THE RAIMONDI STELA

An Oopart in ancient pre-Columbian Peru

Article written by-il Pensatore-, August 14th 2014
(Translated from Italian)
Introduction
Or
The tricks and the violence of the Power
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 need to take up the following
path. 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,
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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 peoples different 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 Empires 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 dont. 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
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was the powers 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 during another time. Even the masterpieces of the GreekRoman 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
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first to demolish the relics of past religions . And from then until now? The slow but steady
secularization of European states, especially since the end of the Thirty Years War
onwards, ripped progressively the claws from the all-encompassing Vatican. The power has
evolved, it is freed from the sacristies and has come up with new forms of domination;
there are no more heretics burned at the stake, the Enlightenment and Positivism have
created a epistemological standard with a broad spectrum, good for all the seasons and for
all the facets of the contemporary world: it is in fact the least common multiple of liberal
democracy, fascism and communism. The flags and ideologies may change but this does
not affect it. This epistemological standard fixes mandatory parameters beyond the
legitimate protection of the so-called scientific method, it defines the fairness of modus
pensandi, modus vivendi, modus operandi in reference to all of us: only what fits in these
parameters is real otherwise it is an oax. It's the difference between science and science
fiction, the difference between myth and historical event. The standard also distinguishes
what is lawful and honorable mention from what instead is ridiculous and false. For
example, it is commendable to support and spread the fight against cancer, but to say that
the chemtrails vomit on us carcinogens substances means to narrate bullshits since, we are
assured, chemtrails do not exist. The big institutional media are devoted to enshrine the
imprimatur on any news, theory or hypothesis: once and if the seal has been granted,
whatever is conveyed becomes the official version, that is the truth. What is not publicized
by regimes hucksters does not exist. The NWO is a appetizing topic for a fiction but a
popular level must remain a paranoia of so-called conspirationists, a neologism coined
simply to ghettoize and mock a priori us independent scholars. Internet is the result of
globalization, anyway, at the moment, is the only chance for an alternative counter
information, as we used to say in our youth. Internet is the contradiction in the system, is
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the quid that can backfire its creator ... as long as someone does not decide to turn out the
general switch at the appropriate time. The topic of this article offers us a way to open the
curtain of deception and show an epitome of what is concealed.

The object that should not exist instead exists

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
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positively established the high Hellenic mastery 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
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Halicarnassus 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 Chavn- doesnt have and even will not have
in its future either the technology or the skill and the appropriate gesture, during the
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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 Chavn 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
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Amerindian Empire with capital the Andean city of Cuzco, which in Quechua language

means Navel of the World. I'm talking about the so-called "Antonio Raimondi Stele,
unique, astonishing and unappreciated artifact.

The discoverer
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Antonio Raimondi , 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
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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
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young officer Leoncio Prado , 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.

Photo I- Antonio Raimondi and the top of the statue to him inspired in the limea square that
could only be called Plaza Italia
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The discovery
In 1860, Raimondi was investigating the vast archaeological site currently known as
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Chavn de Huantar 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 that 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 Italians amazed eyes, the great stone slab used as dining table, at the
Espinozas 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 Jos 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 1881

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

Photo II the original

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Photo III: graphic transposition with better resolution

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Photo 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

Arqueologa Antropologa e Historia del Per, that los Limeos call proudly and simply
El Museo de la Nacin. Thanks to the fact that, in those days, I was involved in the
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excavations at the Huaca Pucllana , 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
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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.Wade

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as -Binocular Rivalry- (or Contour Rivalry). In brief, 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 Optices, 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
pygmys features, the features belonging to the dragons and to the protrusive snakes - i.e.
the marks on the central part- are generally less deep; the same its true for the two sticks.
The external carved sectors have a consistent depth of about 3 cm , surely not deeper than 5
cm. The borders that circumscribe both the lateral zones of removal from the full and the
inner features-grooves form an angle of 90, which is observed all along the respective
perimeters. I was literally astonished when my fingertips could feel that perfect and
continuous edge truly almost cutting- as far as my hands arrived. The lines (we can
certainly call them continuous engravings, rather than superficial graffiti) forming the
dwarfs outlines (features) have a consistent depth of about 3 or 5 mm and an equal width;
the same its true for the headdress. The pygmys nostrils, the dragons eyes i.e. 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
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figures outlines and the diagonal split -the sad memory from 1881- immediately above the
helmet/mask. My fingertips dont 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 thick about 3 cm; that thickness is
almost consistently maintained along the perimeter of the stele: it starts to narrow gradually
from the midpoint to the base. All the different measures: depth, width, straightness, curves
and angles are almost always consistent; i.e. there are no deviations, the few errors are
almost unperceivable; 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
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perfection." . Over a century later, in his masterpiece Historical Atlas and World
Mythology, prof. Joseph Campbell

