Many of the crop pictures that have appeared in Wiltshire over the past 17 years (from 1990 to 2007) have been located geographically near ancient megalithic sites. Others have shown artistic symbols from our distant Celtic past, such as those found archeologically at Knowth, Skara Brae or other sites of human occupation in the British Isles 4000 to 5000 years ago. 

Recently it was found that quite a few of those pictures concern themselves with megalithic astronomy: whether yearly sundials, monthly phases of the Moon, or 19-year lunar calendars. Here we will continue to analyze modern crop pictures in terms of ancient knowledge, and will show how some of them illustrate yearly solar-lunar calendars, while others illustrate 37-month or even 228-year cycles of our Moon.  

The SETI philosophy: show mathematical, astronomical or calendar systems first  

Before we begin, first a simple question: why would those crop artists show us a series of astronomical or calendar motifs, rather than written texts in modern English or French, if they wish to be clearly understood? Well, during the initial period of opening up a new line of communication between any two disparate cultures, who do not share a common written or spoken language, showing mathematical, astronomical or calendar motifs is often the best way to go.  

Those sentiments have been emphasized repeatedly by the SETI organization, whose astronomers have been using huge, expensive radio telescopes to search for faint, electronically coded messages among distant stars:  

Why look far out into the stars for coded messages from another civilization, when they lie right beneath our feet every summer in Wiltshire fields?

One of the most famous of all modern crop pictures appeared at Windmill Hill on July 18, 2002, just 28 days past the summer solstice of June 20. But no one at the time seemed to realize what this beautiful picture might represent, nor why it was apparently left unfinished, where 28 squares (or diamonds) were left open along its left-hand side:

The answer seems obvious in retrospect, now that we understand how certain modern crop pictures show various aspects of megalithic astronomy. It was just a "yearly calendar" as used in the British Isles 4000 to 5000 years ago. Each year of 365 days was divided into six seasons of 60 or 61 days each. Then each 60 or 61-day season was further divided into 11 weeks containing 5 or 6 days each.  

Their yearly calendar apparently began on June 20, which was the summer solstice then as now. By drawing it in a field just 28 days past the summer solstice, on a modern date of July 18, 2002, while leaving 28 squares open along its left-hand side, those crop artists were simply telling us what day of the year it might be! We can see this more clearly in another photograph that offers a magnified view:  

On the left we can see 28 open squares in total, that have been arranged into discrete rows of 6, 6, 6, 5, 3 or 2. Four of those rows as 6, 6, 6 and 5 would represent complete weeks in their 6 or 5-day, 11-week seasonal calendar. Two other rows of 3 and 2 would represent incomplete weeks.  

Alexander Thom in the 1960's, by a survey of megalithic sites all across Britain, re-discovered several ancient calendars that included 8, 16 and 32 or else 6, 12 and 24 parts per year. In all of those, each week consisted typically of 5 or 6 days, following a general numerical relation of 365 / 32 = 11.4 days for two weeks, or 365 / 16 = 22.8 days for four, thereby averaging 6 + 6 + 6 + 5 = 23 as shown above.

Another megalithic calendar appeared in crops at North Down on July 6, 2003 as shown in the stunning landscape photograph below. It appeared next to a series of four ancient timber henges, and was clearly meant to represent another "timber henge" in the same series:  

When we study North Down 2003 in closer detail, its deeper message slowly becomes evident. It consists of 11 concentric rings plus a smooth outer border. Each ring has been further divided into numerous finely-detailed circles or triangles, that are apparently meant to represent where timber posts would have been sunk into the ground long ago. I therefore counted carefully the number of "timber posts" within any ring, the values of which are shown on a labelled diagram below:  

Counting from the inside, I found 17, 24, 28, 34, 42, 48, 50, 57, 64, 61 or 74 "posts" within each of the 11 rings drawn there. The last two values of 61 and 74 remain uncertain by one, owing to the low resolution of the photograph. What an odd series of numbers! What could they be trying to tell us?  

Somewhat naively, I next added up all of those numbers for the innermost nine rings (long yellow arrow) and found 364. Then I added up all of those numbers for the outermost six rings (short yellow arrow) and found 354. But those are just the number of days within any solar or lunar year, as kept in megalithic times!  

