The Stones, The Sun, and The Moon: The Ritual and Cosmic Alignments of Gavrinis, the Sistine Chapel of the Neolithic
Updated: Nov 27, 2024
Introduction
Gavrinis Chambered Tomb in Brittany has long been recognised as a masterpiece of Neolithic construction, renowned for its elaborate carvings, monumental architecture, and connections to broader cultural and astronomical traditions. This essay examines Gavrinis as a quintessential Neolithic monument, highlighting its architectural sophistication, intricate rock art, astronomy, and the evolving practices of reuse that shaped its legacy. Through a critical exploration of its cultural, symbolic, and astronomical dimensions, the analysis underscores Gavrinis’ significance within the broader context of Neolithic Brittany and its enduring resonance as a sacred site.
Neolithic Context and the Emergence of Chambered Tombs
The Neolithic period (c. 10,000–2,000 BC) marked a transformative shift from nomadic hunter-gatherer societies to settled agricultural communities. This shift, often referred to as the Neolithic Revolution, laid the foundations for monumental architecture, including chambered tombs. These tombs were both practical burial spaces and symbolic structures, reflecting complex cosmological and social ideologies (Bradley, 1998; Patton, 1993). The Carnac area, with its extraordinary density of megalithic structures, stands out as the central hub of European ceremonial and funerary activity (Burl, 1985).
In Brittany, the Neolithic period was founded and flourished from around 7000 BP to 4500 BP, (Before Present) during which founding axe shaped burial mounds gave way to circular megalithic monuments such as passage graves, menhirs, and smaller tumuli. It must be mentioned that the oldest monument dated in Carnac, the burial mound of Kercado, is round. It is at least 200 years older than the axe-like giant tumuli that typify the early style of mortuary monument in the area and remains remarkable for many reasons other than its shape.
Chambered Tombs
Chambered tombs, including Gavrinis, typically comprise a narrow passage leading to a central chamber, often covered by a cairn or mound. These structures were highly visible in the landscape, reinforcing their importance as focal points of community identity and ritual. I write in detail about theme here.
Gavrinis, originally built around 4000 to 4200 BCE stood upon a hill, with one or perhaps more rivers in a valley below flowing into the sea. It looked out towards the entrance of the Gulf de Morbihan and the Atlantic.
Excavations and Finds at Gavrinis
Initial excavations at Gavrinis in the 19th century provided early insights into its construction and use, but systematic investigations in the mid-20th century revealed more significant details. Excavators uncovered fragmented skeletal remains, likely representing multiple individuals, suggesting that the tomb functioned as a collective burial site. The fragmented condition of the bones has led to debates about secondary burial practices, wherein remains were interred after initial exposure or treatment (Patton, 1993). See my post here for a more detailed discussion of these practices.
Pottery fragments recovered from the site date to its primary period of use, suggesting they may have served as offerings, perhaps containing food or liquids intended for the deceased or for ritual purposes. Unlike some other passage graves, however, Gavrinis is notably sparse in grave goods, prompting speculation about its role as a ceremonial rather than a materialistic burial site (Bradley, 1998). These structures might be more aptly described as mortuary sites than traditional burial tombs, reflecting a focus on ritual practices over material deposition.
Further highlighting Gavrinis's evolving function is the reuse of older monuments within its construction. Carvings from earlier standing stones, including a large menhir, were discovered on the reverse sides of some passage stones and atop the chamber’s capstone. Intriguingly, these older carvings were not visible from within the passage, suggesting a deliberate concealment. This hidden historical sanctity underscores the site's layered significance and its continued adaptation as a funerary space, rather than a single-use burial monument.
Gavrinis: Structure and Design
Gavrinis is a striking example of Neolithic architecture, conceived with a deliberate layout that highlights both the functional and symbolic roles of its components. The mound that covers the tomb forms an artificial hill, which would have made the site conspicuous in the landscape, reinforcing its importance. The burial chamber itself is a long passage leading to a central chamber. This structure aligns with other passage tombs in Brittany, yet the fine details of Gavrinis' construction set it apart as an extraordinary example.
The Mound and the Entrance
The circular cairn that covers Gavrinis is 50 metres wide and 6 metres high and 6600 cubic meters in volume. It would originally have been much larger and more imposing, but erosion and centuries of weathering have reduced its size. The entrance is carefully framed by large stones including a curb and twin snakes facing each other on the inner carved lintel. It is easy to imagine that this marked the boundary between the earthly profane, and the sacred spiritual realms. Also, in respect to the importance of water and neolithic sites, it is arguable that the twin snakes could be symbolic of sacred waters or the rivers and the nearby Atlantic Ocean.
