HISTORY: Fiction or Science # 5
“Those who control the PAST control the FUTURE. Those who control the PRESENT control the PAST.” - G.Orwell
An in depth look at the global falsification of history. This particular episode deals with the artifacts unearthed at Pompeii as well as architectural structures supposedly constricted in the XIII century. We also take a tour into the writings of Guy Debord to understand the motivation of constructing a universal history
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http://anatolyfomenko.com/
https://en.m.wikipedia.org/wiki/The_Society_of_the_Spectacle
https://youtu.be/3Say79Pcg8I
https://app.podscribe.ai/episode/70399806
Speaker 0 (0s): Welcome back my friends, we are back again with our friend and a toll, a four Manco history Fiction or Science left off. Number four, the foundations of archeological methods have been based on the scallop Jerian chronology from the very beginning. Let us begin.
13.1, the ambiguity of archeological datings and their dependence on the existing chronology. The reader may inquire about the state of affairs concerning other methods of dating historical sources and artifacts use nowadays modern archeologists speak of the ignorant diggers of the previous centuries in painted tones.
Since many artifacts have become defaced in the search for valuables, the archeologist count a a S Y S excavated 7,729 mounds in thee Vladimir sues doll area, a S S spits in has the following to say about it. When the items found in excavations in 1851 to 1854 came to the disposal of the <inaudible> sorry for the pronunciation guys, Rummy on Stev museum, they were a chaotic pile of materials with no markings whatsoever.
And no one could tell which mound this or the other object had belonged to the grandiose excavations of 1851 through 1854 shall be mourned by the scientists for years to come. Nowadays, the excavation methods are a lot more advanced. However, applying them to ancient excavations is as impossibly is an impossibility. Since these have already been conducted by the diggers of the past, the basics of archeological dating methods are as follows.
The best way of reducing the age of a given European culture is finding out which Egyptian dynasty, this European tribe traded with the findings of my son. I made Greek in the Egyptian mounds of the 18th and 19th dynasties allow the archeologist to consider the dynasty and the culture as contemporaries similar vessels are found later on in mice and I together with a particular kind of pin that is later also found in Germany near some urns, a similar urn is found near a finger together with the different kind of pen, which resembles the one found in Sweden in the so-called borrow of king Bjorn, which can thus be dated as a contemporary of the 18th, 19th Egyptian dining in his disease.
However, it turns out that king Bjorn barrel could not have a belong to Bjorn king of the Vikings, a a well-known medieval character. Sure. Since it predates his time by about two millennia, firstly, one fails to understand what criteria of similarity have been used here. Secondly, and a lot more importantly, I might add all that all of these methods are heavily dependent on the all priority datings of the ancient Egyptian Pharaoh died.
Dynasty's this method, which is also known as the Dominos method and all similar ones are based on pure <inaudible> subjectivism in that principally on a scale of Jerian chronology, newly found artifacts, such as vessels are compared to similar findings dated in accordance with the consensual chronology, the alteration of the chronological scale scale automatically alters the chronology of the new archeology findings and erroneous chronology, completely invalidates all such methods.
It is a little wonder that the archaeologist investing there trust in such methods are constantly confronted with bizarre facts. It appears that in certain remote parts of India, Europe, what encounters, the coexistence of things whose prototype's in the east are separated from each other by centuries. These furthermore L S T a line firmly denies all connections between king Bjorn's Baro and the medieval Beorn king of the Vikings.
This method tells us only that Bjorn borrow is contemporary to the 18th, 19th Egyptian dynasties. It tells us nothing about the possible datings and these actual rains, which may well be medieval along with Bjorn Viking. The first screen teams of Egyptian chronology were based on the work of monotheists who had compiled the list of the pharaohs, allegedly in the century, BC and grouped them into 30 dynasties.
Having added up all the years of Raines and assuming that their rains have all been consecutive, the figures, he got proved, formidable, Flanders portray Elle Barnhart, and other Egyptologists had estimated the duration of the history of ancient Egypt to equal five to 6,000 years. This is how the long chronology of Egypt was born.