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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 Chavn culture, existed in
Peru between 1200 BC and 200 BC. Nowadays, its most important location is the huge
archeological site named Chavn de Huntar, 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 Chavn de Huntar is obscure

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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,
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albeit still dotted with more gaps and questions than certainties. The supposed date of the
steles 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 Chavn 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.

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Mohs Scale
Tender (it is possible to scratch them with a finger nail)
1- talc
2- chalk
Semi-hard (it is possible to scratch them with a metallic point)
3- calcite
4- fluorite
5- apatite
Hard (it is not possible to scratch them with a metallic point)
6- orthoclase
7- quartz
8- topaz
9- corundum
10 diamond
But here I must cite a thing: almost up until today, in reference to this stele was always
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spoken of granite in the broadest sense of the word: instead, in 2009, Prof. George Rapp ,
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.

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Vickers Scale
Material

Vickers
hardness

Material

Vickers
hardness

Sn

Limestone

250

Polypropylene

Al

25

MgO

500

Polycarbonate

14

Au

35

Window
glas

550

PVC

16

Cu

40

granite

850

Epoxy

45

Fe

80

quartz

1200

Mild
steel

140

Al2O3

2500

Hardened
steel

900

WC

2500

Material

Vickers
hardness

The table following the Mohs scale permits to compare the granitic rocks with other
elements, its called Vickers scale and its more recent. We can see that the granite is
almost hard as the modern tempered industrial steel, even if the second usually contains,
besides carbon, also others components as chrome, molybdenum and vanadium, at least.
The quartz is even harder than the hardened steel.

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The next one is very updated and has been elaborated by BTI, a Canadian leader industry in
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breaker technology, showing, among other elements, the high diorite hardness :
TYPICAL ROCK HARDNESS BTI SCALE

Rock:

Toughness:

Fresh Diabase (Trap)

Pyroxene Quartzite
Sandstone
Altered Diabase
Fresh Basalt
Hornblende Schist
Diorite
Hornblende Granite
Rhyolite
Quartzite
Biotite Gneiss
Augite Diorite
Altered Basalt
Feldspathic Sandstone
Gabbro

3.0
2.7
2.6
2.4
2.3
2.1
2.1
2.1
2.0
1.9
1.9
1.9
1.7
1.7
1.6

Rock:
Chert
Calcareous Sandstone
Granite
Slate
Peridotite
Granite Gneiss
Andesite
Limestone
Mica Schist
Amphibolite
Dolomite
Biotite Granite
Augite Syenite
Hornblende Gneiss

Toughness:
1.5
1.5
1.5
1.2
1.2
1.2
1.1
1.0
1.0
1.0
1.0
1.0
1.0
1.0

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.

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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 Madrigali

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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 diamondtungsten 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 woodsmans 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 surgeons
lancet and the butchers knife 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
brief, 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 Oppenheimers 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

17

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.

Photo V: Kore, ie <girl>. This is the famous marble statue of Nikander, found on the island of
Delos and dating back to the seventh century BC; although it is clear the corrosive action of the
weather and the centuries, its blatant rigidity and flatness of form, despite the grace of some
attempted womanly curves, makes it legitimate to attribute its processing to the use of chisels and any other sharp tools - made of bronze.

Photo VI: Kouros, ie <boy>. This statue, also of marble, from the island of Naxos is newer than
the first one of at least half a century; the greater suppleness and roundness of forms, the
exaltation of muscles and bones, the facial features and hair almost chiseled, the asymmetry of
the lower limbs in motion, show that the author has used chisels and files made of iron, enjoying
finally the freedom of movement granted by the oblique blows.

