THE RAIMONDI STELA
An Oopart
in ancient pre-Columbian Peru
Article
written by-il
Pensatore-,
August 14th
2014
(Translated from Italian)
Introduction
I consider the academic archaeology,
as taught in the universities and then disclosed to the public, a
large scam when deals with periods prior to the Classical age based
on ancient Greece and Rome. This becomes even more striking when the
topic is based on civilizations born and developed outside the
European context. The archaeological evidences -i.e. artifacts and
ancient documentary sources- can be dated with a better degree of
verisimilitude when the connected periods are fairly close to us,
because we can observe their cultural and technological evolution -in
form of written documents, graphical representations and
technological innovations- developing throughout the centuries and
arriving until today. However, be careful my dear Reader, since
everything is sieved trough the grid of the establishment. For
explaining this concept I want to make the following example. During
the so-called barbarian invasions, the Western World lost a huge
amount of very precious books, but - according to the official
mindset - there is no mystery about this loss: the main reason was
the indiscriminate destruction of libraries perpetrated by the
invaders… but in reality not the only one. The official
historiography always neglects to give the due importance to a
pivotal event; after 314 AD, Constantine the Great was the unique
owner of the Roman Empire, he stopped the persecutions against the
many and different Christian sects and, above all, after the Nicene
council –this was a big and fundamental meeting of bishops and
scholars that lasted from May 20th
to July 25th,
325 AD- he started to give important positions inside the
administrative power to Christian functionaries. This practice grew
with his sons and successors, Constantius II and Constans, who began
also to discriminate the pagan subjects, but without the use of
violence against the traditional Roman temples and simulacra.
But those bishops forming the emerging, powerful and dreadful Roman
Catholic faction did not accept other competitors: the emperor
Theodosius the First was a very devout Nicene Christian and declared,
in February 27th
380 AD, the Roman Catholicism as state religion. The true winner was
Ambrose (Aurelius
Ambrosius) bishop
of Milan; he was the most important imperial counselor and also a man
full of rancor toward other people’s opinions. Ambrose convinced
Theodosius to impose, even with the use of violence, the Roman
Catholicism as the only creed permitted in all the Empire,
promulgating the so called “Theodosian Decrees”. So, in 391 AD,
the persecutions started against the pagans -who, anyway, were still
the majority of the population inside the Empire’s borders- and
also against all the symbols of ancient gods. The other different
Christian sects were ravaged without mercy too. Surely the books were
a legitimate target: at that time, the Christian literature was at an
embryonic state compared to the immeasurable Greek-Roman literature.
Many public libraries were dedicated to ancient gods, some others
were installed inside shrines. A the beginning of the 3rd
century, emperor Caracalla closed the Musaeum,
the huge building that was the main and first location of the very
famous Library of Alexandria. Many years later, in 264 AD, the books
were relocated in the Serapeum
of Alexandria, shrine dedicated to Jupiter
Serapis. A few
weeks after the “Theodosian Decrees”, the shrine was destroyed
completely by a crowd of Christian fanatics acting on behalf of
bishop Theophilus; the books burnt together with many other absolute
masterpieces of Art, such as sculptures, mosaics, frescos and
paintings. This is an useful way always loved by the power -above all
when it is undermining an older one- for deleting concepts, ideas,
memories and for perverting the History: the nazis were not the first
to burn books. It has always been told that the medieval monks were
the saviors of the Western civilization, during and after the
barbarian invasions; sadly, this is just partially true. The
amanuensis
monks, during the Middle Ages, had the complete possibility to choose
–through the repeated copy of the original old manuscripts- what to
transmit to the posterity and what don’t. That was the first kind
of censorship applied in the Western World after the fall of the
Roman ecumenism, with the plain purpose to allow the surviving of
ideas, concepts and memories in line with -or, using the opportune
manipulations. could be in line with- the Papal supremacy, because
this one was the power’s intolerant ideology and not just its
simple religion. Probably, the so called Barbarians
were less barbaric than, or at least as barbaric as, many fanatic
Christians who inflicted to other people –but with an extension a
lot wider- the same persecutions that some Christian followers
suffered at one time. Even the masterpieces of the Greek-Roman canon
were vandalized because of the nudity and because often showing the
ancient gods; the Taliban, when destroyed the icons of Buddha in
south Afghanistan, were not the first to demolish the relics of past
religions1.
Therefore, the sublime
artistic value of the very famous bronze statues from Riace, Italy,
(I Bronzi di Riace)
is absolutely pertinent to the most sumptuous period of ancient
Greece, when operated such sublime artists as Phidias, Polykleitos
and Praxiteles; at that time, is positively established the high
Hellenic mastery2
in metal casting technology. Then this artistic inspiration and the
manual ability were transmitted to Imperial Rome and further
enriched. With the fall of Rome many traumatic changes occurred
throughout the Old World: those knowledge heritage, skills and
crystallinity of views decayed during the next Middle Age (up to
Nicola Pisano: this multi-faceted genius for me marks a pivotal
moment). The European artists, followers of that past splendor, found
themselves unable to rise to the levels of their ancient inspiring
and far mentors. In this deficiency they were the sons of their
cruel, bigoted and asphyxiated time. This can also be seen in the
delay with which the majesty of buildings such as the Parthenon, the
Pantheon and the Imperial Basilicae,
just to name some of them, was first equaled and then in some cases
exceeded by Gothic cathedrals. Namely, during the Dark Ages, European
sculptors and architects even if are not starting from zero, in
reality they have practically almost to improvise. This means that,
for example, at the time of Charlemagne, the construction of the
Mausoleum of Halicarnassus3
and the creation of the Discobolus
of Myron were truly impossible, they would have been OOPART, i.e. of
Out of Place Artifacts. All this notwithstanding, I repeat, the
European civilization had, parked into oblivion, all the knowledge
and skill to continue on that bright path: the fall of the Roman
world had signed a hiatus,
its ideals had been almost destroyed. But if this sort of handicap is
surely true in a period of decline which follows a period of
splendor, it's strongly truer and oppressive when it is referred to a
civilization that in its past -i.e. the cultures of the so-called
Formativo Inicial-
didn't have, as well as in its present -precisely the period Chavín-
doesn’t have and even will not have in its future either the
technology or the skill and the appropriate gesture, during the
apotheosis of the Inca period. There is no sign, no hint, that could
match the sublimity of that peculiar and elusive intermezzo
–i.e. the monolith that we will see below- according to the
dictates related by the captious official archaeology; I'm referring
to the succession of civilizations in the ancient Peru until the
arrival of the Conquistadores,
in particular to
the so-called Chavín
de Huantar age.
This may sound like a rhetorical assertion, but actually reflects the
situation of an enormous amount of knowledge and artifacts of
civilization very far away from us in time and distance, for example
the pyramids of Giza, the astronomical knowledge of the Mayas, the
cyclopean walls of Sacsayuhaman
on the top of
Cuzco, the Trilithon
of Baalbek in
Lebanon (just to name some examples). All these are archaeological
evidences in front of anyone, but the pharisaic official scholars
distort, pervert and displace temporally them to their use and
consumption. In this article, for obvious reasons of brevity and lack
of financial resources to go wherever I felt the need, but above all
for personal sympathy towards the topic, I will focus on an element
belonging to the pre-Columbian world, to the pre-Inca period of that
huge area known, in its apotheosis, with the name of Tahuantinsuyo,
i.e. the -Empire of the Four Corners of the World-, exact name of the
Amerindian Empire with capital the Andean city of Cuzco, which in
Quechua
language4
means –Navel of the World -. I'm talking about the so-called
"Antonio Raimondi Stele”, unique and unappreciated artifact.
The
discoverer
Antonio Raimondi5,
who was this man? Yes, he was one of the many that, in our history,
have left a forgotten inheritance even if very precious: one of those
who have made for the neighbor and the posterity a lot more than many
of us might be able to do, but he never will reach in his homeland
the reputation of Piero Angela. He was first a patriot on the
barricades in Milan, between March 18th
and 22nd,
1848, and then, due to the final Austrian victory, an exiled in the
New World, where he arrived with no means but rich of genius; Peru
became his new home. That nation was still consolidating its
independence and identity, since it was for a long time, thanks to
the city of Lima built three centuries earlier by Francisco Pizarro,
the cradle of the Hispanic Viceroyalty in South America. He was one
of the first foreign teachers at the University of Lima and one of
the founders of the Faculty of Medicine, but above all he was the
first modern explorer of those places, which traveled in every
possible direction. Talented illustrator, Raimondi has left thousands
of representations of plants, landscape and pre-Columbian artifacts.
He was an Indiana
Jones that has
existed for real, but with his hands without the blood of his fellow
man. When the
young officer Leoncio Prado6,
son of the constitutional President of Peru Mariano Ignacio Prado,
was missed during an exploratory mission led by a platoon of soldiers
in the Amazon jungle, Raimondi, assisted by some native guides, was
able to find and bring him back to civilization safely. It does not
appear that he loved guns, but he became skilled to use the machete
to open the path in the tangled rainforest. When the city of Lima, at
the end of the South-Pacific war, was occupied in January 1881 by
Chilean soldiers, he exhibited on the balcony of his house the
Italian flag and, during that long terrible period, tens of people of
every gender and age were able to find there a shelter, escaping from
the violence constantly committed by enemy soldiers. So big was his
prestige that de
facto the big and
old mansion became a territory protected by diplomatic immunity.
Nowadays, two of the best schools in the Country have his name.
