Return to the Stars: Evidence for the Impossible (10 page)

'It was night. There was still something of the world. The light was closed up in a big "something house" and came out of it. This "something house" is "Chiminigagua", and it hid the light in it, so that it came out. In the brightness of the light things began to come into being ...' I can see that it must have been difficult for translators and interpreters to find a clear-cut equivalent for the word 'something house'. But how lucky for us that they left this concept that is so hard to understand and did not replace it by a fanciful synonym. Otherwise we might not be able correctly to interpret the significance of this tradition and grasp its full importance. But now we can measure the 'something house' against our present knowledge. As the Chibchas had never seen a space-craft before, they obviously did not know what to call it. So they paraphrased it in words that were familiar to them: something like a house had landed and the 'gods' came out of it.

The traditions of the Incas in Peru say that even before the world was created a man named Uiracocha existed (i.e. Viracocha, later the god Quetzalcoatl), whose full name Uiracocha Tachayachachic means 'Creator of the world things'. This god had originally been both man and woman. He settled in Tiahuanaco and created a race of giants there.

Is there perhaps a direct relation between the monolith in Tiahuanaco, the magnificent Gate of the Sun, and the traditional story of the creation? And are we interpreting the saga of the golden egg that came from the cosmos and whose passengers began the creation of men too arbitrarily if we take it at its face value, as an authentic account of a space-craft from unknown stars?

This golden or gleaming egg that fell from heaven is a veritable leitmotiv in mankind's traditional stories of creation.

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A stylised drawing of a spherical space-ship on a ceremonial vessel (National Anthropological Museum, Mexico).

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On Easter Island the gods were worshipped as 'lords of space'. Among them, Makemake is the god of the 'dwellers in the air'. His symbol is the egg!

There are two strange books in Tibet called Kantyua and Tantyua. Actually one cannot really speak of books in their case, for Kantyua alone comprises 108 parchment volumes which number 1,083 books in nine large divisions. Kantyua means 'the translated word of Buddha' and the sacred texts of Lamaism are collected in it. Kantyua has the same kind of importance as the Koran has for Islam. Tantyua means 'the translated doctrine' and is a 225-volume commentary on Kantyua. These Chinese printed books take up so much room that they are preserved in the cellars of several villages that lie hidden in the mountain valleys of Tibet. The separate parts of the texts are carved on wooden blocks 3 ft long, 4-8 ins thick and 6 ins wide. Since not more than eight blocks can go on one parchment page it is understandable that the volumes have to be housed in the cellars of whole villages. Only a hundredth part of these texts, whose original date is not fixed, has been translated. In both these mysterious works there is constant mention of 'pearls in the sky' and transparent spheres, in which the gods dwell, to show themselves to men at great intervals. If there was purposeful and coordinated research on Kantyua and Tantyua we should probably learn a very great deal about the 'gods' and their former activities on earth.

In the Indian world the Rigveda is considered to be the oldest book. The Song of Creation that it tells returns once more to that state of weightlessness and soundlessness that reigns in the infinity of the universe. I quote from Paul Frischauer's book It is Written :

'In those days there was neither not-being nor being. Neither the atmosphere nor the sky was above. What flew to and from Where? In whose keeping? What was the unfathomable? ... In those times there was neither death nor immortality. There was not a sign of day and night. This one breathed according to its own law without currents of air. Everything else but this was not present. In the beginning darkness was hidden in darkness... The life-powerful that was enclosed by the void, the one, was born by the might of its hot urgency ...

'Was there an above, was there a below? ... Who knows for sure, who can say here whence they originated, whence this creation came?'

We should take especial notice of the phrase 'the life-powerful ... was enclosed by the void'. As twentieth-century men we can hardly recognise this Song of Creation as anything but an account of a space journey.

But who can explain convincingly why ancient peoples all over the world, who did not know of each other's existence, told stories of the creation with the same basic core?

In the old Chinese classic Tao-te-king there is one of the most beautiful definitions of the origin of the cosmos, life and earth:

'The meaning that one can invent is not the eternal meaning. The name that one can name is not the eternal name. Beyond the nameable lies the beginning of the world. On this side of the nameable lies the birth of creatures.'

According to this definition, too, the 'beginning of the world' lies outside our spheres; on this side, 'this side of the nameable', lies only the 'birth or creatures'.

Egyptian priests provided the mummified dead in the tomb with texts containing instructions for their future behaviour on the other side. These books of the dead were very detailed; they contained advice covering every conceivable situation. The directives were meant to lead to reunion with the god Ptah. One of the oldest prayers in an Egyptian Book of the Dead runs:

'O world-egg, hear me.

I am Horus of millions of years.

I am lord and master of the throne.

Freed from evil, I traverse the ages

and spaces that are endless.'