Chamber and Capstone
The chamber itself is relatively small, measuring 3.5 metres square, and is topped by a massive 17-ton capstone that lends the structure a profound sense of permanence and solidity. Beneath your feet is an even larher stone weighing 19 tons. The capstone is a striking example of how Neolithic builders repurposed earlier monuments, weaving their undoubted historical significance into new conceptual funerary forms. Originally, this stone was part of a colossal menhir that most probably once stood along with others at or near the Locmariaquer neolithic complex close by. At some point this menhir was broken into three pieces, each subsequently incorporated into different monuments across the region. The carvings on these fragments, though now separated, fit together and unmistakably link them to a shared origin, demonstrating the deliberate intent and symbolic resonance behind their reuse.
One of these fragments became the capstone of the Gavrinis chamber. Its carvings, featuring part of an axe and a bull with curved horns face upward into the mound. A second fragment was used as the capstone for the nearby dolmen Table des Marchands. Interestingly, the carvings on this stone face downward and form part of the dolmen’s decoration along with many croziers inscribed on the shield shaped stone at the back of the chamber. It may indicate that the two tombs had different symbolic purposes or shifts in ritual function. The third piece is said by Wikipedia to be in another tomb in the area called Er Vinglé, although I have been unable to find any other collaborative references.
As already mentioned, the carvings on two of these stones align in a way that demonstrates they were once part of a continuous design, forming a coherent decorative scheme when the menhir was intact. This fitting together of motifs underscores the connection between the monuments and their builders' efforts to preserve the symbolic and ritual power of the original structure.
The Passageway: From Earth to the Heavens.
The 14-metre passage of Gavrinis is long and narrow, its walls formed by orthostats—large, upright stones. These are carefully placed to create a corridor that leads to the roughly square central chamber. Similar to other contemporary passage tombs like Newgrange in Ireland, Gavrinis features a slight kink or dogleg in its sacred corridor that has been described as serpentine. This architectural choice may serve astronomical purposes (as we shall see) or it could hold symbolic significance, enhancing the ceremonial transition between realms as individuals approach the sacred heart of the cairn.
The Orthostats
The orthostats—the upright stones lining both sides of the passage at Gavrinis—stand out as one of the site’s most remarkable features. These stones, far from being merely structural, serve as canvases for some of the finest examples of Neolithic art in Europe. Carvings etched into the stones include a variety of geometric patterns and abstract motifs, such as snake-like patterns, spirals and swirls, zigzags, axes, and shield-like shapes. These motifs likely held profound symbolic meanings, potentially linked to cosmology, fertility, or expressions of social power (Shee Twohig, 1981).
One particularly intriguing aspect of the carvings is their apparent organisation along the passage. Some researchers propose that the placement of specific symbols may align with celestial events or seasonal cycles (Thom, 1967). For instance, the repetitive motifs of spirals and zigzags could symbolise cyclical natural phenomena, such as the movement of the sun or the undulating flow of water, which were central to Neolithic cosmology. This deliberate alignment of art and architecture underscores the interplay of human creativity and environmental awareness in the construction of Gavrinis.
The Hierarchy of Stone Placement
The arrangement of the orthostats exhibits a subtle but deliberate hierarchy, with the largest and most imposing stones placed nearer the chamber and smaller, less decorated stones positioned further along the passage. This gradation creates a visual progression that naturally guides the viewer’s gaze toward the central chamber, the most sacred space within the tomb. Symbolically, this arrangement may mirror the journey from the mundane world at the entrance to the transcendent realm of the ancestors at the heart of the tomb.
On the left tere is a small carved recess or mini-cave with three hand sized holes piercing the stone. The use and meaning is unknown. Moon references? Triple Goddess?
Quartz and its Symbolic Role
Among the undecorated orthostats, one stone stands out: a quartz block located seven stones from the entrance.
Quartz, with its translucent and reflective properties, holds a unique place in Neolithic symbolism. Often associated with light, purity, and the divine, the use of quartz in this context may have been deliberate. Its placement might have been intended to draw attention to a specific point along the passage, creating a moment of visual and spiritual focus.
Moreover, the pale, luminous quality of quartz could evoke associations with celestial bodies, particularly the moon. This connection might hint at a deeper layer of meaning within the tomb’s design, tying the monument’s physical features to the broader cosmological beliefs of its builders. The deliberate inclusion of quartz highlights the Neolithic emphasis on sensory experience, where light, texture, and material were integral to the sacred atmosphere of the space.
