I really doubt that Stonehenge was a theater that looked like this. We got from the Cs that is a tonal temple, but also there is concrete evidence that sunlight navigate through the stones purposely for equinox events. Also, the complex is bigger than this. It had circular areas with other rocks around, the entire complex wasn't about just the circular megalithic rocks that we see nowadays.
I understand what you are saying. We should allow though for some artistic licence on Sarah Ewbank's part (N.B. you can find a fuller explanation of her reimagining of Stonehenge within my article on Stonehenge which I attach for those who may want to read about it). The structure may indeed have been far more open to the sky like you suggest, making it more similar in appearance perhaps to the original Globe Theatre, which was definitely open to the sky, and has been lovingly recreated at Southwark in London in modern times in order to stage Shakespeare's plays in the environment they were first performed in (see photo in my earlier post).
Yes, the overall complex at Stonehenge was much bigger as you say. However, what we see still see standing today was definitely the centrepiece of the whole complex.
Indeed, what we see today is not really that inspiring compared say to the architectural beauty of the Great Pyramid at Giza, which prompted Laura to make this point to the C's. However, they replied to the contrary:
Q: Obviously the Great Pyramid is a marvel of engineering - and Stonehenge is as well - yet the two structures are so dissimilar. The Pyramid presents such a finished and sharp and elegant appearance, and Stonehenge might give a person - of course that is based on how it appears today - a more primitive presentation.
A: Was not originally.
Thus, it is clear from this response that the existing structure is perhaps just a shell of what originally stood there. Hence, I think it is justified to look at images such as Sarah Ewbank has come up with, even if it may not exactly match what the site looked like in its heyday.
The whole complex seems to have been built in one go as well according to the C's:
Q
: Was Stonehenge ever complete, with all the stones there? This author suggests that it was never completed because there are missing stones...
A: Of course.
Q: What happened to the stones that are missing? The books suggests that it was never finished because the architect must have died.
A: Nonsense. Multiple shocks registered through the ages.
Q: Was Stonehenge built in stages as this author suggests? Did it start out as a circular ditch, at the time of the so-called Aubrey holes?
A: No.
Q: Was it built all at once, complete?
A: Yes.
As you mentioned, the Cs said that Stonehenge was a tonal temple at which no doubt rituals occurred. Indeed, they also confirmed elsewhere that the structure was in the past known as the 'Cloister of Ambrius':
Q: Was Stonehenge once known as the Cloister of Ambrius?
A: Yes.
Q: Who was Ambrius?
A: Druid tradition/cloak.
A "cloister" (from the Latin claustrum, "
enclosure") is a covered walk, open gallery, or open arcade running along the walls of buildings. Hence, this title might suggest it was once a covered structure, if only partially.
I deliberately made the connection between Stonehenge and the Globe Theatre because of the similarity in their ground layout and the use of sacred geometry in their construction. I would suggest this was no accident since as Dame Frances Yates expounds in her works, the people behind the development of (and in some cases the actual building of) Elizabethan theatre were consciously aware of sacred geometry, as passed on to them by the likes of the Roman architect and philosopher Vitruvius who was responsible for the design of numerous temples. Hence, there was a conscious attempt on the part of the architects/builders/developers (some of whom may also have been Freemasons) to recreate the sacred geometry incorporated into Greek and Roman temples in new Elizabethan theatres such as The Globe, since they wanted their theatres to be alchemical venues, just like ancient temples were, in order to mould the consciousness of the theatre goers with their alchemical (Hermetic based) plays. This was especially true of the works of William Shakespeare. Dame Frances Yates goes into great detail as to the Hermetic nature of Shakespeare's plays and space does not permit me to elaborate on this. However, she was also an expert on the Elizabethan/Jacobean Rosicrucians, some of who seem to have been behind Shakespeare's works (e.g., Sir Francis Bacon and Edward de Vere, the Earl of Oxford are major suspects) if not the actual author(s) of these works - although Dame Frances never went so far as to state this openly. This connection to the Rosicrucians makes me think though of the following exchange with the C's:
A: Have you researched the power of Stonehenge, and how it relates... where it fits in?
Q: Yes, we are bit by bit collecting things...
A: Well? And crop circles? Amazing connections... And what of "The Rosy Cross?"
Why do the C's connect the Rosy Cross, and thus by extension the Rosicrucians, to Stonehenge and crop circles here? Could it in anyway be linked to what I have discussed above?
Stonehenge was evidently a place of alchemical transformation but then so was The Globe and its architecture was deliberately intended to facilitate this by its creators. This may seem far fetched but those behind the flowering of the arts (music, literature, poetry, plays and works of art etc.) during the Middle Ages, which we now call the Renaissance, were deliberately seeking to bring around an alchemical transformation in mankind's consciousness. To some extent this era was kickstarted by the emergence of the grail legends, which may well have had the Knights Templar behind them. The C's appeared to recognise this here:
Q: Why was the 12th century the focal point for the propagation of the grail legends, the troubadours, the whole thing?
A: Beginning of "Renaissance".
Indeed, the secret Hermetic/Kabbalistic knowledge the Templars brought back with them from the Holy Land may have been drip fed by them into the European consciousness over time (including via the grail legends), thus forming part of what has been called the underground stream that would lead to the emergence of the Renaissance. But what the Knights Templar may have started, it would be left to the Rosicrucians to continue.