The Shrine of Saint Mary of the Auxiladora in Cuenca, Ecuador, is called the Church of the Beggars. Its parishioners are of little interest in the history of human development and Darwin's theory of evolution. Perhaps this is why few people know about what is stored there, down in the basement of the temple.
And in the basement of the temple the famous collection of Padre Crespi is kept. The Padre Crespi collection consists of rectangular plates of silver and gold, on which strange designs are applied by chasing. Scientists estimate the age of the finds at 3.5 thousand years. Padre Crespi brought them to Cuenca from Silvia from the Indians, among whom he lived for many years as a missionary. However, the Salesian fathers immediately became interested in the collection, and the plates were ordered to be confiscated.

Unfortunately, by order of the Salesians, the plates were taken out of the country. But Padre Crespi, in order to preserve these cultural objects in the city, organized the production of their copies. They were made by experienced craftsmen, under his strict scientific guidance. Unfortunately, copies were not made of all the plates, but even the small part that was saved explained the reason for the fear of the Salesian fathers.
The drawings on the plates undermined all ideas about the history of mankind. Some of the plates were unusual in their design. For example, there is a plate of an Indian along with an elephant, this is very strange, because in Ecuador there are no, and never have been, elephants. How modern science explains this incredible proximity? No way! And this is especially strange given the fact that there have never been elephants not only in Ecuador, but throughout the American continent as a whole.
Perhaps serious historians and archaeologists simply do not know about this ancient tablet. Among the parishioners of the church of the poor in distant Ecuador, there are probably no doctors of science either. But the Church of St. Mary of Auxiladora is far from the only place that keeps mysteries of this kind. http://vk.cc/3VrHp3

Rice. 1. Chinese map and my reading of Russian inscriptions

The news reports the following: “ Inscriptions in ancient Chinese dating back to around 1300 BC have been found in the United States. From this it is quite possible to assume that America was discovered by the Chinese approximately twenty-eight centuries earlier than Christopher Columbus made his famous discovery.

Experts discovered this Chinese letter on the territory of Petroglyph, a national monument west of Albuquerque in New Mexico. The monument stretches twenty-seven kilometers along a basaltic volcanic formation called the Western Mesa. The area of ​​the monument is about thirty square kilometers; on its territory you can find several hundred archaeological artifacts and over twenty-five thousand stone images.

Inscriptions in ancient Chinese found on one of the stones were attributed by scientists to the era of the Shang Dynasty, which ruled the Asian country in the seventeenth-eleventh centuries BC. Thus, we can conclude that the citizens of the Celestial Empire managed to reach the North American continent two thousand eight hundred years before the Spanish navigator Christopher Columbus.

Experts have deciphered several of the best-preserved notes. The shape of the drawings and the content of the inscriptions give reason to believe that these images are genuine. Volumetric Research Article, authored by John Ruskamp, ​​who found Chinese inscriptions, in this moment undergoing peer review».

The conclusion about antiquity is completely incorrect. 1300 BC no Chinese hieroglyphic writing existed, because Chinese characters appeared much later on the basis of the Russian runica. Moreover: the outlines of Asia are very reminiscent of those on the globe of M. Behaim (“Earth Apple”), created in 1492, so, most likely, this map may be 1-2 centuries older, but nothing more. And the presence of Russian letters on images of seas and oceans will help make a more accurate dating of this artifact.

In addition, it would be very strange that, having developed cartography, China depicted the inaccessible north of Eurasia very accurately, and India, China and Indochina very approximately and flattened. Saving on your map based on the size of your own territory sounds completely implausible.

On the other hand, any ancient map or any globe helps to find new Russian names for one thing or another geographical structures, and thereby expands our vocabulary of Old Russian geographical names. Therefore, I am happy to copy such artifacts and subject them to epigraphic analysis.

I start reading from the top left. On this part of the ocean it is written: RYURIK SKIF MASK MAKAZHI. The inscription is more than familiar. In the geographical sense, the MAKAZHI MASK meant either a GEOGRAPHICAL MAP of the WORLD or a GLOBE. IN in this case in front of us is a Chinese copy GEOGRAPHICAL MAP OF THE WORLD RURIK SKIF .

To the right I read words that are more understandable to the modern reader: WORLD MAP OF MARA TEMPLE OF RURIK. This is an indication of the cartographic publishing house, the temple of Rurik. In this case, the words WORLD MAP OF MARA mean: MAP OF EURASIA .

There is also a date on the map. It is easy to find in the image of the Arctic Ocean at the top left by two light specks. Of course, the date continues to the right, forming the inscription: 393 YEAR OF RURIK, Rus' OF MARA. In terms of our usual chronology, this date can be understood as 1249 A.D. . In other words, like the middle of the 13th century.

The map best depicts the contours of Africa. On its northwestern part, continuing into the Mediterranean Sea, you can read the inscription: YARA RURIK SEA, What's on modern language means: ATLANTIC OCEAN .

Rice. 2. My reading of inscriptions on oceans and seas

The Indian Ocean on the left and the Pacific Ocean on the right have inscriptions in light letters on a dark background, so it is advisable to show this fragment with inscriptions in reverse color. On the Indian Ocean I read the familiar name SEA OF MARA, however it has a continuation: IN THE SEA OF HOLY RUSSIA RURIK AND THE WORLD OF YAR. I believe that by the SEA OF HOLY Rus' this is precisely what is meant PACIFIC OCEAN , the name of which I could not establish when studying various ancient maps and globes. So now this name has been acquired, and it sounds like music to the Russian ear!

Now it becomes clear to me that in the time of Rurik there was an inextricable connection between Eurasia and America through the SEA OF HOLY Rus', why Russian inscriptions were preserved on many artifacts of the American Indians. On the other hand, it becomes clear why in the time of Columbus, when Catholic Europe tried to cross out historical heritage Rurik, this ocean has been renamed.

At the level of Costa Rica and Panama in place Pacific Ocean On this map you can read the words: MASK OF HOLY Rus' RURIK YAR SEA. From the standpoint of modern Russian language, this means: NORTH PACIFIC OCEAN . Although this NORTHERN PART lies on the equator.

In the very center of the united Indian and Pacific Oceans there is an image of a female face from the front, tilted to the right. On the face you can distinguish the eye sockets, nose and mouth with drooping corners of the lips. At forehead level you can read the signature: MARY MIMA, which is quite justified, both for the depicted SEA OF MARA and for the publisher in the form of the TEMPLE OF MARA.

Then I read the inscription to the right of North America which reads: MASK OF THE SEA YAR KHARAON RURIK YAR. In other words, the NORTHERN PART OF THE ATLANTIC OCEAN, if translated into modern Russian. But here the northern part still reaches the north of North America.

The letters look too pale in reverse color, so I switch to painting them in direct color. So, it turns out that the Arctic Ocean is divided into two parts: MASK OF MAKAZHI, and TEMPLE OF MAKAZHI. And the inscription TEMPLE MAKAZHI SEA corresponds to the latitude of northern Spain, which is very different from modern ideas about the northern and southern positions of the continents.

Thus, our collection of ancient Russian maps of the world is replenished.

Rice. 3. Image of a pickaxe from Colombia and my reading of the inscriptions

Artifact of ancient Colombia.

Another unusual artifact was a pickaxe found in Colombia. In we read: " Colombia is beautiful and mysterious country, which still keeps from us many ancient secrets and mystical stories. More recently, researchers have discovered several amazing, almost fantastic artifacts here, clearly not made by savages or even “advanced” primitive people.

What unusual objects were found in Colombia and what was their purpose? It’s amazing, but even for us, making such objects from such materials is almost impossible. And this is with all the ultra-modern technologies! But who then created these unique artifacts and for what? And where are they so skillfully made? After all, the age of the objects found in Colombia, which has already been determined by experts, is at least six to seven thousand years.

Since all these mysterious finds do not fit into the ancient traditional culture of Colombia, scientists have come to the conclusion that the artifacts were created by a highly developed civilization, which, apparently, possessed alien technology or these objects were of alien origin.».

Rice. 4. The same artifact in the hands of an archaeologist

It is very strange that the author of the article attributed this artifact to Colombia, because in the article we see not only rice. 3, but also Fig. 4. And it says this: “ Metal pipes from Saint-Jean-de-Livet . The age of the rock from which the metal pipes were extracted is 65 million years, therefore, the artifact was made at the same time. Wow iron age" So the discovery was made not in Colombia, but in France. And before us is a typical lie of journalists, who do not care where exactly the find was made.

But why should you trust the second journalist and not the first? Because when I read the text in Fig. 3 the name of the island of Corsica is repeated twice. And Corsica, as you know, belongs to France, not Italy.

And now I move on to reading the inscriptions on this tool of a miner or construction worker, fig. 3. I see inscriptions here not only on the metal part of the pickaxe, but also on its handle, as well as on the rock in which the pickaxe is embedded, which indicates that the upper part of the working tool was deliberately enclosed in a case of rocks.

