There is a geometry that runs like a hidden thread through scripture, sacred architecture, and the land itself. Known as the New Jerusalem Diagram, it is more than a symbol; it is a blueprint of creation. Its design appears in many sacred sites, such as the Great Pyramid, Stonehenge, the Lady Chapel at Glastonbury Abbey, Rosslyn Chapel and many more.

Cosmic Geometry in Stone

The diagram is founded on cosmic proportions: the golden mean, π, and the 7:11 ratio. Its circle, when scaled to Earth, measures 31,680 miles; the gematria value of Lord Jesus Christ (3168).

The Great Pyramid reflects the same plan: its base aligned to Earth’s diameter, its height equal to the distance from Earth’s center to the Moon. Architecture and astronomy converge in harmony.

Genesis as a Blueprint

Even the opening words of Genesis conceal this pattern. Numbers such as 6, 22, and 28 encode the order of creation: six, the first perfect number; twenty-two, the letters of the Hebrew alphabet; twenty-eight, the letters in the verse.

These values are not arbitrary. Twenty-two divided by seven approximates pi, while twelve circles of six reveal the number seventy-two — the years it takes for the heavens to move by one degree of precession. Scripture, number, and geometry together form a blueprint of ether, the breath of creation itself.

The Old Church of Glastonbury

This cosmic pattern comes to earth most clearly in Glastonbury. The earliest Christian sanctuary here, the Vetusta Ecclesia or Old Church, began as a simple wattle oratory around 37 A.D. By the 7th century, it had been encased in lead, its sanctity so revered that William of Malmesbury called it “the most holy, famous, and revered sanctuary in England.”

Tradition links the church to Joseph of Arimathea, and a lost medieval plaque recorded both his coming and its dimensions: 60 by 26 feet. The architect Frederick Bligh Bond believed its plan reflected the zodiac, while John Michell later proposed an octagonal scheme, integrating the Old Church and Lady Chapel in sacred proportion.

The Lady Chapel and the New Jerusalem

The Lady Chapel embodies the same cosmic code. Its dimensions, 39.6 by 68.6 feet, form a one-to-root-three rectangle. Its perimeter measures 316.8 feet, echoing the name of Christ once again. Within this frame lies the Vesica Piscis, the womb of creation, and Hebrew letter codes that sum to 1236, the Greek gematria of “God with us” (Μεθ' ἡμῶν Θεός).

Beneath it rests the Wattle Church of Joseph, built on a 39.6-foot square; exactly one hundredth of Earth’s radius. Its circle reflects the great precessional cycle of the heavens. This was no mere hut: it was a microcosm of the cosmos, a meeting place of heaven and earth.

The Sacred Cubit

Even its numbers resolve into unity through the cubit, which is approximately 1.65 feet. Every measure of the chapel becomes whole: 8, 16, 24 cubits. Its perimeter, 192 cubits, encodes the name of Christ again.

The exact number appears in Solomon’s Temple, showing that this sacred measure united Hebrew and Christian traditions in a single architectural code.

A Living Blueprint

Across centuries and civilizations, the exact geometry recurs: the New Jerusalem Diagram, a design where scripture, number, and proportion converge. In Glastonbury, this blueprint was laid in wattle and wood, stone and lead, and was preserved through time as a living temple of cosmic harmony.

The New Jerusalem is not only a vision of a heavenly city. It is a pattern inscribed in the world itself: a geometry of heaven and earth, number and spirit, hidden in plain sight and waiting to be remembered.

✨ In Glastonbury’s stones, the Word becomes form. The geometry of heaven is laid upon the earth. And the memory of New Jerusalem stirs once more.

To see these patterns, proportions, and sacred connections come alive, watch the accompanying video. It visually guides you through the New Jerusalem Diagram, St. Mary’s Chapel, and the hidden geometries that weave scripture, number, and sacred space into one living blueprint.

First part of the Glastonbury Talk:

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