Gobekli Tepe: DESCRIPTION OF THE TRANSLATION
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Recent studies have shown SUM AS THEY WERE MUCH MORE COMPLEX AND ANCIENT KNOWLEDGE OF GEODESY AND Archaeoastronomy ALLOCATED TO BUILDING OF THE PYRAMIDS OF GIZA OR megalithic sites BRITANNICI.LA discovery was made by weighing with a precision balance, SOME PREHISTORIC Onfalos decorated, all copies of an original, built in different styles. GRAMS IN FIGURES AS OBTAINED WITH TWO NUMBERS AFTER THE DECIMAL POINT ARE ACCURATE results corresponding to coordinate and measure of our planet, in kilometers. THE CHOICE OF 7 MAJOR CODES THAT WOULD hand down was not casual, WERE USED ONLY THOSE THAT CROSS WITH operations of multiplication and division, gave AS A RESULT OF OTHER CODES surveying, RELATING TO FORMULAS FOR propitiatory optimize the environment on a human scale. THESE OPERATIONS WERE TO BE CONSIDERED AS ONLY THE NUMBERS THAT WERE IN TURN precise sequence. NOT A CASE WHERE WE STILL WITH THREE DIFFERENT sequence of these sets of figures, DIVIDED ON HEIGHT AND HALF BASE, we can plot the exact and complete PROJECTS OF INTERNAL SPLIT THE THREE MAIN PYRAMIDS OF GIZA, only using a COMPASS. This knowledge must already be known by the looting of the Pyramid of Menkaure, as some COORDINATES DETERMINED BY THESE CODES, EXPLAIN WHY THE FAILED ATTEMPT OF THE VERTICAL. IN PRACTICE did not know, but there are 7 COORDINATES WITH WHICH MAY EXPLAIN ALL physics, mathematics, calendars, GEODESY, The evolution and origins of different units of our planet Earth. AUTHOR VALDITURRITE.
THE HEAD OF THE SURVEY RESEARCH CENTER, IS SELF-FINANCING IS ALWAYS AND NEVER HAS NOTHING TO GET AID FROM UNIVERSITY. WE ARE LOOKING FOR VOLUNTEERS FOR EXPANDING THE PROGRAMS. WHEN THESE SEARCHES WERE APPROVED ONLY IN GERMANY.
Monday, March 17, 2008
Los Angelesvintage Police Cars
THE TRIANGLE, ITALY, ENGLAND, EGYPT
David Furlong, in his book "the keys of the temple" as a good surveyor has also published a very important discovery, and partly unconsciously. His discovery of megalithic sites sees British oriented and aligned on two great circles as large a region as a whole, enclose the center of the area circumscribed by the intersections of the circles reference points of a triangle, the angles of which correspond to the precise angles of the largest pyramid known to Keope.Quello who left for readers to discover, is the fact that intersecting con altrettanta precisione tutti i punti di riferimento allineati sulle circonferenze, posti ad indicare la presenza dei siti megalitici e altre opere affini, (anche quelli non più direttamente visibili perché sovrapposti da altre costruzioni),si ottengono, sulla proiezione della stessa piramide anche moltissimi altri punti con i quali si evidenziano anche tutti gli spaccati interni (sale e corridoi)della prestigiosa piramide. Quante sono le possibilità che si tratti solo di un caso?Ma ecco perché vi ho riportato questi dati.Quello che Furlong e gli altri invece non potevano sicuramente sapere è che le intersezioni, derivanti dai siti principali da lui riportati, evidenziano i punti di riferimento corrispondenti alle “distanze sulla base dictated by the weights of the pyramid of geodetic codes "already described, and that most likely were behind both projects.
I CODICI GEODETICI DI GOBEKLI TEPE
documents and exhibits that we currently offer official archeology not allow you to compare my research with other similar studies, because they simply do not exist and therefore I do not please If before I was able to present the results of my research only in mathematics. I took this decision to prevent a sea of \u200b\u200bcriticism showered on a subject so serious, and the facts I have given reason, there were those who tried to anyway.
Today we are in another era, the Journal of Archaeology is capitulating in front of the prehistoric temples older than 11,000 years and now is preparing to rewrite several pages of the history and evolution of our understanding. Gobekli Tepe still sounds mysterious, but is not the case, when there are many theories about the function of this site, which means that all but one are false, time will judge.