I start reading from the top left fragment. The first sentence reads: TEMPLE OF MARA 35 ARKONA. The indication of Arkona with a number indicates the time of Rurik. And number 35 corresponds to modern Veliky Novgorod. On the second line I read the date: 25 YEAR OF YAR RURIK. This is the year of his death, which in our usual chronology means 881 A.D. . As we see, we are not talking about any 6-7 thousand years here, and cannot be. But, generally speaking, the article talks about much more ancient, geological dating: “ The age of the rock from which the metal pipes were extracted is 65 million years, therefore, the artifact was made at the same time. Wow, Iron Age!»

Here we are already talking about an archaeological error. French researchers hastened to call for help not an epigraphist, which would have been natural, but a geologist. In other words, they were not interested in the date of manufacture of the artifact, but in the date of cooling of the lava of the igneous rock from which the case was made. By analogy with the author of the previous lines, one can exclaim: Wow archeology as a science!

I continue reading: on the central fragment opposite the wooden handle, at the top, you can read for which place the pickaxe was made: the word is written in small dark beech letters CORSICA, and in large bluish ones - the word CONSTRUCTION. So, the artifact was used on the French island of Corsica at a construction site.

On the middle level line I read the inscriptions in large and small letters: MIM YARA EDGE YARA RURIK CORSIKA RURIK. It follows from it that the owner of this pickaxe was the priest of the god Yar of the region of Yar Rurik, and the priest specifically of Corsica, which was part of the region of Rurik. In other words, we have before us the image of not a simple pickaxe, but a priestly pickaxe. And according to Fig. 4 we see how small the pickaxe was: only 2 palms long. It is impossible to chisel soil with such a tool, much less rock. Most likely, the priest only used it to indicate to the construction workers which places they should hit with all their might, just as a medieval blacksmith indicated with a small hammer which part of the red-hot ingot of metal the hammer hammers should hit. Then it becomes clear why such a relic in ancient times could have been kept in the temple of Rurik, from where archaeologists extracted it.

At this point, I finish reading on the metal part of the artifact and move on to reading the inscriptions on its wooden part. Here I read the words: THE WORLD OF THE MASK OF MARA RYURIK YAR. I understand this inscription in a geographical sense as WORLD OF NORTHERN Rus' MARY RURIK YAR . In accordance with the comments to Fig. 1-2 it turned out that both France and Corsica, according to the geographical views of that time, were considered to belong to northern Eurasia, which is somewhat surprising for us.

Next, I read the inscriptions on the left side of the rock of the case. On the top line in small letters it says: KHARAON RURIK-WARRIOR MARA OF THE WORLD, the continuation of which is the second and lower lines with the text: RURIK VAGRII MIM 33 ARKONY YAR. It turns out that the PRIEST OF LADOGA sent the PRIEST FROM VELIKY NOVGOROD, more precisely, the entire branch of the Temple of Mary in CORSICA, a priestly pickaxe, where the address of the donor was written on the rock case.

On the right side of the rock I read the words: VAGRIA, RIURIK YAR EDGE. Probably Ladoga was part of the then Vagria. And further: MIM OF RURIK TEMPLE OF MARA. In other words, it is written from whom this gift was sent.

Now I was interested: who was the lucky guy who came up with an artifact from the 9th century AD. send it back to geological antiquity? We get the answer in the work of Minsk resident Igor Vladimirovich Kiryushin. He's writing: " In 1968, Y. Druet and N. Salfati reported the discovery of metal pipes of different sizes, but of the same semi-oval shape, found in a chalk mass dating from the Cretaceous period (Fig. 4). Our source is the book by William R. Corliss “Ancient Man: A Handbook of Puzzling Artifacts” (“ Ancient man: a directory of mysterious objects of material culture"). The age of the chalk layer located in the quarries of Saint-Jean-de-Livet (France) is estimated to be at least 65 million years old. Drouet and Salfati examined several hypotheses about the origin of the mysterious objects, eventually coming to the conclusion that we were talking about the creation of hands intelligent beings who lived on Earth 65 million years ago.

But who were these Y. Druet and N. Salfati? The answer is given in the book by Michael Cremo: “ In 1968, two speleologists Y. Druet and H. Salfati studied caves and other karst features and discovered a number of such tubes of identical shape but varying size, from 30 and 90 mm in length, and 10 and 40 mm in width. "The chalk bed, exposed in a quarry at Saint-Jean de Livet, France, is estimated to be at least 65 million years old. Having considered and eliminated several hypotheses, Druet and Salfati concluded that intelligent beings had lived 65 million years ago.. "Cremo writes.

Thisarchaeologicaldiscoveryisstillsubjectofspeculation". - In other words: " In 1968, two cavers(note - not an archaeologist, but a cave traveler! - V.Ch.), while studying caves and other karst formations, they discovered a number of such pipes of identical appearance, but different sizes, from 30 to 90 mm in length and from 10 to 20 mm in width. “The chalk bed exposed in the Saint-Jean da Livet cave in France has been determined to be 65 million years old. Various hypotheses were put forward and eliminated. Druet and Salfati decided that thinking beings lived 65 million years ago, wrote Cremo».

In other words, accusations against archeology are unacceptable. Because the artifact was examined by non-specialists. However, from the same work one can see the side wall of the pipe shown in Fig. 4. On this side wall I read the inscription: RYURIK YARA HOLY Rus'. And on that part of the chalk case, which lies as a makeweight on top, I read the words in reverse color: RAT YAR. It follows from this that in this karst cave there was a temple of Mary as a branch of the temple of Mary of Veliky Novgorod. And the warriors of the army of Yar (the troops of Yar Rurik) in a metal container (which was mistaken for pipes by speleologists) kept a gift from mim Yar from Ladoga - a small priestly pickaxe from Corsica, where construction work was carried out in the 25th year of Yar.

But Michael Cremo, not being an epigraphist, did not analyze this find himself using epigraphic analysis, and did not order the study from epigraphists, but simply took the word of non-specialists. Thus, Michael Cremo himself is indirectly to blame, with the analysis of whose findings I began my epigraphic research.

So, there is no mystery here. Inexperienced speleologists invaded a discipline alien to them, archaeology, and having become accustomed to the geological dating of karst caves, they began to date artifacts based on the host rock. And Michael Cremo, collecting strange finds, did not conduct an epigraphic analysis of them.

Rice. 5. An unusual foot from New Mexico and my reading of inscriptions

Footprint from New Mexico.

In the same article we read: “ An amazing, very controversial discovery that has not been debunked was made in New Mexico, in 1987, when paleontologist Jerry MacDonald discovered the clear prints of a human footprint, among the various fossilized tracks. This footprint of which, authenticity has not been discussed by evolutionists - anatomically similar to those of modern man - is estimated to be approximately 290 million years because the Permian strata (according to modern scientific thinking) has been dated from 290 to 248 million years ago , which means millions of years before animals, dinosaurs and birds were supposed to exist.

How then could a man exist? Could it be possible that millions of years ago, humans or human-like beings lived on this planet but we simply do not have historical data regarding their existence?»

This roughly means: " A strange but controversial discovery was made in 1987 when paleontologist Jerry MacDonald discovered clear human footprints among various fossils. The foot, the authenticity of which evolutionists did not argue about - anatomically it coincides with the feet modern people, is contained in a rock whose antiquity has been estimated at 290 million years, since the Permian layer (according to modern scientific thought) dates from 290 to 248 million years ago, which means millions of years before animals, dinosaurs and birds.

How could man exist then? Is it possible that millions of years ago humans or humanoid creatures lived on this planet, but we simply do not consider their existence a historical date?»

As before, we are not talking about an archaeologist, but about a paleontologist, that is, a biologist. He's used to dealing with millions of years. So the dating of the layer in which the find was found does not at all correspond to the find itself, which can be seen through epigraphic analysis.

I start reading from the top of the image, above the thumb, a little to the left. Here you can see the words: TEMPLE OF RURIK YAR. It already follows from this that we are not talking about millions of years, but only about the 9th century AD.

The main inscription is placed on the metatarsus of the foot. Here the words read: SE FOOT WITH 30 YARA ARKONA. It already follows from this that the inscriptions were not on the foot itself (otherwise the letters would have been imprinted in a mirror), but on its imprint. And the 30th Arkona Yar was the current city of Cairo. So the foot print was sent from Cairo to Mexico.

On the bottom of the metatarsus I read the words: IS OF RURIK SCYTHOS TEMPLE OF MARA. So the addressee who sent the print to Mexico is being clarified. In addition, on the lower part of the metatarsus there is a male face from the front. The head is slightly turned to the right, the eyes are small, the nose is long, the lower jaw is short, there is a small mustache and beard. I believe that here we have another, not entirely successful portrait of Rurik.

