Film of John Michell at Lundy Island

This is a film by me of John Michell before his death. It was made on Lundy Island at which time he was working on some of his last published ideas about the British Isles from the perspective of sacred geometry and metrology, both fields in which John made outstanding contributions including The View Over Atlantis, Dimensions of Paradise and Ancient Metrology. It is published here to enable those who did not to experience the unique presence of John Michell, itself conducive to understanding his work.

originally published Monday, 28 May 2012 at 10:58
It was read 478 times

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Models of Time within Henges and Circles

Presenting important information clearly often requires the context be shown, within a greater whole. Map makers often provide an inset, showing a larger map at a smaller scaling (as below, of South America) within a detailed map (of Southern Mexico).

This map is shown in the context of South America with a yellow rectangle which is the part blown up in scale. The subject is the Quetzal birds range which corresponds well to the Olmec then Maya heartlands leading to the god named Quetzalcoatl or Feathered Serpent. (see chapter 8 of Heath, 2018.)

Megalithic astronomy generated maps of time periods, using lines, triangles, diameters and perimeters, in which units of measure represented one day to an inch or to a foot. To quantify these periods, alignments on the horizon pointing to sun and moon events were combined with time counting between these events,where days, accumulated as feet or inches per day, form a counted length. When one period was much longer than another, the shorter could be counted in feet per day and the smaller in inches per so that both counts could share the same monumental space. In this article we find the culture leading to megalithic astronomy and stone circles, previously building circular structures called henges, made of concentric banks and ditches.

Thornborough Henge
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Iceland’s Model of the Earth’s Meridian

Einar Palsson [1, at end] saw that the myths of foundation for Iceland’s settlement in 930 had Pythagorean roots. Since then Petur Halldorsson has identified patterns that could not have been influenced by Pythagoras (c. 600 BC) and Pythagoras was known to have adapted the existing number sciences found (according to his myth) from Egypt to China.

Such patterns, called Cosmic Images by Halldorsson [3], seek to establish a geometric connection between places on the landscape and on the horizon, here in the south-western region near Reykjavik, the only Icelandic city. The spirit of a region or island was integrated through organising space in this way, according to centers (Things) of circles and their radius and diameter as numbers of paces, circles punctuated with places and alignments to other places, horizon events or cardinal directions. John Michell provided a guide to some of the techniques in his books [2, at end].


Figure 1 The Cosmic Image east of Reykjavik proposed by Palsson
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Palsson’s Sacred Image in Iceland

Extracted from The Structure of Metrology, its Classification and Application (2006) by John Neal and notes by Richard Heath for Bibal Group, a member of which, Petur Halldorsson, has taken this idea further with more similar patterns on the landscape, in Europe and beyond. Petur thinks Palsson’s enthusiasm for Pythagorean ideas competed with what was probably done to create this landform, as he quotes “Every pioneer has a pet theory that needs to be altered through dialogue.” Specifically, he “disputes the Pythagorean triangle in Einar’s theories. I doubt it appeared in the Icelandic C.I. [Cosmic Image] by design.” Caveat Emptor. So below is an example of what metrology might say about the design of this circular landform.


Figure 1 of Palsson’s (1993) Sacred Geometry in Pagan Iceland
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Chalk Drums to Symbolise Pi and Layout Monuments

December 2016 in numbersciences.org Hits: 3872

Three Folkton Chalk Drums found in a young girl’s grave
©Trustees of the British Museum ]

Perhaps as early as 4000 BC, there was a tradition of making chalk drums. Three highly decorated examples were found in a grave dated between 2600 and 2000 BC in Folkton, northern England and one undecorated chalk drum in southern England at Lavant in an upland downs known for a henge and many other neolithic features discovered in a recent community LIDAR project. The Lavant LIDAR project and the chalk drum found there are the first two articles in PAST, the Newsletter of The Prehistoric Society. (number 83. Summer 2016.) It gives the height and radius of both the Folkton drums 15, 16 and 17 and the Lavant drum, presenting these as a graph as below.


Adapted graphic showing diameters in inches (above in red) as well as mm, and the possible PI relationships for the chalk drum diameters, key to the fact that such drums can be rolled. In line with megalithic numeracy, the simple yet accurate value of 22/7 for PI is shown.
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Three Keys to the Kaaba

first published 2016

The prophet Mohammad declared himself the last prophet of Allah, a name resembling the El Shaddai (trans. Lord God, KJV) of Abraham in the Bible. Mohammad galvanised the Arabs and nearby nations with an original religion, branching off from the start of the Patriarchs found in the Bible’s first book, Genesis. His story follows Ishmael, the first son of Abraham, from whom the Arabs believe themselves descended.

The Kaaba’s of Abraham (left) and Mohammad

Mohammad’s religion of Islam (“salvation”) started in Mecca where he received visions of angels and spontaneously recited suras (verses) which became the Quran and associated texts. An unknown history of Abraham and Ishmael emerged, intimate with Mecca, long a spiritual centre for the Arabs. Mecca’s principle monument, the Kaaba or “cube”, has taken a number of forms. Adam located it as a dolmen created by God when Adam was formed; Ishmael built the next design for his father, “open to the sky”, using surface stones from nearby mountains; and Mohammad’s dispensation adds ancient stories about cubic arks and located these as a renewed Kaaba, the prime centre, or Pole of redemption for the world.

The three keys will be the Kaaba as Ark, Pole (Qutub) and model of Great Time.

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