The one that had been prevalent for a long time E Meier and his followers had developed a so-called a short chronology as an alternative. It's a problem is that the pharaohs and their entire dynasties often reigned simultaneously as COE ruler's in different parts of the country. Men, a Theone was making the assumption that the state had been a monolithic one under a single ruler. And so he had lined all of the Pharos in D sequence, and that was considerably extended.
The entire history of the state. We should add that the short chronology of Egypt is still way too long and should really have been called a slightly shorter chronology. As we have already mentioned in reference to the data provided by the Egyptologist Henrik brew. Gosh, the so-called short chronology is also based on a theoretical foundations. We learned that its creator IE Meyer has based his deductions on the annual records and entries referring to memorable events made by the pharaohs themselves.
However, this chain of knowledge has reached us as separate links with many gaps and distortions. This is why attaching the archeological and material to the Egyptian scale does not solve the problem of absolute or indeed even relative dating 13.2, the excavations of Pompei, the dating of this towns destruction, the excavations of the ancient town of Pompei are a perfect illustration to the problems that arise and the dating of archeological materials.
First and foremost, it isn't clear which years eruption destroyed it. Apparently the 15th century author Jacopo son, a Xero wrote, we were approaching the town and could already see it's towers, houses, theatres, and temples untouched by the centuries. It is assumed however that the town of Pompei has gotten destroyed and completely buried after the eruption of nine a D.
This is why the archeologists have to interpret sun a zero in the following manner. In the 15th century, some of the buildings of Pompei were already emerging from the debris. It is that assume that Pompei had been covered by a thick layer of earth. Since the ruins of the town were only found in 1748, and discovery was purely accident. Accidental Herculaneum was discovered in 1711. Nowadays the history of the discovery of Palm Pompei is related after the documented recollections of that epoch as follows during the construction of a canal on the river Sarno 1594 to 1600, the ruins of an ancient town were found.
Nobody had the nearest notion. It might be Pompei, methodical, scientific excavations were started as late as 1860 by Giuseppe Fiorelli. However, his method of work was far from the usual scientific standards. The excavations were indeed conducted in a barbaric manner. Nowadays it is hard to estimate the damage done by the sheer vandalism of the time.
If somebody thought a picture or a figuring wasn't artfully enough or visually pleasing, it would become destroyed and thrown away as trash sculpture fragments had been sold as souvenirs, often a statuettes and yeah, saints. Some of these Christians forgeries may have been medieval originals that did not fit the scholar, Jerry in chronology, and hence wound up sold as souvenirs instead of becoming part of a museum's collection.
If one's cogitation is to be confined within the paradigm of the scholar, Jerry in a chronology, the artistic level of the artifacts found in Palm pay is a very high indeed. Be it frescoes in lays or statues. The state of science is also a deemed advanced enough to correspond to that of the Renaissance. Epic. One of the findings was a sundial with a uniform hourly divisions, which were considered a high level of precision.
Even towards the end of the middle ages. This finding was analyzed by N a more Azhar and ancient picture have a part of such a device that had been found on a Villa near the town of Pompei can still be seen in figure 1.47 VE closed Bosky wrote that a set of surgical instruments has been discovered. That is all the more noteworthy said in some of the items have been supposed to belong to the modern times, discovered in introduced by the scientific avant garde of the operative medicine.
Some of the graffiti art found on the walls of Pompei is clearly medieval in its origins. For instance, the picture have a hooded Hyndman <inaudible> and figure 1.48. We see a medieval henchmen that drags his victim, Amanda, in a cave onto a scaffold with a rope V close Bosky tells us this is a copy from a drawing made on plaster with some sharp object.
Another drawing that is definitely worthy of our attention is that a, of a medieval, a warrior wearing a helmet with a visor figure 1.49. These two drawings are, but a small part of that pain graffiti that is explicitly medieval in its concept. <inaudible> one should mark the illustrations that one sees on page 44, figure 1.5. Nowadays, we are told that it portrays ancient gladiator's.
