Figure 113
Figure 114
Figure 115
These carvings served me as telltale clues, for they clearly emulated stone carvings that I had seen in Anatolia, in Hittite ruins, which represented the god Teshub (fig. 116) and his angelic emissaries (fig. 117a)—with obvious similarities of the Gate of the Sun images (fig. 117b) to the Hittite ones. He was, I wrote in The Lost Realms, the god Ishkur/ Adad, Enlil’s youngest son, known to the Hittite as Teshub (“The god of Storms”); and it was he who was sent to set up the new metallurgical center after the Deluge, bringing along from Anatolia some of his metallurgical experts.
Figure 116
Figure 117
That he was there, in that part of South America, is witnessed by his symbol, left to see by all who approach (by sea or air). It is a huge depiction of a forked lightning, enigmatically carved on a steep mountainside (plate 38 and fig. 118) in the Bay of Paracas on Peru’s coast northwest of Tiahuanacu; and it can be seen only from the air or from out in the Pacific Ocean. Nicknamed the Candelabra, the symbol is 420 feet long and 240 feet wide, and its lines, that are 5 to 15 feet wide, have been etched into the hard rocks to a depth of about two feet—and no one knows by whom and when or how, unless it was Adad himself who wanted to declare his presence . . .
The Gate of the Sun, where Adad/Teshub’s image is the dominant feature, is so positioned that it forms an astronomical observation unit with the third prominent structure at Tiahuanacu, called the Kalasasaya. It is a large rectangular structure, with a sunken central courtyard (fig. 119a), and is surrounded by standing stone pillars. Posnansky’s suggestion that the Kalasasaya served as an observatory has been confirmed by subsequent explorers; his conclusion, based on Sir Norman Lockyer’s archaeoastronomy guidelines, that the astronomical alignments of the Kalasasaya (fig. 119b) show that it was built thousands of years before the Incas was so incredible that German astronomical institutions sent teams of scientists to check this out. Their reports, and subsequent additional verifications, affirmed that the Kalasasaya’s orientation unquestionably matched the Earth’s obliquity either in 10000 B.C. or 4000 B.C.
Figure 118
While the mixed (incredulous might be a better word) reception for those dates has not changed, as far as I have been concerned either one of the dates makes sense. The earlier date would synchronize well with my conclusions that Tiahuanacu was the new gold center of the Anunnaki after the Deluge (which I have dated to circa 11000 B.C.). The later date fits the time given by me for the state visit to Earth by Nibiru’s ruler Anu and his spouse Antu—a visit that offers the only explanation for the even more amazing remains at the nearby site called Puma Punku.
Figure 119
Puma Punku is an odd place. Seemingly situated in the middle of nowhere, it is strewn with stone blocks of varied sizes, some gigantic, some small, some cut in most puzzling shapes (plate 39). They lie about scattered or in heaps, without apparent rhyme or reason. There are no standing structures that catch the eye, as in the nearby Tiahuanacu. “There is nothing to see there,” tour guides say—as mine did—as they refuse to waste time to take sightseers there. But I insisted on going—as readers of The Lost Realms have also done later on; and it is a detour from the customary tourist circuit that is most worthwhile.
Posnansky’s conclusions after some four decades of research also concerned Lake Titicaca itself; it used to be, he wrote, much larger with a water level some one hundred feet higher. So Puma Punku, now some distance from the current lakeshore, was actually built at the waters’ edge, at the lake’s southern shore, with harbor facilities. Its main remains consist of a row of four collapsed structures, each made of a single hollowed-out giant boulder (fig. 120). How such chambers were so precisely hollowed out of the gigantic stones, with inner corners and other baffling features precisely cut out (plate 40), or how four huge boulders were brought to the site, and why this was done, no archaeologist has yet figured out.
What is even more mind-boggling is the undisputable fact that each such hollowed-out set of chambers was completely inlaid inside with gold plates, held in place by gold nails accurately inserted in precise straight grooves (plate 41) incredibly cut into the hard stone surfaces. When the Spaniards arrived at the site in the sixteenth century, the mystery did not prevent them from prying loose the gold plates, and even extracting the golden nails, and hauling off an immense quantity of gold; it was all described by the Spanish chroniclers at the time, and rendered in greater detail in The Lost Realms.