But the main, title inscription is on the fingers. On the big one I read the syllable RYU, on the next RI, on the third KA, on the fourth ST, on the little finger - OPA. All together it sounds like RURIK'S STOP. So at a certain time, the temple of Mary Rurik in Cairo decided to send a cast of Rurik’s foot to a similar temple in Mexico.

Rice. 6. The sole of a Nevada shoe and my reading of the inscriptions

Nevada shoe sole.

« On October 8, 1922, the New-York Sunday magazine published a sensational article by Dr. W. H. Ballou under the heading “The sole of the shoe is 5,000,000 years old” in the “Events of the Week in America” section. The author wrote: “Some time ago, the prominent mining engineer and geologist John T. Reid, while exploring for minerals in the state of Nevada, suddenly came across a piece of stone that led the explorer to indescribable amazement. And there was a reason: on the stone lying at Reid’s feet, the imprint of a human sole was clearly visible! As it turned out upon closer examination, it was not just a trace of a bare foot, but apparently the sole of a shoe, which time had turned into stone. And although the front part of the sole was missing, at least two-thirds of its area was preserved, and along its perimeter there were clearly visible thread stitches, apparently fastening the welt to the sole. Then followed another row of stitches, and in the center, where the foot should be, if we were really talking about the sole of the shoe, there was a depression that completely corresponded to what the human heel bone usually forms in the heel part of the sole of the shoe when it is worn for a long time. This discovery, in all likelihood, represents the greatest scientific mystery, for the fossil is at least 5 million years old... I contacted microphotography and chemical analysis specialists at the Rockefeller Foundation, who privately took photographs of the find and subjected it to analysis, the results of which confirmed [crossed out] any doubt that we are talking about the sole of a shoe that was subjected to fossilization during the Triassic period... Microphotographs taken with twenty-fold magnification clearly show the smallest details of twisted threads of stitches, their deformations and distortions, thereby convincingly confirming that this is precisely human handicraft, and not its natural imitation. All the features of the threads can be easily seen even with the naked eye, and the contours of the sole themselves are definitely symmetrical. Inside them, strictly parallel, runs a line consisting of small holes, apparently made for passing stitches. To this I can add that at least two prominent geologists, whose names have not yet come to be made public, identified the find precisely as a shoe sole that had undergone the natural process of fossilization during the Triassic period.” The geochronological scale currently accepted is that the Triassic period ranges from 248 to 213 million years ago.».

Rice. 7. My epigraphic analysis of the same artifact from the article

I already looked at this artifact once, fig. 7. However, the result was not very significant: firstly, my original image was much paler than this one, and secondly, I trusted the publications. If it is said that the antiquity is geological, then I did not doubt it - I did not yet have the epigraphic experience that I have now, although that was only 9 years ago. So I discovered and was able to read Russian inscriptions, which is not bad. And now, of course, I was wary when I read that the find was again dated not by archaeologists, but by geologists.

In Fig. 6 I read the top line of the fossilized part of the artifact first. It is written here: MIM OF MARA TEMPLE RURIK YAR 30 ARKONA. Again we see as the sender the same mime of the Temple of Mary from the future Cairo. But in this case, he sent the artifact to the future Nevada, that is, to another part of the current United States.

To the left of the worn heel of the insole you can read the words: IS ROME INSOLE. They mean that at first the insole was kept in the Temple of Mary Rurik, and later was sent to Cairo. And in the worn area the heels are read keywords: SKYTHA YARA WARRIOR YAR RURIK, and on the unworn one, below are the words YARA INSOLE. Thus, from the Temple of Mary of Cairo, the insole of a shoe that belonged to Yar Rurik was sent to the Temple of Mary of the future Nevada. In other words, a memorial insole.

Next, I was interested in the confirmation of my 2006 reading. On the bottom of the heel fragment of the insole, instead of the word MAKAZHI, I read the words: TEMPLE OF RURIK. And at the bottom of the insole, on its border, instead of the words: DESKIN SKIN, I read the words: KHARAONA YARA. I want to emphasize that if I had received the image in the same form in which I received it in 2006, I would have read the inscriptions in exactly the same way as before. However, now I would be very surprised that 1) the goddess Makosh was mentioned, whose temple inscriptions are extremely rare, and 2) that instead of significant words associated with gods, mimes and temples, someone decided to describe the material of the insole.

But I still agree with the conclusion that I made then after the epigraphic analysis of this fossilized insole: “ Thus, there can be no talk of any “game of nature”. Before us, on the contrary, is not just a human product, but also a product of its inclusion in the life of nature, an artificial transformation into the likeness of stone. Nature, as you know, does not write in Proto-Cyrillic and does not have its own workshops of the Mokosh Temple. This is different only from a person, and a person of Russian culture" And with a higher resolution photograph of the insole, it became clear who this person was person of Russian culture- he was the Scythian Kharaon Yara Rurik.

Rice. 8. Padre Crespi from Ecuador with one of the plates

Golden plaque of Padre Crespi.

We read about her in interesting article : « Padre Crespi collected a collection of ancient artifacts for more than 50 years. It contained mysterious gold plates with designs on them that could contain information from a “mysterious metal library. After Crespi's death, traces of the collection are lost. The story of Padre Crespi is one of the most mysterious of all stories, telling about the legacies of unknown civilizations, mysterious artifacts, a huge number of golden objects with images of strange figures and symbols belonging to Sumerian and other unknown languages. The secrets that surround this story once again prove the desire to hide the truth from the public.

Carlos Crespi was born in Milan in 1891 and died in 1982. He was a Salesian monk who dedicated his life to worship, missionary work and love. For more than 50 years he lived in the small town of Cuenca in Ecuador, where he came as a young man to collect data for an exhibition. He had many talents, he was:teacher; botanist; ethnographer; musician.He opened a school and organized an orchestra. Thanks to his missionary work, he became a beloved and respected person for the native Indians, whose tribes considered him a true friend.

Rice. 9. Enhancing the background contrast with Padre Crespi and his plates

In gratitude for his work and help to the local population, the indigenous people gave Father Crespi ancient artifacts. They said that many of the items were found in underground caves in the Ecuadorian jungle in the vicinity of 200 km from the town of Cuenca. Some of the amazing artifacts given to him bore similarities to the civilizations of the East and the Old World. Over time, so many of them accumulated that they could fill a large museum. Rumor has it that the padre kept them in his house, and they occupied more than one room, but the exact location was not revealed and remains unknown to this day.

Padre Crespi received permission from the Vatican to open a museum at the Salesian School of Cuenca, which became the largest museum before 1960 in Ecuador. Crespi suggested that there was a connection between the artifacts of his collection and the ancient civilizations of Babylon and Sumer. Among the exhibits were gold or gilded tablets with drawings and symbols, the information on which no one had studied or deciphered. Some time later the museum burned down, possibly due to arson, and most of the artifacts were destroyed. Padre Crespi managed to save only a few of them. After Crespi's death, all exhibits became inaccessible to the public. According to rumors, some things were transported to the Vatican.

Rice. 10. Letters on a gold plate from the Crespi collection

Padre Crespi believed that most ancient artifacts contained symbols of a language that predates the flood. Researcher Richard Wingate noted that the collection included Assyrian, Egyptian, Chinese and African artifacts. Neil Armstrong, the first man to walk on the moon, was part of an expedition organized in 1976 by the British military in the caves of Ecuador.

There are theories that the treasures of Atlantis, a lost continent that preceded all known civilizations, were hidden in the caves, or perhaps the artifacts contained information transmitted from space. The treasure was in the form of a “metal library”, the information was stored on metal plates similar to those that the Indians gave to Father Crespi.

The age and origin of the artifacts from Padre Crespi's collection remain unknown, and the fact that they have all disappeared and are hidden from researchers makes their further study impossible. It's hard to even imagine how important discoveries for archeology and our knowledge of human origins could reveal to the world the treasures of this collection. It's possible that artifacts from Ecuador's mysterious library of underground caves could change the course of history forever».

As always, the fantasies of commentators on Padre Crespi’s collection are overflowing. However, it can be assumed that this researcher did have interesting artifacts in his hands. So, in Fig. 9 his photograph (on the left) is given against the background of some text. By increasing the contrast, some letters became visible, and the text turned out to be Russian. I was even able to read the words on two fragments: YARA WARRIOR And YARA RURIK. From this we can assume that Padre Crespi tried to read some of the texts on the plates, and in Russian. Since I am currently interested in the content of at least one plate, I will for now omit commenting on Padre Crespi's attempts to read and understand the content of the texts of the plates.