However, what we see as clearly a medieval Knight with a visor on his helmet, this is a well-known military equipment of the middle ages V <inaudible> sums up his general impression of the excavations of Pompei as follows. I have been amazed many a time to find that ancient Pompei and artifacts often prove to be spitting images of the objects of a much later epic page one 33. We also found out we also found out that according to <inaudible>, many of the famous Pompeiian in lays bare in amazing resemblance to the medieval frescoes of Raphael and Giuliani Romano in composition coloring and style to put it simply, they look like medieval frescoes, and example of such an inlay can be seen in figure 1.51.
This is assumed to be the ancient battle of Alexander. The great and the Persian came Darious. The inlay was discovered in 1831 and is now in the domain of the national museum of Naples V Closky. His comment runs as follows on the floor of the tree. Klinean one sees the famous mosaic from colored stone, which now crowns the collection of the museum in Naples.
The color in the technique are unparalleled. The composition may well be compared to the best works of Raphael <inaudible> and Juliana Romano. It is most remarkable indeed, that there should be a semblance between the work of the anonymous ancient artists of Raphael Raphael's battle between countries <inaudible> and Maxentius and S well, and the composition of the main group, certain decorations of the Roman, a third may of Titus bear, amazing resemblance to some of Raphael's frescoes as well.
The scalp history as followed by a class Vasuki tries to convince them is that all of these works of ancient art were created in the first century, had the latest and have remained buried until very recently when the excavations of Pompei finally began Raphael Giuliani, Romano, other artists of the Renaissance are supposed to have created painting strongly resembling the ancient originals without even having seen them.
All of this is what the suspicious, the hypothesis that we put forward is as follows Palm, they pay is a medieval town of the Renaissance epoch. It has been destroyed by one of the relatively recent eruptions of the Soviets. The ancient Pompeiian artists were contemporaries of Raphael in Romano. Hence the stylistic SIM lenses Pompei might have been destroyed and buried by ashes during the well-known eruption of the <inaudible> that occurred in 1500, or even by the eruption of 1631.
Most of the Pompei in graffiti cannot be used for dating purposes, such as quotidian announcement, sling. However, some of the inscriptions explicitly contradict a scalp material in a chronology. One of them can be found in figure three 89 and was translated by any Morozov as follows the hunt and the decorations, a Valen tennis Niro, Augustus, the holy son of that. The Holi I Lucretia's Valenta is the imminent the 28th of March.
Okay. We run into a contradiction between the Scala Geri in history, in actual inscriptions discovered as a result of excavations and emperor with a double name of Valentas Nero is mentioned here where, whereas in Scala, Jeri and chronology, these names belong to two different emperors separated by about 300 years, a longer version of the same ancient announcement referring to the pageants, a six through 12th, April, correct?
We seen in eight 73, figure 1.52, the translation of three-D by the fire Dover separates Nero from Valentina's. As we had expected, we had no opportunity of checking the auth authority of both translations artifacts of the Christian Epiq have been found in the ancient town of Herculaneum and figures.
1.53, for instance, one can see a Christian chapel discovered during the excavations of Herculaneum with a large cross on the wall, 13 three, the allegedly accelerated destruction of the ancient monuments. The archeologists of the 20th century have noticed a rather odd tendency, the overwhelming majority of the ancient monuments report deterioration in their condition that allegedly started two or 300 years ago from the moment their study began.
In other words, and has become more intense than during the proceeding centuries and even millennia. The examples are widely known the theater of Epidaurus Parthenon, the Coliseum, the palaces of Venice, et cetera. Here's another example in the form of an article from the is Vestia newspaper, October 31st, 1981, a a Sphinx in peril, a famous figure of the S Jesus Finks in Egypt has stood steadfast for five millennia.
