From the section NEW JERUSALEM

The contents of The View Over Atlantis hung in the air, like an esoteric energy transmission, around the inception of the 1971 Pilton festival. Powerful forces were at work. The story of the famous pyramid stage is a good example. In 1970 Bill Harkin was camping with a friend on the south coast of England. One night, gazing at the stars over the sea, he experienced an intense feeling of light. He decided to allow himself to be guided by it and they set off in his car, navigating solely through the vibe, with no sense whatever of any destination. Eventually they saw a road-sign for Glastonbury and arrived at the Tor. The synchronisation beam got them there in time to meet a group of extravagantly dressed hippie characters descending from the summit. One of them was Andrew Kerr. He and his friends were on their way to meet Michael Eavis to discuss the possibilities of a solstice festival the following year. Harkin fed them with tea, honey and oatcakes. They exchanged phone numbers. The next Wednesday, Harkin was out driving when he saw a vision of Andrew Kerr’s face on an upcoming phone-box. He immediately stopped and rang him. The news was that the festival had been given the go-ahead and that Kerr and his associates were moving in to Worthy Farm to begin the preparations. Harkin offered to help them that weekend. On the Thursday night he dreamt of a stage with two beams of light forming a pyramid. He was impressed enough to take the morning off work and make a small cardboard model of his vision. Within a few days he arrived on the festival site. Kerr showed him a location he had dowsed as being auspicious for the stage to be constructed upon. Harkin recognised his dream landscape. Before long, his model was on a table at the farm and a phone call was being made to John Michell for advice on the sacred dimensions for the pyramid stage.

When the whole thing finally came to fruition months later, Kerr introduced the bands with this inspiring invocation: “Glastonbury is a place far too beautiful for yet another rock festival. If the festival has a specific intention it is to create an increase of awareness in the power of the Universe, a heightening of consciousness and a recognition of our place in the function of this, our tired and molested planet. We have spent too long telling the Universe to shut up; we must search for the humility to listen. The Earth is groaning for contact with our ears and eyes. Universal awareness touches gently at our shoulders. We are creators being created and we must prove our worth.”





From the section AEGYPT

During the second half of April, Bernard went through an ongoing brainstorm download in which he received a detailed design and explanation for the Crystal Chambers in a similar manner to his Mary Chapel experience. Bernard came to believe that the underground complex dated from the astrological age of Leo, over 12,000 years ago. He didn’t really talk about Atlantis in the usual way. It was sufficient to think in terms of a previous cycle of an advanced civilisation that had all but disappeared through planetary upheavals. He referred to the “Elder Race”. Those dudes were a bit strange. They were etherial, extremely tall, viper-visaged, virtually albino types. They weren’t standard issue Homo Sapien Sapien. They weren’t ETs either. It was a now extinct line but it had bred into the current human race. Their Crystal Chambers were not a repository for books and conventional treasure but a living cosmological temple. The knowledge it held was the understanding of how the present universe came into being. It represented the form of the process of creation and the actual point of creation itself. The rites that Bernard believed to have occurred therein had a haunting otherwordly feel to them that was both archaic and futuristic. They maintained, harmonised, and adjusted the very form of the laws of nature as they functioned within the planet.

The whole complex lay beneath a mound island on a lake. At the entrance was a large rectangular panel of polished grey stone. Depicted on this in base relief, on the left, was a man facing right wearing an Egyptian style headdress, a skullcap with uraeus serpent. He held a staff with a curved top. Facing him was a lion with upraised wings, standing up on its hind legs. Ray-like spikes emanated from its stomach. There was a line of glyphs between and beneath the two figures. The leonine being seemed to be a form of the Mithraic Aion cosmocrator Lord of Time.

(above artwork by Yuri Leitch from original drawing by Bernard G)



This was the start of the road that led to