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On this topic is certainly illuminating the experiment attempted by a talented but littleknown Dutch sculptor: Johannes Hendricus (Henk) Etienne, approximately seventy years
ago, tried to duplicate the sculptural techniques in vogue in ancient Greece; he approached
the task making build chisels made of bronze similar to those used before the advent of iron
tools, for the working of marble. It should be emphasized that, without wishing to digress
into a treaty of sculptural techniques, a sculptor has available the right blow -when the
hammer hits the chisel perpendicularly to the surface- and an almost unlimited amount of
oblique blows, in the arc of the 360. When Etienne attempted to use the oblique blows on
the marble the result was frustrating: the chisels bronze slid, bent over and blunted; he was
forced to lose a lot of time to repair them and, notwithstanding all the efforts, he was able
just to get a very coarse result. This total fiasco prompted the Dutch sculptor to use only the
straight blows, which allowed him to preserve a bit longer the integrity of chisels but to get
a result even worse, due to the inability to use effectively the virtuosity of oblique blows.
Moreover, the fact that it was forced to a limited operational capability forced him to move
like a kind of handicapped, with a huge physical effort and a maddening slowness. In this
way Etienne showed that only the advent of iron -probably introduced in Greece by the
Dorian invaders, according to the official historiography- has allowed, in the classical era,
the aforementioned excellent artists to have the right tools to convert the marble in
immortal masterpieces using the essential oblique

17

blows (see photo V and VI). Attention,

our stele is made of diorite, so try to imagine how many hundreds of thousands, probably
millions, of straight blows with copper chisels -much more fragile than those in bronzewould be needed to get only a disgraceful mess, made of scratches, very superficial and
hardly intelligible on such material, with a hardness almost approaching that of diamond.
Although it is not a full relieve work, the curves, the redundancy of particular -often
repeated until the paroxysm-, the grooves and the removal from the full on this smooth
surface, almost a mirror, have necessitated a superfine processing. The Anglo-German
scholar Prof. Rudolf Wittkower, about the ancient Greece, inserts the beginning of the use
of iron tools towards the end of the seventh century BC. And what the hell?! Some
American Indians have been able to produce what was impossible for Greek teachers ...
yes, because I want to emphasize that in the academic literature there is not even a
19

sculpture, made of marble or a harder material, which is attributed to the use of copper
utensils. I'm speaking of full-relief, bas-relief and high-relief works which are the three
main categories of sculptural art; instead, the very archaic and rough, but at the same time
very evocative, petroglyphs discovered in many parts of the world -from Grosio in
Valtellina to Tassili in Sahara- have been made using choppers, flints and obsidian points
on limestone surfaces and sedimentary rocks. Nowadays it is impossible to have at your
disposal a copper saw, similar to the ones used during the Chavn 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 (its 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 blades molecular compactness; even any
water cooling intent, however, wouldnt 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 angry 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
20

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 Chavn 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. At this point it is necessary to focus on
18

the article -A Short History of Metal- written by prof. Alan W. Cramb , 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 manmade 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
<ferrum>.. 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,
21

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.
Do you see how much is complex this sequence of technical levels? 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 Peruvians

19

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 Davidovits

20

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-,
21

written by Sir William Matthew Flinders Petrie , one of the greatest Egyptologist of all
time:
-We now know, however, that jeweled 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.[]
22

-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 its 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 its 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, well, they will never be able to cut a tree
trying to rub the simple chain against whatever log; 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. Besides, it is very interesting how Sir Petrie shows
implicitly that the more recent Ptolemaic architects were a lot less advanced than the
ancient pyramids builders; and what is a pity is that no one of the ancient drills has been
ever found. Above all, what is truly a pity is that Petrie did not try to explain better his
surprise. Yes, because I want to highlight that, according to the most modern scientific
measurement:
23

Granite weights about 12 per cent more than an equal volume of concrete. Granite can
withstands pressures of 15,000 to 25,000 pounds per square inch (103,000 to 172,000 kPa),
compared to about 4,000 pounds (27,600 kPa) for the strongest concrete. (See the end of
note

15

).

This coherent context is reached just in the contemporary technology. Anyway, nobody, in
the academic establishment, has ever dared to hypothesize tools made of bronze with
diamond splinters during all the pre-Columbian era in Latin America. A boring drag that
I've heard from my childhood is: It is scientific only what can be reproduced in the
laboratory. Okay, I have no problems, since in this case I turn back this statement against
its supporters: I am expecting that they reproduce verbatim the Raimondi Stela, using hand
tools made of copper, flint and obsidian with the same asserted primitive techniques
popular in Peru during the X century BC.