Luck has it that between 240 megalithic pillars that form the 15 monumental circles there are all decorated with some unusual characters.
DECORATED THE THREE PILLARS DIGOBEKLI Tepe are for us as the Rosetta stone, and will remain forever as a time to act as a bridge between the ancient writing engraved on the prehistoric flints and writes with the first civilizations arose.
What follows is my thesis on the translation of the most significant stems :
Gobekli tepe
Stele of wild boar and fox
Among those so far brought to light, This pillar stele, is certainly the most important.
different reasons I can not be fully clear how the bill and content, the most important is the role that will play in enabling the decoding of the language.
This pillar is closely linked to that of the condor and the scorpion, although not sono dello stesso stile riconducono entrambi allo stesso codice geodetico. Anche i sistemi di scrittura sono molto simili ma mettono in evidenza, oltre ad un ideologia comune, il ruolo di miti diversi, forse non sono dello stesso periodo ma lo schema interpretativo è immutato.
Le associazioni vedono quindi derivare, senza ombra di dubbio, queste rappresentazioni da un unico originale. Posso affermarlo con sicurezza in quanto il sistema di scrittura è quello dei geroglifici che riproduce fedelmente un originale: la scrittura a specchio.
La datazione attribuita a queste vestigia, rende la scoperta ancora più importante per diversi motivi. In primo luogo perché permette di stabilire con precisione che gli onfalos geodetici erano molto più old and had already joined the first of the pyramids of Giza and Stonehenge, as the Journal of Archaeology has never bothered to take them into account. E 'for this reason that I did not even publications in their decorations, and I stress about it you remember that the hundreds of pages I've published so far, tend to analyze both their mathematical and physical appearance resulting from their weight.
An immense work iconographic and ideographic, however, lies asleep for 20 years, this is all done on the study that allowed flint decorated to arrive at the beginning, to find again the geodesic Onfalos themselves, and later to interpret the decorations.
Il primitivo sistema interpretativo dei codici attraverso le selci decorate che li riproducevano.
.........................................................................................................................................................................
Finora questi studi mi hanno però permesso di costruire dei programmi di ricerca innovativi per indagare tutte quelle antiche civiltà dove questi codici sono stati: fondamentali e alla base della cultura tanto da trasparire in ogni genesi e in ogni schema religioso delle divinità. Così ora rimane per me molto facile riconoscere e decodificare ogni sorta di rappresentazione stone prior to 3000 BC In addition to what this might be old Europe to Asia to Africa.
In this case we are dealing with a system of "Rosetta stone" that brings to light completely what the cultural link between the prehistory and the ancient "civilizations, as well as academics from universities in the means."
Before now I have only writing on the mirror and had to find flint, each character represented on the codes, many reproductions finely carved that it would propose re attributes, then the more considered, in order to establish what the correct extrapolation In every figure, and then search for between the iconography of the culture under investigation, the system has given great results and over time has also allowed us to establish contacts, histories and unexpected associations between the ancient civilizations.
Where is the problem then? Because other scholars and researchers do not use the same systems? It would be too long now a new process to make these serious shortcomings.
to realize how great this problem and the difficulties encountered by those who may have tried to take this path, just read the "cultural text" left by Piero Tellini, a pioneer in the field and my predecessor.
was a well-known contemporary, a famous designer who changed his life to give
In this case we are dealing with a system of "Rosetta stone" that brings to light completely what the cultural link between the prehistory and the ancient "civilizations, as well as academics from universities in the means."
Before now I have only writing on the mirror and had to find flint, each character represented on the codes, many reproductions finely carved that it would propose re attributes, then the more considered, in order to establish what the correct extrapolation In every figure, and then search for between the iconography of the culture under investigation, the system has given great results and over time has also allowed us to establish contacts, histories and unexpected associations between the ancient civilizations.
Where is the problem then? Because other scholars and researchers do not use the same systems? It would be too long now a new process to make these serious shortcomings.
to realize how great this problem and the difficulties encountered by those who may have tried to take this path, just read the "cultural text" left by Piero Tellini, a pioneer in the field and my predecessor.
was a well-known contemporary, a famous designer who changed his life to give
a selfless contribution to science.
The new system of interpretation.
