Ancient Artifacts: Ancient

Model Aircraft,
This appears to be more of a category than an individual artifact, it seems to cover a couple of different artifacts that share
the common thread of vaguely looking like flying objects. Or at lest that’s what you’re supposed to think. Two major
items stand out in this category, The Saqqara Bird and the Tolima Artifacts, though it can also be said that flying carpets,
winged chariots, and dragons also belong here (more on this later).

Let’s start with the Saqqara Bird.

The Bird in Question

The Saqqara Bird is an actual artifact kept in an actual museum, it was uncovered by actual archaeologists and studied by
same. The Bird’s existence is not in question and not disputed. It’s the Bird’s function that people want to debate, and by
people I mean the Fringe.

The Bird was discovered in 1898 by Dr. Khalil Messiha during an excavation of the Pa-di-Imen tomb in Saqqara, Egypt
(Fitzpatrick-Matthews 2010). It is made out of sycamore wood and appears to have a falcon shaped head, complete with
Horace like eyes. It’s exact function is unknown but it is mostly accepted that the Bird was part of a mast-head used on
sacred boats like those used during the Opt Festival, of which we have documentation (Fitzpatrick-Matthews 2010,
Orcutt 2001].

Please note bird images on the masts of the ships.

Now, some will have you think that the Bird is a scaled down replica of a glider. There are several issues with this,
mainly that, if you faithfully replicate the Bird to a larger scale, it will not fly. I know most of us have seen the
Ancient Aliens episode where they make a model, and then fly it, but they also make several modifications to it, none of
which have any evidence of existing. To be a final nail in the glider coffin, others have tried to replicate the models and
have found them to be lacking. Larry Orcutt points out in his article “Model Airplane?” talking about the Bird:
“The requirements for a Free Flight model glider to be automatically stable in
flight are that it should:
1. Balance somewhere between 25% and 60% of the wing chord back from the leading
edge. The wing chord is the average width of the wing, measured from front to back. A
glance at the bird shows that the body is made from a single piece of wood whose
proportions are such that the balance point is at or behind the trailing edge of the wing.
The bird’s head region has clearly never had a weight attached to it or buried within it.
Such a weight would be needed to bring the balance point forward into the range given
above.
2. Have a horizontal tail surface of around 20 – 25% of the wing area. Despite some claims
to the contrary, no such tail surface currently exists and there are no traces of a tail
plane’s attachment point on the bird’s fin or rear body. The fin is the vertical tail surface
that forms the rear of the bird’s body.
3. Be shaped to provide spiral stability. The presence of a large fin at the rear of the body
must be balanced by a dihedralled wing if the bird is to glide without tipping over
sideways into an terminal spiral dive. A dihedralled wing is one with the tips raised above
the center of the wing like virtually all passenger planes and model aircraft. The bird has
the opposite wing arrangement. Its wing tips are drooped to give anhedral, which would
only serve to increase the bird’s spiral instability.
As can be easily seen, the bird meets none of these requirements for flight, so it
is quite unlikely that it ever flew or that accurate replicas could fly. [Orcutt
2001]”

He also shows several examples of the mast mounted birds that look very much like the Bird, and has a link though to a
report on the replication and attempted flight of the Bird.

Next, let’s look at the Tolima Artifacts.

One of several small animal totems.

Again, these are another set of real artifacts recovered in real digs and displayed in real museums. It’s the interpretation
of said artifacts that is disputed. Not by anyone who knows anything about them, or the Tolima people, but by Ancient
Alien theorists and such. These little gold charms are so low-key you’ll be hard pressed to find anything academic on
them. However, you can go see them in several museums around America, including the Smithsonian in DC and The
Field Museum in Chicago. To the Ancient Alien people though, these small gold artifacts are hard evidence of ancient Jet
fighters.

I really can’t even begin to tear this one apart because it’s just so ridiculous to me. Where the Fringe sees an airplane, I
see fish and moths. Maybe it’s because I understand that ancient peoples took liberties and stylized their interpretations of
their world, especially when it came to ritual items. Maybe it’s because these things don’t look a damn thing like
airplanes or jets. IDK.

Da Plane Boss, Da Plane!

