeply love them, but you can have a really irritating row.
And at that moment after the row, you can really hate them simultaneously. It’s that kind of dualistic, weird place to be. You know, love and hate, again, I keep throwing superlatives at this, but it is beautiful, really elegant system. Yeah. And it just blew me away. We think now when I’m navigating the landscape, say if I wanted to go to London, you’d have to drive.
I think it’s the M52, the M6, you know, big motorways, um, just like boroughs and forges away down south. Um, yeah, there’s no romance in it. But, you know, this system, it’s just marrying up, you know, the, the land around us with the heavens above and just the whole, you know, the whole society, if this is true, their whole society just seems underpinned with nature and just the energy flows around it and, you know, just feels like it will create so much harmony, so much balance, whereas we have completely opposite of that system and it’s creating so much dissonance.
It’s creating so much chaos because we’ve completely lost that natural connection to the heavens. Anyway, enough of me, back to the article. Zodiacal patterns, large and small, exist as energy forms underlying the landscape, just as the geometric forms and mathematical laws underline and govern all natural forms.
Which means that their discovery and harmonious use has the best chance of leading to a beneficial partnership between man and nature. However, such patterns can also be imposed upon the landscape by using the imagination. But when this was done by the ancient cultures, they normally selected a natural and suitable geomantic or magnetic power point in the landscape for the centre of the pattern.
With the other appropriate powerpoints coinciding with the other key positions in the pattern. In speaking of the British landscape zodiac, by Britain it’s meant Roman Britain, Britannia, as distinct from the British Isles which subsequently became divided, in nomenclature, into Little Britain and Great Britain, Albion, and then into the three lands of Britain, Britannia, Ireland, Ibernia, and Scotland, Caledonia.
Nowadays, Britain is separated to England and Wales, but this division in no way diminishes integrity of Britain as a sacred landscape in its own right. Just as Ireland and Scotland are integral sacred landscapes, each with their own national landscape zodiac, the Bithonic speaking Celts seem to have been the first to recognize the zodiac pattern in the landscape of Britain, and to mark it with certain key places and roads, trackways.
This landscape zodiac then came to be utilized and enhanced by various subsequent cultures and their leaders, and incorporated into British mythology in various ways. The centre of the British Zodiac is located at High Cross, so named because the two principal axle Romano Celtic roads, Waitling Street and Fossey Way, cross on the summit of a broad high hill that is not far from the present day geographic centre of Britain.
The Romans established a fort there known as Venonis. The north south meridian of Britain, as mentioned by the Romans, passes through high cross stretching from St Catherine’s Point on the Isle of Wight, in the south to the mouth of the River Tyne in the north, from where the Romans set out the northern border of the Roman Britain, with the construction of Hadrian’s Wall.
The overall layout and orientation of these roads and north south meridian follows the underlying geometry that divides the Zodiac into tenfold and twelvefold sectors. That’s going to be the end of the extract from my reading. Um, but yeah, if you go back to the original articles, the whole essay probably goes on for about 12 pages.
There’s a lot of diagrams and maps in there really, really useful. I think I just covered the first four pages of the main body of this essay. Um, but yeah, again, you can see on the Zodiac, you know, the central point bit is high cross on the map, the middle of England, just to the right hand side of Birmingham.
And you have four roads sort of spanning out from there, like spokes on a wheel. One direction from London, southeast from the centre Hivecross, the other one goes to the southwest towards Exeter. Another one northeast towards Lincoln and finally near where I’m at the moment, there’s a road that travels northwest and it goes all the way deep into North Wales towards the holy island of Anglesey and interestingly goes on route through a place called Langolan.
And if you’ve been listening to the last few podcasts, I’ve been walking around this environment, Langolan, there’s a town and around there, it’s really stunning. And it’s got lots of mythology and nods towards King Arthur. And also there’s been some UFO activity there as well. And I, while I’ve been walking around there, I can viscerally feel the energy.