Since we are dealing with stems of beautifully decorated in relief, some might think that there has been an evolutionary step in the system to reproduce the image of the geodetic Onfalos, but not exactly so. Although this writing is a mirror and uses the natural and spontaneous system to highlight those involved, but there are substantial differences in background that makes it virtually impossible even to put in connection with the same content hieroglyphic code shown on the paving stones decorated with those played on the pillars.
Apart from the fact that to cut and decorate a fine flint or another very hard stone required a supernatural ability, we are talking about micro sculptures perfect, and then comparing these pillars decorated could be compared to the writing on the walls made from cans , then the maximum we could talk about devolution, not evolution.
Beyond the fact that these representations are part of a large building system designed to be immediately seen by all the "same manner", the first major difference is that here the representations traits Humans are not "directly" traceable. So the point is this: when we are able to give a correct value to the figures of this pillar of reference entirely decorated and written, and we know more details seize invisible, because highly stylized, which among other references are representations with the unique human features, but of course referring to deity or
great kings.
Innovations
Among the testimonies of various civilizations, often considered mysterious or incomprehensible, there are records mirror, which were mostly used to identify or distinguish the different formulas or positions where they wanted to proceed to interpret a litolatria, so important as the contents were going to break down the colored parts to the original spots of different colors, those who then went to play always with a mirror-writing. Furthermore, in some cases pushed to give these spots a standard geometric shape, and can even play them for groups, where they were associated in shape.
Sometimes, those which had geometric shapes were reproduced with new characters composed of smaller-geometry, this is the real revolution, because we do not forget that before strictly complied with every figure position and size compared to other overlapping, otherwise it would have been impossible to distinguish. This is also the distinguishing feature of the Scorpion stele and that of the wild condors.
With these systems were able to demonstrate clearly and then to recognize without a doubt the figure reproduced and also indicate its exact position it had on the original from which it derived. Therefore no need to having to play the other figures which overlapped or coincided with, or even which of these, as it was needed for small and stylized reproductions on the pavement. For this reason we will find many
more stylized figures with human features and then camouflaged
Sometimes, those which had geometric shapes were reproduced with new characters composed of smaller-geometry, this is the real revolution, because we do not forget that before strictly complied with every figure position and size compared to other overlapping, otherwise it would have been impossible to distinguish. This is also the distinguishing feature of the Scorpion stele and that of the wild condors.
With these systems were able to demonstrate clearly and then to recognize without a doubt the figure reproduced and also indicate its exact position it had on the original from which it derived. Therefore no need to having to play the other figures which overlapped or coincided with, or even which of these, as it was needed for small and stylized reproductions on the pavement. For this reason we will find many
more stylized figures with human features and then camouflaged
carved on stone tools.
Deities 'AND' WRITING NOT INVISIBLE "
Deities 'AND' WRITING NOT INVISIBLE "
From a set of these stylization comes another type of ideogram, and what characterizes differentiates the stele of the boar. It 's the most important and most encrypted, not surprisingly used to remember the true deity, the human aspect.
Before continuing I will try to explain a new concept never even imagined before, so unexpected that I had not even considered, which all in all it was very handy to make these deities, the concept of size, abstract and surreal.
In brief introduction I pointed out how vast the content derived just from the weight of each of these codes, or by its shape, which is obviously related to each principal deity that characterizes them. All the more so now that we had forgotten, as then, going into detail only a few images to limit the content is very difficult. There we can see from the fact that still to explain their written word there are dozens of pages. In practice this ancient system of pass codes all superimposed on small stones, does not make use of writing systems to indicate the details, but a lot do not write up camouflaged to be invisible.
means that it had come through this sort of mirror-writing, with breakdown spots, to achieve a perfect mechanism retinizzazione. This unique and unusual system, the blurred images around the subject well defined, but place them traceable to those who knew the original code from which it derived, and the ability to grasp a broader meaning.
panes of the lattice in the background, seemingly subordinate or less important, were made only by the outline of the stain or stains of the zone that indicated.
Those who do not have geometric shapes, means that not only perform the function of stylization, the retina and blur the space adjacent to the animal visible, but hidden in the contours stylization encrypted. However
better identify the source or the corresponding area on the original is not as easy;
1) in addition to extrapolate very archaic images, which today may have been little studied, are certainly attributable to larger faces.
means for them to fire should be considered more of a spot. In practice
are shown as figures made visible only by taking into account the right pieces del puzzle.
