In the 1980s, I started looking at the placements of the many 'WHITE HORSE' carvings in the chalk hills of Wiltshire, England. The positioning of eight White Horses, and numerous ley centres, indicate two large searchlight-beam-like large leylines traverse the area of AVEBURY STONE CIRCLE.
One great leyline comes down from Ivinghoe Beacon in the north-east (direction marked as 'IVING' in diagram), through the Avebury area, and on down, south-west towards Devon, where it goes through a small hamlet called World’s End .
The other great leyline comes up from Winchester (direction marked as 'WIN' on the diagram), through the Avebury area, then hits many special places in Wales. I think it ends up at Holyhead (vis ‘Holy Head’).
Later on, the alignments of the eight White Horse hill-carvings (around Avebury Stone Circle) seemed to make out the shape of the main axes of the 260-square Mayan TZOLKIN matrix…. like two letter Xs, vertically above one another.
Right in the centre of the lower inverted ‘V’ of the White Horse TZOLKIN, is ‘Adam’s Grave’. Adam’s Grave overlooks the field where many of the most outstanding Crop Patterns appeared.
Regarding the amazing Crop Patterns, in 1999, several mediums in southern England received the idea that benevolent ET would cease making Crop Patterns from the year 2000, onwards. It seems apparent, the NWO took over production of all Crop Patterns, around 2000, using advanced technology, similar to the technology benevolent ET used to make the authentic patterns.
I've had to make the diagram from memory, and a lot has gone on since I had these discoveries. It's possible that the Ivinghoe Beacon - Avebury - Devon 'searchlight' ley-beam should be going the other way. When I made this current diagram, I only had a very poor, online map to use, and the White Horses may not be shown in their correct positions. Back in the 1980s, with much better maps, these two 'searchlight-beam' leylines really seemed to be present, both practically and intuitively.
Some of the White Horses have been made in recent times, But just as certain crop patterns turned out to be uncannily appropriate, so too the White Horse carvers could have responded to something in the landscape when they placed their White Horses.
Michael Irving, World-Action
www.michael-irving.com
One great leyline comes down from Ivinghoe Beacon in the north-east (direction marked as 'IVING' in diagram), through the Avebury area, and on down, south-west towards Devon, where it goes through a small hamlet called World’s End .
The other great leyline comes up from Winchester (direction marked as 'WIN' on the diagram), through the Avebury area, then hits many special places in Wales. I think it ends up at Holyhead (vis ‘Holy Head’).
Later on, the alignments of the eight White Horse hill-carvings (around Avebury Stone Circle) seemed to make out the shape of the main axes of the 260-square Mayan TZOLKIN matrix…. like two letter Xs, vertically above one another.
Right in the centre of the lower inverted ‘V’ of the White Horse TZOLKIN, is ‘Adam’s Grave’. Adam’s Grave overlooks the field where many of the most outstanding Crop Patterns appeared.
Regarding the amazing Crop Patterns, in 1999, several mediums in southern England received the idea that benevolent ET would cease making Crop Patterns from the year 2000, onwards. It seems apparent, the NWO took over production of all Crop Patterns, around 2000, using advanced technology, similar to the technology benevolent ET used to make the authentic patterns.
I've had to make the diagram from memory, and a lot has gone on since I had these discoveries. It's possible that the Ivinghoe Beacon - Avebury - Devon 'searchlight' ley-beam should be going the other way. When I made this current diagram, I only had a very poor, online map to use, and the White Horses may not be shown in their correct positions. Back in the 1980s, with much better maps, these two 'searchlight-beam' leylines really seemed to be present, both practically and intuitively.
Some of the White Horses have been made in recent times, But just as certain crop patterns turned out to be uncannily appropriate, so too the White Horse carvers could have responded to something in the landscape when they placed their White Horses.
Michael Irving, World-Action
www.michael-irving.com
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