There is yet another mystery at the site. The archaeological finds in the place included a large number of unusual stone blocks of varying sizes that were precisely cut, grooved, angled, and shaped; their complexity can best be described by showing some of them (from an 1892 report by the German archaeologists A. Stübel and Max Uhle, fig. 121). Though stone remnants, both from Puma Punku and from Tiahuanacu, have been constantly hauled away (mostly for use in local construction), many of the unbelievably complex cut stones still lie about in Puma Punku (plates 42, 43). One does not need an engineering degree to realize that these stones were cut, drilled, and shaped by someone with incredible technological ability and sophisticated equipment; indeed, one would doubt whether hard stones could be so shaped nowadays without shattering.
Figure 120
Figure 121
The puzzle is compounded by the mystery of what purpose did these technological miracles serve; obviously, for some unknown yet highly sophisticated purpose. If it was to serve as casting dies for complex instruments, what—and whose—were those instruments? Or were these elaborate stones themselves the instruments—components in even more complex equipment?
Of all the enigmas and mysteries on the southern shores of Lake Titicaca, the easiest for me to explain are the baffling gold-plated walls in the four-chamber structural unit. A similar golden enclosure exists, to this day in the Inca capital Cuzco—it is the Coricancha, the Holy of Holies in the main temple to Viracocha; and the term literally means “golden enclosure.” (There too the visitor can see only the bare walls with the holes where the golden nails had been—the Spanish Conquistadores stripped it all there also.) A similar golden enclosure existed in Jerusalem—there too it was the Holy of Holies in the temple that King Solomon built, circa 950 B.C. And all of them emulated the gold-enclosed chambers in Uruk, back in Mesopotamia, where Anu and Antu had stayed during their state visit to Earth circa 4000 B.C.
The “golden enclosures” in Puma Punku, I have suggested, were constructed for the same purpose—as guest houses for Nibiru’s ruler and his spouse when they came from Uruk to visit the gold-producing center on the shores of the Andean lake.
In 4000 B.C. the spaceport in the Sinai peninsula was still intact, available to be used by Anu and Antu for their space journeys from and to Nibiru. Not so in the crucial time slot 610–555 B.C., for that spaceport was destroyed, with nuclear weapons, back in 2024 B.C. The resulting question is obvious: Where was the Anunnaki’s space facility in the intervening millennium and a half ?
They still had the Landing Place in the Lebanon Mountains. It might have been good enough for shuttlecraft, but whether good enough to reach the Way Station on Mars, or a substitute spaceport on Earth, one cannot say for sure. The great powers of the second and first millenniums B.C. fought for control of this Landing Place. The Canaanite called it the Crest of Secrets, and detailed in their “myths” how the god Ba’al (“Lord”) instructed the Divine Craftsman to refurbish its instruments. Later, the Phoenicians depicted it on their coins—platform and ready-to-launch rocketship included (fig. 122). And finally the Prophet Ezekiel, exiled to the nearby area of Harran, saw the famed Celestial Chariot—circa the fateful date of 555 B.C.
As far as the god Sin was concerned, having departed from Harran, he could have well used that close-by Landing Place. He apparently went just to Mars and not all the way to Nibiru, for he was back in half a century. But what and where was a major spaceport like the Sinai’s had been
, with long stretches of hard and flat terrain, for use by long-distance spacecraft? What about a facility not too far from the sources of the gold that had to be hauled all the way back to Nibiru—a facility that could then be used for the Grand Departure, if all the Anunnaki, leaders and rank and file, with all their varied craft and equipment and other belongings, were taking off—along, one must assume, with the last cargo of gold?
Figure 122
I now know where the place was. I had been there in 1994. But I did not realize what it really was until my later researches reached the crucial events of the Divine Departure. Thousands of others have also been there. It is known as the pampa, the treeless plain, of the Nazca Lines.