2 ) Spesso sono mimetizzate tra gli spazi degli animali ben visibili fino a soprapporsi anche ad alcune di queste figure.
Before continuing I will try to explain a new concept never even imagined before, so unexpected that I had not even considered, which all in all it was very handy to make these deities, the concept of size, abstract and surreal.
In brief introduction I pointed out how vast the content derived just from the weight of each of these codes, or by its shape, which is obviously related to each principal deity that characterizes them. All the more so now that we had forgotten, as then, going into detail only a few images to limit the content is very difficult. There we can see from the fact that still to explain their written word there are dozens of pages. In practice this ancient system of pass codes all superimposed on small stones, does not make use of writing systems to indicate the details, but a lot do not write up camouflaged to be invisible.
means that it had come through this sort of mirror-writing, with breakdown spots, to achieve a perfect mechanism retinizzazione. This unique and unusual system, the blurred images around the subject well defined, but place them traceable to those who knew the original code from which it derived, and the ability to grasp a broader meaning.
panes of the lattice in the background, seemingly subordinate or less important, were made only by the outline of the stain or stains of the zone that indicated.
Those who do not have geometric shapes, means that not only perform the function of stylization, the retina and blur the space adjacent to the animal visible, but hidden in the contours stylization encrypted. However
better identify the source or the corresponding area on the original is not as easy;
1) in addition to extrapolate very archaic images, which today may have been little studied, are certainly attributable to larger faces.
means for them to fire should be considered more of a spot. In practice
are shown as figures made visible only by taking into account the right pieces del puzzle.
2 ) Spesso sono mimetizzate tra gli spazi degli animali ben visibili fino a soprapporsi anche ad alcune di queste figure.
CARATTERISTICHE
Le decorazioni del pilastro sono organizzate e distribuite sulla superficie con un sistema rarissimo per questo tipo di manufatti, le soluzioni utilizzate mostrano anche in questo caso la scelta di un sistema composto per distribuire le rappresentazioni.
Ovviamente tali accorgimenti sono stati resi necessari per evidenziare il tipo di scrittura utilizzato oltre ad impostarlo come faremmo noi oggi con un titolo, un corpo, uno sfondo e un indice.
Come hanno potuto imprimere tutto questo su una lapide che sembra appena sbozzata e incisa con uno stile elementare per rappresentare solo le figure di sei animali?
Si tratta di un monumento che doveva essere visto da tutti, per tanto quello che a noi sembrerebbe nascosto, mimetizzato ed invisibile, per gli uomini di quel tempo doveva essere assolutamente e direttamente recepibile. Ecco allora di cosa dobbiamo tenere conto prima di immedesimarsi nella concezione dell’uomo preistorico di 10.000 o più anni fa per sciogliere questo messaggio correttamente.
Per farlo non sarà utile documentarsi con le nozioni di arte preistorica known in academia or in the books in circulation, will not be sufficient even those on the dualism of prehistoric and even those by Piero Tellini, which are the only writings published but not found that deal with flint decorated, but who had the good fortune to see his book " Culture Ansedonia anamorphic "would be an advantage. The only
introductions to these topics can be found on the mine sites.
emphasize here only a few details that we must always keep in mind. All articles on hard stone decorated small and finely carved handles of prehistoric tools, play in different styles, decorations, arising mainly from only two stones, which we call: the original A and copy B.
addition, one of them is already a copy of the other, although it differs in several respects and has many more pictures to be added then, the original A.
Of this we call "master copy in black and white figures B" is difficult to find and recognize copies carved on flint, and therefore this type of evidence are very rare, but is remembered in other types of reproductions of later times.
Imagine how it must be difficult to grasp the stylistic details of a copy, is almost like having to recognize a counterfeit banknote and who made it, from a real one. Or you have a great knowledge or should have the option to consult the original copy.
The decorations of the two stems that we are analyzing the most important reference, though in a different way, just to "rock the master copy B". It is an object completely covered with fine decoration, it is not a board with two surfaces, but a solid round smooth slightly flattened.