Many timber-ring henges were built in the general region of Stonehenge or Avebury 4000 to 5000 years ago. Those ancient henges appear quite similar to the crop picture that appeared at North Down in 2003. Consider for example the modern-day remains of a henge from Stanton Drew (www.eng-h.gov.uk/archaeometry/StantonDrew):

Nine (rather than eleven) concentric circles were used at Stanton Drew, accompanied by a smooth outer border. Perhaps its builders only kept a 364-day solar year, and not a 354-day lunar year?  

"Are we seeing here a clear communication of ancient knowledge that needs to return to modern society?"---Stuart Dike.  

One other famous crop picture, Normanton Down of July 4, 2002, likewise appeared next to several ancient henge-like structures near Stonehenge. It seemingly illustrated the same, six-season megalithic calendar that was to appear in more detailed form at Windmill Hill only two weeks later. But Normanton Down was drawn in such an artistic style, that its true symbolic meaning in relation to those nearby calendar-henges was not immediately evident  (until now).

Four Mayan-Aztec calendars also appeared in Wiltshire crops from 2004 to 2006. They were based mainly on the famous Sunstone motif, which was a huge stone slab carved by the Aztecs in 1479 (http://en.wikipedia.org/wiki/Aztec_sun_stone).  

That Sunstone contains many different astronomical symbols which represent: (a) periodic sky-cycles of the Sun and Venus, as a "Short Count" calendar that repeats once every 52 years; as well as (b) periodic destructions of our entire planet, as a "Long Count" calendar that repeats supposedly once every 5125 years. Such long-term knowledge would have been based on older traditions going back thousands of years.  

So what did those crop pictures show? Silbury Hill of August 2004 showed a huge Sunstone motif, and told us that 2012 as end of the Fifth Sun was very near. Wayland's Smithy of August 2005 showed another Sunstone motif, and told us that something "astronomical" might happen in August 2007 (if we decoded it correctly).  

Woolstone Hill of August 2005 showed 16 smaller parts of our current 52-year Mayan Short Count, and implied that 2010-2012 would be "different" from 1960-2009. Finally, Wayland's Smithy of July 2006 showed "rays from space". Only slowly did we come to realize, that those rays were meant to represent periodic emissions from our galactic centre, once every 5125 years as for the Mayan Long Count.  

If there was open travel and communication in that era between Britain and central America (where Quetzalcoatl was teaching the natives), then all of those Mayan-Aztec crop pictures could conceivably have been made by the same artists who made Windmill Hill 2002 and North Down 2003. Could both Britain and central America have been remote outposts of a dominant Sumerian civilization, run by a ruling class of scientists called the Annunaki?  

Sharpenhoe of July 15, 2002 explained the lunar symbols used at Stonehenge in 1996. 

So much for yearly calendars: now onto lunar astronomy. The first serious illustrations of lunar astronomy in modern crop pictures came with a series of "lunar phase diagrams" that appeared near Stonehenge in 1996, then later at Windmill Hill 1996, Chisledon 1996 and Milk Hill 2001. No one at the time was sure what those pictures meant. Everyone called them "Julia sets" according to an obscure topic from modern mathematics, especially the most well-known fakers: see www.circlemakers.org/la.html  or www.circlemakers.org/trick2.html.

A few specific quotations from those fakers are supplied below. From the first website cited:

Possibly in frustration at our inability to understand, the real crop artists next sent an incredibly lucid set of decoding instructions to Sharpenhoe on July 15, 2002. Once again, no one made any immediate connection between four Stonehenge-like symbols as shown in the upper part of that new crop picture, and symbols for a crescent Moon or full Moon shown in its lower part:  

Those four small-circle symbols (labelled here in red) mean "new to full", and are almost identical to certain symbols that appeared near Stonehenge in 1996. They were intended there to illustrate a 29.5-day phase cycle of our Moon, as seen at sunset. But no one was listening! It took five more years, and the appearance of a new megalithic sundial at Oliver's Castle in April 2007, before we finally began to understand.  

Why would they send us pictures of sundials, calendars or astronomy, instead of text messages in English or French? Because during any initial period of contact between two disparate civilizations, true communication usually begins with universal symbols from mathematics or science. In this case, modern crop pictures seem to be coming from a very disparate kind of civilization to ours, who lived in the British Isles 4000 to 5000 years ago.

Faced with such a serious mismatch between solar and lunar calendars after 12 years, the megalith builders decided to adopt a somewhat longer period of 19 years for their most important solar-lunar correlation. This was later called the Metonic cycle of the Moon, after the Greek astronomer Meton who re-discovered it in 432 BC.  