It’s really, really poetic, really beautiful. And yeah, it’s just fascinating. This very sacred potential pre Celtic road kind of goes straight through this area straight towards Anglesey, which is again, the very, very spiritual place. And it just goes back to the idea, like I’ve been discussing, you know, Britain being this huge.
Temple overall, people might come here on their pilgrimage from outside of the country. And if you’re using this system, you can quite easily navigate the land and you can use the overall British Zodiac to, to find your way to potentially towards Glastonbury. And then when you reach Glastonbury on your missing your pilgrimage of initiation, potentially, You can then, you know, navigate that local area using exactly the same system in the local Zodiac of Glastonbury.
And yeah, it’s really, really beautiful the way it all potentially connects. It made me think actually, cause there’s a system that obviously quite later, but in the United Kingdom, there’s just so many pubs everywhere. And they tend to be quite simple names like the black dog or the queen’s head. And the reason why is because, you know, if you go to a traditional pub, you’ll have a big square sign outside.
It’ll have the name of it written, but it also have a picture of a black dog. And the reason why, because back in the day people couldn’t read or write. So they would need these visual cues to kind of find the pub they wanted to kind of navigate the landscape. So it’s a similar idea with these landscape zodiacs.
When you’re using these big effigies, these big. Symbolic icons to kind of like the note where you are, where you need to be. I just wanted to return to the modern day popularization of this whole idea, this whole movement, this, you know, landscape Zodiac and, you know, where it started. And I was discussing, you know, Catherine Maltwood being quite famous for kind of popularizing this.
Um, and it feels quite similar to, you know, stories of Atlantis and. Over time, you’ve had various authors and scholars have picked up on the idea of Atlantis. They’ve written about it and it’s been popularized again. I mean, you know, it comes into the public consciousness and it sort of fades away and then you’ll get another author kind of writes about it.
I think at the moment there’s a real uptick on Atlantean information kind of coming through because everything that seems to be happening now, I think was. You know, also mirrored potentially in Atlantis as well. So this is why these ideas are kind of coming up, but yeah, in respect to Katherine Maltwood, I mean, she put forward her ideas about Glastonbury probably about mid 1930s, you know, she died in the 1960s.
Um, but it wasn’t really until the hippie movement, again, the sort of mid sixties, late sixties at the earth mysteries movement became really popular, I think United Kingdom across the world. There was a real obvious or palpable change of consciousness, you know, during the sixties and seventies. And it was a real explosion of what people now call like the new age in the seventies and eighties.
And there’s just an increasing amount of content, you know, people writing about this, these topics, you know, books, knowledge, they’re all available now about ley lines and folklore, megalithic monument, shamanism, paganism. And there’s one particular authors, you know, many of you would be aware of called John Mitchell, who was very much brought a lot of these topics together.
I’ve read some of his books and I’ve spoken about previous books to do with Glastonbury and sacred geometry, like some real amazing ideas. And it was quite technical and quite a lot of numbers. So I sort of failed to follow most of it, but yeah, yeah, obviously a very, very. Intelligent man, I was trying to track some of the history about how these ideas sort of surface from Catherine and it took me to London during the late sixties, you know, right slap bang in the hippie movement and more specifically the suburb of Chelsea, which is now very expensive, exclusive area.
You know, majority of people would not be able to afford to live in Chelsea because you have rich people from all over the world moving there and even for quite small apartment flat to, you know, their millions. And, but I think back then it was a bit more egalitarians, a bit more working class people living there.
Anyway, apparently in the late sixties in Chelsea, It was a community space called Gandalf’s Garden, obviously Gandalf from Lord of the Rings and the Hobbit fame. Um, but it was a collective of people there, all hippies, I guess, would meet at this particular venue and they would talk about meditation and psychedelics.
I think you could buy cups of tea there and it was apparently bread and honey was on offer. So it was a real kind of meeting space. It wasn’t really about commerce. It was about an exchange of ideas. And I think what money they did earn from some of these meditations or just selling tea and, and sandwiches, obviously kind of kept the whole operation running.