Picture I-Antonio
Raimondi and the top of the statue to him inspired in the limeña
square that could only be called Plaza
Italia
The
discovery
In 1860, Raimondi was investigating
the vast archaeological site currently known as Chavín
de Huantar7
and was
approached by a farmer, the native Timoteo Espinoza, who spoke in
Quechua;
no problems at all, the Italian explorer was already very fluent in
this language. More or less, the campesino
told him: "Stranger,
I know you are looking for ancient things, so do you want to see
something really unique?”.
In the following, almost farcical, way happens one of the most
important discoveries in the history of American archeology; below
the Italian’s amazed eyes, the great stone slab used as dining
table, at the Espinoza’s home, shows her truly identity: a
magnificent, very ancient, finely and intricately carved stele. These
are its measures, height 198 cm, width 74 cm, 17 cm thickness. It
depicts the so-called Dios
de Los Dos Baculos,
i.e. the – God with two sticks-. Despite its obvious importance,
this relic remained in oblivion for thirteen years; finally,
President José Balta ordered the transport in the capital. But the
vicissitudes were not finished: during the looting perpetrated by
Chilean soldiers in the first months of 18818
against all the Peruvian cultural heritage, the stone, still wrapped
in a heavy blanket, was struck by those who were plundering the Museo
de Historia and
fell badly on the floor, breaking in two pieces. When the looters
looked at what lied at their feet just saw the back completely smooth
and did not gave further importance; thus the Raimondi stele remained
fortuitously in its Peru. In 1940, it suffered another shock but with
minimal consequences: the great earthquake of that year caused the
rupture of some parts of the frame.
The stele
Picture II
– the original
Picture III:
graphic transposition with better resolution
Picture IV:
thanks to this comparison, we can see that the central figures,
flipping the stele, have another expression
In August 2001, I could directly see
this masterpiece at the
Museo Nacional de Arqueología Antropología e Historia del Perú,
that los Limeños
call proudly and simply
El Museo de la Nación.
Thanks to the fact that, in those days, I was involved in the
excavations at the Huaca
Pucllana9,
a pre-Inca site located now in the current context of Lima, I was
allowed to get close and make some summary measurements about which,
unfortunately, I am not satisfied at all. I was not allowed to put on
the surface of the stone either the centesimal gauge or the measuring
tape. In addition, since that time the Museum was preparing a new
edition of the catalog, the Director denied also the permission to
take some photographs of any exhibit and above all of the stele; at
least, I was allowed to touch it with bare hands and that, for its
time, was a real concession. Apparently, in recent years, since there
are several pictures portraying the stone available on the Web,
something has changed in the direction of that Museum. The
protagonist is literally a dwarf of about 90 cm, with his head
covered by a full helmet depicting a large feline, probably a jaguar
or puma. This helmet/mask is surmounted by a series of complicated
elaboration of feline and snakelike elements that take turns to each
other, especially big snake heads. Flipping the picture the
expression of various characters changes, the feeling is the
transition from threat to happiness. This technique, which in the
Raimondi stele reaches the climax, is indicated by Prof. N.J.Wade10
as -Binocular Rivalry- (or Contour Rivalry). In short, this
phenomenon describes the effect of visual perception of different and
alternate contiguous images, shown at the same time to both eyes. The
first scholar to become aware of this very intriguing phenomenon was,
according to Wade, the Neapolitan mathematician and physicist – but
especially alchemist- Giambattista della Porta; the argument is
explained, for the first time in literature, in his book
De Refactione Optces,
1589. Now I urge you to look carefully at the pictures of the stele:
technically speaking, it presents the most carved areas all around
the figure (i.e. along its boundaries); this contrivance allows the
figure almost to emerge from the frame, having a three-dimensional
effect of some sort. The pygmy’s features and the ones belonging to
the other figures - i.e. the marks on the central part- are generally
less deep; the same it’s true for the two sticks. The external
carved sectors have a consistent depth of about 3 cm (surely not
deeper than 5 cm) and the angle of 90° is respected along its entire
perimeter. I was literally astonished when my fingertips could feel
that perfect and continuous edge –truly almost cutting- as far as
my hands arrived. Instead, the lines (we can certainly call them
continuous engravings, rather than superficial graffiti)
forming the dwarf’s outlines have a consistent depth of about 3 or
5 mm and an equal width; the same it’s true for the headdress. The
pygmy’s nostrils, the dragons’ eyes -or the big snakes forming
the central headdress sector on the mask- have a depth apparently
equal to the areas carved between the figures and the frame; even the
90° angle is respected. At the touch, the inner surface of the
figures is almost mirror polished, it is interrupted only by the
figures’ outlines and the diagonal split -the sad memory from 1881-
immediately above the helmet/mask. My fingertips don’t perceive any
coarseness; same for the sides and the posterior part, which are
completely devoid of engravings. Also the lateral carved sectors are
very smooth. The character is enclosed in a frame about 3 cm thick;
that thickness is consistently maintained along the perimeter of the
stele. All the different measures: depth, width, straightness, curves
and angles are almost always consistent; i.e. there are no
deviations, the few errors are subtles; the repetition of the
drawings is precise. Where this precision does not exist, I think
about flaws, first of all, due to the effect of weathering and the
vicissitudes of Millennia, rather than to the author's mistake. The
execution seems to have been made by placing on the surface of the
slab a sheet of graph paper, on which was drawn first one half and
then symmetrically the other. Antonio Raimondi wrote, among other
things, regarding this topic in the report sent to the Government in
Lima: "This
stone is worthy of great respect for the complicated and refined
design, for the amazing and precise symmetry; you notice a work so
difficult that the best artist could not overcome this
perfection."11.
Over a century later, in his masterpiece Historical
Atlas and World Mythology,
prof. Joseph Campbell12
speaks of the chisel work necessary to reach such a preciosity but
without facing the question of its working methods. In addition,
since Campbell was also a brilliant scholar (and likely practitioner)
of esotericism, he believes to find -hidden in the complicated
pattern- the fourth chakra of Hinduism, that of the heart called
Anahata,
which in this case symbolizes the union of immanence and
transcendence. At this point it is necessary to speak about the
period in which this extraordinary artifact was created: well, the
official historiography attributes it to the Chavín
culture, existed in Peru between 1200 BC and 200 BC. Nowadays, its
most important location is the huge archeological site named Chavín
de Huántar,
Conchucos
Valley (3,180 m above sea level); current province of Huari,
Department of Ancasch,
approximately 462 kilometers Northwest of Lima. The etymology of the
name Chavín de
Huántar is
obscure13
and the language is Quechua.
However, very probably this denomination is more recent than the
period in question; therefore, it is not certain that it was the name
used by the natives to indicate their nation. Generally, it is
recognized as the most important pre-Inca period, albeit still dotted
with more gaps and questions than certainties. The supposed date of
the stele’s manufacture collecting the wider consensus is proposed
by Campbell, i.e. around 900 BC. However, the official historians
making this declaration wrap themselves in a huge contradiction: why?
Simple: the Spaniards, when face and destroy the great pre-Columbian
civilizations, have the good fortune to come across enemies that
cannot defend themselves with similar advanced weapons. The Aztecs,
Mayas, and Incas have a primordial metallurgy: they do not know
either the iron or steel; in South America, the first attempts to get
the bronze casting (the bronze is an alloy produced by combining
copper and tin) is supposed to have occurred only after the 9th
century AD; for instance, in Europe at that time the bronze was used
just as material apt for sculptures using the casting methods,
starting from the 10th
century BC at least. However, according to the official
historiography, metallurgy has always represented a minor entry in
the economy of that time, even during the Inca imperial age.
The
material
At least, this is true according to
the agenda asserted by the academic establishment. Gold, silver, and
copper are malleable metals and for this reason, in the context of
human progress, have given way to those harder and resistant, in
order to create more robust tools for all kinds of jobs. Even if more
resistant than copper, bronze remains fragile and to overcome this
problem it has to be used in large quantities for each product; for
example, statues, bells and cannons. The so-called Chavín
did not know even the bronze but had the ability to create this gem,
working a huge granite block and using even ridiculous tools: this
can't have happened! Let's see why. Granite is rock of igneous origin
which, technically speaking, is described as very hard; using as
reference point the Mohs scale, some types of granite have a hardness
of level 6 while others have 7. Just to be clear, the marble has a
level between the 3 and the 4 while the diamond is at the top with
level 10. The empirical utility of the Mohs scale is given by the
following criterion: each item is able to scratch what precedes it
(i.e. lower-level ones) but not vice versa.
Mohs Scale
Tender
(it is possible to
scratch them with a finger nail)
- talc
- chalk
Semi-hard (it
is possible to scratch them with a metallic point)
- calcite
- fluorite
- apatite
Hard (it
is not possible to scratch them with a metallic point)
- orthoclase
- quartz
- topaz
9- corundum
10 – diamond
Vickers Scale
But here I must cite a thing: almost
up until today, in reference to this stele was always spoken of
granite in the broadest sense of the word: instead, in 2009, Prof.
