Literally on the opposite side of the road, we find the Victorian building that houses the waters of this sacred spring: unlike the sunny Chalice Well, where the dominant presence of God reigns, the sacred masculine, the rubes; inside this temple we can breath a different atmosphere: rich in mystery, like a comforting uterus in the bowels of Mother Earth. Dark, dimly lit by candlelight, lulled by the perennial bubbling of the waters that flow and flood the floor, it is the reign of the Goddess, the mystery, the albedo.
Click here to read the Tor article.
Click here to read the article on the Chalice Well.
THE WHITE SPRING
THE SPRING
Like the Red Spring, the White Spring also originates from the Tor. Geologists from all over the world wondered for years how it was possible to have two sources, so different in colour and substance, originating from the same aquifer, despite not coming from underground waterways or from thermal springs.
The most probable explanation comes directly from the Jurassic Age. As we saw earlier, Somerset was originally submerged by the ocean; during this phase the sea floor gave shape to the current formation of the ground: the different sediments, over the millennia, shaped the current structure of the Tor. The rains, over the years, brought the minerals from the most superficial layers deep into the soil, forming compact sediments that resisted the erosion of the surrounding soil giving shape to the characteristic hill.
Part of these primordial rains formed the iron-rich aquifer, flowing into the Red Spring of the Chalice Well. The superficial part of the hill, on the other hand, made the upper part of the calcium-rich aquifer, thus forming the White Spring.
Great Britain is known for its rainy Atlantic climate, so the abundant rainfall make the reservoir permanently saturated and feed its constant flow. These sacred waters and the Tor created each other, as a kind of natural alembic (another strongly alchemical symbol) and making this place unique.
THE TEMPLE
Unlike the Chalice Well, the White Spring was left undisturbed until the dawn of the twentieth century. Before the construction of the building in which it still erupts, it flowed in a natural clearing between ivy, moss and ferns. Unfortunately there is no photo or graphic representation, we can only imagine it thanks to the testimony of George Wright (1896) - local inhabitant: "And what was Glastonbury like then? One thing that clings to me was the beautiful Well House Lane of those days, before it had been spoilt by the erection of the reservoir. There was a small copse of bushes on the right hand running up the hill, and through it could be, not seen, but heard, the rush of running water, which made itself visible as it poured into the lane. But the lane itself was beautiful, for the whole bank was a series of fairy dropping wells – little caverns clothed with moss and vedure, and each small twig and leaf was a medium for the water to flow, drop, drop, drop into a small basin below. This water contained lime, and pieces of wood or leaves subject to this dropping became encrusted with a covering of lime. For a long time I attended those pretty caverns with affectionate care, and Well House Lane was an object of interest to all our visitors"In 1872, following a cholera epidemic, the current structure was built in order to provide clean water to the population.
Over time, the well fell into disuse and the water was brought in the village by conduits from outside Glastonbury. It was not until 1980 that it was cleaned out of the layers of calcite and reused to provide drinking water in the adjacent shops and premises; the well itself was reinvented as a bar. In 2004 it was acquired by the foundation Companions of the White Spring and used as a sacred place as we know it: it was stripped of the pipes, plasterboard, paint ... bringing out its fantastic original structure.
In 2009 were added the pools, designed according to principles of sacred geometry, in order to collect the sacred waters and permit to the pilgrims to immerse themselves fully in the sacredness of this place.
THE ALTARS
Once the eyes are accustomed to the darkness of the temple, we can see several altars illuminated by the dancing light of the candles. Enriched by the offers and talismans left by the pilgrims, they are set up seasonally by the volunteers to reflect the inexorable gait of the Wheel of the Year.
Located in secluded niches and lulled by the lapping of the waters, they immediately infuse an arcane sense of sacredness.
On the side of the sacred basins, we can find two altars dedicated to two important figures of the British tradition. The first, framed by a wooden arch, is an altar dedicated to God in his aspect as the Spirit of Nature. The beautiful painting exudes pride and strength: adorned with pelts and antlers, the God is depicted here as the King of the Wild Hunt.
The painting rests on a tree stump, which recalls the forest theme again and acts as an altar at the same time - enriched by the offerings of travelers.
The Horned God is an ancient figure, who has been haunting our imagination since the dawn of humanity: the first representations can be found in France on cave paintings dating back to 13th Millennia A.C. Lord of Life, War and Fecundity, he is an archetype common to many cultures - some very distant from each other but with the same matrix.
From Cernunnos, to Faun to the figure of Pashupati up to the controversial depiction of the Baphomet of Levi.
A little further we can find the altar dedicated to another key figure in British culture: the goddess Brighid, an icon so deeply rooted in the traditions of this land that she originated the name Britain. Goddess of the flame of creation, protectress of blacksmiths and poets, she also protects the water sources and the numerous sacred wells that can be found on these green islands. An altar dedicated to her, in one of England's most sacred places, was a must; where her elements Water and Fire dance with each other.
Click here to read about Brighid and Imbolc.
The third and last altar is in the left wing of the building, under a dome of thickly intertwined branches; as to resemble a secret hidden in the brambles of the forest. You can see a vibrant flame, standing out clearly against the darkness of the niche. It is the altar dedicated to the Goddess in her aspect as a primordial female archetype, an obscure and ancient mother like the Earth. This altar, in particular, was the one that struck me the most the first time I visited Glastonbury: an obscure vision of femininity, including the entirety of the sacred feminine. A powerful vision that, in Christian culture, is amputated only showing the submissive part of the woman. Here the pilgrims are invited to sit in reflection, in the silence interrupted by the sacred flow of the fountain and the tinkle of prayers hanging from the leaves.
There would be a thousand others things to say about a place like Glastonbury; but our journey ends here. If you want to know more, I warmly invite you to go personally to this place among the most esoteric in Europe and of the entire world.
♃Ludna
Clicca qui per leggere il post in Italiano,
Sources:
White Spring Website
The Red & White Springs of Avalon: A Guide to the Healing Waters at Glastonbury - by Nicholas Mann and Philippa Glasson.
This was such a wonderful read. This is now on my bucket list for sure! Thank you!
RispondiEliminaWell researched and written x
RispondiEliminaThank you for your comments, I am glad you enjoyed this journey in Glastonbury. ~ Ludna
RispondiElimina