However, pollution has a flick. Did it terribly a large piece of the sculpture? A POL has fallen off the reasons for this are as follows high humidity, salty ground, and primarily the accumulation of sewage around this things that isn't filtered in any way at all. It is nevertheless supposed to have stood for 5,000 years without any problems whatsoever. This condition of deterioration is usually explained by the negative effect of modern industry.
However, as far as we know, there has been no quantitative research conducted to this day as to whether or not modern industry, a flex ancient constraint is that made of stone one logically assume all of these buildings to be a lot more recent. Then what the scholar, Jerry in chronology tells us they are subject to erosion and have a constant yeah. Natural destruction, rain, which, which is rather high.
Okay. All right. I'm going to deviate from this book for just a moment, because I think there's something really relevant in another book I've reading that dovetails with it. And that book is called the spectacle of society by guide to a board. Let me read you this passages. And I think it will really help put a pin in some of the theories by a Anatoli flamenco reasoning about history is inseparably reasoning about power.
Greece was the moment when power and its change were discussed and understood that democracy of the masters of society, Greek conditions, where the inverse of the conditions known to the despotic state, where power settles its accounts only with itself within the inaccessible obscurity of its densest point through palace revolution, which is placed beyond the pale of discussion by a success or failure alike.
However, the power shared among the Greek communities existed only with the expenditure of a social life whose production remained separate and static within the survival class. Only those who do not work Liv in the division among the Greek communities and it, and in the struggle to exploit for in cities, the principle of separation, which internally grounded, each of them was externalized Greece, which had dreamed of universal history.
This is important Greece, which had dreamed of universal history did not succeed in unifying itself in the face of invasion, or even in unifying the calendars of its independent city's in Greece, historical time became conscious, but not yet conscious of itself. After the disappearance of the locally favorable conditions known to the Greek communities, the regression of Western historical thought was not accompanied by a rehabilitation of ancient mythic organizations out of the confrontations of the Mediterranean populations out of the formation and collapse of the Roman state appear to a semi historical religions, which became a fundamental factors in the new consciousness of time and in the new armor of separate power.
The model theistic religions were a compromise between myth and history between cyclical time, which still dominated production and irreversible time where populations, clash and regroup the religions, which grew out of Judaism are abstract. Universal acknowledgments have irreversible time, which is a democratized open to all, but in the realm of illusion, time is totally oriented toward a single final event.
The kingdom of God is at hand, OK. That that may be difficult for some people to listen to only once and understand. In fact, for me reading it multiple times, highlighting it and then rereading it out loud has really only helped me to graze the very top of meaning of these two books. Let me try to paraphrase what the hell I think is happening history.
According to Moz, rough, according to what we do in reading and history or a fiction and a toy Flamingo points out some unbelievable points about the scallops or dating, which is completely fraudulent. And when we compare it with a passenger's, I just read, we can understand, and even underscore the points and a totally for Minkah was making, he is making the claim that the Greeks and the Romans actually were the Renaissance, the medieval times were the Greek and Roman times.
And when in this other book, society of the spectacle, we understand from this book, why that would be done. And the why is about power. The why is the fundamental understanding of the ruling class and the how and why we finally get to understand that and is brought to us by a guide support in his book. What they are saying is the basic tenant of Orwell's greatest quote.
And that quote is he who controls the present controls the past, and he who controls the past controls. The future what's happened. What Anatoli flamenco is illustrating to me, at least in my opinion, is that this was not only a hostile takeover or the foundation for the ruling elite to take over forever. But it was a fundamental shift in the way we understand time, time, ladies and gentlemen, this was the time we became slaves.
The dark ages, the middle ages was the time the average person was no longer free. You see, think about what it means to control history. Think about the amount of power that gives you. If I can say, if I can write down in a book that your mom and dad were king, well, there's the history forever.
You've gone. You've actually done time traveling because you've gone back and written things down that are bullshit and don't even exist. But after a while, no one knows. Nobody knows it's the greatest theft on earth. And it's not so much a theft of material things. It's a, it's a, a, a fundamental thefts in everyone's life. Like they have robbed us of our faculties.