Hidden Carvings on Orthostats: More Evidence of Reuse
One of the most fascinating aspects of Gavrinis is the discovery that several orthostats lining its passage have carvings on their reverse sides—carvings that are, like on the capstone, hidden from view and facing into the mound. These hidden carvings show the deliberate reuse of older stones taken from earlier monuments. This practice of repurposing megaliths adds a significant layer to our understanding of Neolithic monument construction and its relationship with memory and legacy.
The hidden carvings, identified during excavations, include motifs similar to those visible within the tomb, such as axes and shield-like shapes. However, their placement facing inward, concealed beneath the mound, raises intriguing questions. Why were these already-carved stones reused, and why were the carvings deliberately hidden? One explanation is that the builders of Gavrinis intentionally incorporated stones from earlier monuments to imbue their tomb with the spiritual or symbolic power of the past. This act of reuse may have served to link their community with the ancestral or mythical builders of the original monuments, establishing continuity and legitimacy (Scarre, 2011).
Moreover, the decision to conceal these carvings would not have been accidental. It reflects a sophisticated engagement with symbolism, where the unseen was as important as the visible. Hidden carvings could have been part of ritual practices, with their secrecy adding to the tomb’s mystique and reinforcing its role as a liminal space between the living and the dead.
The practice of reusing carved stones is not unique to Gavrinis. Similar evidence of repurposed orthostats has been found at monuments like Newgrange in Ireland and Le Mané Lud in Brittany. These examples point to a broader Neolithic tradition in which megalithic architecture was dynamic, with materials and meanings being reshaped across generations.
On the Reuse of Monuments
The reuse of earlier monuments, as seen in the construction of Gavrinis, exemplifies a fundamental aspect of Neolithic cultural practice: the deliberate integration of past structures into new ceremonial landscapes. The repurposing of the former menhir, which was broken into sections and incorporated into Gavrinis, Table des Marchands, and possibly Er Vinglé, illustrates the symbolic importance of connecting present rituals with ancestral heritage. This act of fragmentation and redistribution likely reinforced a shared cultural identity across the region. The reuse of the passage stones underlines this point.
Such practices suggest that the Neolithic communities of Brittany viewed monuments not merely as static structures, but as living entities embedded with ancestral power. The deliberate placement of the heritage fragments ensured their continued influence, binding disparate sites into a cohesive network of sacred spaces. The carvings on these stones—featuring axes, bulls, and geometric motifs—further reinforced their significance, embedding shared cosmological and symbolic narratives into the landscape.
However, the reuse of these stones also raises questions about the evolution of Neolithic belief systems. Did the reinterpretation of these fragments indicate a shift in their symbolic meanings, or was it an attempt to preserve their original purpose within new contexts? By examining the interplay between innovation and tradition in the reuse of Gavrinis' components, we gain deeper insights into the dynamic and evolving nature of Neolithic society.
The decision to break and redistribute former monuments across different tombs may have been driven by a desire to link these sites through shared elements of a sacred past. By reusing the fragments in such prominent positions, the Neolithic communities not only honoured the legacy of the original menhir but also embedded its cultural and cosmological significance into a broader ceremonial landscape, uniting the region’s monuments into a cohesive whole.
Gavrinis: Rock Art and Symbolic Meaning
The rock art of Gavrinis offers a rich canvas for exploring Neolithic symbolic expression, with its motifs—axes, spirals, and abstract patterns—representing a shared visual language across Western Europe. These carvings likely held profound symbolic meaning, reflecting cosmological beliefs, ritual practices, or social hierarchies. Scholars like Shee Twohig (1981) and Serge Cassen (2019) suggest that these motifs served as mediators between the earthly and spiritual realms, encoding shamanic or ritualistic knowledge.
The recurring axe motifs, for instance, may symbolise transformation or communal identity, echoing the cultural importance of polished stone axes as both tools and symbols of power. Meanwhile, spirals and geometric designs could represent natural cycles, such as the movement of celestial bodies or the rhythms of life and death. These patterns might also signify portals or pathways to other realms, aligning with the tomb’s role as a passage between the living and the dead.
The carvings’ locations within the tomb further enhance their symbolic function. Larger, more intricate designs near the chamber suggest a focus on the sacred, while simpler motifs along the passage may have guided visitors through the liminal journey. The interplay between visibility and concealment, as seen in the upward-facing carvings on the capstone, highlights the layered meanings embedded within Gavrinis’ art—some meant for the living, others for the spirits or gods.