But what’s mad about this is the fact that whole community space is actually located at the end of King’s Road and where this place was is it is the area is called is World’s End which is very much related to King Arthiot, King’s Road, World’s End and I was just looking into it and World’s End really kind of relates to the final battle of King Arthiot, King’s Road, World’s End.
Of King Arthur, when he gets mortally wounded and then gets taken to Avalon. And it’s really the end of Camelot, you know, the disintegration of this beautiful edifice, this balance where everything becomes unified and unfortunately the whole thing kind of falls into tatters. So it’s just, it’s quite poetic again.
King Arthur following me everywhere. The fact that this Gandalf’s garden was placed in. in World’s End at the end of King’s Road. Anyway, but from this community space, they also had a magazine that was also called Gandalf’s Garden. They only released about six issues and it started in 1968. Um, but in terms of the landscape Zodiac, they had a piece on that in issue four, which is in 1969.
And that was written by a lady called Mary Kane. I think after this article, not only does it really popularize this whole concept of Landscape Zodiacs, but she becomes quite a figurehead for this whole movement as well for Landscape Zodiacs. Um, but anyway, I’m going to read an extract of his article and it’s called The Glastonbury Giants.
One of the most incredible aspects of Glastonbury’s mystique is the monumental circle of the Zodiac, engraved into the countryside around the town. Can be only be seen five miles high in the sky. Why? For whom were these gigantic figures created? And by whom? Was the whole countryside laid out as a mystical path of initiation by ancient Sumerians or forgotten travellers of the elder days?
Or could it be that the intersections of the strange lines of psychic power which appear to crisscross our planet, certain forces accumulate and cause the landscape to arrange itself into meaningful designs? In much the same way as snowflakes and all other natural phenomena geometrically construct in themselves, such a cosmic concentration of energies could also have the property of subconsciously molding the minds of the men who work the land, causing them to create the zodiac without being aware of it.
Since life on this earth is in general controlled by the subtle influence of the planet, could the Zodiac be an immense symbolic landing stage marked out by the guidance of unearthly airborne objects, which even today still appear to use Glastonbury as a landmark? Was its existence known to the enlightened sage Merlin and its hidden meaning the esoteric answer to the real significance of King Arthur’s Round Table?
Mary Kane’s recent findings and symbology state the fascinating case of the existence of the Glastonbury Zodiac. The discovery of its origins is left open to you. The source of Glastonbury’s mystique, the bubbling font of all its legends, the magnet which attracted so many saints, heroes, kings, pilgrims, is all the more mysterious for being visible.
This is the Zodiac, Giant of Avalon, claimed by its discoverer, Catherine Maltwood. As at once the oldest and biggest of all Britain’s antiquities, it’s still largely unknown. Ignored by archaeologists, too good to be true and too big to be seen. What? Twelve great signs of the Zodiac laid out in a huge circle from Glastonbury to Somerton.
Ten miles across? Impossible. Some of the signs five miles from top to tail. Nonsense. Outlined by roads, paths and waterways. All done by Sumerians in search of metals. About 2800 BC. Crazy. Or by Atlantans in search of dry land and a change of clothing. Rubbish. Helped at nodal points by Tom Lye, Linchits and other prehistoric earthworks.
Coincident. Enter that by innumerable place names. Pure chance. Known to Homer, Hesiod, visited by Hercules, Odysseus, Jason, Perseus, Joseph of Arimathea, you must be joking. Archaeologists will argue, historians hiss, but why not try believing in the impossible for a change? The Red Queen in Alice practiced until she could believe at least six impossible things before breakfast.
It’s exhilarating. Anyway, it’s a marvellous idea, and if it’s not there, it ought to be. The grey people will get you certified, but the map at least will be on your side. For these figures can plainly be seen on the two and a half ordnance sheets. The rows which will draw them are ancient, whatever they may say.
And they will, believe me, they will. For all were prehistoric paths leading to prehistoric camps and holy places in prehistoric times when people were more beautiful than they are now, and did beautiful crazy corporate things like Stonehenge and Silbury Hill and huge white horses on hillsides. And their lord must have loved them, because they didn’t lack bread, and they got better weather than we do now.