George Rapp14,
a very famous geologist at the University of Minnesota, asserts it is
made of diorite. Without falling into disquisition if the diorite is
a rock of granitic type or a different kind, this means that its
hardness tends more toward the level 8 than the 7 properly said. The
table following the Mohs one permits to compare the granitic rocks
with other elements using the more recent Vickers scale. We can see
that the granite is almost hard as the modern tempered industrial
steel, even if the last one usually contains, besides carbon, also
others components as chrome, molybdenum and vanadium, at least. The
quartz is even harder than the hardened steel. The next one is very
updated and has been elaborated by BTI, a Canadian leader industry in
breaker technology, showing, among other elements, the high diorite
hardness15:
The first sculptural works
representing perfectly the human body, as I already said, belong to
the classical Greece, where immeasurable artists had adequate tools
made of iron, perhaps even of steel (chisels, hammers, wedges, files
etc. ), to work the marble, a material not hard and not resistant;
however, they have never dared to tackle similar endeavor against the
granite. It is true that this stone was also used in remote
antiquity, for example in Egypt and Mesopotamia, but never to produce
refined objects in which the accuracy of the workmanship was
essential to compose features and the 3D effect: the granite was
usually used for flooring, building colonnades and partition walls;
attempts to sculpt statues have given rough and summary results,
though of very high artistic value. And if possible otherwise the
great artists of the Greek canon would have used it certainly. Ops,
excuse me, instead -in places as, above all, Egypt, Mesopotamia,
Latin America and with a little smaller percentage everywhere- there
are many other intriguing “eyesores” that are at same level of
the Raimondi stone but, I beg your pardon, in this work I have time
just to cite an handful of them in a further page.
The
Processing
The granitic rocks (and the similar
ones, including the diorite) are highly resistant to any kind of
friction, to the high temperatures and to the acids. To be able to
cut pieces of granite that were truly slabs correctly formed, I mean
with a perimeter having four angles of 90° - i.e. perfect
parallelepipeds -, it had to wait for the invention of the helical
steel cable twisted-wire, with splinters of diamond on pulley leaf,
dating back to the end of 1800. To further refine the working process
the Italian Luigi Madrigali16
invented thirty years ago, the steel wire with cylinders of steel
alternating with globules of synthetic diamonds on rotating support.
Especially, nowadays to obtain
grooving, precise engravings equal to the figures’ lineaments in
the Raimondi stele, it is necessary to use drills with
diamond-tungsten bits having a thickness of few millimeters (or
military type laser); no one would dream to use hammer and chisel
because such precision is unattainable with similar means. An ironic
example, the woodsman’s ax is not suitable for cutting a nice,
thin, round slice of mortadella.
For each purpose that involves
precision and refinement must be put in place the appropriate mode,
otherwise the intent fails. I will make other examples: the surgeon’s
lancet and the butcher’s knive have blades very sharp, but no
surgeon will ever use the second to operate on the pancreas.
The power of the
kinetic energy delivered by explosive ordnances is calculated using
the kiloton, a kiloton is equal to the explosion of a compact mass of
one thousand tons of TNT. The Little
Boy bomb dropped on
Hiroshima on the 6th
August 1945 (8:15 local time) was approximately 16 kiloton; before
that very infamous day, between the 13th
and 14th
February 1945, within less than 24 hours, the German city of Dresden
was buried by 3,900 tons of conventional bombs dropped by the
liberators. In short, you can blow up all the TNT that you want, but
to get radioactive radiation the condicio
sine qua non is the
nuclear fission of uranium 235, or plutonium 239, highly
concentrated. The human being to self-destruct himself with his own
hands has used explosives since the middle Ages, but to get the
quantum
leap of the atomic mushroom cloud had to wait that, in the -Manhattan
project-, the Oppenheimer’s genius had the appropriate technology.
Proceeding with this discourse, the amount of pressure in kg per cm2,
exercised for the purpose of obtaining the complex figure portrayed
on the stele, with the unsuitable utensils of all pre-Columbian
civilizations, could obtain either the destruction of the same tools
or to irregular block split, probably even both effects. Nowadays it
is impossible to have at your disposal a copper saw, similar to the
ones used during the
Chavín de Huantar
period, of at least 150 cm in length (attention, anyway nobody has
been able to find such a big saw in any archaeological site in the
New World). Therefore, dear reader, I encourage you to buy a modern
handsaw in any hardware store: try to cut a simple diorite stone
(it’s possible to find it in geology and mineralogy stores), after
having put it in a bench vise, you'll see the tool's teeth scraping
in vain first and then overheating, bending and losing the edge. Try
with the help of a friend, I mean: you on one side and the other
person on the opposite, so you will develop the friction faster on
the rock... and in this way you can damage earlier the saw and save
time, instead of making useless experiments. The intent can only get
a very gaping cut at its inception and coarsely wavy along its depth;
given the hardness of this particular stone is absolutely impossible
to get a clean and perfectly perpendicular cut with a normal manual
modern tool, although the saws that we can find at our trusted
shopping centre are made in highly tempered carbon steel. The
friction increases exponentially and therefore the generated heat
damages the same blade’s molecular compactness; even any water
cooling intent, however, wouldn’t truly change the situation, while
the structure of the diorite endures ineffable. Or, buy an already
polished granite slab, in a normal building store, and try to draw on
it some fine engravings, long, deep and precise as those of our
stele, using just the normal hammer and chisel and you'll feel
immediately frustrated to death. If you want to use a drill with a
steel tip therefore you will get hungry even more; the next step is
to spend an important sum to buy another fast and powerful drill,
connected to a vertical column, with many diamond and tungsten
carbide tips (of the most subtle types, please), and only then you
will be able to achieve some success! Same problems for getting that
high honed surface, almost a mirror: try to use on it a porbeagle
shark skin, if you're so lucky to find it on sale somewhere, or try
with a small pile of normal sand held in the palm of your hand,
because these were the poor tools that people, still not able to
forge files used daily (files however unsuited to smooth mirror-like
a material harder than marble). If you want to play a game to the
brink of insanity, challenge directly a huge and shapeless boulder of
diorite with all the tools that you can buy at the Mall - but without
absolutely contact a specialized industry - therefore see for how
many minutes you can avoid to send all to the hell ... and do not
forget that, for the Pharisaic official science, the metallurgy
during the Chavín
age did not go further the copper! Absolutely another matter is
sculpting limestone blocks: these, because sedimentary in nature, are
much more brittle; this has allowed their use even by populations
without metallurgy, thanks to a particular stone readily available on
the terrestrial surface, usually
oval in shape and hard enough to sculpt and square also tuff blocks,
the so-called choppers.
The
"three-age scheme" and the partial fake of the meteoric
iron
The material forming whatever
artifact is closely related to the tools necessary for its
processing: now, dear Reader, accompany me in the vivisection of a
dogma which dominates us from the good and innocent times at the
primary schools. It's a journey devoted to demolish a mummified
assertion that
continues to exist only because it is convenient, and then is also a
pretext for a broader purpose. At the dawn of the Enlightenment, on
September 12th
1734, in front of his fogies colleagues of the Académie
des inscriptions et Belles-Lettres,
the Jesuit and French archaeologist Nicolas Mahudel exposes, through
a long and detailed oral dissertation, his theory on the evolution of
the human civilization: is the famous -Scheme of three Ages-, i.e.
the stone age, the bronze age and iron age17.
This categorization was rejected for six years by the distinguished
body, until it was accepted in 1740; it is
simple, without explicitly
attacking the biblical account in the –Genesis- book, it offered an
interpretive grid alternative to the Catholicism’s teachings. It's
a worth noting element: with a century ahead on Charles Darwin, this
important but unappreciated scholar identifies an evolutionary flow
almost constant in the history of the humanity, starting from a
condition almost miserable and arriving, thanks to a gradual and
increasingly sophisticated technological manipulation, to the sublime
levels of the Greek-Roman antiquity, and so on. This periodization
has been accepted by all scholars substantially, especially in the
light of the next great consent obtained by the Darwinian
evolutionary theory and the advent of Positivism. The problems start,
at the end of 1800, with the beginning of the great archaeological
expeditions conducted by the most famous German and British
orientalists in the Near and Middle East. Oh well, already some jams
were caused by Heinrich Schliemann, between 1873 and 1890, especially
with the discovery of Troy, but also with the excavations at Tiryns
and Mycenae; though not an official researcher, he was a brilliant
amateur, but anyway just an outsider. Thanking to the advancement of
technology and chemistry at the end of the 19th
century, stratigraphic investigations allow the scholars to
understand that Schliemann's findings show a society highly developed
prior to the period of the epic Trojan saga (12th-11th
centuries BC). The studies conducted by Prof. Carl W. Blegen of Yale
University, between 1932 and 1938, are the ultimate evidence: the
remnants of the primeval core (so-called-Troy 1-18) belong to a
period between 3000-2600 BC. These new achievements show an ancient
civilization that can almost rival the first Egyptian dynastic
period; yet in the coastal region of Anatolia, where is the hill of
Hissarlik-Troy18,
according to the previous studies it was considered highly unlikely
that such a level could exist at that time. The tree-age system
starts to look like a shirt that tightens more and more on a child
that, in full development, continues to grow, until that the person,
become an adult, continues to bring that skimpy, miserable and
swinging garment, in spite of the obvious ridiculousness. But there
is no scandal: as long as, in the community of scholars, the
proverbial Baby does not scream: “But
the King is naked!",
the big forgery continues to be taught. Things get more and more
complicated for real when the credited intelligentsia arrives in
Egypt and in Mesopotamia; so, in short, what happens? It happens that
many exhibits of fine workmanship appear to be more ancient than the
period within which they should be inserted, following the simple
subdivision canonized by academic researchers. In other words, the
antiquity of many artifacts push to backdate the use of iron, as
obvious product of developed stages, in antecedent eras. At the end
of 1800, it was possible to date an artifact not only about its
apparent characteristics but also in the frame of the geological
context in which it was found: the chemical analysis allowed to
identify with good approximation the epoch of the outer layers of the
Earth's crust. Consequently, when an iron object - or a product whose
manufacture indicated the use of iron tools - was found in a layer
more ancient than expected it was necessary to backdate the discovery
of iron. The three-age system, although useful conceptually, goes
almost into lethal crisis when, at the beginning of the Fifties, it
is invented the carbon 14 technique for dating, this isotope is also
known as radiocarbon19.
