Mat, more often spelled Matt or Maat, is the most ancient Egyptian
Goddess of Universal Justice. It should be noted that as with many Egyptian
deities, their rule either covered the upper Nile or the lower Nile
- Maat is the woman in charge of law and order, not even limited to
Egypt, but significantly, the judge of justice of/from the stars.
There are other translations. One is Sekhmet, another Sirius-related
Egyptian Goddess. From her past history, I would describe her as the
sheriff; the enforcer one would expect to accompany a judge ... There
is more to translate, however, at this point I do believe playful locals
began to play with the tourists, casting some doubt on the validity
of many of the new symbols ... Whatever, I have given you complete translations
for every Crop Symbol from 1978 to 1990, and the keys to play with any
others that might interest you.
Above all, I believe we have already assembled the major portions of
the prime message ... (1) All life is to be honored ... (2) The prime
base for the visitors seems to be the Star of Women, in the Sirius system
... (3) They are signaling an end to an era ... and, (4) Their purpose
seems to relate to maintaining law and order, and above all, justice
in the universe ... I have come across sufficient Egyptian records etc.
to assure myself that the extra , 7th judge in the Pleiades council
of judges is Sirius ... One last conclusion from my Crop Symbol translations
is that whatever the future brings, the era ending may well be the patriarchies
, and the future will not be the best of times for male-chauvinists.
One final event sort of tied all the pieces together . As Fate would
have it, I just happened to select Whitley Streiber's book, Transformation
for the flight home. The book concluded (Appendix three) with research
on discovering the "star language" of our cosmic visitors
- the alien's native language. >From their studies they concluded
the language was a form of Gaelic - the ancestral language of Ireland.
And what was the alphabet the Irish used to write down their Gaelic
words ? - Ogham!
This is sad to say, but I believe the best years of field research
on the Crop Symbols is over. The real is now quite mixed with the fake
... However, there are sufficient unsolved riddles involved with the
crop symbol enigma, that there are decades of field research yet to
begin - for example, I spent 1989 and 90 in the field, and many an hour
since - looking for an answer to a question that had previously only
been an adenda to the riddle of the Crop Symbol research ... Why did
our cosmic visitors select that one place, in the whole of the planet
to place their messages ? I assumed that, after nearly four decades
of Megalithic field research, with no small amount within the Crop Symbol
area - and extended, live-in archaeological work at an excavation site
just to the west of the area - I knew just about all there was to know
about the land. It turned out that our cosmic visitors knew the area
on a level that I was not even aware of.
To fully describe the following information, I have included two pages
of maps (available online). The first map
to be referenced will be the green & white map of the Wessex Triangle.
First a matter that some of the readership may share with me. My sometimes
excessively logical left brain has a very critical mindset that tends
to look over my shoulder whenever I am involved in unusual phenomena.
Thus, there was an expected mumble from the left brain when I first
heard of the Wessex Triangle. It has always bothered that side of me
that, whenever strange phenomena is geopraphically mapped out, the shape
invariably ends up being a triangle. And my critical side always gives
an extra mumble when someone observes that the triangle is quite similar
in shape to the Great Pyramid of Giza. Well, this time a "triangle"
phenomena was directly involved with my research - so I made a giant
map of the area, and spent three nights in the Fall of 1990, placing
dots on the map to mark the location of all of the Crop Symbols I had
visited or knew of in the past two summers. My some 150 dots virtually
redrew the Wessex Triangle and I knew the final effect would have been
even more impressive. The most conservative estimate would be that over
200 Crop Symbols appeared within that triangle in the summer of 1990,
and nearly that number in the Summer of 1989 - and at the very least,
over 100 Crop Symbols from the previous years. And all 500, allowing
for an occasional overlap of a few miles, occured within the Triangle.
In retrospect, the "why there" question should not have been
an adenda ... Indeed, the triangle also included virtually all of the
major Megalithic monuments in England. However, if the monuments had
been transfered to dots, they would not have made the same neat pattern.
