Ambrose Bierce

Ambrose Bierce was one of the most successful American short story writers at the turn of the century. In December 1913 he disappeared, never to be seen or heard again. Exactly what became of Bierce is still a mystery, although at the time Mexico was undergoing a violent revolution, and the most widely accepted theory is that he was killed during a military engagement there in 1914. Bierce’s body, however, was never identified. Bierce was born at Horse Cave Creek in Meigs County, Ohio to Marcus Aurelius Bierce (1799–1876) and Laura Sherwood Bierce. His mother was a descendant of William Bradford. His parents were a poor but literary couple who instilled in him a deep love for books and writing. The boy grew up in Kosciusko County, Indiana, attending high school at the county seat, Warsaw. He was the tenth of 13 children whose father gave all of them names beginning with the letter "A". In order of birth, the Bierce siblings were Abigail, Amelia, Ann, Addison, Aurelius, Augustus, Almeda, Andrew, Albert, Ambrose, Arthur, Adelia, and Aurelia. He left home at age fifteen to become a "printer's devil" at a small Ohio newspaper.

In 1861, at the age of nineteen, Bierce found his purpose in life: the military. The Civil War between the northern and southern states broke out at that time, and shortly afterwards Bierce joined the northern army. He loved military life and fought in many important battles. He was wounded twice, once quite seriously in the head. Bierce was never the same after this head injury; he became bitter, suspicious of people and concerned about death.

When peace came in 1865 Bierce traveled west to San Francisco. There he met and married a socially-prominent young woman, Mary Ellen Day, and became the father of two sons and a daughter. However, in 1871, because his marriage was no longer happy, he left San Francisco and went to England, settling down in London to become a writer. Two years later a collection of his stories was published. Because of his sharp tongue and the pessimistic nature of his stories, he earned the nickname of ‘Bitter Bierce’.

Ambrose Bierce also collected accounts of mysterious disappearances, on September 3, 1873 an ordinary English shoemaker named James Burne Worson bet some of his friends that he could run a distance of 20 miles (32.2m) and back without stopping. Once the bet was struck, Worson’s friends followed behind him in a cart, watching him to prevent cheating. A few miles into the run, at a point where Worson was only a few yards ahead of the cart, he stumbled, screamed, and disappeared, right before his astonished friends’ eyes. In another Bierce account, a sixteen-year-old boy named Charles Ashmore went to get water from a spring one winter, and when he failed to return, his family followed his footprints in the snow. They stopped midway to the spring, as though the boy had been lifted into the air. There were no other footprints around to suggest foul play, and afterward the area was said to be haunted by Charles’s spirit.

Bierce theorized that the cause of such disappearances was holes in ordinary reality, from which nothing, not even light or sound, can escape. Bierce voiced his speculations many years before astronomers described black holes. A few people believe that small black holes, similar to the ones in outer space, exist on Earth and are responsible for at least a few mysterious disappearances each year. Skeptics suggest that Bierce, who was a fiction writer, simply made up these disappearance stories. They dismiss any suggestion that black holes exist on Earth.

Interestingly, Bierce himself disappeared, after going to Mexico. One summer’s day in 1913 Bierce told his secretary, Carrie Christiansen his plan: he was going to tour the Civil War battlefields; then he would go to Mexico. He carried out the first part of his plan as proposed. From the moment he left Washington DC, Bierce wrote to his secretary almost daily. He also wrote, though less frequently, to his daughter Helen. To one of his friends in San Francisco he said he wished to end his career in a more glorious way than just dying in bed. “I’ve decided to go to Mexico to find a soldier’s grave,” he wrote.

Bierce’s last letter to his secretary, dated 16 December 1913, was from Laredo, Texas. “I go to Mexico with a definite purpose which I cannot yet disclose,” he said. He sent that letter from Laredo; the next day, as far as anyone knows, he entered Mexico.

Several months passed and when no one heard from Bierce his daughter asked the US State Department to locate her father. A search was made but the only result was an unconfirmed report that Bierce had actually reached Pancho Villa’s headquarters. Bierce was never heard from again. Even today the subject of what happened to Ambrose Bierce still fascinates people.