I am always delighted when I can 'prove' textual interpretations with pictures or, better still, tangible works by stonemasons. And circles, spheres and balls can be found in abundance. In the Tassili mountains in the Algerian Sahara figures in strange suits can be seen painted in hundreds of places on the rock face. They wear round helmets with antennae on their heads and seem to be floating weightlessly in space. I should make special mention of the Tassili sphere, which the Frenchman Henri Lhote discovered on the underside of a semi-circular rock. In a group of floating couples—a woman is pulling a man behind her—a sphere with four concentric circles is clearly visible. On the upper edge of the sphere a hatch is open and from it a thoroughly modern-looking TV aerial protrudes. From the right half of the sphere stretch two unmistakable hands with outspread fingers. Five floating figures who accompany the sphere wear tight-fitting helmets on their heads, white with red dots and red with white dots. Are they astronauts' helmets?

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Another figure from Val Camonica in Italy. The headgear looks very much like some kind of aerial. A cosmonaut?

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If today we were to give children a box of crayons and ask them to draw the moon flight out of their heads, the result would probably be something quite similar to the Tassili paintings. For the 'savages' who painted these memories of the visit of the 'gods' on the rock faces were probably at the mental age of a child.

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So far no one has given a plausible explanation of these complicated rock paintings from Santa Barbara in California. Note the different globular figures.

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According to archaeologists these rock drawings from Inyo County, California are gods. Is this really convincing? They seem more technical than divine.

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The Tassili sphere is not the only piece of proof I have come across. Anyone who arrives in one of the districts in the following list should have a film in his camera, for he will be able to photograph spheres and circles galore, and have a good think about their origin. The list is, of course, only a brief selection.

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Detail from an Assyrian cylinder seal. Behind the figure there appears to be a representation of a planetary system.

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Kivik, Sweden, some 50 miles south of Simrishamn. In the celebrated rock tomb, which has a star in every guidebook, there are large numbers of plain circles and circles divided by a vertical line—all symbols of the gods.

Tanum, Sweden, north of Gothenburg. Several wonderful spheres and circles surrounded by rays.

Val Camonica, Italy, near Brescia. About 20,000 prehistoric paintings, including numerous radiating circles and 'gods' with helmets.

Fuencaliente, Spain, about 40 miles north-east of Cordoba. Many circles and spheres with and without a crown of rays.

Santa Barbara, USA, 50 miles north-east of Los Angeles. Partly interlaced circles with rays.

Inyo County, USA, east California on China Lake. Rings, stars, spheres, many-coloured rays and figures of 'gods'.

Circles and spheres, apparently strategically distributed, are found in countless places throughout the world.

To sum up: all spheres and circles—whether in creation myths, prehistoric drawings or later reliefs and paintings— represent 'god' or the 'godhead'. The rays are generally directed earthwards. In my opinion, this universal custom should give us something to think about.

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A ceremonial wood plaque from central Australia now in the National Museum of Victoria. Is it a stylised prehistoric picture of the world or a drawing of a planetary system?

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I am convinced that the traditional spheres and divine eggs have more than a mere religious and symbolical significance. The time has come to look at these signs from another point of view. The patterns of thought we have followed so far may be absolutely wrong. So far we have lacked the prerequisites fully to grasp the legacy of the 'gods' contained in the monuments and documents of our primitive ancestors. But today, when man has already set foot on the moon, he should no longer be satisfied with explanations that were coined in centuries when the theory of life was still firmly established and man was convinced he was the lord of creation!

Ironically enough, I may mention that prehistoric finds were excavated over a distance of 1,200 ft at Carschenna above Thusis in the parish of Sils in the canton of Graubunden, barely twenty miles from my home town. What has come to light so far? Rock faces and plaques covered with large numbers of spheres, circles, spirals and circles with rays. Why did I have to travel round the world, when the proofs of my theory were right outside my front door?

Spheres surrounded by rays, eggs and flying spheres are not only found on cave walls and cliffs, ancient stone reliefs and cylinder seals, but also in the round, made of hard stone, in many different parts of the world—generally scattered indiscriminately and in inhospitable country. In the USA, for example, balls have been found in Tennessee, Arizona, California and Ohio.

In 1940, Professor Marcel Hornet, the archaeologist now living in Stuttgart and author of the well-known book Sons of the Sun, discovered a gigantic stone egg 328 ft long and 98 ft high on the upper Rio Branco in North Amazonas, Brazil. On this colossal block, which was called Piedra Pintada (painted stone), Hornet found countless letters, crosses and sun symbols over a surface area of some 700 sq yards. He assured me in conversation that there was not the slightest doubt mat this magnificent specimen was no freak of nature, but stonemason's work carried out by countless hands over many decades.

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Detail of the 'flying machine' shown on the Assyrian cylinder seal.

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But the real archaeological sensation in the ball line awaits its solution in the small Central American state of Costa Rica. There hundreds, if not thousands, of artificial stone balls lie about in the middle of the jungle and on high mountains, in river deltas and on hilltops. Their diameters vary between a few inches and eight feet. The heaviest ball excavated to date weighs eight tons!