Catherine Maltwood, like Schliemann, who discovered Troy, must have been laughed at. By all the best universities. She died in 1961, but she won’t lie down. Here, she said, is the original round table with Arthur, Guinevere, and his chief knight still seated majestically round, it adds the twelve zodiac figures.
The grail was said to be hidden in Glastonbury Tor’s famous Chalice Well garden by Joseph of Arimathere. So that’s an extract from the magazine Gandalf’s Garden. And this whole, whole organization and the magazine, the people involved is completely new to me, unknown to me. Um, but yeah, I think there’s very much article, very much popularized the whole idea of like large scale zodiacs in the landscape and really captured people’s imagination as people’s consciousness would really open up during the sixties.
I went a slight sort of rabbit hole, deep dive on this organization. So I was quite interested in, started to look into one of the founders called Muz Murray, um, and he’s still alive and he seems to have transformed into a bit of a spiritual yogi, very much involved in sort of mantra meditations, I think.
And he’s been given the name Ramana Baba in India, I hope I pronounced that correctly. Um, but yeah, he’s, like I said, he’s got like a Facebook group. When I started to see some of the old footage, there was some interviews done, uh, on him and the organization of Gandalf’s Garden by the BBC. And it’s really, really fascinating, you know, what was kind of going on at that particular time.
His thoughts on the world and how it’s constructed and what reality is and stuff. So yeah, I really, I’ll put the link in the description again, so you can check out for yourselves, but I really recommend viewing some of the videos. So moving on, just looking at other potential UK Zodiacs and like all of these podcasts that I do and I’m writing and researching, it’s in quite a short space of time, so I couldn’t miss things or get aspects wrong.
So that’s always important. to mention, um, but I came across an individual I’d never heard of before, again, called Anthony Thorley, um, seems quite a well known researcher and has done a lot of research, particularly on this subject to do with like landscape zodiacs. And he was the individual that was really, really interesting.
Talking about there could be over about 60 zodiacs in the British landscape and just through, you know, various researching. I just found video of his in a conference in Glastonbury. the conference was or when this was filmed again, I’ll put it in the description, but it was really fascinating video. And I really do recommend again.
along with the Muz Murray video to kind of check it out. It’s a bit longer, probably goes on for about an hour, but he gives a really good potted history of some of the Zodiac ideas and some of the key players involved as well. But during the video, he really digs deep into Catherine and who she was and some of the initial research and how she kind of came to start believing the whole idea of like large scale Zodiacs.
And what’s really funny, apparently it was the Oxo cube, the humble Oxo cube. Uh, which actually funded a lot of her work because Catherine’s husband was a chemist and was actually involved in the creation of oxo cubes. And for those of you who are unaware, I don’t know how far oxo cubes stretch in the rest of the world, but generally it’s like a animal or vegetable stock cubes that people use for cooking for, for soups or stews, et cetera.
They’re just a tiny little cube you sort of dissolve in water. Um, so yeah, I guess if it wasn’t for the OXO cube, some of Catherine’s work wouldn’t be around because it made her and her husband fabulously wealthy. So she was enabled to afford expensive aerial photos taken of Glastonbury, which was fundamental to her research at the time.
Obviously it’s very easy for us to get aerial shots now because people can have drones and they can sort of take their own sort of photos. But back then, obviously they’d have to hire a very costly aeroplane. So, um, yeah, I guess if it wasn’t for the OXO cube, some of Catherine’s work wouldn’t And apparently she hired an airplane from, I think it was somewhere, somewhere outside of London to fly all the way to Somerset to kind of take these pictures.
As we’ve spoken about, she was initially commissioned to do this illustrative map of Glastonbury area and its links to King Arthur. And it was during this creative process, you start to see these symbols actually in the landscape. One of the very first symbols, animals you saw in that landscape, was the Was a lion, which is obviously linked to Leo.
And then one day she had a friend round, I think probably for lunch. And her friend advised her that Madame Blavatsky had actually spoken about landscape effigy. So she could actually be one of the first people to discuss this whole concept. Madam Blavatsky, in terms of like, you know, what’s known as the modern world could be one of the first individuals that really saw these landscape effigies, you know, occurring in the landscape.