Fig. 11. My reading of the inscriptions on the left gold plate of figure 10

In Fig. 11 I show line by line reading of the inscriptions on the left plate. 1 line: TEMPLE OF YAR KHARAON RURIK YAR, 2nd line: MIMA RATI YAR, MIMA KHARAON RUSI, YAR TEMPLE RURIK; 3rd line: TEMPLE YARA Rus' MARY KARA YARA; 4th line: TEMPLE OF RURIK E KHARAON STOLITSY YAR RUSI MARY; Line 5: MARY OF RURIK YAR, KHARAON OF THE WORLD OF RURIK YAR; Line 6: YARA MARY KARA YARA E REMOVED BY HAND; Line 7: YARA MARA OF THE TEMPLE OF KHARAON. KARA E IS REMOVED FROM MARA AND FROM; Line 8: YARA KHARAONA OTHER KHARAONA AND THE WORLD YARA; Line 9: ARMY OF THE WARRIOR OF MARA TEMPLE, RURIK TEMPLE; Line 10: KARA YARA, KARA YARA AND RIMA KEEPS THE SCYTHIANS AND THE WARRIOR; Line 11: AND THE WORLD OF MARY Rus' OF RURIK AND THE TEMPLES OF YAR MIMA OF RURIK.

In addition, the date is read: 10 YEAR OF YAR, which, in terms of our usual chronology, means the date: 866 A.D. . This means that the platinum was made during the life of Yar Rurik and promised to punish both the power of the goddess Mara and the combined power of the troops of Rurik and Rome to those who would resist Rurik. So the text is very interesting from a historical point of view. This text is quite lengthy, numbering 88 words and one number; deciphering it took me quite a lot of time, so for now I limited myself to only reading the left page.

But there are also very interesting points from the point of view of paleography. Thus, the lowercase letter “A” in most cases has a long ornamental tail, either straight or curving to the left. Quite a lot of ligatures have a strange design, where the rounded parts are written out explicitly, and the tails are written out implicitly, which makes the word “YARA” look like the letter “F”. In addition, the tails of some letters cross out other letters, and some words are generally written implicitly. Some words resemble later Old Church Slavonic writing, others - later Greek writing. So, as a monument to writing, this gold plate from Padre Crespi’s collection is of undoubted interest.

Naturally, I was interested in the details of the biography of Padre Crespi. I found them in the work: " Carlo Crespi Croci was born in 1891 in Italy in a small town near Milan. His family was completely civilized, but Carlos and early childhood chose the path of a priest for himself, helping the local padre at church services. Already at the age of fifteen, Carlo became a novice in one of the monasteries belonging to the Salesian Order (founded in 1856). At the same time, he managed to get secular education at the University of Padua. He initially majored in anthropology and later received a doctorate in engineering and music.

Crespi first came to Ecuador in 1923, but not as a missionary, but to collect various data for an international exhibition. In 1931, Crespi was assigned to the Salesian mission in Macas, a town in the Ecuadorian jungle. He did not stay here long and in 1933 he moved to the city of Cuenca. Cuenca is located approximately 230 km south of Ecuador's capital Quito. In Cuenca there was the headquarters of the Inca Tupac Yupanqui, who annexed the lands of Ecuador to the Inca Empire in the 70s of the 15th century.

In Cuenca, Padre Crespi developed vigorous missionary activity. Within ten years, he managed to found an agricultural school in the city and an institute of oriental studies to prepare young people for work in the eastern (Amazonian) regions of the country. He also founded the Cornelio Merchan College to educate local underprivileged children and became its first director. In addition to his missionary activities, Carlo Crespi was interested in music. He organized a local orchestra, which performed mainly works written by Crespi himself. In 1931 Crespi removed documentary about the Jivaro Indians who lived in the upper reaches of the Amazon».

So, the basis of Crespi’s activity was an interest in the culture of ancient America. It is clear that he had no idea that a fairly developed Russian culture once existed there.

« But his main merit was that Padre Crespi devoted all his time to caring for local residents, primarily to teaching children from low-income families. During his lifetime, in 1974, one of the streets in Cuenca was named after him. Padre Crespi's anthropological interests led him, from the very beginning of his missionary work, to buy antiquities from local residents that they found in the fields or in the jungle. The appalling poverty of the local population allowed him to purchase antiquities of amazing value from peasants for mere pennies. At the same time, Crespi bought modern crafts and objects of Christian art from the Indians in order to somehow support his parishioners».

Thus, Crespi's collection arose from his charity, and not at all from professional interest.

« As a result, his collection occupied three huge rooms at the Cornelio Merchan College. Local residents brought him everything - from Inca ceramics to stone slabs and thrones. The padre himself never accounted for, much less cataloged, his collection. That is why it is difficult to call this a collection. It was precisely a collection of things, the total number of which no one counted. However, Padre Crespi's collection as a whole can be divided into three parts. The first part consisted of items of modern production - crafts local Indians, imitating either examples of ancient Ecuadorian art, or made in the Christian tradition. Numerous objects made in the 16th-19th centuries can also be included here. The second part, the most numerous, consisted of objects from various pre-Hispanic cultures of Ecuador, which local residents found in their fields or during unauthorized excavations. Thus, the Crespi collection represented ceramics from all Indian cultures of Ecuador (with the exception of the earliest - the Valdivia culture)».

It turns out that the artifacts were a disordered collection of artifacts from different eras. For the average amateur, these are completely unrelated subjects.

« But the third part of the collection is of greatest interest. It includes products that cannot be correlated with any of the known archaeological cultures of America. These were mainly objects made of copper, copper alloys, and sometimes gold. Most of these artifacts were made by coining on metal sheets. The congregation had masks, crowns, breastplates, etc. But the most interesting were the numerous metal plates covered with plot images and... inscriptions. Padre Crespi collected probably more than a hundred of these plates. Some of them were of considerable size - up to 1.5 m in width and up to 1 m in height. There were also smaller plates, metal plates (obviously used to decorate wooden products). The images on such plates had nothing to do with the cultural traditions of ancient America. They were directly related to the cultures of the Old World, or more precisely, the civilizations of the Mediterranean basin and the Middle East. So on one of the plates a regular (not stepped) pyramid was depicted, similar to the pyramids of the Giza plateau. Along the lower edge of this plate there is an inscription made in an unknown “alphabet”. Two elephants are depicted in the lower corners. It is clear that by the time the first civilizations arose in America, elephants were no longer found. But their images are by no means unique in the Crespi collection. The unknown “alphabet” with which the inscription is made is also found on other objects. This type of writing is not known to modern researchers. At first glance, it bears a certain resemblance to the writing of Mohenjo-Daro. On other plates there is another type of writing, which, according to rare researchers, resembles either Early Libyan or Proto-Minoan writing. One of the American researchers of the Crespi collection suggested that the inscriptions were made in “neopunic” or Cretan writing, but in the Quechua language. However, I am not aware of any serious attempts to decipher these inscriptions».

Naturally, it is unlikely that any of the academic epigraphists could assume the existence of Russian inscriptions. In addition, as I noted, the font of this Russian script is not quite ordinary, reminiscent of Greek.

« A very small number of researchers, mainly from the United States, have attempted to study the Crespi collection. Representatives of the Mormon Church in the USA showed great interest in it, but the dramatic history of Padre Crespi’s meeting did not allow any serious research. Representatives of official science simply ignored this meeting. And some church representatives stated that all things were modern products of local peasants. At the same time (according to some fragmentary data) many things from the collection of Padre Crespi after his death were secretly taken to the Vatican».

It is clear that it would be extremely difficult to obtain these artifacts from the Vatican collection.

« Naturally, data that goes against the official concept is ignored or hushed up. But the huge number of objects in the Crespi collection force us to rethink our ideas about contacts between the Old and New Worlds in ancient times. Interestingly, the collection included metal plaques depicting the well-known winged bulls from the palace of Nineveh, as well as winged vulture-headed “geniuses,” which are striking examples of ancient Babylonian art. One of the plates depicts a priest in a tiara similar to the papal one or reminiscent of the crown of Lower Egypt. On a huge number of plates there is always an image of a writhing snake - a symbol of the cosmic serpent. Most plates have holes in the corners. Obviously, the plates were used for cladding wooden or stone objects or walls.

In addition to plates made of copper (or copper alloys), the Crespi collection contains many stone tablets with images and inscriptions in unknown languages ​​engraved on them. It is noteworthy that it was precisely these categories of objects, according to Padre Crespi, that the Indians found in the jungle in underground tunnels and chambers. Padre Crespi claimed that an ancient system of underground tunnels stretches from the city of Cuenca into the jungle, more than 200 km long. Erich von Däniken wrote about a similar tunnel system back in 1972 in his book “The Gold of the Gods.” He also brought the first images of things from the collection of Padre Crespi».

Of course, the Russian culture of pre-Inca America is of interest only to Russian researchers, but not to the Vatican or the Anglo-Saxons of the United States.