But honestly, let’s look at the larger issue with this whole ancient airplane thing, Where are the remains of these planes?
Where are the parts, the broken bits, the actual plane themselves? Where is all the stuff associated with flying planes?
Where are the airports, the air towers, the luggage claim racks…

If man was making them, where are the production sites? If Aliens flew them down, why is there no physical evidence?
What did these things run on? Jet fuel is an expensive, complicated, explosive mix. How did our ancestors make it and
not kill themselves?

This brings us to the more imaginative part of this entry, the whole idea that flying carpets, dragons and winged chariots
were really ancient man’s way of interpreting ancient flying machines. In order for these ideas to work we have to make
several assumptions that no one should be comfortable making.

First, we have to assumes that the mythologies of ALL ancient peoples are accurate and true.
Second, we have to assume that whenever the ancients said “God or Gods” they were really talking about aliens, they
just didn’t know it.

Third, we have to assume that our ancestors were too ignorant of the natural world to understand a non-natural object,
and instead of faithfully representing the actual object in story and art, they took artistic liberties to create winged
chariots, flying carpets, and yes, Dragons.

Fourth, we have to ignore that our first assumption and our fourth assumption are in opposition.

Fifth, we have to never ask what happened to all the physical evidence advanced machinery would have left behind, or
where these “Alien Gods” went to, or why they came or left in the first place.

In order for the Saqqara Bird and the Tolima Artifacts to be real, all these questions and assumptions need to be
addressed. Evidence needs to be produced, and reality itself has to shift. I’ve yet to hear anything resembling a reasonable
answer to the logical objections to the idea of ancient airplanes. If one could be provided, it would be the first.

Reinterpreting the Known World.

Another thing sticks out here that is of some interest, and that is the reinterpreting of actual artifacts. It’s something I’ve
noticed the Ancient Alien theorists do often. They take known discoveries and try to make them fit the Alien narrative.
They reject documented and researched interpretations by experts and substitute their own, that are often based on
nothing more than observing a photograph. I’m often left wondering why? What makes a non-professional individual
reject the accepted opinion of a professional and supplement a much less informed opinion instead? Why do they think
these two opinions are equal in validity?
This has nothing to do with intelligence, I want that to be clear. It has everything to do with experience and education. All
three of those things are separate and are not actually dependent on each other, so none of this “they’re stupid” talk.
Irrational? Perhaps. Uniformed? definitely. But not stupid.

Whatever the answer to those questions might be, we in the “Mainstream” will continue to be plagued by weird
reinterpreting by the “Fringe”. Which leads to the other problem I have with this kind of thing, misinformation.

Regardless if the misinformation is being distributed knowingly or unknowingly, the biggest problem is that they can put
that bad information out there faster than most people can fact-check. Which creates confusion in a normal, rational,
individual. What can be done about that?

Critical articles like these, critical arguments, critical thinking, and access to open, honest facts, are the only way to
combat this barrage of misinformation. People need access to factual information so that it can be used to counter the bad
information. People also need to be taught how to think both skeptically and critically, something a lot of people think
they are doing, but in reality are not. I feel that these goals are being met to some degree. Open Access is a huge
thing among scientists today, and I think it will only continue to become the norm. That thought gives me hope.

Model Airplane?

© Photo copyright Philip Rychel

In room 22 of the Egyptian Museum in Cairo, Egypt, there is a wooden

object that appears very similar to a modern airplane or glider. In fact, it is
so similar that some have offered it as proof that the ancient Egyptians
possessed the technology of flight. The artifact (Special Register No. 6347;
the number 33109 is written on the bottom of the port wing) is made of
wood and has a length of 5.6 inches (14.2 cm) and a wingspan of 7.2 inches
(18.3 cm). It was found in a tomb near Saqqara in 1898 and has been dated
to about 200 B.C.
 © Photo copyright Philip Rychel