In short, thanks to the decay of this radioactive isotope present in
organic material, it is possible to calculate the age of the specimen
up to about 60,000 years before the current time (taking as terminus
ante quem the
1950); nearer is the period of the artifact in question -the Sumerian
period, according to these parameters, is to be considered almost
very near- and greater is the dating accuracy. Thus, for example, if
the inner layers of an iron blade have organic elements which date
back to 2500 BC, consequently, it must be said that that knife was
built long before the period considered usual. To avoid that the
tripartite system could enter in collapse, the metallurgical period
has been consistently adapted and extended almost until prehistoric
times, even adjusting it about the geographic realities. In short,
the metallurgic composition, updated, reloaded and fixed, still is
taught at school; though a keen and independent eye cannot fail to
identify temporal contradictions that can defined real enclave,
where the same observer can find (actually many) artifacts that are
strongly in contradiction with the overall context. The official
scientific community uses the discovery of meteoric iron in the
intent to finally solve the problem. The finding of objects made of
this unique mineral, literally fallen from the sky, is a very good
excuse to explain the existence of a cumbersome and “uncomfortable”
amount of iron produced during very ancient times, anyway times
lacking the most basic tools for mining (attention, this is the
version according to the official historiography). This is a real
mess-up allowing to explaining how the debut of the iron age20,
in form of ornamental objects, was backdated up the 3rd millennium BC
in Africa, particularly pre-dynastic Egypt. Therefore, while unable
to exploit the deposits they had under their own feet because they
didn’t have the means, the Africans were so lucky to rely on the
meteoric iron just because it was there, before their eyes and ready
to be exploited. However, I know that no tool has been found made of
meteoric iron, really capable of any hard utilization, that can be
attributed to that remote epoch. In fact, there is another problem:
this mineral is composed of a
very complex and very resistant alloy, impossible to work profitably
without suitable metallurgical tools (particularly blast furnaces and
refractory crucibles to very high temperatures required for fusion).
In short, people without the apt technology cannot achieve results
that require certain interconnected factors. To this end, it is
interesting to note how the meteoric iron is always appreciated for
forging high-quality blades21
(called -combat ready-) very difficult to craft, since in fact it is
a real steel waiting to be worked22.
The problems are not finished, until the beginning of the 90's of the
last century, it was supposed that the steel was an innovation
related, chronologically speaking, to the 3rd
century crisis of Imperial Rome and the Mongols’ invasions from
East; yet recent discoveries backdater its use up 2000 BC, I am
referring to the artifacts from Kaman-Kalhoyuk in the heart of modern
Turkey, found and studied by the Japanese researcher Hideo Akanuma23,
between 2006 and 2008; they were manufactured in steel with high
carbon content in a context that plays havoc with the previous
hypothetical scenario.
Anyway the tripartite scheme -then become quadripartite due to the
copper entry- is still there to be taught ex
cathedra, instead
of being thrown in the trash can coram
pupulo.
But you and I can see that
these abnormal contradictions of time and place, these alluring Out
Of Place Artifacts, rather than marginal enclave
appear as real eczema spreading on the sick tissue elaborated,
written and sponsored by the “Mafia of the Knowledge. Very valuable
contemporary scholars such as, Kristian Kristiansen24,
Graham Connah25,
Peter Bogucki26,
David Browman27,
highlight the oversimplification, gaps and inconsistencies of the
entire system, but they avoid to bring to the fore the hints present
incidentally in their strict deductions. At this point it is
necessary to focus on the article
-A Short History or f Metal-
written by prof. Alan W. Cramb28,
one of the leading experts of metals engineering; in reference to the
history of iron he writes:
“Iron was available to the
ancients in small amounts from meteors. This native iron is easily
distinguishable because it contains 6-8% nickel. There is some
indication that man-made iron was available as early as 2500 B.C.,
however, ironmaking did not become an everyday process until 1200 BC.
Hematite, an oxide of iron, was widely used by the ancients for beads
and ornaments. It is also readily reduced by carbon. However, if
reduced at temperatures below 700-800 C it is not suitable for
forging and must be produced at temperatures above 1100 C. Wrought
iron was the first form of iron known to man. The product of reaction
was a spongy mass of iron intermixed with slag. This was then
reheated and hammered to expel the slag and then forged into the
desired shape. In the early days iron was 5 times more expensive then
gold and its first uses were as ornaments. Iron weapons
revolutionized warfare and iron implements did the same for farming.
Iron and steel was the building block for civilization.
Interestingly, an iron pillar dating to 400 A.D., remains standing
today in Delhi, India. Corrosion to the pillar has been minimal a
skill lost to current ironworkers. Iron is rarely found in its native
state the only known sources being Greenland where the iron occurs as
nodules in basalt that erupted through beds of coal and two very rare
nickel-iron alloys. Iron's symbol is Fe from the latin . .
These seven metals:
gold, silver, copper, lead, tin, mercury and iron, and the alloys
bronze and electrum were the starting point of metallurgy and even in
this simple, historic account we find some of the basic problems of
process metallurgy. The problems are:
The ores must be found, separated
and sized before use.
The ores must be reacted under a
controlled temperature and gas atmosphere.
The liquid metal must be collected
and cast into a desired shape.
The metal must be worked to
achieve desired final properties and shape.”
And I add also the difficulty to
find and to recognize the heat-refractory material suitable to build
functioning furnaces: then we come to understand how the native
Peruvians29
of that era were literally unable to have adequate tools to work this
amazing monolith. I will say more: what I affirm must to be extend to
many other artifacts, including (just to name someone, the list is
very long) the so-called sarcophagus of Cheops, the Aztecan Piedra
del Sol and the
Hammurabi stele. In the face of these same inconsistency and
illogicality blatant official academic dogma, Joseph Davidovits30
says that the Egyptians had a technology so advanced to pulverize
first the huge limestone blocks, weighing from 2 up to 15 tons, and
after to reorganize them on the pyramids’ ramparts, but what in
reference to the gigantic granite blocks? On this topic it seems that
Davidovits does not take position. Now, I find useful to report some
excerpts from the fundamental book The
Piramydes and Temples of Gyzeh,
written by Sir
William Matthew Flinders Petrie31,
one of the
greatest Egyptologist
of all time:
-We
now know, however, that jewelled saws and drills were the tools used
by Pyramid builders; and the rough stone hammers are of exactly the
types belonging to the rude remains of Ptolemaic times.-
[…]
-The
amount of pressure, shown by the rapidity with which the drills and
saws pierced through the hard stones, is very surprising; probably a
load of at least a ton or two was placed on the 4-inch drills cutting
in granite.-
[…]
-Yet
these grooves cannot be due to the mere scratching produced in
withdrawing the drill, as has been suggested, since there would be
about 1/10 inch thick of dust between the drill and the core at that
part; thus there could be scarcely any pressure applied sideways, and
the point of contact of the drill and granite could not travel around
the granite however the drill might be turned about. Hence these
rapid spiral grooves cannot be ascribed to anything but the descent
of the drill into the granite under enormous pressure; unless,
indeed, we suppose a separate rymering tool to have been employed
alternately with the drill for enlarging the groove, for which there
is no adequate evidence.-
Surely those very ancient builders
used - jewelled saws
and drills- but
also many others tools and machineries. Whatever point of arrival is
the end of a chain: I mean that the result represented by a drilled
granite rock –as described by Sir Petrie- assumes an advanced
technology and the co-existence of many and precise factors. To apply
properly a pressure of some –probably many- tons on a drill having
a diameter of 4” it’s necessary a very complex, powerful and
sophisticated equipment, not just the simple brutal force created by
a brigade of men. Just the simple addition of diamond splinters on
the top of a hardened steel point it’s a very costly and difficult
operation even today. Again I want to propose some examples. Even if
the sand is very hard and exists from the dawn of the times, it was
used -as a tool for smoothing down whatever surfaces - just in the
palm of the hand until the 13th
century AD, when, in China, somebody began to use the natural gum to
glue sand, crushed shells and seeds on parchment. We can imagine a
copious crew of castaways on a desert island with a chainsaw without
gasoline, they will never be able to cut a tree trying to rub the
simple chain against whatever trunk; instead they will be obliged to
assemble stone axes and to act as Neanderthals. From the time of the
Phoenician supremacy on the Mediterranean Sea, the man has been able
to build the powerful trireme,
so lethal to destroy with its rostrum
the enemy vessels, but for breaking the polar ice it is necessary a
modern and apt steamboat. Beside, it is very interesting how Sir
Petrie shows implicitly that the more recent Ptolemaics were a lot
less advanced than the ancient pyramids builders; and what is a pity
is that no one of the ancient drills ha been ever found. Above all,
what is truly a pity is that Petrie did not try to explain better his
surprise. This coherent context is reached just in the contemporary
technology. Anyway, no one, in the academic establishment, has ever
dared to hypothesize of drills with diamond splinters during all the
pre-Columbian era in Latin America. Therefore, more for the failings
of the others than for my personal excellence, I find myself to be
the only one who recognize the Antonio Raimondi stone as an Oopart.