All of the major ones are on the West side of the triangle, so there
had to be something related to them, but not yet factored in.
Luckily, this aspect of my research came to fruition in the Fall of
1990, when I had lots of spare weekday time on my hands, and the daily
appearance/distraction of the Symbols had ceased. The key came one night
when I had put aside the Crop Symbol maps and was staring at my old
map of the archaeological sites of the area, I had already inked in
the boundry of the Wessex Triangle and suddenly noted that the Uffington
and Westbury White Horses could have replaced the towns of Wantage &
Westbury as two tips of the triangle. I remembered passing by the Marlborough,
Alton Barnes and Pewsey White Horses while visiting Crop Symbols. I
scanned the map and noted that the only other white horses I knew of
in England: Broad Town, Hackpen, and Cherhill, were just on the edge
of the triangle ... But first, I must pause to explain to American readers,
just what the heck I am talking about. Everyone is quite aware of the
Nazca lines and images in South America - some are even aware of similar
images in North America - basicly, they are all created by slightly
changing the surface of a desert floor. To say the least, they are all
rather fragile, and tourism will someday spell their end. Few Americans
are aware that England also has giant images that can best be seen by
the air. Not to take away from the North & South American images,
the English figures took considerably more labour to create. And they
were created in the same manner as the Aubrey Holes, which are the prime
computer element to Stonehenge.
To create an indelible hole or image, one cuts out the desired shape
in the turf and tosses that away - you then dig down thru the top soil
until you reach the white chalk, that is from 1 to 6 feet down in that
part of England. You then dig thruough the chalk sufficient to create
a hole to deposit the top soil in, then place the chalk bottom on the
top - and you have created a virtually indelible mark on the land. More
so, if you impress the native population with the importance of maintaining
the chalk mark so that a folk festival of a yearly cleaning of the space
lasts for centuries (as with the Uffington White Horse).
And that is what all those white horses are, giant white horses created
with no small effort. The Uffington White Horse is 365 feet long , that
is a lot of turf cutting, soil & chalk digging etc. It is assumed
that the original shape
of the Uffington horse has been the best preserved of the ancient chalk
horses. How ancient ? Well, at first it was assumed to have been created
in the first century B.C., for no better reason that the Uffington horse
appeared on a first century B.C. Celtic coin. A week before this writing,
I noted in my July/August issue of Archaeology (page 24), that archaeological
research at the site had redated it to at least 1000 B.C. . There are
extra features about the horse that are special. The first is, it doesn't
look that much like a horse. Especially, if you add in the local legends,
which says they were maintaining an image of a dragon - the legend became
somewhat muddled with the advent of Christianity to the land. Legend
has it that St. George saved the local Christians from a Dragon - and
that it happened on nearby "Dragon Hill" - and the spilled
dragon's blood explains why there is a round space on top of the flat
topped hill, where no grass will grow. One could rewrite that story
quite a bit.
Now, back to that night when I noted the quantity of white horses on
the western edge of the Wessex Triangle. Caught up with the moment,
I made green circles around each horse site - and an obvious pattern
appeared. (You can follow this, on the green & black map of the
Wessex Triangle.) As stated before, the Uffington and Westbury horses
could serve as the top and left tips of the triangle - a line drawn
out from the Cherhill, Alton Barnes, and Pewsey horses can be extended
to mark the right tip of the triangle. The Broad Town, Hackpen, and
Alton Barnes horses create a line that extends through the three prime
Megalithic monuments within the triangle: Avebury, Silbury, & Stonehege.
And a line between the Cherhill and Marlborough horses goes right through
the Avebury, Silbury site ... This offers a probable conclusion to the
"why here". Because those who came in flying "dragons"
said they would "return with further instructions".
My left brain didn't just mumble at that conclusion, it virtually shouted,
"the rest of the dragons look like horses and are all new!"
My archaeologist-prejudice took it from there, to an archaeologist,
the 17th & 18th centuries are REALLY new.
Everything seemed to fit except the ages and shapes of the other "horses".