Sources :
The Greenhaven Encyclopedia of Paranormal Phenomena by Patricia D. Netzley;
Unsolved Mysteries by George P McCallum;
http://en.wikipedia.org/wiki/Ambrose_Bierce

Pic Source :
http://en.wikipedia.org/wiki/File:Abierce_1866.jpg
17:36 | 0 komentar

Malta's Long-Headed Skull

Long ago in the megalithic temple of Hal Saflieni, in Malta, were buried men with extraordinary cranial volume. Their skulls seem to observers today belong to a truly alien stock. A similarity with skulls from Egypt and South America found with this particular deformity—ancient (from approximately 3000 B.C.), yet unique in medical pathology—suggests this could be an extraordinary discovery. Was this skull the result of an ancient genetic mutation between different races or something else? Before 1985 a number of these skulls, found in prehistoric Maltese temples at Taxien, Ggantja and Hal Saflieni, were displayed in the Archaeological Museum of the Valletta. A few years ago, though, they were removed and placed in storage. The public has not seen them since. Only the photographs taken by Maltese researcher Dr. Anton Mifsud and his colleague Dr. Charles Savona Ventura remain to testify of their existence and as proof of their extraordinary characteristics.

All skulls were found in t
he Hal Saflieni hypogeum, where a sacred well was dedicated to the Mother Goddess and where the small statue of a sleeping goddess associated with a snake inscribed relic was also found. The skulls were brought out one at a time The cranium showed a very pronounced dolichocephalous, in other words, a lengthened posterior part of the skullcap, besides the lack of median knitting, technically named “sagitta.” This last detail has been called “impossible” by the medics and anatomists. It does not have (as far as known) any analogous cases in international pathological medical literature. The anomalous nature of the finding is underscored by a natural lengthening of the cranium in the occipital area (not due to bandaging or boards like those used in pre- Columbian civilizations).



Malta and Gozo have been very important centers since prehistoric times, places where “medical cures” were sought from oracles and in ritual encounters with the priests of the goddess. There existed, on both islands, many sanctuaries and thaumaturgic centers, where priests surrounded the healing goddess, in direct support of her divinity. It is well known that, in antiquity, the serpent was associated with the goddess and her healing capacities. The snake also belongs to the subterranean world. Therefore, a hypogeum dedicated to the goddess and the water cult was the right place for a sacerdotal group defined, in all the most ancient cultures, as the “serpent priests” (an epithet still in use for shamans). The long head and drawn features must have given an almost serpent-like appearance, stretching the eyes and skin. Lacking the lower part, but the hypothesis seems plausible. Such deformities would certainly have created walking problems, forcing him almost to slither! The lack of the cranium’s median knitting and therefore, the impossibility of the brain’s consistent, radial expansion in the skullcap must have caused terrible agony from infancy, but could have enhanced the visions considered proof of a bond with the goddess.

It’s worth emphasizing that one of these skulls showed unmistakable signs of surgical intervention. The outlines of three small holes, made in the occipital bone called inion, had time to cicatrize, therefore the patient survived the operation although such intervention surely would have undermined his motor faculties. But there is more. A fair part of the 7000 skeletons dug out of the Hal Saflieni hypogeum and examined by Themistocles Zammit in 1921 presented artificially performed deformations. A skeleton of the group that was unearthed by the archaeologist, Brochtorff Circle, shows clear signs of intentional deformation through bondage. These deformations could have occurred for various reasons: initiation, matrimony, solar ritual, punishment for social transgressions, etc. All the tribal apparatus of incisions, perforations, partial or total removals, cauterizations, abrasions, insertions of extraneous bodies in muscles, like the modification of bodies for magical, medical or cosmetic purposes, were part of cruel practices, but possibly “with best intentions” for the community.

In Malta, all this was practiced by a mysterious populace that erected gigantic temples to the Mother Goddess between 4100 and 2500 B.C. The presence of these skulls might be that of the last exponents of the most ancient sacerdotal caste that built the megalithic temples. The skulls that have been found are dated 2500 B.C. (but may be even older. No C- 14 test was done)—a date in which Malta’s megalithic history ends, initiating a period of historical darkness and absence of population that was to last about 300 years, until the arrival of the Phoenicians who began to make Malta their Mediterranean outpost.

