commissioned Wood to design the new Buckland House as a shooting lodge and weekend retreat. John Wood, the Younger substantially revised the plan and added the distinctive octagonal pavilions to the sides of the house. The final house is illustrated in the 1767 volume of Vitruvius Britannicus. Stonehenge and Stanton Drew surveys Wood also left us the most important plan of Stonehenge ever made; his survey, carried out in 1740 and published in his Choir Gaure, Vulgarly Called Stonehenge, on Salisbury Plain (1747), was annotated with hundreds of measurements, which he resolved on the ground to one half, sometimes even one quarter, of an inch. This work has been largely overlooked, partly due to criticisms made by the antiquarian William Stukeley. Wood's interpretation of the monument as a place of pagan ritual was vehemently attacked by Stukeley who saw the druids not as pagans, but as biblical patriarchs. Stukely also failed to see the significance of recording the stones in such detail. However, using Wood's original dimensions it has been possible to re-draw his work on a computer and compare the record with the modern plan of Stonehenge. His survey has immense archaeological value, for he recorded the stones fifty years before the collapse of the western trilithon (which fell in 1797 and was not restored until 1958). In the same year Wood surveyed and mapped the Stanton Drew stone circles, noting the different stones used and suggesting the layout was based on the Pythagorean planetary system. Freemasonry Many of the buildings he designed are littered with icons and symbols associated with Freemasonry, leading many people who have studied his work to believe that he was a member of the organisation, even though there is no documentary proof. Wood wrote extensively about sacred geometry, and argued that the myths of the supposed founder of Bath, King Bladud, were based on truth. He claimed that ancient British stone circles were the remains of once more elaborate buildings designed by Bladud. It has been suggested that Wood (and his son, also John) were connected to Freemasonry either via one of their building partnerships and/or via symbolism in their architecture. In his Masonic lecture and article, Stephen Ben Cox tentatively suggests an image for this as the square (Queen's Square), the circle (The Circus) and the crescent (The Royal Crescent): standing for Earth, Sun and Moon, and following the masonic path of the