The Nazca Lines, called by some “the world’s largest artworks,” are located in a desert area between the Ingenio and Nazca Rivers in southern Peru. They represent, without doubt, one of the most puzzling riddles of antiquity.
In a vast pampa area (some 200 square miles!) that extends eastward from the Pacific Ocean to the rugged Andes mountains, in the direction of Lake Titicaca, “someone” used the ground as a canvas to draw on it scores of images; the drawings are so huge that they make no sense at ground level—but when viewed from the air, they clearly depict known and imaginary animals and birds (fig. 123, plates 44, 45). The “drawings” were made by removing the topsoil to a depth of several inches, and were executed with a unicursal line—one continuous line that curves and twists without crossing over itself. Various attempts to show that a horde of workers working at ground level and using scrapers could have created these images, have dismally failed. But anyone flying over the area invariably concludes that “someone” airborne had used a soil-blasting device to doodle on the ground below.
Who was there in ancient times with such capabilities—airborne and equipped with some ray gun gizmo? Those who scoff at the “Extraterrestrials” suggestion have tried both “natives airborne in primitive balloons” or “natives scraping the ground inch by inch” as solutions—only to end up even more ridiculed than Ancient Astronauts proponents. Though etched only inches deep rather than the feet-deep carving of the “Candelabra” in nearby Bay of Paracas, it was probably attained the same way. Indeed, as part of the answer to both enigmas, I included in my Briefing Notes to my Earth Chronicles Expedition group going to Nazca illustrations from other ancient sites in the Americas of ray guns in use (as this one from Tollan, Mexico in fig. 124); it is carved upon stone columns alongside giant carvings of strange warriorlike beings—the locals nicknamed them Atlantes—each equipped with exactly such a ray gun (fig. 125).
Figure 123
Figure 124
We are looking at the handiwork of the Anunnaki, I told my group without hesitation.
The doodles—some researchers give them a scientific-sounding name, “geoglyphs”—are far from being the only riddle of Nazca. Another and even more puzzling feature of the Nazca Lines are actual “lines” that run straight without fault. These plane stretches—sometimes narrow, sometimes wide, sometimes short, sometimes long—run over hills and vales, no matter the shape of the terrain (fig. 126, plate 46). There are some 740 such straight “lines,” sometimes combined with triangular “trapezoids” (fig. 127). They frequently crisscross each other without rhyme or reason, sometimes running over and ignoring the animal drawings. What are they, who made them, how? These ones were clearly not made with handheld ray guns . . .
Various attempts to resolve the mystery of the Lines, including those by the late Maria Reiche who settled there and made the Lines her lifelong project, failed whenever an explanation was sought in terms of “it was done by native Peruvians”—people of a presumed “Nazca culture” or a purported “Paracas civilization” or the likes. Studies (including by the National Geographic Society) aimed at uncovering astronomical orientations for the Lines—alignments with solstices, equinoxes, this or that star—led nowhere. For those who rule out an “Ancient Astronauts” solution, the enigma remains unresolved.
Though the wider lines look like airport runways, on which wheeled aircraft roll to take off (or to land), this is not the case here, if only because the “lines” are not horizontally level—they run straight over uneven terrain, ignoring hills, ravines, gullies. They are not “runways” as we understand the term. Indeed, having looked at countless photographs and having been there and flown over the Lines back and forth, it seemed to me that rather than being there to enable takeoff, they are the result of takeoffs by craft taking off and leaving on the ground below “lines” created by their engine’s exhaust. That the “celestial chambers” of the Anunnaki did emit such exhausts is indicated by the Sumerian pictograph DIN.GIR for the spaceborne gods (fig. 128), or a visual depiction on a cylinder seal of a rocketship seen in the skies of the island of Crete (fig. 129).
Figure 125
Figure 126
Figure 127
Did ancient-astronaut pilots use the Nazca flatland as their final spaceport, doodling for fun while killing time before takeoffs?
All I can say for sure is that the suggestion that ancient pilots were involved in the Nazca Lines’ enigmas is supported by yet another inexplicable mystery in that part of Peru. I became aware of it through a report, by a member of the Ancient Astronaut Society, writing in the Society’s newsletter Ancient Skies. She reported an intriguing landmark not far from the Nazca Lines; responding to my request, she sent me a photograph.