Logical
and temporal contradictions
It's interesting (and I find also
fun) to underline an element almost dystonic: the traditional
archaeology, especially here in Italy, is a humanistic discipline,
i.e. based on ancient philology, Romance and Germanic linguistics,
history of classical art. Also the numismatics plays a very important
role. Recently, are coming, here more slowly than elsewhere, even
other disciplines such as geology (in particular the stratigraphy),
physical anthropology and cultural anthropology. The gradual coming
of chemistry and physics make the contemporary archaeology a highly,
interdisciplinary and developed structural complex; but this causes a
big problem: historians, philologists and archaeologists are part of
a clique tending to perpetuate the status
quo; i.e. it is
permitted to discover new things but the all-encompassing dogmatic
system must be maintained, cannot be revolutionized (at least without
Annuit Coeptis).
The problems are created by the scientists, those dealing with the
so-called natural, physics and mathematics sciences; this category,
if not previously silenced or a made more gentle by any center of
power, for example, the pharmaceutical companies and/or the military,
does not give a shit about the securities waved by academic
humanists. So, when they publish articles that contradict the stories
compiled by the contemporary Pharisees, they do it without any
problems whatsoever. It is very useful to see, for example, the works
written by the Italian geneticist Luigi Luca Cavalli Sforza32
that anticipate more than 40,000 years the presence of humanity in
America, compared with the tale of migration across the Bering Strait
during the end of last glaciation. It seems to see the devil making
the pots but not the lids (ancient Italian proverb). Scholars of
Humanities disciplines baste charming and seemingly solid stories
that stand until scientists hurl torpedoes able to sink also
battleships ... but don't worry! The dogmatic system of the official
truth encompasses and digests everything, just as the stomach of an
ostrich; it is simple, those apparently viral elements are not
explained and disclosed to the public. Above all, let the regime’s
hucksters continue to repeat the falsehoods comforting the hearts and
obfuscating the brains. At the end of this chapter it is legitimate
to ask the following question: is it possible to compare the
incongruity between the poor technology of its historical context and
the exceptional, technical and artistic result of the Raimondi stele
to the situation of other artifacts? The answer is obviously yes: if
you want to immerse yourself in a monumental and rigorous work I
recommend definitely to read Forbidden
Archeology by
Richard Cremo33,
co-written with Richard l. Thompson.
Heretical
Cultural Anthropology
Dulcis in fundo,
what does the grotesque protagonist in the Raimondi stele represent?
He is identified by scholars as El
Dios de los dos Báculos,
i.e. -God with two sticks- and offers the possibility of an
analytical approach both orthodox and unorthodox; let's go with
order. The word Totem
belongs to the Algonquian-Athabaskan linguistic group (North America)
and has a plethora of meanings, but all lead to the transcendence.
The Totem
are precisely those famous objects that we saw many times during our
infancy; we have met them in western movies and in comics books;
well, they were, for the most part, faithful reproductions of the
originals. They are big wooden poles, on which are carved figures of
different animals intermingled to each other -more rarely also
anthropomorphic figures- having often, on the top, a hawk or an eagle
with wide wings opened. Unfortunately, often they are depicted as
instruments of torture, which is not true. In fact they were the
intent to unite our world with the supernatural world. In these
elements of mediation, were merged into symbiosis the representations
of various deities and the structural parts of the social group,
beginning with the basic band and ending with the whole nation.
Certainly the ambition was skyward but the artifact’s base was
placed in the ground firmly, not just for purely utilitarian reasons;
many pre-Columbian steles (or stelae,
if you prefer to use the Latin plural nominative -from the singular
noun stela,
first declension- as Wikipedia does) are real stone Totem.
We find, therefore, that the same cultural anthropological approach
leads us to read the subject at three different levels:
- the Totem
as a catalyst between transcendence and immanence;
- the Totem
as explicit depiction of divine beings and their association with the
humans;
- the Totem
as the depiction of native people historical identity.
The aim is the achievement and
maintenance of the harmony; the shaman
is the medium
already predestined at birth and after recognized by the social
group. The Raimondi stele is a stone Totem:
in it, the unknown artist has - or more properly: unknown artists
have - wanted to immortalize the superhuman beings with which the
so-called Chavín
civilization was in contact, beings who have been transfigured into
more suited mystical and tribal perspective. Not only Picasso,
Salvador Dalí and Giorgio De Chirico, just to name some great
artists, have distorted and re-modelled the contemporary and
technological realities that they had under their eyes, for adding
other meanings, hidden or even strangers. This strategy was already
used during the construction of our –Stone Banqueter-34.
Yes, I am saying that there are Aliens depicted on the Raimondi
stele. The following fundamental authors in the field of
-Alterity-35,
Erich von Däniken, Peter Kolosimo, John Mack, Zecharia Sitchin and
Corrado Malanga36
- I consider the last one the most eminent - have, albeit through
different approaches, repeatedly detected in the long list of the
alien Bestiarium
some outstanding
figures: the Reptilians, the Nordics with lozengelike pupil and the
Greys. It is absolutely useless that I describe here these
categories; the above-mentioned scholars have already done
extensively this work. I can just point out that, through the
comparative analysis of ancient religions, I propose my
interpretative grid on narrative and artistic allegories, both in the
form of oral and written myths, as well pictograph or sculptural
representations, which are based on these alien species. Because I
have discussed at length on this topic in various articles that can
be found at www.Sentistoria.Org37,
here I just want to synthesize the following interpretation, the
Reptilians are transfigured in the form of Dragons, the Nordics with
glowing thatch and lozengelike pupils are assimilated to the Jaguar
God; while the so-called Grey, silent and obeying dwarf, appears in
the Raimondi stele like a jester, bearing a heavy headdress depicting
his masters. On the last one we can focus our attention and identify
him as the minion who does most of the dirty work during the
abductions. The Grey, chubby and caricatured little guy, in the
extensive case studies of kidnappings appears as the classic cheese
on macaroni,
ineffable and zealous Arlecchino
servant of many masters38;
in this epiphanic demonstration it is possible to see him associated
with two of the most flagrant persecutors of abductees. We have to
return again to the stele; the visual transposition is careful,
painstaking; the redundancy of details is at Baroque levels and
nothing is left at random. The artist, single or collective, has
wanted to make a representative project: the evidence is that not the
-Jaguar God- is the main subject but the Grey, with three fingers on
each hand (with opposable thumb) and two toes on each foot, is the
protagonist. This figure is widely quoted39
in the -Branton files- and in various sightings in Latin America,
especially during the events of Varginha, Brazil, in January 1992; it
is also the identikit of the famous nocturnal wanderer universally
known as Chupacabras.
If the unknown artist had wanted to portray a deified Jaguar, there
would have been plenty of space to carve five toes/claws on each
front paw and four toes/claws on each rear paw. For different
reasons, both psychological as well as artistic, are relevant the two
scepters (Los dos
Baculos, in
Spanish). These are the almost ubiquitous symbols of duality, of
opposition: immanence and transcendence, Yin
and Yang,
mortal and immortal, terrestrial and extraterrestrial, but the list
is infinitely long. If some people truly competent see the
depictions, with an appropriate explanation, of some type of
circuits, oh well, I have no objections whatsoever. While the hominid
named Moon-Watcher40
enjoyed to observe an anonymous block (silent only in appearance), a
black granite monolith, mirror polished and almost of the same size,
we have the possibility to admire a magnificent artwork, jarring and
clashing: the representation of a portal -this is the explanation of
the frame that runs around the perimeter- on which this syncretistic
character appears, in the act of crossing the threshold between two
worlds. But if this slab is so uncomfortable why has never been
declared a modern fake? Simple: it is under the eyes of everyone,
especially the researchers, uninterruptedly since 1860, a year during
which the contemporary instrumentation to create it did not yet
exist. The same argument is true for many other artifacts; the
important thing is just to conceal that, technically speaking, is
patently impossible to achieve them, even according to the
contradictory theories that the official culture puts around, without
being very attentive to the congruity of its own affirmations,
counting on the fact that the so-called mass is not aware at all
about the deception. When, about thirty-five years ago, I was
speaking with my professor of history about similar misgivings
related to the sarcophagus of Cheops, I received this response: "...
If it exists… one
heck of way they have found for carving it! ...and don't bore me
anymore! " and
that's what I say, along with many other heretical scholars-, but I
disagree totally with the illuminist and positivist scheme
represented by the sequence of the age, which the official
establishment wants to inculcate in our minds, from birth to now; in
reality, this linearity is stained by chintzy, logical, temporal and
also spatial contradictions. Even if the Darwinian and positivist
approach about the evolution of the homo
sapiens may appear
more valuable than the story of Adam and Eve (which, however,
allegorically means much more, but that's another story), I reject
the dogmatic context of the historical course that goes from the
stone age to the “Ipad age” or, if you prefer, from the squat
hominid Moon-Watcher to the sublime Naomi Campbell. I don't claim to
know chapter and verse, each stage, each step, but there are
evidences that before the so-called prehistory there was a lavish
period, also technologically developed and - honoring the good, old
Plato -41
I have no problems to define it as the age of Atlantis, during which
somebody had all the technological tools to sculpt the Raimondi stele
and build much more. Archaeological evidences supported by
stratigraphic analysis, by astronomical correspondences -findings
dating from the second half of the last century until now, coming
from particularly emblematic and famous sites such as Giza and
Tihauanaco- speak to us of pivotal events that occurred nearly 13,000
years ago, i.e. roughly half a precessional cycle, in a period nearby
the last ice age. That was the age during which -according to the
fundamental Holy Scriptures of mankind (Bible, Veda, Maya and Aztec
codes etc.) and to the ancient oral traditions of native peoples
(Zuni, Dogon, Tibetans etc.)- supernatural beings coming from the
heavens lived on this planet. Those sources always show the humanity
subject to the "descended from the Sky"; sometimes a
subservience with a certain degree of autonomy but never an
emancipation with equal lineage. A
series of causes, primarily warlike and cataclysmic42,
led to the end of that age, but not to the end of the alien grip on
humanity. The feeling is that the rulers have retreated into the
shadows, hidden behind a curtain, but still acting alongside the man,
often at the expense of the most part of the men; so that all of us
can continue to believe to be individuals actually with free will.