The Phoenicians also erected temples to the Mother Goddess in Malta, calling her Astarte, the snakefaced Goddess. But it’s the date of 2500 B.C. that presents a fundamental key to understanding who these longheaded individuals were. Professor Walter B. Emery (1903-1971), the famous Egyptologist, author of “Archaic Egypt,” who excavated at Saqquara in the ’30s, indeed discovered the remains of individuals who lived in predynastic epoch. These presented a dolichocephalous skull, larger than that of the local ethnic group, fair hair and a taller, heavier build. Emery declared that this stock wasn’t indigenous to Egypt but had performed an important sacerdotal and governmental role in this country. This race kept its distance from the common people, blending only with the aristocratic classes, and the scholar associated them with the Shemsu Hor, the “disciples of Horus.” The Shemsu Hor are recognized as the dominant sacerdotal caste in predynastic Egypt (until approximately 3000 B.C.), being mentioned in the Turin papyrus and the list of the kings of Abydos.

It’s interesting to note that Emery writes: “Towards the end of the IV millennium B.C. the people known as the Disciples of Horus appear as a highly dominant aristocracy that governed all of Egypt. The theory of the existence of this race is supported by the discovery in the predynastic tombs, in the northern part of Upper Egypt, of the anatomical remains of individuals with bigger skulls and builds than the native population, with so much difference as to exclude any hypothetical common racial strain. The fusion of the two races must have come about in ages that concurred, more or less, with the unification of the two Egyptian Kingdoms.” Therefore, what occurred in Malta is also reflected in Egypt.

It can be concluded that these serpent-priests were the most ancient race that first occupied the fertile half-moon area (particularly Anatolia and Kurdistan) and Egypt (following migrations dating back 6000-4000 B.C.) until reaching Malta to disappear around 2500 B.C. but this culture survived in the Middle East and probably included one of the most famous and yet mysterious pharaohs of Egypt—Akhenaton. Portrayed in statues and bas-reliefs with his family was an individual of lengthened head and human face—like that found in the pre-dynastic Egyptian stock mentioned by Emery—but closely resembling the long-skulled individuals of Malta. X-rays of Tuthankamun’s skull, Akhenaton’s son, indeed, showed a dolichocephalous cranium. Substantially, the Maltese craniums appear to be relics—though, archaeologically still not understood—of a sacerdotal race that, in Egypt and Malta, from archaic ages, survived till 2500 B.C.

Sources :
Atlantis Rising Magazine vol. 43 : “The Mystery of Malta’s Long-Headed Skull” by Adriano Forgione

Pic Source : Atlantis Rising Magazine vol. 43 page 23
21:43 | 1 komentar

The Mysterious Painting of Bonaventura Salimbeni

In 1595, Italian artist Bonaventura Salimbeni was commissioned to produce a painting for the right-hand altar of the Church of St. Peter at Montalcino, located within a few miles of Florence. He was a member of a prominent family of artists from nearby Siena, and the goal of his commission was that his work be completed for the Christian Jubilee Year of 1600. According to the message accompanying his signature, Salimbeni’s painting was finished right on schedule. What immediately catches the viewer’s attention, however, is something pictured in among the Trinity members that to modern eyes seems very familiar, but not from the right time period. The first impression is that it looks exactly like a spheroid satellite with two antennae, something akin to the old Russian sputniks or American vanguard orbiters of the late 1950s. But what is it actually supposed to be?

Ventura di Archangelo Salimbeni (also later called Bevilacqua; 20 January 1568-1613 was an Italian Mannerist painter and printmaker and among the last representatives of a style influenced by the earlier Sienese School of Quattrocento-Renaissance. Salimbeni was born in Siena. He studied painting, together with his half-brothe
r Francesco Vanni, under their father Arcangelo Salimbeni in his native Siena.

At the Basilica della Santissima Annunziata di Firenze, he frescoed lunettes (1605-1608) illustrating events in the history of the Servite Order. In the Duomo di San Salvatore, he executed a magnificent John the Baptist. At about the same time, around 1600, he got an assignment in Assisi for a fresco of the "Resurrection of Christ" and the "Dying Saint Clare is visited by the pope" in the vault of chapel of San Massimo in the Basilica of Santa Maria degli Angeli.

In 1595-1603 Salimbeni got the commission to paint frescoes with scenes from the church's patron saints in the church of Quirico and Giulitta, one of the oldest churches in Siena. As in the church of Santa Trinità, he worked here alongside with the painter Alessandro Casolari. This was a period on non-stop new assignments : three paintings for the church San Lorenzo in San Pietro in Montalcino, the "Donation of the Keys", the "The Glorification of the Eucharist (Disputa of the Eucharist)" and the "Crucifixion".