So, the following morning, I made a visit to Westbury. Never has my
research fallen together so neatly or so quickly. Westbury town records
have it that the horse was created by order of the local lord in 1778,
because he loved horses, and because the chalk figure already on the
hill side that everyone called a "white horse" was such an
ugly and distorted image of a horse. A drawing done in 1772, does indeed
show something not at all like a horse - in fact, it looked rather like
a stylized drawing of a dragon ... Within a week, I was able to ascertain
that all of the other "new" horses had equally dubious histories.
It is more than logical to now assume that the "new" histories
all have missing first chapters .
With potential critics around every ancient UFO conclusion, I must
add a bit more to the matter of England's chalk figures. Yes, there
is a giant chalk figure called the Cerne Abbas Giant in Dorset. Locals
love to show the 180 foot tall chalk figure to little old lady tourists.
It is truly rude. The erect phallus, considerably out of proportion,
is the most obvious feature of the figure. Historians have always been
bemused by the figure which apparently stood for so long in the near
vicinity of a monestary that was created in the 6th century. Well, the
man most responsible for attaching metaphysics (in the form of dowsing)
to my archaeological studies, T.C. Lethbridge, studied the figure and
concluded that the area had been seriously re-drawn. In fact, local
history has it that, yet another local lord had been doing a bit of
redrawing of local history. A certain Lord Holles (1641 to 1666) either
created or recut the image. Either way, he was a very perverse artist
- and he and his kind almost confused some critical mesages from the
past.
While on the subject of Tom Lethbridge, my first instructor in Archaeology
- and giant chalk figures. He managed to find the remnants of three
human figures and a horse and chariot in the hills near Cambridge. His
interpretation of the scene was ... that "originally there was
only Magog (she was 120 feet high) with the horse and chariot, cut around
200 B.C. , and that the other two male figures were added later, around
50 B.C." The site has been allowed to be overgrown, which is quite
sad. Maybe you can find a copy of the Janet & Colin Bord's book,
Mysterious Britain, it has a good photograph of Ms. Magog - the most
noticeable feature of the woman is her face, with two very large eyes.
The Bord's chapter on chalk figures is entitled, "Hill Figures:
Signals to the Gods?"... which reminded me of the most interesting
of all of England's chalk figures. If you are interested in ancient
earth to sky symbols, you are no stranger to the remarkable Candelabra
of the Andes, the 840 foot high trident set on the coast, pointing the
way to the Nazca line and images ... Well, on the Southern Coast of
England, there is also an image that I perceive as a direction guide
to the chalk signals beyond. The figure is 230 feet long. And has managed
to retain its original shape, there was work on the figure in 1874,
but this time, the local history carries the all important word "restored".
Any changes
were limited to the mind (rather than the actual chalk figure) - yes,
we have returned to yet another example of "if the individual is
important, it is a man" mind-set of patriarchal societies. The
chalk figure is known as the "Long Man of Wilmington - it is near
the town of Wilmington in Sussex. Seen from the ground, as I have on
several occasions, it not only offer no specific clue as to gender,
the shape always seemed somewhat feminine in form. The drawing to the
right is a depiction drawn from an arial photograph - from this angle,
I cannot but observe that the form is female - and possibly, a full
figure study of a lady from the Pleiades. It certainly looks closer
to one of the figures stepping out of the Mother Ship in Encounters
of the Third Kind, than the standard depiction of a Neolithic human,
male or female. And that is the era, the Neolithic, most scholars place
as the creation time for the remarkable chalk figure.