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 Acadmie
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
22

and iron age . 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 Catholicisms
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
24

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-) 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,
23

where is the hill of Hissarlik-Troy , 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 brief, 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
25

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
24

technique for dating, this isotope is also known as radiocarbon . In brief, 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 brief, 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
25

explaining how the debut of the iron age , 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 didnt 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
26

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 brief, 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
26

always appreciated for forging high-quality blades (called -combat ready-) very difficult to
27

craft, since in fact it is a real steel waiting to be worked . 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 backdate its use up 2000 BC, I am
referring to the artifacts from Kaman-Kalhoyuk in the heart of modern Turkey, found and
28

studied by the Japanese researcher Hideo Akanuma , 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 anxiously 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,
29

30

31

32

Kristian Kristiansen , Graham Connah , Peter Bogucki , David Browman , 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, they dont dare to
destroy the catafalque of the falsehood. Therefore, more for the failings of the others than
for my personal excellence, I find myself to be the only one who recognizes 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
27

other disciplines such as geology (in particular the stratigraphy), physical anthropology and
cultural anthropology. The gradual coming of chemistry and physics make of the
contemporary archaeology a highly interdisciplinary and developed organization; 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 allencompassing dogmatic system must be maintained, cannot be revolutionized (at least
without Annuit Coeptis). The problems are created by the scientists, in other words, those
scholars 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 Sforza

33

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 regimes 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 dive in a monumental and rigorous work I recommend definitely to read Forbidden
34

Archeology by Richard Cremo , co-written with Richard l. Thompson.

28

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 Bculos, 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 figureshaving 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 artifacts 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 Chavn civilization
was in contact, beings who have been transfigured into more suited mystical and tribal
perspective. Not only Picasso, Salvador Dal and Giorgio De Chirico, just to name some
great artists, have distorted and re-modelled the contemporary and technological realities
29

that they had under their eyes, for adding other meanings, hidden or even strangers. This
35

strategy was already used during the construction of our Stone Banqueter- . Yes, I am
saying that there are Aliens depicted on the Raimondi stele. The following fundamental
36

authors in the field of -Alterity- , Erich von Dniken, Peter Kolosimo, John Mack,
Zecharia Sitchin and Corrado Malanga

37

- 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
38

at length on this topic in various articles that can be found at www.Sentistoria.Org , 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
39

zealous Arlecchino servant of many masters ; 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 quoted

40

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
30

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-Watcher

41

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
31

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-

42

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
43

emancipation with equal lineage. A series of causes, primarily warlike and cataclysmic ,
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 Chavn civilization, it means that its
makers have enjoyed a technological legacy, a true relic, of Atlantis. About 450,000 years
ago, the descended from heaven the Annunaki according to Sitchin, the Nephilim
according to the Bible- manipulated some primates to create the mankind and have it as
own labor force. Subsequently, the terrible end of Atlantis has produced what is called
improperly prehistory, during which some enclaves from the past splendor coexisted with
small tribal human communities which -always with the sword of Damocles represented by
the mystified alien control- began the path until the story of nowadays. The oldest pre-Inca
civilizations witnessed that grandiose and tragic era. The Inca imperial period was surely
the climax of among the pre-Columbian civilizations, but only in this part of time close to
us. The natives of Tahuantinsuyo were the almost unaware heirs of a residual and mutilated
32

legacy, the remains of something immeasurable for better or for worse. I inclined to believe
that the stela, as well as other high-profile and dystonic achievements, should be backdated
directly to that very distant time. When the academic regimes 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.

33

Photo VII- 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 means sacred place, inhibited, but also secure, fortified; probably it
was a fortress-sanctuary. The etymon Pucclana could mean sacred games.