Uh, yeah. So anyway, Catherine Maltwood carried on with her research and obviously discovered all of these symbols in the landscape and the rest is sort of history. But I don’t think she got really that much recognition at the time. Obviously it’s quite a dense period of history. So I assume a lot of people would have thought she was pretty crazy, like a very eccentric, rich woman, essentially.
Um, but before she died, shortly before she died, apparently she did have like a vision or like a sixth sense that there was actually going to be someone who’s going to take the mantle, going to carry on with her research and popularize it even more. And that person turned out to be Mary Kane, which is the author of that article that I just read out from Gandalf’s Garden magazine.
And she then went on to discover her own zodiac in, you know, close to where she was living at the time, which I guess is somewhere in London, because she discovered one in Kingston, which is a suburb. It’s part of Greater London, essentially. And I have actually found a website that’s got a lot of information to do with this.
They used to do tours. It looks like they haven’t done one for a few years, but definitely there’s a website that talks about the whole Kingston Zodiac. For those of you don’t know where Kingston is, it’s part of Greater London, so it’s quite far outside of London. Um, but yeah, obviously based in the southeast of England.
Um, it’s to the west central London, basically on the river temps. And the River Thames sort of pretty much defines a lot of these suburbs. You’ll have places like Richmond’s the first one and then Twickenham, then it goes all the way to Kingston. There’s other ones as well, all along the river. But these sort of London suburbs follow the natural curve of the Thames.
They’re sort of snakes round. As it gets more and more inland, this is where you’ll see in these 12 zodiac giants is not actually specific. I just had a look on the map. It’s not specifically Kingston. It does stretch into other areas of Richmond and Twickenham and beyond as well.
Again, in that video with Anthony Thornley, he starts to talk about, you know, the strange effect of when you have these large scale landscape zodiacs. That what’s really crazy is that you have like street names that sort of relate to some of the Zodiacs and pubs are also related to them. And some of them have statues again, which relate to the Zodiac that these statues are in.
And so, yeah, you could push back on the whole idea that, you know, maybe these earthworks and hills and pathways and rivers forming these forms. That’s just a coincidence, but when you have like other data points of correlation where you’ve actually got rows, it kind of linked to it and statues and pub names.
Yeah, it’s just. adds more fuel to the fire that this phenomenon is real. Referring back to that Kingston Zodiac website, I was reading some of their content and what’s really profound. So they were talking when people journey into this Kingston Zodiac consciously, and they’re traveling from figure to figure from Zodiac to Zodiac, people can have huge synchronicities and also healings like spiritual healings, physical healings.
And it becomes a quite a powerful pilgrimage, a type of initiation. And it’s, it’s quite crazy because when you sort of then refer back to the idea Of our theory and legends and this idea of knights questing the land, looking for the grail. It’s like you’re following that same type of path. It’s just really beautiful way to view this entire subject.
And it just makes the whole thing more and more strange in a way. After the Gandalf’s Garden article, Mary Kane went on to write a book about the entire Kingston Zodiac. And so if you want to deep dive and learn more about that particular Zodiac, I suggest you buy her book. It’s supposed to be quite well revered.
So hopefully sometime I’ll have time to read it myself, but anyway, moving on from Kingston, going to move to somewhere else in the United Kingdom, which is the Sussex Zodiac. So quite close by to Kingston. Sussex is where I used to live. So it’s like encompasses places like Brighton and Hove and it’s on the Southeast and very close to, to London, but just on the South coast there.
Anyway, but there’s a website that I use quite regularly in the past called Sussex Arch, and it’s really fantastic. Resource of information. The website is a bit old now, but the information is brilliant. And I think it’s, they have like a, an online magazine there called the quick silver magazine, which basically just archived an actual physical magazine that used to be able to purchase, I think every month or something.