In this way, the rock art of Gavrinis transcends mere decoration, offering insights into the Neolithic worldview and its integration of art, ritual, and architecture.
Practical and Symbolic Reasons for the Design
The careful attention to the layout of Gavrinis suggests that it was not simply a tomb, but a site of ritual significance. The passage, chamber, and the specific arrangement of the orthostats all work together to create a ritual space that was both architecturally and symbolically potent. The orientation of the tomb may have been designed to align with celestial events such as the winter solstice, reinforcing the connection between the physical structure and the cosmos (Thom, 1967).
The seventh stone from the entrance on the right-hand side of the passage is notable for its use of quartz, making it unique among the orthostats of this Neolithic monument. Quartz stones were likely chosen deliberately due to their symbolic or aesthetic qualities, possibly representing light, purity, or spiritual significance. Such use of quartz aligns with other Neolithic practices where specific materials were imbued with symbolic meaning. This stone contributes to the intricate interplay of materiality and art in Gavrinis, a tomb renowned for its detailed carvings and sophisticated design.
Rock Art in Neolithic Tombs
Neolithic rock art is one of the defining features of megalithic monuments in Western Europe. Abstract motifs—such as spirals, chevrons, zigzags, and lozenges—are commonly interpreted as symbolic or cosmological, potentially representing natural cycles, spiritual beliefs, or social hierarchies (Shee Twohig, 1981).
These designs share stylistic similarities with carvings at nearby monuments, including Barnenez and the Table des Marchand, and with sites further afield, such as Newgrange in Ireland. This stylistic continuity suggests a shared symbolic language across Neolithic Europe (Scarre, 2011). Some researchers, such as Serge Cassen, argue that these motifs reflect shamanic or ritualistic practices, while others, including Alexander Thom, suggest they encode mathematical or astronomical knowledge (Thom, 1967; Cassen, 2019).
The recurring axe motif at Gavrinis has drawn particular attention, with interpretations ranging from representations of tools to symbols of transformation or community identity (Bradley, 1998). Comparisons with ceremonial stone axes found in burials and hoards further support the idea that these carvings held deep ritual and symbolic significance. I have written in detail about the importance of sacred stone axes in the Neolithic below.
Astronomy and Gavrinis
One of the most debated aspects of Gavrinis is its potential astronomical significance. The alignment of its passage towards the winter solstice sunrise suggests a deliberate connection to solar cycles, a feature common to other megalithic sites like Newgrange and Maes Howe (Ruggles, 1999). Alexander Thom’s work on megalithic astronomy highlights the mathematical precision of such alignments, proposing that Neolithic builders possessed a sophisticated understanding of geometry and the heavens (Thom, 1967). However, critics argue that Thom’s theories, particularly the “megalithic yard,” are speculative and lack consensus within the academic community (Ruggles, 1999). What seems clear however, is that Gavrinis displays a strong argument for a deliberate twin alignment built in a very specific way.
Archaeologist Aubrey Burl wrote this about his investigations into the astronomy of Carnac.
"Looking from Stone 19, at the left-hand entrance to the chamber, towards Stone 1, the bearing is 128°, almost perfectly in line with the midwinter sunrise. The main axis of the passage is 134° towards the low-lying Arzon peninsula and the orientation is close to that of the major southern moonrise. It has been calculated that the two alignments, one solar, the other lunar, intersect halfway down the passage level with Stone 7, the white quartz slab whose undecorated surface may have been illuminated by the light of the rising sun and moon." (Burl, A. 1985).
The True Purpose of the Monument?
Gavrinis and the nearby Table des Marchands are strikingly similar Neolithic monuments, not only in their identical latitude but also in the orientation of their passageways. Located approximately 3,900 metres apart, both monuments align with key astronomical events, specifically the winter solstice sunrise and the lunar maximum moonrise to the south. The passageways of these structures are meticulously designed to channel light from these celestial events, allowing their glow to penetrate the chambers on significant occasions: the winter solstice and the lunar maximum standstill, which occurs once every 18.6 years.
At Gavrinis, the alignment is particularly striking. The passageway’s design subtly differentiates the paths of sunlight and moonlight at the lunar standstill as they traverse the monument. Initially, the left-hand wall of the passage directs the light of the moon as it travels through the corridor during its maximum southern rise, guiding it towards the chamber’s end. Around the junction between orthostats 45 and 46, the moonlight transitions, allowing the sun rise to take precedence. The sunlight, entering just past the right-hand doorjamb of the entrance, then hugs the left-hand wall, leading directly into the end chamber. At the solstice, the rough orientation only allows a sliver of the sun in that focuses on the joint between two chamber stones before widening to enter the chamber fully. What significance did this hold? Was it a symbolic transition? A focus on the liminality of the between? The transition from one world to another?