The seed of the theory that the model represents an example of a working
aircraft can be traced to Khalil Messiha, Professor of Anatomy for the
Artists at Helwan University (and member of the Royal Aeromodellars
Club, Egypt, and the Egyptian Aeronautical club). According to Messiha,
(in Messiha, Khalil, Guirguis Messiha, Gamal Mokhtar, and Michael
Frenchman. "African Experimental Aeronautics: A 2,000-Year-Old Model
Glider" in Van Sertima, ed. Blacks in Science: Ancient and Modern, 1983,
pp.92-99) the model is made of sycamore wood and weighs 39.120 gms. Of
the wings he wrote, "One can note also that there is a Dihedral angle which
is slightly unequal on both sides due to slight distortion of the wood, caused
by the passage of time... The body is made of the same wood as the wing
and has an aerofoil shape beautifully carved and smooth. Its nose is
pyramidal in shape with one eye painted on its right surface." He added that
"there is no trace of any decoration of 'feathers' painted on the body with the
exception of the eye, and two faint reddish lines surrounding the belly under
the grooves." He makes no mention of any holes on the top of the tail, nor
did he observe grooves on the tail that might accommodate a tailplane.
Everything about this Messiha's physical observation of the model appears
to be accurate. He did add, however, "The lower part of the tail is broken
[i.e. flat] which I think may be an evidence that the tail was attached there."
It is notable that by close examination of the photographs, a flattening on
top of the tail is also evident. He places great weight on the lack of feather
decoration and the absence of legs as an indication that the model was not
meant to represent a bird. The other bird models include these features, he
insists. Of the model's flightworthiness, he wrote, "I have already made a
similar balsa wood model, and added the tailplane (which I suppose was
lost) and was not astonished to find that it could sail in the air for a few
yards when thrown by hand." (p. 94) Messiha concluded that "This ancient
aeroplane model represents a diminutive of an original monoplane still
present in Saqqara." (p. 97; to see drawings of the model by Messiha and
others, click here.)

The article in Blacks in Science is actually comprised of three articles (the

first was quoted above). Gamal Mokhtar wrote that Messiha saw the model
in its glass case and saw that it was different from the other birds "because
birds' tails are horizontal, while aeroplanes have vertical tails." (p. 97)
Michael Frenchman, however, added some of his own embellishments to the
story. He wrote that Messiha "came across the glider model in 1969 when he
was looking through a box of bird models in one of the Cairo Museum's
storerooms... Furthermore there is a groove under the fin for a tailplane
which is missing." (p. 98) Here he misquotes Messiha, and perhaps begins
the oft-repeated "groove-on-the-tail" misinformation. He also wrote that the
model "looks remarkably futuristic and bears a close resemblance to
the American Hercules transport aircraft which has a distinctive reverse
dihedral wing." Again, he concluded that "the find is a scale model of a full-
sized flying machine of some kind." (p. 99)

In Atlantis Rising (Issue Number 5), there appeared an article by Joseph

Robert Jochmans on the "Top 10 Out-of-Place Artifacts (O.O.P.s)." The
fifth was subtitled "Flight in Ancient Egypt:"

In 1898 a curious winged object was discovered in the tomb of Pa-di-Imen

in north Saqqara, Egypt dated to about 200 BC. Because the birth of modern
aviation was still several years away, when the strange artifact was sent to
the Cairo Museum, it was catalogued and then shelved among other
miscellaneous items to gather dust.

Seventy years later, Dr. Kahlil Messiha, an Egyptologist and archaeologist,

was examining a Museum display labeled bird figurines. While most of the
display were indeed bird sculptures, the Saqqara artifact was certainly not. It
possessed characteristics never found on birds, yet which are part of modern
aircraft design. Dr. Messiha, a former model plane enthusiast, immediately
recognized the aircraft features and persuaded the Egyptian Ministry of
Culture to investigate.

Made of very light sycamore the craft weighs 0.5 oz. with straight and
aerodynamically shaped wings, spanning about 7 inches. A separate slotted
piece fits onto the tail precisely like the back tail wing on a modern plane.

A full-scale version could have flown carrying heavy loads, but at low
speeds, between 45 and 65 miles per hour. What is not known, however, is
what the power source was. The model makes a perfect glider as it is. Even
though over 2,000 years old, it will soar a considerable distance with only a
slight jerk of the hand. Fully restored balsa replicas travel even farther.

Messiha notes that the ancient Egyptians often built scale models of
everything familiar in their daily lives and placed them in their tombs,
temples, ships, chariots, servants, animals and so forth. Now that we have
found a model plane, Messiha wonders if perhaps somewhere under the
desert sands there may yet be unearthed the remains of life-sized gliders.
 © Photo copyright Philip Rychel

The 15 February 1998 issue of The Augusta Chronicle featured an article by

Randall Floyd titled "Flight may have begun before Wrights:"

In 1969, while sorting through a box of old exhibits in the basement of the
Cairo museum, Egyptologist Khalil Messiha found what appeared to be a
2,200-year-old model airplane, complete with wings, landing gear and an
aerodynamically designed body.