Now all the solutions used to extrapolate the figures handed down and play on the stele of the wild boar are intended to enable traceability of position "on the original copy B" so as not to be confused with the other. And in this particular case but also to emphasize their subordinate descent from the "most important litolatria A". This can be seen only on the pillar and does not happen on the Scorpion and the condor, the decoration of which is no coincidence that in this case, also stem from the "stone copy principaleB. To facilitate the
will divide the images of this "black and white figures Onfalos" into three types:
A) typical shapes and characteristics.
B) figures in style, size and slightly different positions.
C) figures engraved or otherwise arising directly from the original litolatria.
Only with the available data is still impossible to say whether the entire area monument was dedicated to the main litolatria and other copies of more details, or if it was dedicated only to the most important litolatria copy. At the moment we can say with certainty that you wanted to pass through the pillar of the details litolatria copy some drawings on the black and white, which are all located around the main una'immagine certainly resulting from idolatry. It is a deeply sculpted profile in order to complete the role of copy and can be positioned in a way that allows reading in the right sequence.
However, this profile was not reported directly on the stone, but the fact that it has been stylized and wired in the background suggests that wanted to censor it, on the contrary, the fact that he chose the pictures that were there around tells you that wanted to show something on this. It also does not seem to even bring new details concerning the alleged decorations, pre-existing "this recording" on litolatria copy before they are sculpted profile. Litolatria find evidence of this, prior to these stages of processing is the main goal of my research.
addition to the profile recorded on this stela of the wild boar, around and partially overlapping the figures of animals, there are other's wired the same way. Some equally important, others are a rare example of times less in the same space. Some of these profiles litolatrie visible on both the natural grain of the stone, the main report of minor adjustments, impressed by those who wanted to give it greater resemblance to those of the copy in black and white figures, but these images do not meet the same precise position, litolatria a copy of the profile is higher than it should but who knew it well sculpted these rods so that when etched blending gave the precise positions that passed the original. And so we have another element that shows the presence of the original or at least its specific characteristics in the region of the crescent more than 10 millennia ago.
In other words we have evidence that 11,000 years ago these two ancient litolatrie were already united in an indissoluble and that means that there are more elements that see them rise to the dualistic conceptions of prehistoric man.
The figures I have mentioned to occupy an entire surface from one end, and judging from the point of view we can define the lower and middle part, in practice we need to position the stone in position with its longest side vertically. At the top we find the figures that are represented on the stele of the scorpion, but they are recognizable only by an upside down position, also go over most of the other surface.
Let's look at how determined the choice of the surface we are interested, here come into play the particular solutions used to report the figures spread over a solid, broken down on a flat surface.
From what we can see by looking at the stele at first sight, we find that: there are some figures in the foreground at the bottom of the most isolated. While at the top of the larger figures are all put together with each other and beyond. In addition, the dividing line between these two spaces on the right side is a fat hole from which part of a cut to the inside corner of the stele. Let's start from the element
which is certainly more unusual: the hole, even at first glance I considered the possibility that the same means that the images shown above and below the surface originally derived from a roundabout. And then they were like "unrolled" to be placed on a flat surface. But not all the figures had to be near a ledge or a point and then the hole indicated a cone or rather simply a "foil unwound." In support of this hypothesis, there were other factors: the margins of the inner edges of the two next to the hole were rifinititi along the side profile of a groove to form a sort of border or frame. This caratteristica era evidente solo in questo punto e poteva voler indicare un collegamento tra i due margini. Un altro elemento indicativo ci viene direttamente dalle figure riportate nel riquadro superiore della stele, se osserviamo attentamente la scena si può notare l’insieme degli animali disposti ad forma di U rovesciata come sorretti da due braccia, o forse è meglio dire disposti come a ventaglio aperto. L’elemento più importante è quindi la posizione delle figure, da sinistra rivolte verso l’alto, al centro in posizione orizzontale e quelle di destra leggermente inclinate.
Qual’era l’estremità della pietra da cui derivavano le figure? Probabilmente doveva riportare la figura di un cinghiale ben visibile, so as to serve as a point of reference, today they call "the title." These elements are typical of a single Onfalos and so have been identified in litolatria copy figures white and black matrix inspiring images reproduced on the stele of the boar.
hole, much to the right, probably indicating that the figures on this side litolatria pushed beyond this border.