Therefore, if really the Raimondi monolith was built in 900 BC during
the Chavín
civilization, it means that its makers have enjoyed a technological
legacy, a true relic, of Atlantis. But I believe the stele, as well
as other high-profile and dystonic achievements, should be backdated
directly to that distant time. When the academic regime’s
sycophants bump into a whatever quid
jarring with the mummified dogma, in the first instance, try to
discredit and depict it as the result of some fraud, instead, before
the crystalline authenticity (this is the case, for example, about
the monolith in argument), they wrap it inside a cocoon of softened
statements through the teeth, notwithstanding the obvious
contradictions, and then they park the relic into oblivion. In our
times, the contemporary sycophants carefully avoid to enhance the
research thanks to technological last innovations: much of what was
not possible 150 years ago instead today is. The microscopic
examination of petrographic thin sections, the diffraction analysis,
the analysis of trace elements, the isotopic analysis, the infrared
MS, are available even if expensive, just to mention some of the main
examples. That's why the greatest artistic exhibit of pre-Columbian
Peru is almost forgotten, inside an anonymous room, without being
given a thematic area and half-hidden by the soft drinks kiosk, at
least that was the situation 13 years ago. The Raimondi stele is a
unique and impossible artifact in the particular historical and
technological context advocated by official historiography. Is there
a ratio
behind the reticent and deceptive behavior of this “Mafia of
knowledge”? Yes: this clique is simply a tentacle of the totalizing
Octopus who runs the living
theatre of the
Western democracies, a huge role-playing game where even the
puppeteers -only few are aware about who is literally over their
heads- are simple executors of orders dictated by others; but this is
broader topic and already well explored by scholars such as David
Icke, Maurizio Blondet and Corrado Malanga.
Picture V-
Pre-inca Jaguar God, the eternal enemy (but not the only one) of the
serpent god. Pottery dating to 5th
century BC. You can see clearly similarities with the feline
stylizations on the stele. I made this photo during the excavations
at Huaca Pucllana
(also known as Juliana). The Quechua
word huaca
stands for sacred place, inhibited, but also secure, fortified; the
most likely thing that in this case it was a fortress- sanctuary. The
etymon Pucclana is
unclear.
Appendix Reptiliana
Pictures VI and VII –
Roman dupondius
ca.140 AD
In my previous work I have written on
the worship of the serpent, especially in Hydra
Tripudians, feeling
an apparent lack in the context of the Roman world. I agree that this
one has introjected myths and legends proceeding from the Greek
culture, at a time so early in its development that it had not felt
the need to create independently, except a very few exceptions43.
Therefore, the features with which appears the snake in the Greek
mythology -however, without ever reaching the complete dignity of a
god– were transmitted to Rome during the early monarchic era.
On this basis the official
establishment has always avoided the topic, arguing that there are no
archeological evidence about the existence of worship related to the
-Serpent god- in archaic Rome.
Lately, after acquired new
elements, I feel to reject this assertion above all thanks to the
numismatics. I am referring to a particular coin very popular in the
imperial age: the dupondius;
the name means -two pounds-, from the Latin duo
asses pondo
simplified in dupondius,
with this coin it was possible to buy two pounds of bread. The
material is composed of an alloy of copper and zinc, which, as long
as is clean, is vaguely similar to the gold, we could define it the
gold of the poor man. The main side of this coin, which dates back to
approximately 140 AD, shows the effigy of the Emperor Antoninus Pius,
adoptive son and successor of the Emperor Hadrian and in turn uncle
and father-in-law of his successor Marcus Aurelius. But the opposite
side really takes my attention, since it is an explicit testimony: in
this scenario, the goddess Salus
(health) provides food to a serpent which rises on an altar44.
Salus -albeit never
reaches the rank of a goddess as Juno,
the Jupiter’s
wife, or Minerva,
the Jupiter’s
daughter- is a deity of ancient origin representing both the health
of the human being and that of the Res
Publica. In a
broader sense, she is also a transfiguration of the eternal youth of
the gods. Despite the lack of a detailed literature speaking about
Salus,
her characteristics recall some goddess of other ancient peoples:
- the greek
Igea,
which literally means –cure-, -good health-, is the Asklēpiós’
daughter and
her representations are identical to those of Salus.
Asklēpiós
himself is depicted with some serpentine attributes;
- the goddess Hebe
is the maidservant of the Olympics Greek gods, to whom ensures the
eternal youth through the donation of nectar and ambrosia; she
marries Heraklès
when the great hero is admitted in the Olympus after his death and
resurrection;
- the Celtic goddess Sirona
is the lady of the healing sources and many sculptural
representations depict her with a snake wrapping her lustful body;
-
Iðunn offers the
magic apples that keep young the northern gods who live in Ásgarðr.
I see in this comparison a primordial
common substrate, from which various peoples have developed an
independent tradition in the following centuries: a goddess who has
the onerous task of ensuring the eternity to the gods. Therefore, the
B-side shows an explicit scene, neglected by various scholars: the
goddess symbolizing the - Health -, the - Youth- and the -Longevity-
actually feeds the snake but in reality she cares about the
longevity, if not even eternity, of the -Serpent god- which erects on
his altar; a legacy from a remote cult that even in ancient Rome left
some sort of scent. The presence of the altar does not leave any
doubts, only the gods were worshipped on the sacred stone. Sadly,
there are only few traces of this tradition in the Roman literature
arrived until us. Rites of fertility are interwoven to the primeval
chthonic divinity. I decided to insert my translation of verses I
-XIV of the eighth elegy, from the IV book of Elegiae
by Sextus Aulus Propertius45,
because, in addition to being very beautiful and evocative, the
reader has the possibility of a faithful reading.
Learn what this night stirred the
Esquilinum’s waters,
when dense crowd gathered together
in the new gardens.
The ancient Lanuvium is the
guardian of an old dragon,
there, where it is not a waste of
the time for such a rare pause,
where the sacred path descends to
a blind cave,
there enters the virgin
(attention all along this path!),
prize for the revived serpent,
when he asks for the annual meal
and from the deep earth,
hissing, writhes his coils.
Turning pale the girl sent to such
sacred rites,
when with fear the hand offers to
the serpent’s mouth.
He grasps the food offered by the
virgins:
the same baskets tremble in the
hands of the chosen ones.
If the lass are found chastes, can
return to the parents’ hug
and the peasants proclaim "the
year will be fertile".
In the original Latin that you will
find in note appears the term draconis,
genitive of draco-nis,
imparisyllabic of 3rd
declension. The Latin authors used this name not at random, the
purpose was to indicate a snakelike, immense being and worthy of
great respect. Claudius Elianus was a rhetorician who wrote only
works in attic Greek; in Περὶ
ζῴων
ἰδιότητος
(On the nature of animals)46
he leaves us a version very similar the previous myth (differs
especially the place: not Lanuvium
but Lavinium),
but that does not reach anyway the artistic level of Propertius; what
it is worth to cite is the opening phrase:
"Peculiar
is the dragon’s divination power".
What is confirmed by the last one:
"The
dragon, therefore, was able to check properly that [the girls] were
under the conditions required by foreshadowing"
i.e. virgins.
Relics in the Roman world of the
Reptilian alien’s supremacy, transfigured in further times that are
moving away from the primordial core of direct testimonies.
Notes
Foreword
I have tried to include as many links
possible in order to allow a direct and immediate (as well as free)
access to the sources and documents that I have used.
Although, in all sincerity, I
consider the inclusion of the notes (footers or out of the text I
don't care) a long and tedious job, this time I have decided to
expose extensively the foundations of my assertions, because I have
wanted to attack deeply some dilapidated dogmas of the official
academic establishment; therefore, I hope that what follows will be
of your liking. The works in a foreign language are listed with the
original title only in the case they have not been translated in
English; anyway, please, remember my first language is Italian.
1 The
Vatican has had with the non-catholic literature a very bad
relationship from the Council of Nicene until 1966. Here some
examples, the list is too long to cite them all. In 380, many copies
of the poems written by Sappho – the greatest Greek poetess from
Lesbo, about 610 - 570 BC – were burnt by order of Gregory the
Theologian, archbishop of Constantinople; after his death, he was
declared a saint and one of the church fathers. But the Calvary for
those books was not yet finished: in 1073, pope Gregory VII ordered
to burn the few surviving copies and now we have just an handful of
sapphic verses. What was the Sappho’s sin? Oh, she spread the
homosexual love among women. Most part (not everybody) of scholars
has always given the fault of the destruction of the Great Library of
Alexandria to the Muslim conqueror Amr ibn al’Alas. Shortly
speaking, this is not true: already Eusèbe
Renaudot in his translation and commentary of Historia
Patriarcharum Alexandrinorum (Paris,
1713) shows that the Arabic sources -written 500 years after the fall
of Alexandria in the Arab hands and attributing the blame to the
Muslim conquerors- were both hasty and misinterpreted. The great
Edward Gibbon in his History
of the Decline and Fall of the Roman Empire,
Strahan
& Cadell,
London, 1776-1789, accuses bishop Theophilus and his hit men of the
tragedy. John Julius Norwich has the same certainty in Byzantium:The
Early Centuries,
Viking, New York, 1989. Bernard Lewis in The
Vanished Library, The
New York Review of Books, 37(14), September 27th
1990, analyses the Arab sources more deeply than Renandout and proves
the falseness of the Islamic responsibility. The fanatic mob,
unfettered by Theophilus, made a tabula
rasa where there was
one of the greatest shrines of the worldwide culture. Even if
Bibliotheca Alexandrina
suffered some heavy strokes in previous centuries, at the time of
emperor Theodosius it was still an huge casket of treasures. Try to
imagine something very similar, compared to the amount of books
produced that time, to the American -Library of Congress- of today.