Um, so quite similar to the Gandalf’s garden magazine, but someone’s very kind, he’s put all the issues on there. So you can kind of search for some of the content. It’s fascinating. It’s all to do with Sussex to do esoteric stuff or megaliths or earth energies. So it’s actually this website I came to understand about the Sussex Zodiac quite a while ago, but again, I wasn’t too invested in the whole idea.
So I remember reading the article, but I was like, yeah, maybe it’s true. Maybe it’s not, but anyway, but there’s a, an article on there. It’s called, it’s from this Quicksilver messenger magazine and the article is called Sussex Zodiac and it’s written by Mike Collier. And again, I’m going to read an extract to you now.
It appears we have one in Sussex, overflowing into Kent and not far away from the Surrey border, roughly twice the size of the Glastonbury Circle. It’s 20 miles across and virtually on the same latitude, centred around the village of Stonegate. A pin was put into the map at Stonegate and another at Glastonbury, and a line between them actually went through Stonehenge.
However, do not regard this as too accurate, it is merely a point of interest. The zodiac stretches from Dane Hill in the west to Bodium in the east, from Hellingley in the south to Tomridge Wells in the north. It should be noted there are some very significant place names, a real phenomenon, that does occur in this and associated earth mysteries, for want of a better phrase.
These figures, whenever tested, are dowsable and are exactly the same as a lei, the same width feel with a stronger side that I always detect. Like a non straight lay. It is interesting to note that in these figures, the strong side of the lay is always on the outer side edge of the figure. Therefore, it is reasonably safe to suggest that these outlines are really part of a broader pattern, namely the whole lay system itself.
If we wish to find an answer to these mysteries, straight lines, linking important and sacred sites, then the zodiacs and other figures should be taken into account. Arthurians might do well to direct a glance at Sussex when they say he’s buried at Glastonbury. For apart from Camberlot to the south of the circle, if you look at Sagittarius, the Arthur figure, you see Glastonbury and the Moor.
At the end of the High History of the Holy Grail, as Miss Maltwood reminded us, it says that he lies buried at the end of the Moor’s adventures. What is the purpose of it all, if there is an answer that we can understand? It is not apparent to us yet, and let us leave the last word to Mary Kane, who has, after all, done more Zodiac research than any other living person.
The Zodiac pattern is written not only in the stars, but on human form and character, on animals, plants, and even minerals. It is also, it seems, inscribed on the very face of the earth itself, perhaps all over the world. It is, I suggest, a pattern made by the forces of laws of creation in their own image, inscribing themselves on all created matter, as if they, the tools of the creator, left the characteristic mark.
It is not only a pattern in space, but in time. History, examined with this sequence in mind, betrays the same design. So that concludes the extract really, really fascinating. Again, like I said, I used to live there. I was kind of aware of the Sussex Zodiac, um, but I’m sort of regretful that I wasn’t so invested in the idea back then.
Cause I could then quite easily travel to some of these places. I haven’t been to these, some of these villages that it mentions. Um, but just really wild. You’ve got like Camberlot, it’s obviously sounds like Camelot and Glassenberry. Uh, so yeah, there’s just a lot of correlations again to King Arthur. And this is just, I’m finding this repeatedly at the moment.
I’m just having huge synchronicities with like King Arthur all the time. It’s very much linked to these landscape Zodiacs. So the two kind of phenomenon, like in terms of the Arthurian legends in this landscape Zodiacs are like intertwined in some way. So that concludes the Sussex Zodiac. As a whole, United Kingdom has so many Zodiacs, apparently, I know there’s a few books as one on the Cornwall one, which is like the Southwest of the UK.
Uh, so there’s lots of places to get your teeth stuck into if you are quite interested in this subject, but going to zoom out even more and look at the world as a whole. And again, it seems, as I mentioned at the beginning of the podcast, there’s quite a few places in the world. Which could be classed as zodiacs.
And there’s one really fascinating, which kind of maybe bends the definition a little bit, um, but I’m going to look at the Nazca lines and they’re based in Peru, obviously South America. Probably about eight years ago, I think I was traveling around Peru and to South America and went to Argentina, spent a bit of time in Chile and then probably spent around about three weeks, I think four weeks in Peru.