About the network would add that the party in the upper left corner, is much more geometric, so as to form a double cross in the center than the rest of the grid, you may want to indicate that in that position there are two very similar shapes and then no need for differentiation essere riconosciute.
Ovviamente tali accorgimenti sono stati resi necessari per evidenziare il tipo di scrittura utilizzato oltre ad impostarlo come faremmo noi oggi con un titolo, un corpo, uno sfondo e un indice.
Come hanno potuto imprimere tutto questo su una lapide che sembra appena sbozzata e incisa con uno stile elementare per rappresentare solo le figure di sei animali?
Si tratta di un monumento che doveva essere visto da tutti, per tanto quello che a noi sembrerebbe nascosto, mimetizzato ed invisibile, per gli uomini di quel tempo doveva essere assolutamente e direttamente recepibile. Ecco allora di cosa dobbiamo tenere conto prima di immedesimarsi nella concezione dell’uomo preistorico di 10.000 o più anni fa per sciogliere questo messaggio correttamente.
Per farlo non sarà utile documentarsi con le nozioni di arte preistorica known in academia or in the books in circulation, will not be sufficient even those on the dualism of prehistoric and even those by Piero Tellini, which are the only writings published but not found that deal with flint decorated, but who had the good fortune to see his book " Culture Ansedonia anamorphic "would be an advantage. The only
introductions to these topics can be found on the mine sites.
emphasize here only a few details that we must always keep in mind. All articles on hard stone decorated small and finely carved handles of prehistoric tools, play in different styles, decorations, arising mainly from only two stones, which we call: the original A and copy B.
addition, one of them is already a copy of the other, although it differs in several respects and has many more pictures to be added then, the original A.
Of this we call "master copy in black and white figures B" is difficult to find and recognize copies carved on flint, and therefore this type of evidence are very rare, but is remembered in other types of reproductions of later times.
Imagine how it must be difficult to grasp the stylistic details of a copy, is almost like having to recognize a counterfeit banknote and who made it, from a real one. Or you have a great knowledge or should have the option to consult the original copy.
The decorations of the two stems that we are analyzing the most important reference, though in a different way, just to "rock the master copy B". It is an object completely covered with fine decoration, it is not a board with two surfaces, but a solid round smooth slightly flattened.
Now all the solutions used to extrapolate the figures handed down and play on the stele of the wild boar are intended to enable traceability of position "on the original copy B" so as not to be confused with the other. And in this particular case but also to emphasize their subordinate descent from the "most important litolatria A". This can be seen only on the pillar and does not happen on the Scorpion and the condor, the decoration of which is no coincidence that in this case, also stem from the "stone copy principaleB. To facilitate the
will divide the images of this "black and white figures Onfalos" into three types:
A) typical shapes and characteristics.
B) figures in style, size and slightly different positions.
C) figures engraved or otherwise arising directly from the original litolatria.
Only with the available data is still impossible to say whether the entire area monument was dedicated to the main litolatria and other copies of more details, or if it was dedicated only to the most important litolatria copy. At the moment we can say with certainty that you wanted to pass through the pillar of the details litolatria copy some drawings on the black and white, which are all located around the main una'immagine certainly resulting from idolatry. It is a deeply sculpted profile in order to complete the role of copy and can be positioned in a way that allows reading in the right sequence.
However, this profile was not reported directly on the stone, but the fact that it has been stylized and wired in the background suggests that wanted to censor it, on the contrary, the fact that he chose the pictures that were there around tells you that wanted to show something on this. It also does not seem to even bring new details concerning the alleged decorations, pre-existing "this recording" on litolatria copy before they are sculpted profile. Litolatria find evidence of this, prior to these stages of processing is the main goal of my research.
addition to the profile recorded on this stela of the wild boar, around and partially overlapping the figures of animals, there are other's wired the same way. Some equally important, others are a rare example of times less in the same space. Some of these profiles litolatrie visible on both the natural grain of the stone, the main report of minor adjustments, impressed by those who wanted to give it greater resemblance to those of the copy in black and white figures, but these images do not meet the same precise position, litolatria a copy of the profile is higher than it should but who knew it well sculpted these rods so that when etched blending gave the precise positions that passed the original. And so we have another element that shows the presence of the original or at least its specific characteristics in the region of the crescent more than 10 millennia ago.