The object had been found in a 2,000-year-old tomb near Saqqara in 1898.
The archaeologist was stunned. What would a perfectly scaled model of an
airplane be doing in a tomb of such antiquity?

His conclusion: "Apparently the ancients possessed long-forgotten

technologies," he said. Egypt's Ministry of Culture agreed. A committee set
up to investigate the matter concluded that the 7-inch-long model, built of
light sycamore wood and weighing only 1.11 ounces, seemed to incorporate
principles of aircraft design that had taken modern engineers decades of
experimentation to discover and perfect.

Moreover, they found, the glider worked. More than two millennia after its
construction, it still sailed easily through the air at only the slightest flick of
the hand.

© Photo copyright Philip Rychel

The above articles assert that the model is the pinnacle of flightworthiness.
But is it? Martin Gregorie of Harlow, Essex, a designer, builder, and flyer of
Free Flight model gliders with more than 30 years experience, thinks not:
The requirements for a Free Flight model glider to be automatically stable in
flight are that it should:

1. Balance somewhere between 25% and 60% of the wing chord

back from the leading edge. The wing chord is the average
width of the wing, measured from front to back. A glance at
the bird shows that the body is made from a single piece of
wood whose proportions are such that the balance point is at or
behind the trailing edge of the wing. The bird's head region has
clearly never had a weight attached to it or buried within it.
Such a weight would be needed to bring the balance point
forward into the range given above.
2. Have a horizontal tail surface of around 20 - 25% of the wing
area. Despite some claims to the contrary, no such tail surface
currently exists and there are no traces of a tail plane's
attachment point on the bird's fin or rear body. The fin is the
vertical tail surface that forms the rear of the bird's body.
3. Be shaped to provide spiral stability. The presence of a large
fin at the rear of the body must be balanced by a dihedralled
wing if the bird is to glide without tipping over sideways into
an terminal spiral dive. A dihedralled wing is one with the tips
raised above the center of the wing like virtually all passenger
planes and model aircraft. The bird has the opposite wing
arrangement. Its wing tips are drooped to give anhedral, which
would only serve to increase the bird's spiral instability.

As can be easily seen, the bird meets none of these requirements for flight,
so it is quite unlikely that it ever flew or that accurate replicas could fly.

(Read Gregorie's test of a scale model in Flying the Saqqara Bird.)

Is the Saqqara artifact meant to represent an airplane? This seems unlikely

especially in view of the absence of any evidence of the considerable
support technology that would of necessity be associated with flight industry
(such as wheels, engine machinery, parts manufacture, fuel production, etc.)
It would seem strange indeed if the Egyptians flew around in high-tech
aircraft and left only a single wooden model (and, some would claim, a few
glyphs carved above a temple doorway) as evidence of their airborne
activities. What, then, might the model actually represent?

Most Egyptologists think that the artifact is a bird with outstretched wings,
though the tail is quite dissimilar to any known bird's tail. Though it is not
apparent in the accompanying photographs, painted details of the eyes and
beak are still observable on the model. There also remains a bit of paint on
the upper edge of the tail, and it is possible that more detail was originally
provided but has worn away over time. There is also a graceful curve on the
bottom of the model delineating the anatomical transition of the body to the
head and the tail, very much in the manner of a bird in flight. But there is
still the matter of the peculiar shape of the tail.

Below are details of the tops of the masts from three reliefs depicting boats,
all used in the Opet festivals. The first is the masthead of a boat of Ramesses
III, the second is the mast of a boat in the reign of Herihor, and the third is
the masthead of the ship of state Mery Amun. All of these reliefs are found
in the Temple of Khonsu at Karnak and date to the late New Kingdom.

Illustrations © copyright Dilwyn Jones Boats, University of Texas Press, 1995, pp. 58, 59, 64.

Could the Saqqara artifact have served as a sort of weathervane to indicate

wind direction on a boat, practical or ceremonial? The vane-like tail might
suggest such a use. Given its size, it appears unlikely that it would have
been set atop a mainmast, however, as the reliefs above depict. It is also
possible that the artifact served as a child's toy, though its design would not
allow it to glide like a bird if hurled through the air.