« In 1962, Cornelio Merchan College was destroyed by fire as a result of arson. Most of the Crespi collection was saved, but the room containing the most valuable and highly artistic items was destroyed in the fire. On the ruins of the college, Padre Crespi erected the Church of Maria Auxiladora, which still stands today. Padre Crespi himself died in 1982 at the age of 91. Shortly before his death, in 1980, he sold most of his collection to the Museum of the Central Bank in Cuenca (Museo del Banco Central). The bank paid Crespi $433,000. This money was used to build a new school. The museum began to select items from the Crespi collection in order to separate valuable antiquities from modern crafts. During this process, many artifacts “went to the side.” It is obvious that the museum selected objects belonging to the famous archaeological cultures of Ecuador. According to some reports, most of the hammered metal plates were returned to the Church of Maria Auxiladora, where they may still be kept. Unfortunately, I do not have any detailed information about current state Crespi meetings. This is a matter for future research».

It is clear that all artifacts that fit into the known ancient culture Ecuador, were preserved whenever possible. Who might be interested in Russian texts? - They are, most likely. And they were lost. It is interesting that among the 15 photographs of Crespi artifacts there are no gold plates shown in Fig. 10.

Rice. 12. Salzburg parallelepiped and my reading of the inscriptions

And again “Salzburg parallelepiped”.

« On November 1, 1885, on the territory of the Brown factory in the city of Schöndorf, Austria, the famous “Salzburg parallelepiped” was found in a piece of crushed brown coal. The metal object found was a parallelepiped measuring 67X62X47 mm and weighing 785 g. The opposite edges of the amazing object are rounded, which makes it look like a pillow, and there is a smooth depression along the perimeter. In 1886, the find was put on display at the Caroline Augusta Museum in Salzburg. These days, the amazing parallelepiped is kept in storage at the Brown factory as a souvenir.

In 1886, engineer Friedrich Gult made a presentation at a meeting of the natural history society of Rhineland and Westphalia. He stated that the object found in the coal has the properties of a metal, it contains a small percentage of nickel and has the strength of steel. He expressed the version that the discovered “Salzburg parallelepiped” was a meteorite. But the parallelepiped did not have on its surface the characteristic traces left on meteorites when passing through atmospheric layers, and, in addition, it had a pronounced correct form, which can only be achieved through artificial or manual processing. All these facts caused controversy in the scientific community, but at the same time, scientists were unable to determine exactly where the “Salzburg parallelepiped” came from in a piece of coal.

There were many versions of the origin of the strange find, but all of them could not explain the main mystery. The brown coal mined in the Wolfzegge mine, in which the “Salzburg Parallelepiped” was found, dates back to the Tertiary period, approximately 24.5 - 67 million years ago, at that time there was no man on Earth. Obviously, this is why back in 1919, the popular American journalist and naturalist Charles Fort suggested: the found parallelepiped was processed by representatives of an extraterrestrial civilization» .

I have already examined this image in my work and came to the conclusion that in front of us is a model of the Yara vimana. Now we have a side view. Does it confirm my previous readings?

When reading on the side surface, I start from the top. Here I read the words: VIMANA YARA OF RURIK WARRIORS. And the line below is the text: YARA OF RURIK Rus', and even lower in large letters - the continuation of the text: CHARACTER OF Rus' RURIK, and below - 33 ARKONA YARA. In other words, the confirmation is one hundred percent. Thus, the riddle of the “Salzburg Parallelepiped” is finally solved - before us is one of the models of Yar Rurik’s vimana.

But do vimanas of such geometry exist today? In Fig. Figure 13 shows a UFO in Alabama, photographed on September 16, 1996. At the top, in the inset of the image, the word is written in English: ENLARGEED. I tried to read the implicit (due to remoteness) inscriptions. Of course, due to the blurriness of the UFO, this was not easy to do. However, the letters that I have highlighted generally correspond not only to the signs on the vimana, but also to their location in cases where some signs were written under others, or were larger than others.

So I read: on the top of the UFO: VIMANA YARA, on the middle part, the word written in the largest letters: WARRIORS, and below is the word: RURIK. In other words, I see a complete coincidence not only of the form, but also of the inscriptions between the Yara vimana from Salzburg and the appearance of a modern UFO.

It’s not just me who says that vimanas and UFOs are very similar to each other. The same article states: " The last drawing(signed with the word VIMANA - V.Ch.) I want to say that the dome-shaped UFOs are very similar to the images of ancient aircraft that are mentioned in ancient Indian literature" So the assumption that vimanas have survived to this day, and it is the Yara (and not Mara) type of vimanas, is receiving more and more confirmation.

Rice. 14. The sphere from Klerksdorp and my reading of the inscriptions

Spheres from Klerksdorp.

« Reports coming from the South African town of Klerksdorp about the discovery of metal balls in pyrophyllite deposits at the local Wonderstone mine, which are 2.8 billion years old, became almost a sensation. These balls have a flattened shape and are surrounded by three parallel and even grooves.But the most inexplicable property of these spheres was revealed by the museum staff, where these balls were placed under glass covers. It turned out that these balls spontaneously rotate around their axis, making a full circle in 128 days. Scientists cannot say absolutely anything about this effect, which was confirmed by a geologist professor from the University of Johannesburg: “I don’t have the slightest idea what it could be. It's a mystery. I just can't give any explanation", we read in the article.

In my opinion, what we have in front of us in this case is not a model, but a model of the Yara vimana. But to prove this I must read the inscriptions. I start reading from the top, where I find a fragment with the thickest and darkest inscriptions. Here I read the words: VIMANA YARA, and to the right, at the highlight level - the words: WARRIORS OF RURIK. In other words, reading the inscriptions completely confirms my assumption.

At the level of the central highlight I read the words: VIMANA OF THE WORLD OF RYURIK YAR. And finally, at the level below the stripes, at the level of the darkest inscriptions, I read again: MIMA RURIK VIMANA MARA.

However, the question immediately arises: perhaps only one of the spheres accidentally turned out to be a model of the vimana? Just in case, there is one more area to consider.

Rice. 15. The second sphere from Klerksdorp and my reading of the inscriptions

Are there inscriptions on this very small sphere? - I believe so, on the upper hemisphere. Here in Fig. 15, I read the inscriptions: CE PEACE YAR RURIK VIMANA YAR. In other words, practically the same inscriptions can be found here.

The article ends with the words: “ The authenticity of these finds is beyond doubt. They are covered in the media, fully researched by scientists, whose works did not answer the riddle, but it will not be possible to turn a blind eye to this fact." - And this is understandable. To admit that Russian warriors flew on vimanas for thousands of years means completely reshaping modern views on Russian history.

In this search article, I would not like to dwell on this topic, which requires at least a special article. But I show that today there are quite a lot of traces of the presence of vimanas, and gradually new layouts and models are being added.

Rice. 16. Crop circle and my reading of the inscriptions

Crop circles - as facts, the existence of other intelligent beings in solar system.

This is the title of the section in the article. In particular, it says: « I was attracted to circles because they contain hidden beauty and logic, which was not created by human hands or unknown forces of nature. The forces of nature cannot write “War and Peace,” but circles in complexity and in the level of creativity of education are not inferior to the best works of human art. Documents that cannot be falsified and hidden from the general public. They were seen by hundreds of millions of people. To divert people's attention from the messages of another mind, secret powers launched a massive attack on the authenticity of the drawings, refuting them with false creations of man, creating the appearance of a fake of everything that is written in circles. Cause distrust and a reflex of deception towards genuine attempts to contact another mind. Flying saucers flying over military targets and the appearance of crop circles are the most impressive evidence of persistent attempts by alien civilizations to establish contact with us.

The wave of mistrust in the circles does not subside. A discussion on our portal showed how many doubters there are that the circles were not created by earthlings. On other forums on the Internet, approximately the same percentage zealously deny participation in the formation of alien circles as on the Eye of the Planet portal. Those who deny cannot explain how the circles are drawn, but claim that they themselves can repeat the laying of the ears, as they do, they created genuine circles. Everyone is strong, chatting, fiddling with the keyboard. The keyboard is pliable and can withstand a set of any words, including those that refute the presence of documentary traces of attempts at contact between intelligent beings and humans. The appearance of people who deny the facts is what the actions of those who manipulate are aimed at public consciousness... It was not enough to see the sextant; it was also necessary to see a very important symbol and link them with each other with a common thought. A sign that has already appeared on circles and which is a pictographic symbol of the image of an intelligent being in the Universe. A sign that denotes an intelligent race of creatures. The sign of reason and the sign of the sextant merged together show the boundaries of the habitat of intelligent beings, the limits of intelligent life in the solar system and where, on what planets intelligent beings live (or lived)».

Until now, it was mistrust that dominated me. In the article I wrote: « I have not the slightest doubt that the bulk of crop circles were created by people, have approximately the same dimensions (up to 1 km) and convey beautiful figures from the point of view of human aesthetics. Some of them also mean known to people items. It follows from this that these artifacts may well be considered geoglyphs...However, even if some of the crop circles do not have evidence that they were created by people, this may come to light after some time. So from this point of view, this kind of “crop circle” can be classified as implicit geoglyphs».