In other words we have evidence that 11,000 years ago these two ancient litolatrie were already united in an indissoluble and that means that there are more elements that see them rise to the dualistic conceptions of prehistoric man.
The figures I have mentioned to occupy an entire surface from one end, and judging from the point of view we can define the lower and middle part, in practice we need to position the stone in position with its longest side vertically. At the top we find the figures that are represented on the stele of the scorpion, but they are recognizable only by an upside down position, also go over most of the other surface.
Let's look at how determined the choice of the surface we are interested, here come into play the particular solutions used to report the figures spread over a solid, broken down on a flat surface.
From what we can see by looking at the stele at first sight, we find that: there are some figures in the foreground at the bottom of the most isolated. While at the top of the larger figures are all put together with each other and beyond. In addition, the dividing line between these two spaces on the right side is a fat hole from which part of a cut to the inside corner of the stele. Let's start from the element
which is certainly more unusual: the hole, even at first glance I considered the possibility that the same means that the images shown above and below the surface originally derived from a roundabout. And then they were like "unrolled" to be placed on a flat surface. But not all the figures had to be near a ledge or a point and then the hole indicated a cone or rather simply a "foil unwound." In support of this hypothesis, there were other factors: the margins of the inner edges of the two next to the hole were rifinititi along the side profile of a groove to form a sort of border or frame. This caratteristica era evidente solo in questo punto e poteva voler indicare un collegamento tra i due margini. Un altro elemento indicativo ci viene direttamente dalle figure riportate nel riquadro superiore della stele, se osserviamo attentamente la scena si può notare l’insieme degli animali disposti ad forma di U rovesciata come sorretti da due braccia, o forse è meglio dire disposti come a ventaglio aperto. L’elemento più importante è quindi la posizione delle figure, da sinistra rivolte verso l’alto, al centro in posizione orizzontale e quelle di destra leggermente inclinate.
Qual’era l’estremità della pietra da cui derivavano le figure? Probabilmente doveva riportare la figura di un cinghiale ben visibile, so as to serve as a point of reference, today they call "the title." These elements are typical of a single Onfalos and so have been identified in litolatria copy figures white and black matrix inspiring images reproduced on the stele of the boar.
hole, much to the right, probably indicating that the figures on this side litolatria pushed beyond this border.
About the network would add that the party in the upper left corner, is much more geometric, so as to form a double cross in the center than the rest of the grid, you may want to indicate that in that position there are two very similar shapes and then no need for differentiation essere riconosciute.
La stele dello scorpione e dei condor
la vera scoperta
l'importanza di questa stele supererà probabilmente quella di ogni altro ritrovamento.
L'eccezzionalità è dovuta a ben due motivi.
Anche se i contenuti sono pochi e la loro qualità come riproduzioni non sia eccezzionale, questo documento che ci giunge direttamente dalla preistoria, al momento è l'unica vera testimonianza che pone in diretta relazione i due codici principali more important. The highlight some of the figures present on both litolatrie, goes to Evidens details, which until today had not been able to relate as the original are very soft and partly damaged by time and overlapping, also the biggest problem was due to the fact that among the reproductions carved up hundreds of flint which was carried through all the research to date had not been noticed Evidens and such details so as to compare the figures of the two codes from that vantage point. Keep in mind that these are large figures and the main copy litolatria B, now are meant as an exact copy in a position and not as original as additional figures of seals This probably happened in a later period to certify a Raport. The details and references of the stele is also perfectly possible to recognize the original, but we must recognize that interpretation and extrapolation are thanks to the beauty and clarity of the figures resulting from copy B.
however be borne in mind that your system is a detailed information exclusive to the original.
His identification was possible not only due to the copy B. but the appropriate opportunity to have more data analyzed with another stele, which has allowed us to identify the precise position of the swan main features of mirror writing has allowed us to compare also the other stars. During
L'eccezzionalità è dovuta a ben due motivi.