About twenty years after this event, the same mob killed and tore to
pieces the sublime scientist, actress and pagan philosopher Hypatia,
the instigator was bishop Cyril, the successor of Theophilus. After
the bloodbath, the fanatics destroyed all her books and drawings,
together with the ones written by her father, the mathematician Theon
of Alexandria. The sadic criminal Cyril after his death was
coherently proclamed saint and doctor of the church. In 394 AD,
Theodosius –probably a lot more bigoted than truly great–
forbade also the Ancient Olympic Games at Olympia. This tradition,
begun in 776 BC, was banned because the athletes competed completely
naked and because of the strict connection with the pagan whorship.
During the Greek independence, the city-states interrupted the wars
to permit their males to partecipate at this sacred and athletic
event. Too bad, the freedom of thought, worship and expression was
not allowed anymore. Anyway -and luckily- even in its apparent
granitic solidity, the Catholicism has been always undermined by
inner divisions; in this work it is enough to cite that many abbots
and also simples amanuensis monks had all the serenity to make
unorthodox choices, therefore not everything destined to the bonfires
was reduced in ashes. The collection of ancient noble families and
the first European universities were able to save real treasures too.
To focus better the earlier –and also very persistent- Catholic
intolerance it is useful to remember also this: in November 1229, the
Council of Toulouse forbade laic people to own a part of, or
integrally, the Bible (but the aristocracy was nor persecuted). Also
the translation from the Vetus
Latina and the Vulgata
–the two official and canonical Latin versions- was forbidden; the
penalty for these sins was death. These prohibitions fell in the
middle of the 16th
century, when the Vatican - in front of the deluge of protestant
Bibles translated above all in English, German and French - decided
to use the same means of the enemy, the Reform, to make proselytism.
Anyway, this concession was flanked by another strict prohibition: in
1559, a special branch of the Roman Inquisition, being pope Paul IV,
composed the infamous Index
Librorum Prohibitorum
(List of prohibited books); the rulers of the Catholic states were
obliged to enforce it under the Inquisition’s orders. The last and
updated edition was released in 1948; this aberration was abolished
by pope Paul VI in 1966: in Western Europe, for a long time, there
was no more space for sadists disguised as apostles.
http://www.nybooks.com/articles/archives/1990/sep/27/the-vanished-library-2/
http://www.suppressedhistories.net/secrethistory/hypatia.html
Del Col, Andrea, L’Inquisizione
in Italia, Milano, Mondadori, 2007
Regarding the feeling about the fall
of Rome in the modern Anglo-Saxon world –anyway the direct heir of
those that destroyed the Western Empire – I like to cite these
sublime verses:
“While stands the Coliseum, Rome
shall stand
When falls the Coliseum, Rome
shall fall;
And when Rome falls—the World.”
Lord Byron, from Childe
Harold's Pilgrimage, 1812-1818
2
http://www.madeinsouthitalytoday.com/the-bronzes-of-riace.php
3
4
The Quechua is
the language spoken by the majority of the natives in Peru, Bolivia
and Ecuador; in the pre-Columbian age, it was the language of the
inhabitants in Valle
Sagrado, the Andean
region surrounding the imperial city of Cuzco. Based on the ancient
and vast oral Quechua
tradition, the most
famous work written by the mestizo prince Inca Garcilaso de la Vega
is fundamental not only for Peru but for the entire Hispanic colonial
period: Comentarios
reales de los incas
or Primera parte de
los comentarios reales.
The drafting begins in 1586 while the publication takes place in
Lisbon in 1609; it is followed by the equally monumental Segunda
parte de los Comentarios Reales
or Historia General
del Peru, published
in Cordoba, 1617. This
author represents the first example, on the international literary
scene, of the union between the Native world and European one: el
conquistador
Sebastian Garcilaso de la Vega was the father; while his mother,
Princess Isabel Chimpu Ocllo, descended directly from the emperor
Tupaq Inka Yupanki, tenth monarch of the Inca dynasty. In the first
part of the Comentarios
there is the explanation about the origin of the imperial city’s
name:
-They
chose as point or center (of Tahuantinsuyo) the city of Cozco, that
in the particular language of the Incas means navel of the earth;
since all Peru is long and narrow as a human body and the city is
almost in the middle, named the city properly navel
–
-Pusieron por punto o centro (del Tahuantinsuyu) la
ciudad del Cozco, que en la lengua particular de los lncas quiere
dezir ombligo de la tierra; llamáronla con buena semejança ombligo,
porque todo el Perú es largo y angosto como un cuerpo humano, y
aquella ciudad está casi en medio-.
I want to take this opportunity to
mention an author very particular, I consider him the first cultural
anthropologist of the Amerindian world: I am speaking of Álvar Núñez
Cabeza de Vaca. During the tribulations and successes of his life, he
was a direct eyewitness of the sufferings inflicted by conquistadores
to the native people in the name of the gold and of the cross, from
the forests of Florida up to the Iguazu Falls.
The autobiographical work
Naufragios
(first edition Zamora, 1542), which describes the tormented escape
after the complete failure of the expedition commanded by Pánfilo de
Narváez, is available in original at the following link:
With the proper research, it’s
possible to find on the Web the remarkable film Cabeza
de Vaca, directed
in 1991 by the Mexican director Nicolas Echevarria and faithfully
inspired by the above-mentioned work.
http://es.wikipedia.org/wiki/Antonio_Raimondi
6
Leoncio Prado Gutierrez El
Pradito, Huanuco,
August 24th,1853
- Huamachuco, July15th,
1883 - Seriously wounded during the battle of Huamachuco, he was
first taken prisoner and, while lying on a poor bed, was then
executed by Chilean invaders. The current military school of Lima is
the proud holder of his name.
http://es.wikipedia.org/wiki/Leoncio_Prado_Guti%C3%A9rrez
8
In January 1881, the
preponderant Chilean army attacks the poorly armed Peruvian soldiers
-most of them civilians improvised warriors at the last moment- that
still defend Lima; the defenders in vain seek, desperately, to repel
the enemies from the last bastions during the battles of San
Juan y Chorrillos,
January 13th,
and Miraflores,
January 15th.
On January 16th
begins the baleful Chilean occupation of the Peruvian capital.
10
Wade, N. & Wenderoth, P, The
influence of colour and contour rivalry on the magnitude of the
tilt aftereffect.
Vision Res 18: 827-36
(1978)
Wade, N.J., Descriptions
of visual phenomena from Aristotle to Wheatstone. Perception 25
(10): 1137 – 75 (1996)
Wade, N.J. Early
studies of eye dominances
Laterality 3 (2) : 97 – 108. (1998)
11
-From the same site
has been discovered a granite stone with a rectangular shape, of
meters 1.88 long, 0.70 wide and 0.15 thick,* with drawings still more
complicated than those for the column [...] This stone is of great
preciosity, so complicated and beautiful is its design; because of
the finesse and surprising symmetry - that is brilliant in a drawing
so difficult- the best artist would not be able to make it more
perfect. It is in itself a shining monument that should be kept with
the greatest care in the National Museum, because it gives an exact
idea of the great development reached by the symbolism, the drawing
and the art of working the stone among the ancient Indians.-
(My translation from the original Spanish report.)
* In reality it is a little larger
than this; the correct dimensions are those that I have previously
reported.
“Del mismo Castillo se ha desenterrado una piedra
de granito de forma rectangular, de 1,88 m de largo, 0,70 de ancho y
0,15 de grosor, * con dibujos todavía más complicados que los de la
columna [...] Dicha piedra es de gran estimación, por lo complicado
y la hermosura de su diseño, por la finura y sorprendente simetría
que se nota en un dibujo tan difícil, que el mejor artista no habría
podido hacerlo más perfecto. Ella es de por sí un precioso
monumento que debería conservarse con el mayor cuidado en el Museo
Nacional, porque da una exacta idea del gran desarrollo que había
alcanzado el simbolismo, el dibujo y el arte de trabajar la pietra
entre los antiguos indios.”
13
Alfonso Klauer refers
that the great native archaeologist Julio C. Tello was sure about the
Caribbean origin of the name Chavín,
finding in - jaguar- its translation:
Kluer, Alfonso, El
mundo pre Inka
: Los
Abismos del Cóndor,
Lima, 2000;
integrally available for free here:
http://www.eumed.net/libros-gratis/2005/ak1/02%20Abismos%20II.pdf
Given that in Quechua
the word usually used to indicate a rock of considerable size is
wanka,
I dare to assume that wantar
may be a corrupted derivative, arriving then to the legitimate
definition but absolutely hypothetical -Jaguar Rock-. However,
scholars of the caliber of Klauer, Miloslav Stingl and especially the
unrivalled Prof. Julio C. Tello agree on the hypothesis of a strong
Mesoamerican influence on the Peruvian pre-Inca tribes.
Please, dear Reader, remember
that the Incas did not possess a written alphabet, therefore we just
use the transposition of original and ancient phonemes directly in
Latin characters (graphemes).