But rice. 16 seemed very interesting to me, since it contained inscriptions in Russian. As an example, I decided to read the inscriptions to the right of the axis of the heart-shaped figure. And then I was able to read the words: TEMPLE OF YAR RURIK. These phrases alone indicate that ordinary peasants, or, especially, active debunkers, cannot create such a thing. For so far, apart from me and 2-3 domestic historians, no one is showing interest in Rurik, so the production costs will not be justified either in a material or ideological sense. Moreover, I, too, have hitherto been and still remain one of the pure refutators.

However initial reading I was inspired to continue it. I moved on to reading the very top, where there is an image of a circle. Here I read the words: YARA OF THE WARRIOR VIMANA MARA. In other words, the manufacturer of this “crop circle” signed. I was somewhat surprised that the authors of the artifact arrived not on a “flying saucer” (Yara vimana), but on a vimana similar to a modern airplane (Mara vimana).

I was interested in what image was in the center of the composition. But to do this I had to resort to color treatment. The result was a moth. It is possible that in front of us is the emblem of the aircraft of Mary. And in the middle of his body you can read the words: TEMPLE OF MIMA MARA. From this we can conclude that the temple of Mima Mara provided the Yara temple with an aircraft, the vimana of Mara, and the Yara temple provided the creation of the composition on the field.

On the left wing of the butterfly you can read the words: YARA OF THE WORLD VIMANA MARA AND MAKAZHI. The type of VIMANA MAKAZHI is still unknown to me. And on the body and on the right wing of the butterfly I read: 33 ARKONA YAR WARRIOR RURIK ROME YAR VAGRIA. So, the pilots of the vimana, as before, turned out to be specialists from the 33rd Arkona Yar, that is, from Tauride Chersonese. Rurik was considered a representative of both Rome and Vagria.

On the lower right wing and on the bottom of the butterfly’s body I read the words: 33 RYURIK ARKONA. - In the center of the lower part of the composition you can see a female face from the front with an open mouth. In this image you can read the words: MARA MASK, that is, IMAGE OF THE GODDESS MARA . It is clear that for the temple of Mara the image of the goddess Mara is preferable.

So, it turns out that some part of the “crop circles” these days is made by the priests of the Yara temple, who are delivered to the place with the help of Mara’s vimana. This is a new direction of research where there is an opportunity to come into contact with traces of UFO-NIO.

Discussion.

In this article, I decided to collect not just some new items in archeology, but ones that look completely unexpected. But unexpectedly from the point of view of the dominant historiography, which clearly does not correspond to modern facts.

First of all, I was surprised by the supposedly Chinese map from 1300 BC. My analysis of the implicit inscriptions on the map showed that the map was made in the 13th century AD. , that is, 2600 years LATER. I got the impression that the West specifically attributes Russia’s achievements to China in order to elevate Ancient China, and belittle Russia, although the Chinese map in question is a copy of the corresponding Russian map.

And then follows the attribution of Russian culture from the time of Rurik to other cultures or even to aliens. Thus, a small pickaxe of a foreman at a construction site in Corsica during the time of Rurik was dated to the time of formation of the underlying rock, and although the artifact was found by archaeologists in a pipe in France, it was attributed by journalists to Colombia. The dating was done using geology and instead of the actual year 881 AD. estimated at 65 million years old. In other words, the artifact was unknowingly made 65 thousand times older!

Rurik's footprint from the Cairo Temple of Mary Rurik was determined by geologists to be 290 million years old! And his insole from the same museum is like a fossil 213-248 million years old! In other words, the falsification factor here is 230-290 thousand times! It is clear why archaeologists do not support such dating at all.

However, a new problem arises: why don’t archaeologists comment on these ancient artifacts? Thus, Wikipedia in the article “Cremo, Michael” writes: “ In Forbidden Archaeology, according to critics, Cremo, without presenting simple hypotheses, immediately moved on to complex theories, which is a violation of the methodological principle of Occam's razor. Critics also point out that many of the artifacts presented in the book are outdated, discovered in the 19th and early 20th centuries.».

Strange criticism! Newton's mechanics was created in the 18th century, Maxwell's electrodynamics in the 19th century, but none of the physicists considers their facts outdated. And the theory of relativity (both STR and especially GR) is precisely a complex theory, but again physicists have no complaints on this basis. And in this Wikipedia article there is not a word about the fallacy of the geological approach to the study of human products

« Candidate of Philosophy, Associate Professor of the Department of History and Anthropology of the Dagestan Institute of Economics and Politics Belousov E.V. notes that in the most reliable and detailed cases one can find a purely evolutionary explanation for the presence of human traces in “abnormally” ancient layers, without resorting to the hypothesis of creationism" What does evolutionism have to do with it when we are talking about events just a thousand years ago?

« Kenyan paleoanthropologist, hereditary scientist and author of many anthropogenetic discoveries Richard Leakey spoke very critically about the book “The Unknown History of Humanity”: Your book is complete nonsense, and only a complete idiot would take it seriously. And, unfortunately, there are such, but this is just a question natural selection, and there’s nothing you can do about it" - And this is no longer criticism, but the statement of a snob.

I didn’t find any other essentially critical remarks about Cremo on the Internet. But I realized that there is one unoccupied niche in archeology: criticism of evolutionary and creationist theories of human development. So I applaud Cremo's work as a collector of amazing examples, but I believe that most of them are based on dating errors that were made before Cremo. And I believe that archaeologists have thrown these problems out of their science. And the question arises about the reason. And I have a bad assumption: they have no methods of exposure. And archaeonics have them.

The collection of Padre Crespi is very interesting. Plates in Fig. 10 not only reminded me of certain santias from the book “Slavic-Russian Vedas” by Khinevich, they turned out to be exactly that, fig. 17.

Rice. 17. Gold plates of the Slavic-Aryan Vedas.

This is what you can read in the work from which the figure was borrowed. 17: " Now let's talk about such a fashionable phenomenon as the Slavic-Aryan “Vedas”... In general, in a nutshell, a certain American Joseph Smith (what is the American name) during a vision, at the direction of an angel, found ancient gold plates, with writings unknown to anyone and only he was able to decipher them, and then carefully put the plates back. Apart from Joseph Smith, NO ONE has EVER seen these plates. These plates contain very ancient “true knowledge”, dating back to the time of the construction of the Tower of Babel, following which one can understand that in fact all humanity originates from America (Adam and Eve lived in the Missouri region) and only by following the instructions from the plates can one find the way to God and to truth, etc. and so on.».

In other words, the plates became only an entourage for those written by the Ynglings themselves, based on their ideological views very ancient "true knowledge". In fact, the plates were found not by the unknown Joseph Smith, but by Father Crespi, and written on the left plate were warnings against fighting Rurik. So the “translation” of these plates in the text of the Slavic-Aryan Vedas is an outright forgery! And these supposedly “very ancient” santios are only not that many years old - they were written in 866 AD.

I also obtained new material on vimanas. I was able to read a number of names on the side of the Salzburg Parallelepiped, and also found evidence of its similarity to a modern UFO, and also found the suggestion of a private researcher that there are similarities between vimanas and UFOs. However, so far no one has read the inscriptions anywhere either on vimanas or on UFOs, so alternative historians have not gone beyond some assumptions.

It turned out that in addition to the vimana models, there were also simplified models known as the Klerksdorp spheres. So far I have only read the inscriptions on two models, but I would like to continue my research in this direction on a host of other artifacts.

One of the many “crop circles” turned out to be very interesting, which, as I found out after epigraphic analysis, turned out to be the trace of soldiers left behind after VIMANA MARA arrived in this area. If this is not a hoax, then it turns out that vimanas not only fly today, but also leave material traces with some Russian texts. This opens up another direction of research - the study of material traces of the planting of vimanas.

Conclusion.

Thus, interesting material is collected for writing a monograph to refute the most incredible material relics of antiquity. Upon closer examination, the evidence of their antiquity was based on amateurish reasoning, which led to incredible conclusions. Epigraphic analysis relegates Unidentified Historical Objects (HIOs) to the category of ordinary artifacts.

Literature.

1. Facts about the incredible - The Chinese discovered America even before the birth of Christ. July 10, 2015.

Padre Crespi received permission from the Vatican to open a museum at the Salesian School of Cuenca, which became the largest museum before 1960 in Ecuador. Crespi suggested that there was a connection between the artifacts of his collection and the ancient civilizations of Babylon and Sumer. Among the exhibits were gold or gilded tablets with drawings and symbols, the information on which no one had studied or deciphered. Some time later the museum burned down, possibly due to arson, and most of the artifacts were destroyed. Padre Crespi managed to save only a few of them. After Crespi's death, all exhibits became inaccessible to the public. According to rumors, some things were transported to the Vatican.

Rice. 10. Letters on a gold plate from the Crespi collection

Padre Crespi believed that most ancient artifacts contained symbols of a language that predates the flood. Researcher Richard Wingate noted that the collection included Assyrian, Egyptian, Chinese and African artifacts. Neil Armstrong, the first man to walk on the moon, was part of an expedition organized in 1976 by the British military in the caves of Ecuador.