Um, but it wasn’t really spiritual back then. So I didn’t really Understand the gravity of it, but, you know, went to all the places like Machu Picchu and other places. Um, yeah, obviously now I’ve got more of an understanding. Some of those megalithic architecture is like really quite incredible and potentially using really sophisticated technology.
Now the Nazca lines are basically in the middle of the desert and it’s, there’s a Nazca desert and they’re dated around 500 BC. That’s according to sort of mainstream dating. Guess I’m bending the definition a little of what makes a landscape zodiac and a lot of examples I’ve been discussing in terms of like Glastonbury and Kingston and Sussex, you know, these land effigies are formed through hills, earthworks, rivers, pathways, etc.
But the Nazca desert is very, very barren environment. Um, but you have these lines, you have what are called geoglyphs, sculptured icons in the landscape, which stretch a thousand square kilometers. It’s thought that these were made, these geoglyphs were made by removing a top layer of reddish desert soil to reveal a lighter color underneath.
Don’t forget he’s been there for like thousands of years now and there’s hundreds of them. Various geometric shapes, animals and plants. There’s a real variety of different forms. Majority of the iconography used in this landscape zodiac, the Nazca lines, is obviously very different, different to Western traditions.
And so it’s using very specific animals for that particular area, like hummingbirds and monkeys and, and condors. But those localized specific animals do relate to potential constellations. So you have the Peruvian spider, which represents Orion and the monkey is potentially representing Ursa Major.
Amongst the geometric shapes, the, you know, shapes of animals and plants, there are these lines that some of them go on for miles. And it’s purported that some of these are aligned to particular solstices and astronomical events. And there is a discussion whether some of these effigies are actually used for rituals in some way to gain cosmic powers by communicating with particular star deities.
This whole area of the Nazca desert is quite mystical and as a whole I’ve always found deserts deeply spiritual places. It’s strange because there’s such a like barrenness, stark beauty to the place, um, but it’s just a lot of energy sometimes. And the Nazca desert, there’s a very strange situation where you have these things called the Nazca mummies that were discovered there a few years ago.
Many years ago I had like a conspiracy channel called reconsider news and I reported. As sort of more and more research was kind of coming out at the time when these beings were sort of presented to the world, the individuals involved in a lot of the research and pushing this narrative is Jaime Muson.
I think he’s either South American or Spanish researcher and Gaia, which is like a spiritual conspiracy video streaming service based in America. And they were very much spearheading, presenting some of the information about these mummies to the world. And they had a series of small videos. I’m not sure if they’re still available or not, but they were doing, you know, proper research with, with various scientists and they x-rayed some of these beings and they had a very intricate biological skeletal structure inside.
So if you were going to fake that, it’d be really, really, really difficult. And it just, just, for me anyway, I was convinced that these are kind of real beings. And I know at the time there was some remote viewing done on these beings as well in terms of the context and where they came, their story and how they came to be there.
And it’s also purported that there are actually a lot more of these types of mummies found in this particular area. So it just goes on to show like how strange the Nazca Desert is. I haven’t really kept up with the narrative of this and maybe I should go back at some point and check it out because it has, I know the story has resurfaced on Twitter again recently.
But anyway, I digress going back to the Nazca lines, another research remote viewing group, um, called the Farsight Institute. They actually did a whole project on the Nazca lines quite a while ago. From what I can remember, that had quite a big dominant extraterrestrial element in its creation, which kind of made sense to, because to kind of construct these animals, you really do have the perspective of height.
And I’m guessing If people were purporting 500 BC, then from a mainstream perspective, there’d be no way that there would be aeroplanes or helicopters to be able to sort of see what they’re doing. Cause some of these effigies are very symmetrical, very beautifully drawn, but they’re so massive. And they can only really be properly seen from the sky.
So what I can remember from these remote views that some of the data that they were actually seeing ships in the sky using some kind of laser or energy weapon to produce these lines, to produce these forms in the ground. But there was also a certain amount of telepathic communication where they were actually remote influencing people to create these glyphs and then they were carrying it out for them.