34

Appendix Reptiliana
Photo VIII and IX Roman Dupondius Augustus Pius ca.140 AD

35

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
44

exceptions . 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)
45

provides food to a serpent which rises on an altar . Salus -albeit never reaches the rank of a
goddess as Juno, the Jupiters wife, or Minerva, the Jupiters 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 Asklpis daughter and

her representations are identical to those of Salus. Asklpis 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 Herakls when the
great hero is admitted in the Olympus after his death and resurrection;
36

- the Celtic goddess Sirona is the lady of the healing sources and many sculptural
representations depict her with a snake wrapping her lustful body;
- Iunn offers the magic apples that keep young the northern gods who live in sgarr.
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 -Youthand 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 46

XIV of the eighth elegy, from the IV book of Elegiae by Sextus Aulus Propertius ,
because, in addition to being very beautiful and evocative, the reader has the possibility of a
faithful reading.
Learn what this night stirred the Esquilinums 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 serpents 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
37

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 draconis, 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 (On the
nature of animals)

47

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 dragons 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 aliens supremacy, transfigured in further times
that are moving away from the primordial core of direct testimonies.

38

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 Sapphos 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 alAlas. Shortly speaking, this is not true:
already Eusbe 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.
39

Instead, the fanatic mob, unfettered by bishop Theophilus, made a tabula rasa where there
was one of the greatest shrines of the worldwide culture, in 391. 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 sadist criminal Cyril after his death was coherently proclaimed
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 worship. During the Greek independence, the city-states
interrupted the wars to permit their males to participate 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
40

of the Catholic states were obliged to enforce it under the Inquisitions 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.sappho.com/poetry/sappho.html
http://www.britannica.com/EBchecked/topic/14417/Library-of-Alexandria
http://www.nybooks.com/articles/archives/1990/sep/27/the-vanished-library-2/
http://www.suppressedhistories.net/secrethistory/hypatia.html
http://www.fordham.edu/halsall/mod/indexlibrorum.asp
http://www.aloha.net/~mikesch/banned.htm
Del Col, Andrea, LInquisizione 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 who 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 fallsthe World.
Lord Byron, from Childe Harold's Pilgrimage, 1812-1818
2

http://www.academia.edu/486349/Le_tecniche_del_bello._I_canoni_della_scultura_nella_
Grecia_classica_2008_
http://www.loescher.it/librionline/risorse_forzaimmagine/download/w3264_figura_arte.pdf
http://www.madeinsouthitalytoday.com/the-bronzes-of-riace.php
3

http://www.treccani.it/enciclopedia/mausoleo_%28Enciclopedia-dell%27-Arte-Antica%29/

41

http://www.anima-morteeternita.com/index.php?option=com_content&view=article&id=107:mausoleo-dialicarnasso&catid=39:mausolei&Itemid=86
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 citys 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 Incas quiere dezir ombligo de la tierra; llamronla con buena semejana
ombligo, porque todo el Per es largo y angosto como un cuerpo humano, y aquella ciudad
est 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 lvar Nez Cabeza de
Vaca. During the tribulations and successes of his life, he was a direct eyewitness of the
sufferings inflicted by the 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
42

Naufragios (first edition Zamora, 1542), which describes the tormented escape after the
complete failure of the expedition commanded by Pnfilo de Narvez, is available in
original at the following link:
http://www.gutenberg.org/ebooks/11071?msg=welcome_stranger
With the proper research, its 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.
5

http://it.wikipedia.org/wiki/Antonio_Raimondi

http://www.raimondi.edu.pe/it
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

http://www.arqueologiadelperu.com.ar/chavin2.htm

43

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.
http://es.wikipedia.org/wiki/Guerra_del_Pac%C3%ADfico
http://en.wikipedia.org/wiki/War_of_the_Pacific
http://www.academiahistoria.cu/index.php/Bitacora/Publicaciones/La-dramatica-historiade-la-Guerra-del-Pacifico-1879-1883-y-de-sus-consecuencias-para-Bolivia
http://paginasheroicas.foroperu.org/t46-historia-de-la-guerra-de-america-entre-chile-peru-ybolivia-tomas-caivano1883
Lpez Urrutuia, Carlos, Guerra del Pacifico, El Ciprs, Madrid, 2008
Garate Calle, Antonio, Por Diez Centavos de Salitre, Instituto de Estudios HistricoMartimos del Per,, Lima, 2011
Caivano, Tommaso, Historia de la Guerra de America entre Chile, Per y Bolivia,
Tipografia dellArte della Stampa, Firenze, 1883
9

http://huacapucllanamiraflores.pe/historia/

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)
http://www.stereoscopy.com/faq/history-errors.html
http://www.dundee.ac.uk/psychology/staff/profile/nick-wade
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
44