Within any 19 solar years there are almost exactly 235 lunar phase cycles, since 235 / 19 = 12.3684 cycles per year versus a true astronomical 12.3683. To be more precise, 19 solar years will contain 6939.60 days, while 235 lunar cycles will contain 6939.69 days, only 0.09 day more. Its astronomical accuracy is superb!  

Now let us try to count 19 solar years or 235 lunar cycles using simple integers. When we use a mean 365.25 days to count 19 solar years, we obtain 6939.75 days which is just 0.15 days in error, versus true astronomical 6939.60. Yet when we use a mean 29.50 days to count 235 lunar cycles, we obtain 6932.50 days which is a large 7.19 days in error, versus true astronomical 6939.69.  

Hence that 19-year cycle of the Moon worked well in terms of astronomy, but was hard to count by means of integral 29 or 30-day lunar months (averaging 29.50).

In order to solve that problem, the megalith builders seemingly adopted a somewhat longer 4 x 19 = 76-year period. This was later called the Callipic cycle of the Moon, after the Greek astronomer Callipus who re-discovered it in 325 BC.  

Within any 76 solar years there are almost exactly 940 lunar cycles, since 940 / 76 = 12.3684 cycles per year. Likewise, 76 solar years will contain 27,758.41 days, while 940 lunar cycles will contain 27,758.75 days, only 0.34 day more. Those numbers are the same as for a 19-year cycle, except four times larger.  

Now let us try to count 76 solar years or 940 lunar cycles using simple integers. When we use a mean 365.25 days to count 76 solar years, we obtain 27,759 days which is just 0.59 day in error, versus true astronomical 27,758.41. Yet when we use a mean 29.50 days to count 940 lunar cycles, we obtain 27,730 days which is a huge 28.75 days in error, versus true astronomical 27,758.75. 

But wait! Our total error in lunar phase counting has now reached 28.75 days after a long 76 years of observation. So if we add one extra lunar cycle of 29 days to any 76-year period (giving 941 rather than 940), then our problem will be completely solved! We will match precisely the solar total of (27,730 + 29) = 27,759 days, and also be just (29 - 28.75) = 0.25 days in error versus true astronomy.  

That 76-year cycle of the Moon worked well in terms of astronomy, and also was easy to count by means of integral 29 or 30-day lunar months (averaging 29.50). It was shown at Gallops on July 28, 2002:

Here we have explained the intended meanings of five more important crop pictures from Wiltshire in 2002 or 2003, in terms of megalithic calendars or lunar astronomy (making six crop pictures in all, if we count Normanton Down). 

None of those could plausibly have been made by local human fakers, who would lack both the required skill to construct in the field such intricate pictures as Windmill Hill 2002 or North Down 2003, and also the prerequisite and somewhat arcane knowledge to design them.  

For example, concerning the three "Julia sets" found at Stonehenge 1996, Windmill Hill 1996 and Milk Hill 2001, even the most respected fakers published reports that included not even a mention of their correct decryptions as "lunar phase diagrams" (see above).  

Who could be making those pictures? The highly improbable truth seems to be that we are receiving messages in Wiltshire crops every summer from the megalith builders themselves, or from another race closely in contact with those megalith builders, across 4000 to 5000 years of time.

How might they be accomplishing such an amazing feat, and why? At Crabwood in 2002, they told us in plain English (coded in 8-bit ASCII) that they were sending messages across a great distance through space and/or time, by means a "conduit" that modern physicists might call a "wormhole".

Then in the summers of 2003 and 2006, they showed us many "closed timeline curves" or wormholes that could be used to send messages from the past to the future, and which modern-day physicists believe are theoretically possible, even though we cannot yet make one ourselves. 

Those same crop artists also told us at Crabwood, "We oppose deception", in a large and complex picture that was drawn next to two radio-TV towers used for mass communication.

Therefore, amidst all of the lies which seem to permeate our modern world, whether "weapons of mass destruction in Iraq" or "Doug and Dave making crop pictures after leaving the pub", personally I would choose to trust what those crop artists tell me (great scholars who seem concerned about one day in 228 years), over what most people in our modern society are conditioned to believe, based on what they read in newspapers or see on TV.  

The level of intentional deception by certain fakers often seems bizarre. See for example www.circlemakers.org/trick2.html, where those fakers associate crop-circle research with various kinds of mental illness or hysteria; while continuing to assert a clearly demonstrable untruth: namely that one of their associates made all of the spectacular crop pictures discussed above and elsewhere, without any reference to megalithic astronomy.