Anche se i contenuti sono pochi e la loro qualità come riproduzioni non sia eccezzionale, questo documento che ci giunge direttamente dalla preistoria, al momento è l'unica vera testimonianza che pone in diretta relazione i due codici principali more important. The highlight some of the figures present on both litolatrie, goes to Evidens details, which until today had not been able to relate as the original are very soft and partly damaged by time and overlapping, also the biggest problem was due to the fact that among the reproductions carved up hundreds of flint which was carried through all the research to date had not been noticed Evidens and such details so as to compare the figures of the two codes from that vantage point. Keep in mind that these are large figures and the main copy litolatria B, now are meant as an exact copy in a position and not as original as additional figures of seals This probably happened in a later period to certify a Raport. The details and references of the stele is also perfectly possible to recognize the original, but we must recognize that interpretation and extrapolation are thanks to the beauty and clarity of the figures resulting from copy B.
however be borne in mind that your system is a detailed information exclusive to the original.
His identification was possible not only due to the copy B. but the appropriate opportunity to have more data analyzed with another stele, which has allowed us to identify the precise position of the swan main features of mirror writing has allowed us to compare also the other stars. During
laprima analysis has only a partial picture, which was missing the top, a detail which did not allow a full comparison, unfortunately, will not be born until a collaboration and this research will not be compared with those of prehistoric codes, you can go the only way forward with all the consequences. What will become of all materials of flint and other tools and instruments particolai made of hard stone, most important, handled and cataloged by people who are not able to detect and appreciate the decorations in the postings camouflaged lens, will be classified as if they are not also unable to determine the value and importance.
the key to the stele was then the two swans, with waves and other geometric figures. Until now the lack of documentation available I do not have permission to define these details. Lincrocio of these tests help to determine with certainty the antiquity of both major geodetic codes, so going to reinforce the hypothesis already advanced their influence nell'assestarsi of the reasons of the key themes of dualism and prehistoric. If the international search prenderaà consider these findings in a short time we will know if they are also the basis of the conceptual seiche, and then the intellectual evolution of our species.
Because of these substantial differences innovative that they leave out important details and safe break the traditional systems of camouflage at the expense of the interpretation, we can say that this stele is translatable only after having proved the key to the stele of the boar. Therefore subject to it.
The bottom panel
All this stele is reserved for figures of litolatria B.
stele ducks
Another stele is dedicated to the figure of the duck which appears twice in the first floor, one above and one below, both are directed to the right as the original, a review of materials will allow a more detailed cross-sectional study among the three legs to clarify any association possibile which stem from the geometric characters, since they are all very similar.
Also this is like the other stems partly covered by the wall, and then wait for a conclusion more information.
But I can already now make a very important conclusion. Most probably it is possible that the lower pane on both main stems are restricted to the figures in these positions are typical only of litolatria B. To be precise the scorpion is easily recognizable even to the original but in a completely different position, in practice it would be superimposed on the image of the stele of the boar.
The two stalks pass on information and descriptions of many litolatria B, ranging from one to another apex of the stone, and go on both surfaces by passing on both sides of an edge, but to be completely lacking its interpretation But the descriptions of all the figures that are on the board. I stress this because I think that there may be more similar to these two stems that complement the series.
All these elements make it seem more and more these stems to a kind of blackboard teaching to remember the basics that have always been part of the human intellect.
First geodetic codes
propagini remote from the eternity of time lived in a remote and primitive, the echoes never come extinct cults and traditions that belong to the dawn of humanity, of civilization heritage that still mysterious today inspire a secret charm. Distinctive marks left by hammers or axes decorated ceremonial become millennia Onfalos surveying, or simply handed down as astrolatry litolatrie inspire know that conceals itself in a strange wisdom, coming from different worlds and dimensions that have fleetingly illuminated the darkness of ignorance and supestizione illuminate their flame sapienzale the long night of origins. Kingdoms kept secret places beyond imagination, located between the unexplored regions of the astral sphere which permeates the terrestrial and non terrestrial. Fragments of this primordial knowledge, scattered on the planet at one time located in places of power that kept the imprint of that body of doctrine, have survived intact for return to their place of origin when they were renegades. It is a timeless cult, a doctrine that has given the stellar civilization that possessed the secret key can access a broader knowledge. If you look at the history of human settlement allocated in Lazio, for example, when we realize that decline in other parts already highly organized and thriving civilization, Lazio was the civilized only by the mysterious Etruscans in the north, near the border with Tuscany. The rest of the territory, on the contrary seems immersed in the darkness of preistoria.Sembra ..... A old taboos imposed a so ironclad than the stone in those places considered sacred, so that influenced the lives of generations to their devout difesa.Perchè origins of the ancient Romans had no statuary?
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