Stonehenge is more than a megalithic monument. It is a prototype; a harmonic echo of the New Jerusalem diagram carved into the Earth itself. What looks like a ring of stones is, in truth, a cosmic blueprint set into the land, a memory of heaven inscribed in stone.

Stonehenge and Glastonbury — aligned by the blueprint of heaven

Stonehenge and St. Mary’s Chapel, though separated by millennia, are aligned by a standard design. Both are grounded in the sacred proportions of the New Jerusalem. This is not mere imitation, but a transmission of the same celestial code across time.

A primary ley line links the two: passing directly through the center of the Stone Circle and through the heart of the Wattle Church at Glastonbury Abbey. Such precision cannot be dismissed as a coincidence. It suggests a deliberate, energetic alignment — a line of memory binding place, time, and purpose.

Reconstitution of the Lost Pattern

We are witnessing the reemergence of a long-lost design: a sacred template that once wove Earth and Sky together. Echoes of this pattern can be found in unexpected places. The Lady Chapel floor at Wells Cathedral, for instance, sparked a memory of this greater geometry.

Some traditions even hold that St. Mary’s Chapel at Glastonbury once bore a zodiac floor, laid directly over the circle of the Wattle Church. If true, the earliest Christian altar in Britain stood at the very center of a cosmic diagram, marrying the stars of heaven to the soil beneath our feet.

At Wells, the octagonal layout with its central square was surrounded by zodiac symbols. Its floor contained 144 tiles, which, when grouped, reveal an 8×8 grid of 64 squares. The ratio between that square and the Wattle Church circle is 6.6; a number that recurs in sacred proportion. Geometry was connecting holy places across centuries.

Temple of Time — Geometry of the 5,184-Year Precession

Within these structures, circle and square come together in profound ways. A four-foot circle inscribed within the Wattle Circle reflects the zodiac’s celestial dance. Here appears the number 5,184; seventy-two squared, which resonates through sacred geometry, the slope of the Great Pyramid, and the great precessional cycle of the heavens.

This is cosmic knowledge, anchored in form.

The Fifth Element in Stone and Number

The geometry also reveals the hidden presence of the pentagon, the rose, and the number five; the ether, the fifth element. Drawn upon the sacred measurements of the Wattle Church, a pentagonal rose appears, its circles echoing the building’s very dimensions.

At the heart lies the rose pattern and the dodecahedron; symbols of divine proportion unfolding into matter. This is nothing less than the blueprint of life, encoded in number and stone.

The Prophecy of Melkin — Locating Joseph’s Grave

Ancient tradition holds that Joseph of Arimathea was buried near the southern angle of the oratory. The medieval prophecy of Melkin speaks in geometric riddles: a forked line, a spring, a southern corner. These are not vague images, but precise references to ley crossings and hidden coordinates.

When sacred numbers are applied, such as 5 for the pentagon, 8 for the octagon, and 13 for Joseph and his companions, a map begins to emerge. Geometry becomes the key to prophecy.

The Golden Spiral to Joseph’s Grave

A golden rectangle with a long side of 132 feet (five times the diameter of the Wattle Circle, which is 26.4 feet) generates a spiral of 316.8 feet; the exact gematria value of Lord Jesus Christ in Greek.

Where does this spiral begin? At a singularity, defined by the crossing of golden diagonals and traced by six arcs, the number of creation. And that singularity aligns with the southern angle of St. Mary’s Chapel: precisely the place described in Melkin’s prophecy.

This is Genesis code, gematria, and geometry converging upon a single point: the unveiling of the New Jerusalem.

Solstice Alignments, Hebrew Letters, and the Hidden Grave

One last clue completes the pattern. From the Wattle Circle’s center, the angle to the proposed grave is 74°, a number heavy with meaning. Seventy-four is the ordinal value of “Jesus.” It is the gematria of Yasad (“Founded”). It marks the 86th digit of Pi, the value of Elohim.

Here again, Genesis, Jesus, and the New Jerusalem converge in stone and number.

It may be that after the fire of 1184, when the chapel was rebuilt, the altar was shifted eastward in accordance with church custom. In that act, the focus may have been moved away from the original and more potent center; the true heart of the oratory. That center lies closer to the southern corner of the Lady Chapel, not far from St. Joseph’s Well.

If one were to follow the whispers of the land, or the spirits that still linger, this is where the search would begin.

✨ To accompany this article, watch the recorded talk, which visually guides you through Stonehenge, Glastonbury, and the prophecy of Melkin, showing how number, geometry, and tradition converge into a living blueprint of the New Jerusalem.

First part of the Glastonbury Talk:

Second part of the Glastonbury Talk:

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