A little while ago, I was contacted by a gentleman named Jon Morris, and as a result of our correspondence, I invited him to submit a guest post for Eternal Idol, which reads as follows:
The Broken Stone and the Secret of the Heavens’ Henge
This project started life as renewable energy research: I’m a Fellow of a couple of engineering institutions, on a sustainability panel and a whole bunch of other things that have a lot to do with sustainability… and nothing whatsoever to do with either archaeology or Stonehenge.
In brief, the method is a system of concentrating solar energy using fixed, and possibly irregular, plates of polished metal (mirrors). It seems that polished plates of metal have been with us for an exceptionally long time (up to 8000 years) and that Britain was, in antiquity, the source of the easiest metal to produce mirrors from (tin). I made a tin mirror in my back garden using a simple fire, pottery, a small amount of oil and chalk. It took me a few months to work out how to do it, and a few months more to get the enthusiasm to actually try it, but, when you’ve worked it out, it only takes about an hour to make one:
I patented some of the original ideas for these solar designs back in 2008/9 after starting the research on 2007. We then developed the system some more and came across a whole set of new patentable ideas. Most of these are ‘submerged’ but some are described in the book (ISBN 978-0-9568617-0-2).
Then, in 2010, whilst on a trip to Salisbury to visit my uncle, my boys wanted to visit Stonehenge (technically speaking it’s more of a case that they didn’t want to visit Salisbury Cathedral and Stonehenge was the only other choice that we gave them.) When we got there, I noticed that all the features of Stonehenge seemed to be the same as one of the forms of the later designs, so I built a CAD model of Stonehenge and then fitted my design in to see if there was any correlation: It was a precise fit. However, there was one exception: Stones 55 and 56 (the Great Trilithon) appear to be 500mm or so further South West than the computer model’s preferred predicted location.
Then I read “Solving Stonehenge” by Anthony Johnson: He thinks that these two stones were moved South-West (by about 500mm) during the Victorian era.
Which provided a small dilemma: If, and it’s a big if, this design had already been done at Stonehenge, should I be claiming inventor rights? The configuration of Stonehenge is also not what you would expect from a modern renewable energy design. Instead, the system seems to be specifically set up to prove the Spherical Nature of the Movement of the Heavens, and to do that task in a particularly spectacular and dramatic way, using a rising “mini-sun”.
To show why, I made some videos using the CAD model: Videos generated from the CAD model can be seen on this YouTube link.
Everything else about Stonehenge seems to fit well with the theory: The internally facing circular bank, the Aubrey holes, Station Stones 92 & 94 opposing Station Stones 91 and 93 (raised and low stone sets), the orientation of the axis, the heel-stone and the ‘slaughter-stone’; these all appear to be perfect two-dimensional descriptions of the movement of the heavens assuming that the Earth is a fixed, central, World. In other words, these seem to be a library of knowledge that allows participants to remain on Earth but to physically walk (in one’s imagination) amongst the stars.
The video sequence on the web, parts 1 to 4, shows how the “mini-sun” is generated on Earth to show the spherical nature of the movement of the heavens. Later videos show why the outer stones, bank and so on must be placed exactly where they are. However, I wasn’t sure how much interest there would be in the videos so I haven’t posted up the latter video sequences. The theory also anticipates the position of the far barrows (eg King’s Barrows) and provides an explanation why bell barrow 11 is where it is and of such prominence.
Inside Stonehenge itself, the theory predicts the reason for every single recorded feature of the Stones; their height, size, their cut, their position and their sequence of construction. It also predicts some extra features; essential elements without which the device cannot function. These also exist at Stonehenge but, as they are not recorded as significant by textbooks, I had to go inside the circle to see if these features existed in the precise positions dictated by the design.
On the other hand, these might all be coincidence and I took the view that I shouldn’t abandon the patents just because of an unusual set of coincidences.
So I decided to write a novel in such a way that the meaning of the coincidences could be understood: This became a “Young Adult” adventure fictional novel written in a style that allows the mathematics to be gradually introduced and explained. However, although the bulk of the story is adventure fiction, the book’s Epilogue and the Appendix are non-fiction and relatively high level.
Hyperion and then Atlas (see Bibliotheca Historica by Diodorus Siculus) were recorded in mythology as the first publishers of the Spherical Nature of the Movement of the Heavens. It is possible that the means of publication was of stone rather than paper. For this reason, I made “Heavens Henge” part of the title because, to prove spherical movement, you need to define where the hinge is (the angle at which the heavens sit on the “Shoulders of Atlas” or, in modern parlance, the North and South Poles.) A common memory of this may be stored in the words Stone and Henge (possibly meaning Hinge,) which are very old words with similarities in all North European languages.