The most famous Montalcino art masterpiece is entitled “The Glorification of the Eucharist,” and features a vertical work divided into three segments. The lower third depicts a number of worshipping figures seated before the altar, including priests, cardinals and one individual wearing a papal crown believed to represent Pope Clement VII. The middle third shows the altar itself, and prominently displayed in its center is the Cup of the Eucharist emblazoned in glowing light. The upper third of the painting symbolizes heaven, dominated by the three Beings of the Holy Trinity who are looking down on the earthly scene below and giving their blessings—God the Father depicted as a Moses-like bearded old man, God the Son as Jesus Christ, and the Holy Spirit portrayed as a Dove hovering above the center. While the trinity members is holding each of the antennae with one of their hand. The antennae itself is attached into a sphere object.


Close-up Image of the Sphere

Renaissance art experts interpret the strange sphere as representing the universe, showing the faint lines of celestial longitude and latitude, plus the images of an obscure sun and an exaggerated crescent moon shining from inside. The two “antennae”— one held by God the Father and the other by God the Son—are said to be “scepters” symbolizing divine rulership. But the closer one examines the object, the more inconsistencies arise with this somewhat limited interpretation. If the “sphere” is supposed to be the universe, why are there no stars or constellations depicted shining from inside it? In fact, there is nothing transparent about it—the sphere on the contrary appears to be solid, with what looks like a metallic sheen reflected off its exterior. The so-called celestial “lines” more realistically suggest the seams of metal plating that covers the outer circumference, made of a strange blue-black material.

The “sun” is too indistinct to represent the solar body, and in a technological context more likely is an electrical light source designed to illuminate the sphere’s immediate surroundings. As for the “moon,” its unnatural double crescent with touching ends was not meant to depict a flat circle in two dimensions, but forms the edge of a three-dimensional narrow-width cylinder seen from an angle— what we today would identify as a camera lens protruding off the sphere’s surface.

Without a doubt the most outlandish features are the two “antennae.” They bear no resemblance whatsoever to any type of “scepter” or staff of power used by Renaissance officials, political or religious. Usually a scepter is pointed at the bottom end and has some symbol or figure prominently displayed at its apex. In contrast, the two objects held by the Trinity members are slightly wider at their bases than their tops. In fact, on much closer inspection, it can be clearly seen that both objects have an inherent “telescoping” design. They are segmented into distinct sections which could be collapsed into a smaller size, and when pulled apart would extend to greater lengths.

The problem is, “telescoping” was a mechanical innovation which was not invented until the early eighteenth century. What is it doing being portrayed in a painting over a hundred years too soon? Even stranger, it can be observed that the two antennae are fastened to the sphere with gold or brass-colored grommet-rings, and certain lengths of the antennae also have grommet-rings. A grommet-ring is a threaded eyelet that is used to tighten and hold metal segments in place. Once again, we are dealing with something from another time, for such an innovation did not appear in industrial machinery design until the mid-nineteenth century.

And then there is the anomaly of the antennae themselves. The existence of antennae for the earliest radio transmissions did not appear until the first part of the twentieth century. Going a step beyond, it can also be noticed that the sphere is clearly depicted as not resting on the background cloud it is pictured with, or sits on any surface whatsoever, but is hovering in place, held up by the “invisible powers” of the Trinity. Also, the sphere casts no well-defined shadow, which means that it did not appear in the physical but was more likely seen as a projected image.

Ufologists and “ancient astronaut” theorists have been quick to seize upon this out-of- place object as being proof of an extraterrestrial visitation, possibly a spaceship seen by the artist. The problem is, there is nothing especially “alien” about this device. In fact, every one of its aspects is recognizable as the product of a purely earth-bound technology. The real mystery is not one of place but one of time. The sudden appearance of something displaying elements of a futuristic technology in the sixteenth century strongly suggests that this is ultimately where it must have come from, the future. Either that, or it was a projection far forward from a lost advanced civilization long disappeared that developed along technological lines not that much different from our own today.