There are theories that the treasures of Atlantis, a lost continent that preceded all known civilizations, were hidden in the caves, or perhaps the artifacts contained information transmitted from space. The treasure was in the form of a “metal library”, the information was stored on metal plates similar to those that the Indians gave to Father Crespi.

The age and origin of the artifacts from Padre Crespi's collection remain unknown, and the fact that they have all disappeared and are hidden from researchers makes their further study impossible. It is difficult to imagine how important discoveries for archeology and our knowledge of human origins could be revealed to the world by the treasures of this collection. It's possible that artifacts from Ecuador's mysterious library of underground caves could change the course of history forever».

As always, the fantasies of commentators on Padre Crespi’s collection are overflowing. However, it can be assumed that this researcher did have interesting artifacts in his hands. So, in Fig. 9 his photograph (on the left) is given against the background of some text. By increasing the contrast, some letters became visible, and the text turned out to be Russian. I was even able to read the words on two fragments: YARA WARRIOR And YARA RURIK. From this we can assume that Padre Crespi tried to read some of the texts on the plates, and in Russian. Since I am currently interested in the content of at least one plate, I will for now omit commenting on Padre Crespi's attempts to read and understand the content of the texts of the plates.

Fig. 11. My reading of the inscriptions on the left gold plate of figure 10

In Fig. 11 I show line by line reading of the inscriptions on the left plate. 1 line: TEMPLE OF YAR KHARAON RURIK YAR, 2nd line: MIMA RATI YAR, MIMA KHARAON RUSI, YAR TEMPLE RURIK; 3rd line: TEMPLE YARA Rus' MARY KARA YARA; 4th line: TEMPLE OF RURIK E KHARAON STOLITSY YAR RUSI MARY; Line 5: MARY OF RURIK YAR, KHARAON OF THE WORLD OF RURIK YAR; Line 6: YARA MARY KARA YARA E REMOVED BY HAND; Line 7: YARA MARA OF THE TEMPLE OF KHARAON. KARA E IS REMOVED FROM MARA AND FROM; Line 8: YARA KHARAONA OTHER KHARAONA AND THE WORLD YARA; Line 9: ARMY OF THE WARRIOR OF MARA TEMPLE, RURIK TEMPLE; Line 10: KARA YARA, KARA YARA AND RIMA KEEPS THE SCYTHIANS AND THE WARRIOR; Line 11: AND THE WORLD OF MARY Rus' OF RURIK AND THE TEMPLES OF YAR MIMA OF RURIK.

In addition, the date is read: 10 YEAR OF YAR, which, in terms of our usual chronology, means the date: 866 A.D. . This means that the platinum was made during the life of Yar Rurik and promised to punish both the power of the goddess Mara and the combined power of the troops of Rurik and Rome to those who would resist Rurik. So the text is very interesting from a historical point of view. This text is quite lengthy, numbering 88 words and one number; deciphering it took me quite a lot of time, so for now I limited myself to only reading the left page.

But there are also very interesting points from the point of view of paleography. Thus, the lowercase letter “A” in most cases has a long ornamental tail, either straight or curving to the left. Quite a lot of ligatures have a strange design, where the rounded parts are written out explicitly, and the tails are written out implicitly, which makes the word “YARA” look like the letter “F”. In addition, the tails of some letters cross out other letters, and some words are generally written implicitly. Some words resemble later Old Church Slavonic writing, others - later Greek writing. So, as a monument to writing, this gold plate from Padre Crespi’s collection is of undoubted interest.

Naturally, I was interested in the details of the biography of Padre Crespi. I found them in the work: " Carlo Crespi Croci was born in 1891 in Italy in a small town near Milan. His family was completely civil, but Carlos chose the path of a priest from early childhood, helping the local padre at church services. Already at the age of fifteen, Carlo became a novice in one of the monasteries belonging to the Salesian Order (founded in 1856). At the same time, he managed to obtain a secular education at the University of Padua. He initially majored in anthropology and later received a doctorate in engineering and music.

Crespi first came to Ecuador in 1923, but not as a missionary, but to collect various data for an international exhibition. In 1931, Crespi was assigned to the Salesian mission in Macas, a town in the Ecuadorian jungle. He did not stay here long and in 1933 he moved to the city of Cuenca. Cuenca is located approximately 230 km south of Ecuador's capital Quito. In Cuenca there was the headquarters of the Inca Tupac Yupanqui, who annexed the lands of Ecuador to the Inca Empire in the 70s of the 15th century.

In Cuenca, Padre Crespi developed vigorous missionary activity. Within ten years, he managed to found an agricultural school in the city and an institute of oriental studies to prepare young people for work in the eastern (Amazonian) regions of the country. He also founded the Cornelio Merchan College to educate local underprivileged children and became its first director. In addition to his missionary activities, Carlo Crespi was interested in music. He organized a local orchestra, which performed mainly works written by Crespi himself. In 1931, Crespi made a documentary about the Jivaro Indians who lived in the upper Amazon.».

So, the basis of Crespi’s activity was an interest in the culture of ancient America. It is clear that he had no idea that a fairly developed Russian culture once existed there.

« But his main merit was that Padre Crespi devoted all his time to caring for local residents, primarily to teaching children from low-income families. During his lifetime, in 1974, one of the streets in Cuenca was named after him. Padre Crespi's anthropological interests led him, from the very beginning of his missionary work, to buy antiquities from local residents that they found in the fields or in the jungle. The appalling poverty of the local population allowed him to purchase antiquities of amazing value from peasants for mere pennies. At the same time, Crespi bought modern crafts and objects of Christian art from the Indians in order to somehow support his parishioners».

Thus, Crespi's collection arose from his charity, and not at all from professional interest.

« As a result, his collection occupied three huge rooms at the Cornelio Merchan College. Local residents brought him everything - from Inca ceramics to stone slabs and thrones. The padre himself never accounted for, much less cataloged, his collection. That is why it is difficult to call this a collection. It was precisely a collection of things, the total number of which no one counted. However, Padre Crespi's collection as a whole can be divided into three parts. The first part consisted of objects of modern production - crafts of local Indians, imitating either examples of ancient Ecuadorian art, or made in the Christian tradition. Numerous objects made in the 16th-19th centuries can also be included here. The second part, the most numerous, consisted of objects from various pre-Hispanic cultures of Ecuador, which local residents found in their fields or during unauthorized excavations. Thus, the Crespi collection represented ceramics from all Indian cultures of Ecuador (with the exception of the earliest - the Valdivia culture)».

It turns out that the artifacts were a disordered collection of artifacts from different eras. For the average amateur, these are completely unrelated subjects.

« But the third part of the collection is of greatest interest. It includes products that cannot be correlated with any of the known archaeological cultures of America. These were mainly objects made of copper, copper alloys, and sometimes gold. Most of these artifacts were made by coining on metal sheets. The congregation had masks, crowns, breastplates, etc. But the most interesting were the numerous metal plates covered with plot images and... inscriptions. Padre Crespi collected probably more than a hundred of these plates. Some of them were of considerable size - up to 1.5 m in width and up to 1 m in height. There were also smaller plates, metal plates (obviously used to decorate wooden products). The images on such plates had nothing to do with the cultural traditions of ancient America. They were directly related to the cultures of the Old World, or more precisely, the civilizations of the Mediterranean basin and the Middle East. So on one of the plates a regular (not stepped) pyramid was depicted, similar to the pyramids of the Giza plateau. Along the lower edge of this plate there is an inscription made in an unknown “alphabet”. Two elephants are depicted in the lower corners. It is clear that by the time the first civilizations arose in America, elephants were no longer found. But their images are by no means unique in the Crespi collection. The unknown “alphabet” with which the inscription is made is also found on other objects. This type of writing is not known to modern researchers. At first glance, it bears a certain resemblance to the writing of Mohenjo-Daro. On other plates there is another type of writing, which, according to rare researchers, resembles either Early Libyan or Proto-Minoan writing. One of the American researchers of the Crespi collection suggested that the inscriptions were made in “neopunic” or Cretan writing, but in the Quechua language. However, I am not aware of any serious attempts to decipher these inscriptions».

Naturally, it is unlikely that any of the academic epigraphists could assume the existence of Russian inscriptions. In addition, as I noted, the font of this Russian script is not quite ordinary, reminiscent of Greek.

« A very small number of researchers, mainly from the United States, have attempted to study the Crespi collection. Representatives of the Mormon Church in the USA showed great interest in it, but the dramatic history of Padre Crespi’s meeting did not allow any serious research. Representatives of official science simply ignored this meeting. And some church representatives stated that all things were modern products of local peasants. At the same time (according to some fragmentary data) many things from the collection of Padre Crespi after his death were secretly taken to the Vatican».

It is clear that it would be extremely difficult to obtain these artifacts from the Vatican collection.