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 todava ms complicados
que los de la columna [...] Dicha piedra es de gran estimacin, por lo complicado y la
hermosura de su diseo, por la finura y sorprendente simetra que se nota en un dibujo tan
difcil, que el mejor artista no habra podido hacerlo ms perfecto. Ella es de por s un
precioso monumento que debera conservarse con el mayor cuidado en el Museo Nacional,
porque da una exacta idea del gran desarrollo que haba alcanzado el simbolismo, el
dibujo y el arte de trabajar la pietra entre los antiguos indios.
12

http://en.wikipedia.org/wiki/Joseph_Campbell

http://www.jcf.org/new/index.php?categoryid=83&p9999_action=details&p9999_wid=701
http://www.miotas.org/blog_body.cfm?id=E609A933-B531-10AD-D827DCA504C2F830
http://www.miotas.org/blog_body.cfm?id=A263A16E-F04B-16B7-79F79448E476FB97
13

Alfonso Klauer refers that the great native archaeologist Julio C. Tello was sure about the

Caribbean origin of the name Chavn, finding in - jaguar- its translation:

Kluer, Alfonso, El mundo pre Inka : Los Abismos del Cndor, Lima, 2000;
integrally available for free here:
http://www.eumed.net/libros-gratis/2005/ak1/index.htm
http://www.eumed.net/libros-gratis/2005/ak1/01%20Abismos%20I.pdf
http://www.eumed.net/libros-gratis/2005/ak1/02%20Abismos%20II.pdf

45

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).
14

http://rip-rapp.com/

http://f3.tiera.ru/2/P_Physics/PGp_Geophysics/Rapp%20G.%20Archaeomineralogy%20%
28Springer,%202009%29%28ISBN%203540785930%29%28359s%29_PGp_.pdf
15

http://www.geologists.org.uk/famous-geologists/friedrich-mohs-1773-1839/

http://www.tf.uni-kiel.de/matwis/amat/mw1_ge/kap_8/advanced/t8_4_2.html
http://www.rockbreaker.com/equipment/rockbreakersystemsmain/26-products/booms/702rockhardness.html
http://en.wikipedia.org/wiki/Hardness_comparison
http://science.howstuffworks.com/dictionary/petrology-terms/granite-info.htm
16

http://bs.taglio-cemento-armato.it/1/storia-taglio-cemento-a-filo-diamantato.html

http://ricerca.gelocal.it/iltirreno/archivio/iltirreno/2006/02/17/LC3PO_LC305.html
17

The Etiennes experiment is cited in Sculpture. Processes and Principles, Penguin Books

Limited, London (1977), by Margot Wittkower: the writer collected in a posthumous work
the Fine Arts classes given by Prof. Rudolf Wittkower, his father, during the academic year
1970-1971 at Christ's College-University of Cambridge.

46

18

http://neon.materials.cmu.edu/cramb/
http://www.iit.edu/engineering/mmae/faculty/cramb_alan.shtml
http://neon.mems.cmu.edu/cramb/Processing/history.html
19

http://todosobrelahistoriadelperu.blogspot.it/2011/06/metalurgia-cultura-chavin.html
20

21

http://en.wikipedia.org/wiki/Joseph_Davidovits

http://www.gizapyramids.org/pdf_library/petrie_gizeh.pdf

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 hara millonario, sino que
revolucionara 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:
https://www.yumpu.com/es/document/view/14257940/historia-misteriosa-de-egiptosentimientos-compartidos

47

22

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 Acadmie. 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:
http://en.wikipedia.org/wiki/Lucretius
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.
23

The following article is very interesting about the doubts regarding the identification of

Hissarlik with the Homeric Troy:

http://www.varchive.org/nldag/idtroy.htm
In particular the following extract:

48

Whichever level scholars may agree to identify as Homers 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

http://www.c14dating.com/int.html

25

http://mineralsciences.si.edu/collections/meteorites.htm#3

http://www.minsocam.org/ammin/AM65/AM65_624.pdf
http://www.ucl.ac.uk/iams/newsletter/accordion/journals/iams_19/iams_19_1995_el_gayer
26

http://warehamforgeblog.blogspot.it/2010/06/working-meteor-iron.html

27

http://www.asia.si.edu/collections/singleObject.cfm?ObjectNumber=F1955.27a-b

28

http://www.une.edu.au/__data/assets/pdf_file/0006/22992/GRAVE_and_KEALHOFER202
006.pdf
http://www.jiaa-kaman.org/pdfs/aas_17/AAS_17_Akanuma_H_pp_313_320.pdf
http://www.jiaa-kaman.org/pdfs/aas_17/AAS_17_Masubuchi_M_pp_281_294.pdf
http://www.harrassowitz-verlag.de/dzo/artikel/201/004/4180_201.pdf?t=1336045002
29

Kristiansen, Kristian; Rowlands, Michael, Social Transformations in Archaeology:

global and local perspectives, Routledge, London, 1998

49

30

31

Connah, Graham, Writing About Archaeology, Cambridge University Press, 2010

Bogucki, Peter, Northern and Western Europe : Bronze Age, in Encyclopedia of

Archaeology, pp. 1216 1226, Academic Press, New York, 2008

32

Browman, David L.; Williams, Steven, New Perspectives on the Origins of Americanist

Archaeology, University of Alabama Press, Tuscaloosa, 2002

33

http://www.homosapiens.net/la-mostra/curatori/lang/it/

http://it.wikipedia.org/wiki/Luigi_Luca_Cavalli-Sforza
http://en.wikipedia.org/wiki/Luigi_Cavalli-Sforza
34

http://www.mcremo.com/

35

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.

36

The noun -ufology- here is out of place: I dont 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.
37

http://giuseppe-veronica.blogspot.it/2011/12/riabilitazione-di-peter-kolosimo.html

http://it.wikipedia.org/wiki/Peter_Kolosimo
http://www.daniken.com/
http://www.corradomalanga.com/coma/
http://it.scribd.com/doc/11572474/Corrado-Malanga-Alien-Cicatrix-http-wwwanimalibera-net-p-il-mio-libro-html
http://unimap.unipi.it/cercapersone/dettaglio.php?ri=4074
http://johnemackinstitute.org/
50

www.sitchin.com
38

http://www.sentistoria.it/index.php/it/articoli/cat_view/34-articoli/52-il-pensatore

39

For this definition I was inspired by Harlequin servant of two masters (Arlecchino servo

di due padroni) written by the extraordinaire Carlo Goldoni, 1745.

40

http://www.beyondweird.com/ufos/Branton_The_Dulce_Files_Chapter23_Inside_Intelligen
ce_On_the_Dulce_Base.html
http://www.greatdreams.com/reptilian-humanoids.htm
http://www.thewhyfiles.net/varginha.htm
http://ufologie.patrickgross.org/htm/vargtim.htm
41

Moon-Watcher is the protagonist at the beginning of the movie 2001 Space Odyssey,

directed by Stanley Kubrick on Arthur Clarkes subject, as well as in the subsequent novel
of the same name written by Clarke alone; both masterpieces were released in 1968.
42

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.
43

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)
51

Bouval, Robert, Gilbert, Adrian G., The Orion Mistery, (1994)

44

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-.
45

Not to be confused with the capital letter -S- that means Salus, between the altar and the

goddess.
46

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."
47

Claudius Aelianus (in ancient Greek ; 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.

52

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.

53

The photos
I have shown pictures published on websites that allow their use by third parties, with noprofit intentions, just for cultural purposes and as long as their location is properly
indicated.

Photo I:
http://www.generaccion.com/magazine/710/evocando-antonio-raimondi

Photo II: http://www.latinamericanstudies.org/chavin/raimondi.gif

Photo III
http://upload.wikimedia.org/wikipedia/commons/7/7e/Raimondi_Stela_%28Chavin_de_Hu
antar%29.png

Photo IV:
http://www.miotas.org/blog_body.cfm?id=A263A16E-F04B-16B7-79F79448E476FB97

Foto V: http://cciv214fa2012.site.wesleyan.edu/archaic-period/exhibit-1/

Foto VI:
http://www.oneonta.edu/faculty/farberas/arth/Images/109images/greek_archaic_classical/sc
ulpture/kouros_met.jpg

Photo VII, VIII, IX: 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
54