In any case, of the two theories that the artifact is intended to represent
either a bird or an aircraft, the former is the only one tenable based on the
corpus of evidence that is known to exist.

by Lumir G. Janku
1996
from WorldMysteries Website

This object (shown in sketch) was found

in 1898 in a tomb at Saqqara, Egypt and
was later dated as having been
created near 200 BCE. As airplanes
were unknown in the days when it was
found, it was thrown into a box marked
"wooden bird model" and then stored in
the basement of the Cairo museum.
It was rediscovered by Dr. Khalil Messiha, who studied models made by ancients. The
"discovery" was considered so important by the Egyptian government that a special
committee of leading scientists was established to study the object.

As a result of their findings, a special exhibit was set up in the center hall of the Cairo
museum, with the little model as its centerpiece. It was even labelled as a model airplane.

To elucidate the reasons for the decision of the

committee, almost unprecedented in the field of
archeology, let's consider some aspects of the model.
The model has the exact proportions of a very advanced
form of "pusher-glider" that is still having "some bugs
ironed out". This type of glider will stay in the air almost
by itself—even a very small engine will keep it going at
low speeds, as low as 45 to 65 mph., while it can carry an
enormous payload. This ability is dependent on
the curious shape of wings and their proportions. The
tipping of wings downward, a reversedihedral wing as it is called, is the feature behind this
capability. A similar type of curving wings are implemented on the Concorde airplane, giving
the plane a maximum lift without detracting from its speed.

In that context, it seems rather incredible that someone, more than 2,000 years ago, for any
reason, devised a model of a flying device with such advanced features, requiring quite
extensive knowledge of aerodynamics. There were no such things as airplanes in these
times, we are told by archeologists and historians. But this case seems to be an exception,
living in the midst of the rather unimaginative and rigid paradigm of contemporary science. It
is also necessary to point out that Egyptians are known to have nearly always made scale-
models of projects and objects which they planned to create or build.

Precolombian Airplane Models

Is the concept of an
airplane limited to Egypt?
That doesn't seem to be the
case. Gold trinkets were
found in an area covering
Central America and coastal
areas of South America,
estimated to belong to a
period between 500 and 800
CE, but since they are made
from gold, accurate dating is
impossible and based
essentially on stratigraphy
which may be deceptive. Whatever this object is supposed to be or represent, its remarkable
resemblance to a modern aircraft or spacecraft is uncanny.
However, we can safely say
that these gold objects are more than 1000 years old.

As seen from the pictures, the shape of the sample object is rather ambiguous. The
archaeologists labelled these objects as zoomorphic, meaning, animal shaped objects. The
question is, what animal do they represent? When we compare these with other objects from
the same cultures depicting animals, a curious facet of the comparison would be obvious: the
other objects are recognizable, rendered usually with a great accuracy and attention to
realistic detail.
There are several types of animals which fly—birds, insects, and several mammals, such as
bats and some gliders, for instance flying squirrels, opossums, and then there are some
lizards; there are also some fish which for brief periods glide through the air. There are water
animals which seem to fly through the water, such as rays, skates and some selachians. But
how does the depicted object compare with these choices? All its features taken into a
consideration, we have no match. Seen from above, the object obviously has no fish
features, but seems to show rather explicitly mechanistic ones.

The structures just in front of the tail are strongly

reminiscent of elevons (a combination of ailerons
and elevators) with a slight forward curve, but
they are attached to the fuselage, rather than the
wings. In any case, they look more like airplane
parts than like the claspers of a fish. If the two
prominent spirals on the wings are supposed to
be a stylized version of the eyes of a ray, then
what are the two globular objects positioned on
the head supposed to represent?
To complicate the identification even more, the spirals on the wings have their copies
positioned on the nose of the object, in the opposite direction. When the object is viewed in
profile, the did similarity to anything from the animal kingdom is even more pronounced. If
the zoomorphic explanation is supposed to hold, then why did the artist cut the head off
almost three quarters from the body? And why is the nose is practically rectangular and the
cut tilted forward, with eyes positioned at either side, when fish eyes are usually more near
the center of bodyline and far forward on the head?

What we can make of the semicircular grooves

on the inside of the cut? What is it supposed to
be—fishwise? And what about the scoop,
forward and under the cut? It is a scoop, not just
a ridge for drilling a hole through to place the
object on a necklace chain. Then there is another
rectangular feature, positioned further back at the
approximate center of gravity under the fuselage.