"...The images on such plates had nothing to do with the cultural traditions of ancient America. They were directly related to the cultures of the Old World, or rather, the civilizations of the Mediterranean basin and the Middle East. Thus, on one of the plates a regular (not stepped) pyramid was depicted , similar to the pyramids of the Giza plateau. Along the lower edge of this plate there is an inscription made in an unknown “alphabet”. In the lower corners there are depicted two elephants. It is clear that by the time the first civilizations arose in America... "

Carlo Crespi Croci was born in 1891 in Italy in a small town near Milan. His family was completely civil, but Carlos chose the path of a priest from early childhood, helping the local padre at church services. Already at the age of fifteen, Carlo became a novice in one of the monasteries belonging to the Salesian Order (founded in 1856). At the same time, he managed to obtain a secular education at the University of Padua. He initially majored in anthropology and later received a doctorate in engineering and music.

Crespi first came to Ecuador in 1923, but not as a missionary, but to collect various data for an international exhibition. In 1931, Crespi was assigned to the Salesian mission in Macas, a town in the Ecuadorian jungle. He did not stay here long and in 1933 he moved to the city of Cuenca. Cuenca is located approximately 230 km south of Ecuador's capital Quito. In Cuenca there was the headquarters of the Inca Tupac Yupanqui, who annexed the lands of Ecuador to the Inca Empire in the 70s of the 15th century.

In Cuenca, Padre Crespi developed vigorous missionary activity. Within ten years, he managed to found an agricultural school in the city and an institute of oriental studies to prepare young people for work in the eastern (Amazonian) regions of the country.

He also founded the Cornelio Merchan College to educate local underprivileged children and became its first director. In addition to his missionary activities, Carlo Crespi was interested in music. He organized a local orchestra, which performed mainly works written by Crespi himself. In 1931, Crespi made a documentary about the Jivaro Indians who lived in the upper Amazon.

But his main merit was that Padre Crespi devoted all his time to caring for local residents, primarily to teaching children from low-income families. During his lifetime, in 1974, one of the streets in Cuenca was named after him.

Padre Crespi's anthropological interests led him, from the very beginning of his missionary work, to buy antiquities from local residents that they found in the fields or in the jungle. The appalling poverty of the local population allowed him to purchase antiquities of amazing value from peasants for mere pennies. At the same time, Crespi bought modern crafts and objects of Christian art from the Indians in order to at least somehow support his parishioners.

As a result, his collection occupied three huge rooms at the Cornelio Merchan College. Local residents brought him everything - from Inca ceramics to stone slabs and thrones. The padre himself never accounted for, much less cataloged, his collection. That is why it is difficult to call this a collection. It was precisely a collection of things, the total number of which no one counted. However, Padre Crespi's collection as a whole can be divided into three parts.

The first part consisted of objects of modern production - crafts of local Indians, imitating either examples of ancient Ecuadorian art, or made in the Christian tradition. Numerous objects made in the 16th-19th centuries can also be included here.

The second part, the most numerous, consisted of objects from various pre-Spanish cultures of Ecuador, which local residents found in their fields or during unauthorized excavations. Thus, the Crespi collection represented ceramics from all Indian cultures of Ecuador (with the exception of the earliest - the Valdivia culture).

But the third part of the collection is of greatest interest. It includes products that cannot be correlated with any of the known archaeological cultures of America. These were mainly objects made of copper, copper alloys, and sometimes gold. Most of these artifacts were made by coining on metal sheets. The congregation had masks, crowns, breastplates, etc.

But the most interesting were the numerous metal plates covered with plot images and... inscriptions. Padre Crespi collected probably more than a hundred of these plates. Some of them were of considerable size - up to 1.5 m in width and up to 1 m in height. There were also smaller plates, metal plates (obviously used to decorate wooden products).

The images on such plates had nothing to do with the cultural traditions of ancient America. They were directly related to the cultures of the Old World, or more precisely, the civilizations of the Mediterranean basin and the Middle East. So on one of the plates a regular (not stepped) pyramid was depicted, similar to the pyramids of the Giza plateau. Along the lower edge of this plate there is an inscription made in an unknown “alphabet”.

Two elephants are depicted in the lower corners. It is clear that by the time the first civilizations arose in America, elephants were no longer found. But their images are by no means unique in the Crespi collection. The unknown “alphabet” with which the inscription is made is also found on other objects. This type of writing is not known to modern researchers. At first glance, it bears a certain resemblance to the writing of Mohenjo-Daro.

On other plates there is another type of writing, which, according to rare researchers, resembles either Early Libyan or Proto-Minoan writing. One of the American researchers of the Crespi collection suggested that the inscriptions were made in “neo-Punic” or Cretan writing, but in the Quechua language. However, I am not aware of any serious attempts to decipher these inscriptions.

A very small number of researchers, mainly from the United States, have attempted to study the Crespi collection. Representatives of the Mormon Church in the USA showed great interest in it, but the dramatic history of Padre Crespi’s meeting did not allow any serious research.

Representatives of official science simply ignored this meeting. And some church representatives stated that all things were modern products of local peasants. At the same time (according to some fragmentary data) many things from the collection of Padre Crespi after his death were secretly taken to the Vatican.

Naturally, data that goes against the official concept is ignored or hushed up. But the huge number of objects in the Crespi collection force us to rethink our ideas about contacts between the Old and New Worlds in ancient times. Interestingly, the collection included metal plaques depicting the well-known winged bulls from the palace of Nineveh, as well as winged vulture-headed “geniuses,” which are striking examples of ancient Babylonian art.

One of the plates depicts a priest in a tiara similar to the papal one or reminiscent of the crown of Lower Egypt. On a huge number of plates there is always an image of a writhing snake - a symbol of the cosmic serpent. Most plates have holes in the corners. Obviously, the plates were used for cladding wooden or stone objects or walls.

In addition to plates made of copper (or copper alloys), the Crespi collection contains many stone tablets with images and inscriptions in unknown languages ​​engraved on them. It is noteworthy that it was precisely these categories of objects, according to Padre Crespi, that the Indians found in the jungle in underground tunnels and chambers. Padre Crespi claimed that an ancient system of underground tunnels stretches from the city of Cuenca into the jungle, more than 200 km long. I wrote about a similar tunnel system back in 1972. Erich von Däniken in his book "The Gold of the Gods". He also brought the first images of things from Padre Crespi’s collection.

In 1962, Cornelio Merchan College was destroyed by fire as a result of arson. Most of the Crespi collection was saved, but the room containing the most valuable and highly artistic items was destroyed in the fire. On the ruins of the college, Padre Crespi erected the Church of Maria Auxiladora, which still stands today. Padre Crespi himself died in 1982. at the age of 91. Shortly before his death, in 1980. he sold most of his collection to the Museum of the Central Bank in Cuenca (Museo del Banco Central). The bank paid Crespi $433,000.

This money was used to build a new school. The museum began to select items from the Crespi collection in order to separate valuable antiquities from modern crafts. During this process, many artifacts “went to the side.” It is obvious that the museum selected objects belonging to the famous archaeological cultures of Ecuador.

According to some reports, most of the hammered metal plates were returned to the Church of Maria Auxiladora, where they may still be kept. Unfortunately, I do not have any detailed information about the current state of the Crespi collection. This is a matter for future research.

Candidate of Historical SciencesAndrey Zhukov

The Shrine of Saint Mary of the Auxiladora in Cuenca, Ecuador, is called the Church of the Beggars. Its parishioners are of little interest in the history of human development and Darwin's theory of evolution. Perhaps this is why few people know about what is stored there, down in the basement of the temple.

And in the basement of the temple the famous collection of Padre Crespi is kept. The Padre Crespi collection consists of rectangular plates of silver and gold, on which strange designs are applied by chasing. Scientists estimate the age of the finds at 3.5 thousand years. Padre Crespi brought them to Cuenca from Silvia from the Indians, among whom he lived for many years as a missionary. However, the Salesian fathers immediately became interested in the collection, and the plates were ordered to be confiscated.

Unfortunately, by order of the Salesians, the plates were taken out of the country. But Padre Crespi, in order to preserve these cultural objects in the city, organized the production of their copies. They were made by experienced craftsmen, under his strict scientific guidance. Unfortunately, copies were not made of all the plates, but even the small part that was saved explained the reason for the fear of the Salesian fathers.

The drawings on the plates undermined all ideas about the history of mankind. Some of the plates were unusual in their design. For example, there is a plate of an Indian along with an elephant, this is very strange, because in Ecuador there are no, and never have been, elephants. How does modern science explain this incredible proximity? No way! And this is especially strange given the fact that there have never been elephants not only in Ecuador, but throughout the American continent as a whole.

Perhaps serious historians and archaeologists simply do not know about this ancient tablet. Among the parishioners of the church of the poor in distant Ecuador, there are probably no doctors of science either. But the Church of St. Mary of Auxiladora is far from the only place that keeps mysteries of this kind.