When I and my Expeditions group went to see Nazca, we stopped at a certain spot on the Pan American Highway where an observation tower enabled visitors to take a better-than-flat look at the nearby doodles; that, of course, was not enough. We stayed at a hotel in the nearest town (Ica), and drove in the morning to a small airfield (actually, one short runway) where tiny four-seat planes were available to take tourists sightseeing from the air. The flights followed a set pattern, with the pilot acting as a guide, circling over the “giant” or the “monkey” doodles long enough for picture taking; then a run over some of the Lines, and back to the airstrip.
Figure 128
Figure 129
With only three passengers per flight, our group needed several such flights by two alternating aircraft. Thus getting acquainted with the pilots, I pulled out the intriguing photograph, and asked what they knew about this feature. They knew nothing. Maybe Carlos would know, one said. Carlos was a third pilot who had yet to show up in the relief team. There was an “Aeroporto” shack near the airstrip, serving cold beverages and selling souvenirs. We have to wait, I told my group.
In time, Carlos showed up. I showed him the photograph. Yes, he said, I heard of this place. Do you know where it is? I asked. I think so, he said; I know the direction. Can you take me there? I asked. We’ll have to circle there and look for it, he warned me.
Financial negotiations with him and with the pilot who was to be relieved followed. When the price was agreed upon—paid in advance in U.S. dollars—I asked one of my group, Frederick “Fritz” Meyer, to accompany me. He was a veteran pilot with United Airlines, flying on international routes to varied airports with the oddest landing patterns. He readily agreed to come along.
The flight, lasting almost half an hour, took us away from the flat pampa into the rugged mountains—in a southwesterly direction, as I recall. The pilot flew about here and there, turning, going higher and lower. We won’t find it, I thought to myself. And then—there it was!
Incredibly, in the middle of nowhere, there were clear and unmistakable markings of circles and squares forming a cross—as in a modern heliport!
Adhering to the saying that a picture is worth a thousand words, here is what we saw (plates 47, 48).
My companion Fritz, the experienced airlines pilot, saw much more in the complex designs and their precise details. He thought that the whole design of concentric circles, rectangles, triangles, and dots was not just “a directional indicator to a certain place,” but also an identifier and provider of information through the placement of the “dots.
” If they were modern “points of light,” their switching on and off to create varied patterns could provide a pilot with a wealth of information.
But these are not modern points of light, and the only “air facility” within miles are the Nazca Lines . . . Could the local pilots explain it? No. Is it marked on any airmap? No. It is an enigma that is yet to be resolved, a mystery yet to be explained. But that it is part of the greater Nazca Lines mystery, of that I have no doubt.
For all this—Lines, doodles, heliport-like markings—there is one single plausible solution: Nazca was the last spaceport of the Anunnaki. It served them after the one in the Sinai was destroyed—and then it served them for the Final Departure.
POSTSCRIPT: PROPHECIES OF THE RETURN
The inevitable conclusion from all that must be that, from at least 610 B.C. through probably 560 B.C., the Anunnaki gods were methodically leaving planet Earth,” I wrote in The End of Days, the concluding volume of The Earth Chronicles series. Its subtitle is Armageddon and Prophecies of the Return; and as stated in a previous chapter, it was only when I had arrived at those conclusions that the enigmatic fog enveloping the Antikythera Mechanism began to lift.
The Day of the Lord of biblical prophecies, I concluded in The End of Days, was a day when a solar eclipse was to occur; and was it just a coincidence that a principal purpose of the Mechanism was to predict lunar and solar eclipses?
One of the clearest markings in the Mechanism that may throw light on its time and purpose is a broken part with gradations and a pointer, accompanied by writing (fig. 130). Identifying the writing as month names, Dr. Price concluded that the Mechanism was designed to correct the Greek calendar of 365 days in a solar year to the correct 365.25 days (which we correct by adding a leap day every four years).
Journeys to the Mythical Past Page 15