The wings when viewed from the side are perfectly horizontal, but when seen from the front,
they curve slightly downward. The elevators, which are right behind the wings, are positioned
on a slightly higher horizontal level and are square-ended, thus a definite geometric shape.
Above them is another rectangular shape, with a relief which may be reminiscent of knobs.
The tail is equally intriguing. No fish has only a single, upright and perpendicular flange. But
this tail fin has an exact shape of fins on modern airplanes. There are also some markings
on the tail which are hard to identify, but it does not seem to be anything related to animals,
either.

When all the features are taken into an account, the object does not look like a
representation of any known animal at all, but does look astonishingly like an airplane. The
photos and enlarged outline of the object has been submitted for an analysis to several
people from the field of aerodynamics. One of them was Arthur Young, a designer of Bell
helicopters and other aircraft. His analysis confirmed that the object contains many features
which would fit the airplane hypothesis, but there were several ones which would not fit that
scenario. Wings do seem to be in the wrong place—they should be further forward so that
their 1/4-chord coincides with the center of gravity. The nose is not like anything on
airplanes, as well. So, while the object is suggesting an airplane, some features would not
seem to support this hypothesis.

But let's entertain several possibilities. If we

imagine that the separation after the
windshield is not a cockpit and that the pilot
and the cargo were located somewhere in the
main fuselage body, then we can envision the
nose as something else. Let's assume that
the nose is actually a jet. If the machine
needs to slow down, the jet flow directed
against the path of flight would accomplish
just that. But how to redirect the jet into the
opposite direction?

If we envision the nose as a movable part of the plane, turning around the point located
where the nose and fuselage meet, thus pivoting the nose downward to tuck it under the
fuselage, that would enable the desired effect. What's more, it will re-adjust the center of
gravity and the wings would be just in the right place for a high powered flight.

Another problem, though, will appear and that is the drag which would be created by the
back of the nose now positioned in front. But that can be attributed to artistic license. That
seems to be the case, because several other similar planes feature the back part of the nose
tilted more forward, so the angle of the back of the nose when pivoted is more corresponding
to aerodynamic principles.

All things considered, the object seems to represent a convertible type of craft, with two
possible configurations:
 one for ascent when the nose is facing backwards
 the other for descent with the nose facing forward
One unsolved item remains—the spirals on the both wings and the nose. According to
Amerindian iconography, these spirals have discernable meaning—they represent ascending
and descending, depending on whether they are right-oriented or left-oriented, respectively.
As the spirals are not only on wings but also on the nose, the meaning is fairly obvious—the
wings and the nose (as much) were the features which were directly involved in ascent and
descent.

There are other cultures which mention flying vehicles of some sort or another. The most
known of these sources are Indian epics, especially the Mahábhárata and other Védic
sources as Bhágavata Purána and Rámáyana. The flying devices were called vimanas and
were extensively discussed in Vaimánika Shástra, describing multitude of machines with
different purposes and capabilities.

Other source of information about flying machines may be considered, such as the Bible and
some apocryphal works. The Book of Ezekiel seems to be describing the close encounter of
a man from a non-technological culture with a device which to him must have been
miraculous. We have to put ourselves into his shoes to comprehend his astonishment and
the other worldness of his encounter. The limited scope of knowledge of the world around
him, his primitive environment, dictated the language and conceptual framework with which
he tried to capture his encounter for fellow tribesmen. For him it seemed that he
encountered The God, with his suite of angels, because in his simple world, there was no
other interpretation.

It is not necessary to reach for an alien type of scenario to explain the encounter; we can
entertain a possibility that a remnant of an advanced civilization was still present, in a limited
scope, at the time of Ezekiel. But for some, the encounter bears uncanny similarity to the
modern-day encounters with UFO's. Another source of similar material is the Book of Enoch,
particularly the Slavic version, which contains some parts which the Greek version is
missing. The book not only describes flying in the air, but also through outer space, including
the relativistic effects mentioned—Enoch spent several days on a spacecraft, but when he
returned to Earth, several centuries had passed by.

There is no shortage of descriptions of flying machines in ancient sources. If we try to extract

the core of myths of different provenience and remove the embellishments, we discover to
our surprise that flying in ancient times seems to be the rule, not the exception

There are several theories about this, including reasons of astronomy and religion, but there is
evidence going even further back of possible manned flight.