The questions remain, what exactly did the artist see, and why did he portray it in the manner shown in his painting? Undoubtedly, Salimbeni regarded his encounter as a God-given vision, and through his artistry sought to comprehend it in that context. The device could have suddenly and unexpectedly appeared before him as if out of thin air, then quickly vanished after only a few seconds. But having an artistic eye sensitive to details, he very likely immediately made sketches of what he saw so he could later better remember it and portray it in the larger and more permanent masterpiece work we see today.

Sources :
Atlantis Rising Magazine vol.71 : “Time Travel Evidence” by Joseph Robert Jochmans;
http://en.wikipedia.org/wiki/Ventura_Salimbeni

Pics Sources :
Atlantis Rising Magazine vol.71 page 29;
Atlantis Rising Magazine vol.71 page 62
14:38 | 2 komentar

Pentagram

A pentagram is an image of a five-pointed star, often inscribed within a circle. This image, also called a pentacle, has been associated with magical spells for centuries. The image is often displayed on a a small flat disk usually made of wood, wax, clay, or some kind of metal that can be worn on a cord around the neck. In ancient times, a pentagram and pentacle has been used by magicians as an amulet of protection, while Satanists use a pentagram with two points up and two circle around it as the Sigil of Baphomet. The pentagram has magical associations, and many people who practice Neopagan faiths wear jewelry incorporating the symbol. Christians once more commonly used the pentagram to represent the five wounds of Jesus.

The pentagram also has associations with Freemasonry and is also utilized by a number of other belief systems. In ancient times magicians often used these as amulets to protect themselves from attacks by evil spirits or as talismans that enabled them to conjure and command spirits. In modern times pentacles have a similar use. Most often they are used to protect the wearer or help the wearer achieve a specific goal, in which case the material chosen for the pentacle depends upon its intended magical use.

Throughout history the pentagram has been compared to a human figure, with one point as the head, two opposing points as the arms, and two lower points as legs. To many who believe in the pentagram’s magical powers, the solitary point at the top represents pure spirit, and the other points represent the four elements of earth, air, fire, and water.

Witches often incorporate pentagrams into their magical work by drawing the symbol during various spells and rituals and by using it as a focus of concentration that helps them turn thoughts and desires into reality. They also routinely draw a circle around the pentagram because they believe that this circle strengthens the pentagram’s magic and offers additional protection to the user.

The origin of the pentagram’s association with magic is unclear. However, the symbol appears in writings related to an ancient Hebrew mystical system known as the kabbalah, whose beliefs have influenced many occult groups throughout history.

A pentagram within a circle also appears on rings worn by members of a mystical brotherhood founded by the Greek philosopher Pythagoras (c. 570–c. 500 B.C.) The first known uses of the pentagram are found in Mesopotamian writings dating to about 3000 BC. The Sumerian pentagrams served as pictograms suggesting something very similar to the pentemychos (The ancient Pythagorean pentagram, with two legs up). In the Babylonian context, the edges of the pentagram were probably orientations: forward, backward, left, right, and "above". These directions also had an astrological meaning, representing the five planets Jupiter, Mercury, Mars and Saturn, and Venus as the "Queen of Heaven" (Ishtar) above.

A reversed pentagram, with two points projecting upwards, is a symbol of evil and attracts sinister forces because it overturns the proper order of things and demonstrates the triumph of matter over spirit. It is the goat of lust attacking the heavens with its horns, a sign execrated by initiates.

The flaming star, which, when turned upside down, is the hierolgyphic sign of the goat of Black Magic, whose head may be drawn in the star, the two horns at the top, the ears to the right and left, the beard at the bottom. It is the sign of antagonism and fatality. It is the goat of lust attacking the heavens with its horns.

Satanists use a pentagram with two points up, often inscribed in a double circle, with the head of a goat inside the pentagram. This is referred to as the Sigil of Baphomet. Less esoteric LaVeyan Satanists use it as a sign of rebellion or religious identification, the three downward points symbolising rejection of the holy Trinity in Christian religion.

Sources :
The Greenhaven Encyclopedia of Paranormal Phenomena by Patricia D. Netzley;
http://en.wikipedia.org/wiki/Pentagram

Pics Sources :
http://en.wikipedia.org/wiki/File:Pentagram_green.svg;
http://en.wikipedia.org/wiki/File:Pentagram_with_one_point_down_%28de_Guaita%29.jpg
03:53 | 0 komentar

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