Now, we return to the maps, the third one, marked, The Silbury Triangle
... When I made the dot map to verify the Wessex Triangle - I discovered
yet another triangle. (The left side of my brain went into total shock,
it was directly responsable for bringing yet another triangle/pyramid
phenomena into the legends of the metaphysical realm). As the dot work
progressed, in one specific area, I first began to place dots on top
of dots - then set an outside area for the extra dots. Finally, I created
a table size map of an area 7 X 7 X 7 miles in size (the Wessex Triangle
has sides 40 miles long. Within the small triangle, which I named the
Silbury Triangle, over 50 Crop Symbols appeared in the summer of 1990
and many of them were the most dramatic of the Symbols, one of which
was this one - from which I managed to translate the words, Tuatha De
- I will leave this one as an armchair riddle for the cryptographers
among the readers. This Crop Symbol , as well as a number of other,
equally complex examples of the phenomena, appeared to be pointing at
Silbury Hill. Which, if you consider Silbury as a symbol of Dana, we
have the completion to the symbol's phrase. I
focused more research on my personal triangle, over 50 Crop Symbols
had occured within it in 1989, and in 1988. And, within this small triangle
of space, are found the most special of England's Megalithic monuments.
At the top of the triangle is Avebury, a stone circle that - I will
let John Aubrey's words describe it, written 300 years ago, he said
it better than I will ever be able to ... "Avebury doth as much
exceed Stonehenge in grandeur as a Cathedral doth an ordinary Parish
Church." ... Today, little of Avebury's past grandeur remains.
Cleric-led mobs in the 17th & 18th centuries smashed most of the
giant stones to pieces. Now only 27 sarsen stones, weighing up to 40
tons remain. Originallay, there were 100. The giant stone circle, already
ancient, when Stonehenge was in its infancy, was enclosed by an earth
bank and ditch 1,300 feet in diameter. The ditch was 30 feet deep, from
the bottom of the ditch to the top of the bank is 55 feet - a lot of
work to contain the ritual energy within. Within the giant stone ring
and earthwork lay two smaller circles, each containing 30 lesser monoliths
- these fell prey to the construction of the small village that lies
within the monument. Also, little remains of the two avenues of stone,
50 feet wide and 78 each a mile and a half long, extending out from
Avebury - creating, when viewed from the air, the headress of Sekhmet.
It has been estimated that this great monument was comprised of 600
stone monoliths - now, virtually obliterated by religious fanaticism
and the avarice of local builders. A fate which gives the wisdom of
foresight to the creators of the second stage of the construction of
Silbury Hill.
Luckily, when Avebury was being systamaticly destroyed, Silbury was
only perceived as a hill - and ignored. Antiquitarians noted that Silbury
had a rather unnatural conical shape for a hill - and the ditch and
bank surrounding it offered a clue that it could be a truely giant man-made
earth mound ... Over the centuries, researchers connected the shape
of the hill to legends linking it with the Earth-Mother and/or the Universal-Creatrix.
As sanity and insight returned to the land, it was also observed how
Silbury differed considerably from other man-made earth mounds around
the world. It has the form of a huge flat-topped cone, covering over
five acres at its base, with a height of 130 feet. The sides have a
remarkably uniform slope of about 30 degrees. With extended study and
the addition of arial photography, an equally uniform, identing effect
(like a shelf) was observed near the top - with that information, more
evidence of inner shelves were discovered. The shelf information was
merged with information obtained from several centuries of tunnel and
shaft excavations, in search of treasure. A major tunnel excavation
was lead by the Egyptologist Sir Flinders Petrie in 1922 - I would guess
that, to take a year apart from Egyptian excavations in their peak era,
he sensed more about the matter than he cared to share. All shafts and
tunnels encountered hard packed chalk just beyond the top soil - logical
in that area, when digging down - most illogical when digging into something
man-made.
Finally, within recent years, with test digs along the slope - it has
been discovered that Silbury was not an earth mound - it is a conical,
step pyramid built of chalk stone - that was covered with earth at a
second stage of work. Carbon studies on artifacts found within the step
pyramid place its orignal creation at a time before the building of
Egypt's step pyramid , which was a forerunner, by centuries, of the
more famous pyramids, such as Giza ... Pyramidologists should take note,
and remember that, the energy spiral within a pyramid is in the shape
of a cone. The now understood form of the real Silbury matches that
spiral cone of energy perfectly - stand on top of Silbury, and you have
no need of archaeological evidence to feel the final effect.