This interplay of light is further enhanced by the shape of the passageway, which appears deliberately crafted to reflect the paths of the moon and sun at their southern extremes. The passage form, defined by the movement of light and the constraints of the entrance's width, underscores the dual purpose of the passageway as both a symbolic and functional architectural feature. The right-hand wall, in contrast, prioritises practical considerations, maintaining a consistent width of approximately one metre to accommodate human access and prominently display engraved stones.
The seventh undecorated quartz stone orthostat from the entrance serves as a luminous marker for this phenomenon. Quartz is often associated with light and purity in prehistoric symbolism, appears to signify the full moon. Its deliberate placement at the point where the paths of the sun and moon converge underscores its importance as a focal point, both visually and symbolically.
Reflections on the Moonstone.
Stone 7 within the Gavrinis passage holds a position of exceptional importance, both architecturally and symbolically. As a quartz monolith, its reflective and luminous qualities were likely integral to the monument's ritual function. Associated with light, purity, and possibly the moon, the quartz stone was a material of spiritual significance in many prehistoric cultures. Positioned at the pivotal point where the paths of sunlight and moonlight cross within the passage, stone 7 serves as a natural marker of this celestial interplay. This unique placement suggests a deliberate intention to highlight the stone as a focal point, reinforcing its association with the cosmic rhythms celebrated within the monument.
Adding to the sacred ambience, is a shallow stone tray located in the floor near stone 7. This feature that I spotted on my first visit, is barely mentioned in the literature. It struck me that this was very deliberately crafted and was likely intended to hold a liquid, such as water. The presence of such a receptacle aligns with the idea that the builders sought to enhance the light effects within the tomb during key astronomical events, such as the winter solstice or the lunar maximum moonrise. When filled with liquid, the tray would have acted as a reflective surface, amplifying the glow of light entering the passage and creating dynamic effects as the sunlight or moonlight moved through the corridor. This interplay of light and liquid could have imbued the interior with a shimmering, otherworldly quality, reinforcing the sacred nature of the space.
The use of reflective surfaces, such as quartz and liquid-filled trays, if that was there use, was likely not just an aesthetic decision but a ritualistic one. These features would have heightened the sensory experience of the monument, transforming it into a dynamic space where light, movement, and materiality interacted. Such effects could have been perceived as manifestations of the celestial powers being honoured. The positioning of the tray near stone 7 suggests a relationship between the reflective quartz and the liquid, as though the two were meant to work together to symbolise or evoke the merging of earthly and cosmic forces.
In this context, stone 7 and the accompanying tray may have represented a liminal point within the passageway—a threshold where the interplay of celestial light and earthly materials signified the connection between the physical world and the divine cosmos. The convergence of the sun and moon at this location would have reinforced this symbolism, marking it as a sacred intersection of time, space, and spirituality. It is possible that rituals conducted here utilised the reflected light as part of ceremonies honouring the cycles of life, death, and renewal.
Expanded Context: Ritual and Symbolism
The use of liquids in ritual contexts has deep roots in human history. Water in particular is often linked to purification, renewal, and the transition between realms. The interaction between the light-filled passageway and the reflective tray might have been designed to evoke celestial phenomena, such as the shimmering effect of moonlight on water or the brilliance of the sun on a clear horizon. Such effects could have served to align human activities with the natural rhythms of the heavens, fostering a profound sense of connection with the cosmos.
Other light effects might have been utilised at tombs with passages. Recent megalithic research at Bryn Celli Ddu and other chambered tombs has proposed that the site may have functioned as a camera obscura. This hypothesis is based on the distinctive architecture of the passage tomb, which allows light to pass through a restricted aperture into the dark chamber, projecting an inverted image of the outside world. Fieldwork conducted at Bryn Celli Ddu and other Neolithic sites in the British Isles has demonstrated that the methods required to generate optical projections within these tombs are straightforward and do not require a lens. The alignment of the Bryn Celli Ddu with the summer solstice sunrise further supports this theory, as it would have enabled the projection of an enlarged disc of the sun into the chamber. These optical phenomena, including projections of people and landscape features, would have created a multisensory experience for Neolithic observers, potentially transforming the tomb into a space for engaging with otherworldly and ritualistic experiences. (Cassen, S. 2021). It would be an intriguing investigation to test this hypothesis at Gavrinis.
