Voices of Albion Revisited: The Measure of Albion

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In the third installment of this recently reactivated thread we follow on from the concept of Custom Law and Common Right, in relation to Wally Hope’s Stonehenge People’s Free Festival, and the Open Access to Stonehenge Campaign that it was eventually to spawn more than three decades after his death, with a look at the significance of Stonehenge as an actual physical repository of the lost science of Prehistoric Britain; as set out in its physical dimensions. In many ways, the fact that the builders of Stonehenge appear to have possessed an in depth knowledge of the Universal Canon of Number and Measure that the builders of the Pyramids of Egypt, and many other similarly ancient monuments across much of what is generally referred to as ‘the Old World’, and beyond, can also be proven to have been familiar with, is perhaps a key factor in the decision by English Heritage, and the various other vested interests linked to the sorry saga of the Free Festival and its suppression, to restrict non-commercial tourist based access to the Stones as far as is humanly possible.

Although it is widely accepted that Stonehenge was used by Prehistoric Man as some sort of Astronomical computer, for the purpose of calculating the best available dates for the sowing of each year’s crops, with a view to obtaining the most bounteous harvest possible, comparatively little has found its way into the mainstream of public consciousness in relation to its primordial function as the physical embodiment of our ancient forbears’ extensive knowledge of the ancient science of Metrology. The late John Michell, in his long out of print treatise on this largely forgotten subject, ‘Ancient Metrology: The Dimensions of Stonehenge and of the Whole World as therein symbolized’, published back in 1983 by Pentacle Books, a long vanished imprint that produced a whole series of equally fascinating tracts on inter-related subjects, describes this system as follows:

‘A tradition that has been credited by many learned men over the centuries is that the ancients encoded their knowledge of the world in the dimensions of their sacred monuments….men of science in very ancient times possessed knowledge of the shape and dimensions of the earth and its planetary neighbours which is still expressed in ancient monuments, units of measure, systems of numeration and other relics and traditions of the past.’

In recent years such ideas have been more openly discussed in the wider community in relation to a similar Canon of number and measure incorporated into the dimensions of Rosslyn Chapel in Scotland; as a result of the run away success of Dan Brown’s celebrated novel ‘The Da Vinci Code’; and its equally successful cinema adaptation starring Tom Hanks in the lead role. At the heart of the plot line in both novel and film, as well as the series of pseudo-historical books by Baigent, Lincoln and Leigh that are believed by many to have influenced them, lies the significance of such ideas to elite fraternities within the Power Structure, people like Opus Dei and the Freemasons, who claim to possess the hidden keys of cipher and symbol, at the heart of such ancient knowledge, as a key element within their own secret and closely guarded hidden esoteric teachings.

Perhaps then this explains the reason why the situation regarding Open Access to Stonehenge is and always has been such a contentious issue. It was as if Wally Hope had transgressed the ‘Unwritten Law’, in the comedic ‘Doug and Dinsdale Pirahna’ ‘Pythonesque’ usage of the term, when he founded the Festival back in 1974, as his subsequent death under what are for many of us still mysterious circumstances could have been lifted straight out of Dan Brown’s novel. Were there hidden forces at work that did for him, and if so what was their motivation for doing this? And, was it in some way connected with the ideas espoused by Michell in some of his most obscure writings about Stonehenge? Elsewhere in ‘Ancient Metrology’ Michell continues as follows:

‘The dimensions of the great circle of Stonehenge, the temple of prehistoric Wessex, provide a monumental record of the standards of measure used by its builders and of the lengths they attributed to the Earth’s dimensions’.

During the course of the same treatise, much reference is made to an earlier published work by the same author entitled ‘City of Revelation’, that preceded it by some several years,  in which the geometry of the monument is also looked at in some considerable depth. Interestingly enough, amongst the two dimensional Plane Geometric figures that Michell superimposes over a ground plan of the Monument during the course of the latter work is the regular Hexagram, or ‘Star of David’, a symbol widely used by Illuminists, Freemasons, and other secret societies, throughout a wide variety of overt and covert applications. Was this the key to Wally Hope’s unfortunate and premature demise? And, if so, was he some sort of masonic martyr, sacrificed on the altar of their quasi-religious doctrines as a means of keeping knowledge of the Monument’s hidden significance out of the consciousness of the mainstream?

Whatever the real truth in relation to the last posed question, it is fact that both English Heritage, the Police and every other vested interest linked to the death of Wally Hope and the subsequent demise of the Free Festival, was in some way linked to the hydra of masonic influences that permeate the upper echelons of the Power Structure at every conceivable level. In a future installment of this ongoing thread we shall examine these ideas in more depth.

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About Rupert Ferguson

A lineal descendant of Captain Robert Ferguson (1719-1799) the older brother of the great Scottish Enlightenment Philosopher and historian Adam Ferguson (1723-1816); the friend of Hume, Gibbon and Adam Smith. Also related to the great feminist author and playwright Rachel Ferguson. Have written extensively on a vast range of subjects, been published in print as book author and in various journals and magazines into the bargain. Early work as an underground film maker on the early Goa Trance and radical anti-CJB political scene in the 1990s has since become more refined and ambitious and I have since been a regular contributor to such high profile events as the Portobello Film Festival Annual Film Maker's Convention.....
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