17
The dissertation was then collected in the printing Les
Monumens les plus anciens de l'industrie des hommes, des Arts et
reconnus dans les pierres de Foudres
, published in 1740 by the same Académie.
But already Titus Lucretius Carus (Pompeii or perhaps Ercolanum, 94
BC - Rome, October 15th,
50 BC ), in his De
Natura Rerum (On
the Nature of Things) had marked the main lines of this thought:
Currently, after fights, dissents and
attempts for "squaring the circle", the latest and updated
modifications on the scheme made by contemporary scholars are
roughly:
- The
Stone Age would end up in Africa (Egypt), in the Middle East Asia and
in the Far East Asia proximately in 5,500 BC; in central Asia and in
Europe would continue until 4,000 BC; in America would conclude
roughly until 1,500 BC.
-The Bronze
Age (which in reality is preceded by the copper age, see below in
this note) should start in Egypt somewhere around 3,500 BC, in
Mesopotamia around 3,300 BC; in China circa in 3,000 BC. In Europe
the passage is later.
- The Iron Age should debut in the
territory now vaguely corresponding to Ethiopia in 2600 BC. In the
following order: Hyksos, Hittites, Assyrians, Canaanites, Achaeans
and Etruscans would commence to use it from 1,500 onwards. The Celts
and the Germanic tribes would commence to forge it from the 9th
century BC onwards.
It is important to emphasize that, in
1881, the geologist and British archaeologist Sir John Evans in The
Ancient Bronze Implements, Weapons and ornaments of Great Britain and
Ireland proved that
the use of the copper alone preceded the bronze, this helps to adjust
a little the gap between the stone age and the bronze age; in this
way the system becomes quadripartite. Of course, you should not think
about a massive development but instead very localized.
18
The following article is very interesting about the doubts regarding
the identification of Hissarlik with the Homeric Troy:
In particular the following extract:
“Whichever level scholars may
agree to identify as Homer’s Troy, the wider problem of relating
the Homeric geography to the site of Hissarlik remains. Some years
ago, Rhys Carpenter put the matter very succinctly: “There are
obvious indications,” he wrote, “that Hissarlik does not agree
with the situation demanded by the Iliad, which speaks of a great
walled city with streets, houses and palaces, rising to a
temple-crowned acropolis, at an approachable distance from the
Hellespont [Straits of Dardanelles] and apparently invisible from it,
situated across the Scamander, with abundant springs of deep-soil
water gushing close at hand. Actually, Hissarlik is in plain sight of
the Hellespont, on the same side of the river, without any running
springs, and enclosed within its walls an area of less than five
acres.”
24
Kristiansen, Kristian; Rowlands, Michael, Social
Transformations in Archaeology: global and local perspectives,
Routledge, London, 1998
25
Connah, Graham, Writing
About Archaeology,
Cambridge University Press, 2010
26
Bogucki, Peter, Northern
and Western Europe : Bronze Age,
in Encyclopedia of Archaeology, pp. 1216 – 1226, Academic Press,
New York, 2008
27
Browman, David L.; Williams, Steven, New
Perspectives on the Origins of Americanist Archaeology,
University of Alabama Press, Tuscaloosa, 2002
28
29
http://todosobrelahistoriadelperu.blogspot.it/2011/06/metalurgia-cultura-chavin.html
In this note I want to relate to have
found on the Web many references, in Spanish language, about a
so-called Informe
Baker. Sir Benjamin
Baker was a very important British civil engineer during the late
Victorian age. Those references assert that Sir Petrie employed Sir
Baker as technical consultant, for the purpose to have a very solid
scientific base on which to write The
Piramydes and Temples of Gyzeh,
London, 1883.
Baker could have
written regarding the ancient builders’ know how: "...si
un ingeniero moderno fuera capaz de reproducir la herramienta antigua
no solamente se haría millonario, sino que revolucionaría la
industria moderna..."
original Spanish excerpt;
my translation in English:
“…if a modern engineer could
be able to reproduce the ancient equipment would be not just
billionaire, he would revolutionize the modern industry…”
Sadly, notwithstanding my efforts, I
have not been able to find either the presumed Informe
Baker or a Baker
Report (Dossier,
etc.). Anyway, Petrie does not cite Baker in the book but truly uses
a very good scientific language. The source about El
Informe Baker
appears to be the following Spanish document:
32
33
34
This evocative
definition is not mine but derives from Don
Juan or The
Feast with the Statue
(
(Dom Juan ou le
festin de pierre),
written by the great Moliere.
35
The noun -ufology- here
is out of place: I don’t speak of flying saucers; to -alienology-
(which makes me laugh) I prefer - Otherness-, which is a concept that
is already part of the classical philosophy, although with other
purposes.
38
For this
definition I was inspired by Harlequin
servant of two masters
(Arlecchino servo di
due padroni)
written by the extraordinaire Carlo Goldoni.
40
Moon-Watcher is
the protagonist at the beginning of the movie 2001
Space Odyssey,
directed by Stanley Kubrick on Arthur Clarke’s subject, as well as
in the subsequent novel of the same name written by Clarke alone;
both masterpieces were released in 1968.
41
Plato (Athens 428/27 - 348/47 BC) speaks about this topic in two of
his famous dialogs, Timaeus
and Critzia.
He is the first author to speak in detail of a powerful continent,
highly developed and then submerged by a series of different causes.
42
There are many important books about this topic, but I really prefer
and then suggest:
Hancock, Graham, Fingerprints of the Gods - Evidence of Earth's Lost Civilization (1995)
Wilson,
Ian, Before
the Flood: The Biblical Flood as a Real Event and How It Changed the
Course of Civilization
(2001)
Cotterell, Maurice, The Tutankhamun Prophecies : The Sacred Secret of the Maya, Egyptians, and Freemasons (1997)
Bouval,
Robert, Gilbert,
Adrian G., The
Orion Mistery,
(1994)
43
I am referring especially to the foundation of Rome, from the birth
of Romulus and Remus (generated by the god Mars and the Vestal
priestess Rhea Silvia) until the assumption into heaven of Romulus,
under the new guise of -god Quirinus-.
44
Not to be confused with the capital letter -S- that means Salus,
between the altar and the goddess.
45
Sextus Aurelius Propertius
-Assisi, about 47 BC - Rome, 14 BC - was a Roman poet. This is the
original text:
Disce quid Esquilias hac nocte
fugarit aquosas,
cum vicina
novis turba cucurrit agris.
Lanvvium annosi vetus est
tutela draconis,
hic ubi tam rarae non perit
hora morae,
qua sacer
abripitur caeco descensus hiatu,
qua penetrat virgo (tale iter
omne cave!)
ieiuni serpentis honos, cum
pabula poscit
annua et ex ima sibila torquet
humo.
Talia demissae pallent ad sacra
puellae,
cum temere anguino creditur ore
manus.
Ille sibi admotas a virgine
corripit escas:
virginis in palmis ipsa
canistra tremunt.
Si fuerint castae, redeunt in
colla parentum,
clamantque agricolae: "Fertilis
annus erit."
46
Claudius Aelianus (in ancient Greek
Κλαύδιος
Αιλιανός;
ca 165/170-235 AD) – I have been not able to find the Greek
version but the Latin translation made by Friedrich
Jacobs, Frommann Edition, Jena, 1832.
Est et
peculiaris draconum divinatio. Nam et in Lavinio, oppido Latinorum
(quod a Lavinia Latini filia nomen accepit, quo tempore Latinus,
Aeneae adversus Rutulos auxiliatus, eos devicit, et Aeneas Trojanus
Anchisae filius civitate praedicta potius est; quae quidem Romae
veluti avia nominari posset, ex hanc enim profectus Ascanius Aeneae
et Creusae Trojanae filius Albam condidit, cujus colonia est Roma)
ceterum in Lavinio sacer est lucus magnus et opacus, juxtaque ipsum
aedes Junonis Argolidis. In luco autem latibulum est amplum ac
profundum, draconis cubile. In hunc lucum sanctae virgines statis
diebus ingrediuntur, quae mazam gestant manibus, oculos fasciis
devinctae; eas recta ad latibulum divinus quidam spiritus deducit,
sensimque ac pedetentim progrediuntur sine offensione, ac si detectis
oculis viderent. Quod si virgines fuerint, cibos tanquam puros et deo
gratae animanti convenientes admittit draco; sin minus non attingit,
corruptas esse intelligens et divinans. Formicae
vero hanc mazam a vitiata relictam minutatim confractam, quo
facilius ferant, e luco exportant, expurgandi gratia loci. Hoc
cum fit, ab indigenis animadvertitur, et quae ingressae fuerant
indicantur, examinanturque; et cujus pudicitiam esse violatam
constiterit, poena legibus constituta plectitur. Draconis
igitur non expertes esse vaticinationis hoc modo demonstrarim.
The pictures
I have showed pictures published on
websites that allow their use by third parties, with no-profit
intentions, just for cultural purposes and as long as their location
is properly indicated.
Picture I:
Picture
II:
http://www.latinamericanstudies.org/chavin/raimondi.gif
Picture III
.png){kind=link}
Picture IV:
http://www.miotas.org/blog_body.cfm?id=A263A16E-F04B-16B7-79F79448E476FB97
Picture V, VI, VII:
these pictures are
my property, but everybody can use them with no profit intentions,
just for cultural purposes and as long as the present work is
properly cited.
↔
I want to thank Jane and Metal Andrea
for the help as well as the two Colleagues who have been so nice to
reply to my emails.
il
Pensatore
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