Speculation aside, light effects are present at Gavrinis. The entrance of Sun and Moon on significant dates along with the crafting of features like stone 7 and the floor tray, underlines the point that Gavrinis was not merely a tomb but a carefully constructed space for enacting complex rituals. Stone 7’s symbolic weight, combined with the liquid tray's potential to amplify light effects, underscores the sophistication of Neolithic architectural and ritualistic practices. Together, these elements transformed the tomb into a sacred stage where the cycles of the heavens and the mysteries of life and death were celebrated and revered.
Alternative Explanation to Balance Astronomical Interpretations
While the alignment of Gavrinis with solstitial and lunar events provides compelling evidence for its potential role in Neolithic astronomy, alternative explanations for its orientation and design merit consideration. It is possible that the passage and chamber were positioned not solely for celestial purposes but as part of a broader symbolic or environmental strategy.
For instance, the orientation toward the Gulf of Morbihan and the Atlantic Ocean may reflect a cultural emphasis on water as a liminal space between worlds. The presence of carved snakes at the entrance, potentially symbolising rivers or transformation, supports the idea that the tomb's location and design were deeply connected to the surrounding natural landscape. Additionally, the use of quartz and the deliberate placement of carvings along the passage could indicate an intent to manipulate light and shadow within the tomb, enhancing its ritual atmosphere independently of astronomical alignments.
These considerations suggest that Gavrinis may have served a multifaceted purpose, blending practical, symbolic, and environmental factors. Rather than prioritising one interpretation, a holistic approach acknowledges the complexity of Neolithic monument design and its role in expressing multiple layers of meaning.
Conclusion
Gavrinis stands as a testament to the complexity and innovation of Neolithic culture in Brittany. Its architecture, carvings, and alignment reflect a deep engagement with both the natural world and communal identity. The site’s reuse and reinterpretation over millennia further highlight its enduring cultural significance.
The layout of Gavrinis reflects the Neolithic understanding of space, the afterlife, and cosmology. The deliberate placements of stones and carvings not only served a practical function in guiding visitors through the monument but also acted as a conduit between the terrestrial and the spiritual worlds. The design of the passage tomb emphasizes both the significance of the deceased and the cultural importance of the site itself, making Gavrinis a key example of the complex interplay between architecture, symbolism, and ritual in Neolithic Brittany.
While many questions remain—particularly regarding the precise meaning of its carvings and the scope of its astronomical function—ongoing research continues to shed light on the symbolic and practical roles of Gavrinis. As a focal point of Brittany’s rich Neolithic heritage, it remains an invaluable resource for understanding prehistoric societies.
Alexander Peach
November 2024
Biliography
- Bradley, R. (1998). The Significance of Monuments: On the Shaping of Human Experience in Neolithic and Bronze Age Europe. Routledge.
- Burl, A. (1985). Megalithic Brittany. Thames and Hudson.
- Burl, A. (2000). The Stone Circles of Britain, Ireland, and Brittany. Yale University Press.
- Cassen, S. (2019). Autour de Gavrinis: Les Mondes de Pierres Gravées du Néolithique. CNRS Éditions.
- Cassen, S., Robin, G., & Vaquer, J. (2021). Materializing Light, Making Worlds: Optical Image Projection within the Megalithic Passage Tombs of Britain and Ireland. In The Oxford Handbook of Light in Archaeology. Oxford University Press.
- Patton, M. (1993). Statements in Stone: Monuments and Society in Neolithic Brittany. Routledge.
- Ruggles, C. (1999). Astronomy in Prehistoric Britain and Ireland. Yale University Press.
- Scarre, C. (2011). Megalithic Monuments of Britain and Ireland. Thames and Hudson.
- Shee Twohig, E. (1981). The Megalithic Art of Western Europe. Clarendon Press.
- Thom, A. (1967). Megalithic Sites in Britain. Oxford University Press.
- Thom, A., & Thom, A.S. (1978). Megalithic Remains in Britain and Brittany. Oxford University Press.
- Sacred Number Sciences. (2020). Gavrinis (1): Its dimensions and geometrical framework. Retrieved from [https://sacred.numbersciences.org/2020/02/02/gavrinis-1-its-dimensions-and-geometrical-framework/](https://sacred.numbersciences.org/2020/02/02/gavrinis-1-its-dimensions-and-geometrical-framework/).
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