In the Egyptian Temple of Seti I, built some time around 1280 BCE, there are hieroglyphs
depicting what appears to be a helicopter, and this just in, helicopters fly. There are also other
objects in the drawings resembling flying objects one might see in a Jetsons cartoon.
This is truly amazing!! Two German aeronautical engineers, Algund Eenboom and Peter Belting, dug the Inca artifacts back
into scene, built a propeller-powered scaled replica of one of the artifacts and performed a flight test in 1997, during the
Ancient Astronaut Society World Conference in Orlando, Florida.

They didn’t any modification in their replica, keeping the exact aerodynamic characteristics of the Inca objects, that were

proven actual replicas of 100% functional aircrafts, after the stunning successful test.

Frontier scientist Richard Hoagland’s research team The Enterprise Mission pointed out another relatively new and

interesting development in the proof for a lost technological society. Among other points, Hoagland et al. discuss the recent

findings of German scientists Dr. Algund Eeboom and Mr. Peter Belting. Several small gold trinkets have been recovered

from tombs of the Incas, dating back thousands of years. These trinkets clearly depict structures that undeniably appear to

be workable flying airplanes, complete with what appear to be gun turrets on some of the wings.

Figure 2.2 – Eeboom and Belting’s discovery of ancient gold trinkets of working aircraft. (Courtesy of the State Bank of

Bogota)

Hoagland et al. also point out the far more well-known fact that working bird-shaped gliders have been found within tombs in

Egypt. Since these gliders also possess remarkable similarity to working airplanes and are capable of long flights when

thrown, we must assume that the ancient Egyptians were also well aware of this technology. With the evidence now seen

from the Incan tombs above, we may suppose that the bird gliders were simply children’s toy models of systems that were in

much more common use at one time.

And so, if we are seeing workable airplane models being built as small gold statuettes and wooden models in two different

ancient cultures separated by the Atlantic, we certainly can assume that a large-scale technological society with full-sized,

working aircraft may have been in existence at one time as well. It is frustrating that we have not found any full-sized models.

However, after a hypothesized 12,500 years of time passing, we should expect that any such structures made of wood or

metal would have long since deteriorated. The Atlantean lore from the Edgar Cayce readings states that almost the entire

concentration of that society was on an island in the Atlantic that included present-day Cuba and outlying areas as well, and

which subsided under ocean waters, known as “Poseidia.” And if the modern toys of our society were suddenly subjected to

a vast cataclysm and promptly left unattended for 12,500 years, the savage action of tidal waves, land subsidence, rust,

tornadoes, hurricanes, rising sea levels, glaciers, natural disasters and all other forms of growth and decay would most likely

completely wipe out all remnants of things such as wooden houses, hollow buildings and skyscrapers of glass, and metallic

automobiles, trains or airplanes.

So therefore, despite their toy-like appearance, which may indeed have been the playthings of children at one time, these

tiny gold statuettes could well have been considered very sacred objects – some of the sole remaining fragments of a culture

of “Gods” destroyed in the seas of Time. These precious models were held onto and possibly copied over and reduplicated

for thousands of years by the survived “Atlantean” cultures of the Incas and Egyptians before being buried in their tombs.

They may well have been the direct symbols of a lost “time of the Gods” when humankind had conquered the skies and could

fly around at will, with the gifts of advanced technology.

Many archeologist dismissed the find as merely being reproductions of “insects”. However, it was pointed out that insects do

not possess a “vertical stabilizer”. The conclusion, according to Eeboom’s impressive statistics: the ancient craftsmen really

meant for their miniature “airplanes” to look like … airplanes!

Peter Belting approached the problem from a “hands on” point of view: he actually built scaled-up (but otherwise precise)

models of the ostensibly “miniature aircraft” — and then attached propellers and jet engines.

And they flew!!

At the August, 1997 meeting of the ” Ancient Astronaut Society World Conference,” gathered in Orlando, Florida, the two

researchers presented their independent findings on the “insects.” Those assembled literally cheered when Belting’s model
(powered by a small jet engine — left) flew a set of complex aerodynamic maneuvers … and then came in for a perfect

landing — all with a model airplane built as an exact match to a tiny gold trinket found in an Incan grave … dated minimally to

over a thousand years ago!

Then, in case anyone still doubted, Belting and Eeboom took everyone out into the parking lot of the Orlando Florida Mall …

and once again, put the “thousand-year-old” (if not far older …) jet-powered aircraft through its paces for the astonished

crowd.

This time, live …