On the desert floor. And now this sounds really similar to crop circles because there’s two aspects to crop circles. A lot of them, you know, appear in Wiltshire, the United Kingdom. And there’s an aspect of, you know, some of these just happen overnight or within like very short space of time. And it’s some kind of electromagnetic event, which heats up the crops very, very quickly.
So they bend over and they make these shapes. There’s also another aspect of people actually getting inspired and having visions and then creating these geometric shapes in the crops themselves. So how these Nazca lines were formed, it sounds relatively similar where you have one aspect with these ships, this non human element actually directly creating these shapes in the land.
Then also another aspect when they’re remote influencing or giving inspiration to humans on the ground to create these symbols, to create these glyphs. So that’s the Nazca lines. Obviously that’s very different to the UK based Zodiac and others around the world. But at the same time, there’s a lot of similarities as well.
But yeah, fascinating topic. So that’s just about it. The podcast is going to end very, very soon. And I’m now going to conclude. I’m going to summarize. I’m going to tie a neat little pretty bow on this whole wild subject. And yes. I read Catherine Malkwood’s book many years ago, Glastonbury Temple of the Stars.
And I just didn’t, wasn’t convinced at the time. I thought it was a nice idea. And I’m always into sort of quite wild ideas, but it was just too grand for me. But I think my access point into this has been the Arthurian legends. And I’ve read more into that, you know, the ideas of the round table and it links to the sacred cauldron, just part of the juridic beliefs.
And it just seems as Arthurian mysteries are embedded in English and Welsh mythology. At this point in time from what I’ve read, I’ve understood, I think you’ve got two reasons why this exists and I’m 90 percent sure of this and there’s like 10 percent okay yeah maybe this is all in my head and I’m going more and more crazy, um, but.
Yeah, there’s that idea with the Francis Bacon Institute where on the grander scale, the British zodiac, we had that connection with the heavens. It had all the poetry of that, you know, as above, so below, but it also had this incredibly practical element to it where you’re naming areas of the land due to certain zodiacs and it enables you then to navigate the land.
That just seems so simple. And so Yeah. Good idea. Or there’s this other potential as Catherine stated from the very start that Sumerian priests came over to here and just physically shaped, terraformed the land. I mean, that’s quite a grand vision, but also it could just be just, you know, the land has consciousness.
Obviously humanity has a collective consciousness and as they’re moving and living on the land, Just very subconsciously, unconsciously, these shapes are coming out, their archetypes from the collective and they’re being shaped into the land itself. I think it’d be great in the future for me to plan and visit one of these zodiacs and really have like a conscious initiation, like journey and just see what unfolds.
You know, maybe I could do an article on it or a podcast or a video that might be even better. Um, but yeah, it’s given me a deeper sort of interest, I think, in astrology because I sort of have a cursory knowledge of astrology and what it is and how it forms, but nothing really that deep. It’s quite superficial.
The very basis of these shapes, these forms is really to describe energy, to give a reference point. Now you’re using the reality around you to describe something that’s very esoteric, which is, which is energy. And I think it very beautifully does that. So now is the end. Congratulations. Gold star. If you listen to the very end of the podcast.
I’ve been reconsider Simon. You can catch me on reconsider Simon. com. You can also see me on all major podcast platforms in the world ever. I’m on YouTube, I’m on Rumble, I’m on Bitshoot, you can catch me there and I will love you and leave you and have a great morning, afternoon or evening, wherever you are in the world.
Take care. Bye bye.
Resources
http://www.ancient-wisdom.com/zodiaclandscape.htm
https://www.fbrt.org.uk/wp-content/uploads/2020/06/The_British_Landscape_Zodiac.pdf
http://www.users.globalnet.co.uk/~pardos/GGZodiac2.html
http://www.sussexarch.org.uk/saaf/qsm/qsm2.html
https://www.kingstonzodiac.co.uk/kingston-zodiac/
https://en.wikipedia.org/wiki/Nazca_lines
https://www.facebook.com/1246576624/videos/1234457594553413/
Leave a Reply