Think about this, think about what does it mean to you to have free time? To me, it means I can do whatever I want. Hey, I finally got some free time. Sometimes we tell children, after you finished doing this, you can have free time if you're an adult and you have a job as your time when you're at a job, when you are working for someone else, when you are working to commodify the world, even if it's your own business, that's not your time.
The only way you can have free time. Think about this concept. The only way you can have free time as if you have time that isn't yours, the concept of free time comes from having time. That is not yours. The very tenent free time. That means that it was a time when you weren't free. You get it. And this is what history is all about. History. Think about the etymology of history. H I S T O R Y.
His story, his story, his story history. It's all bullshit. Folks. All of it. It's all bullshit. I know I'm kind of getting out in the woods here and I'm going to get back to and toy flamenco. Cause I know that's what people are tuning in for, but it's very difficult for me to not just explode in not anger, but this explode and understanding.
When you begin to understand that everything that you've been told your whole life is bullshit. I'll tell you what it kind of has a crazy effect on you. And you start thinking why, why would they do that? Why to control your mind, right? To control not only your mind, but to control and enslave everybody forever. Think about the way that another point this guy's making is that the model theistic religions were a compromise between myth and history, right?
We know that the Greeks and Romans were not monotheists. They had all the gods on Mount Olympus and that's not even counting the people that were a part of the Roman empire that believed in the, you know, the, the gods of the earth and pan and all of these different that guys that were the gods of the barbarians. If you will. So what the camp, what did you day at religions? What the medieval times and what the scalp injure dating has done to the minds of men is fundamentally changed the way we understand the concept of time.
According to guide the board, the Romans, the Greeks, prior to the Renaissance, if that's even real, they experienced time as the, as a journey, as one travels through time. One is traveling on a journey. Boy rose to be a man. A man grows to be a husband in a provider who grows to be a scholar who grows to be an elderly man and then moves on to the next level, whatever that level is.
But they experienced and not only experience, but celebrated the very passage of time. Milestones. There were a rights of pat and I think of the term Rite of passage, the way people experienced time was a celebratory journey. Once mysticism and the, the, the Mount Olympus gods.
Once there was a compromise to have monotheism time changed because now it's not celebrating the journey of time. Now what's happening is like a race to the end. Instead of celebrating the journey you're on, you are running out of time. It's no longer a journey. Now it is a time for you to get things done before you die.
That simple shift, that very simple way of being taught. What time is his? What has enslaved UHS? And that is why scout the scavenger dating was important. And that's why this grand unbelievable attempt to create history was born and think for a moment about the frescoes that were painted, the sculptures that were done.
When we, as a free men were able to celebrate the passage of time. When we, as men and women of this world could celebrate the passage of time. We can create great works of art. We can create beauty. We can create divine mathematical formulas that help us understand the world. When we look at time through the lit, through the lens of irreversible time, and by irreversible time, I mean, you're born, God is waiting for you in the king of Kings is waiting in heaven and you can't go back and you better get all these things done before you go on to die.
Under this version of history, we ourselves have become the commodity. We have become enslaved to time. It's no longer something that we celebrate. It's something we fear. Okay, thank you for letting me get that out. I think it's really relevant. At least it is, to me, we're going over all this different stuff from Anatolia, flamenco and Masra, and we're pointing out the actual dates and pictures.
And for me, I just want to share that with you guys, because that's what makes sense to me. It's, it's been blowing my goddamn mind about this concept of time. And this is the first time I've put this together. So I'm really excited that I got to get a kind of get out all my feelings in. And I hope, I hope that those of you are taking the time to listen to what I'm saying. Can thoroughly understand what the fuck I'm talking about. I love you guys. If you want to read the other book, it's called the spectacle of society by guy Debord and it is mindblowing.
Okay. Let me now get back to what you've been waiting for. 13 four. When did the construction of the cologne cathedral really begin nowadays? We are being told that the construction of the famous cologne cathedral carried on for several centuries, it is assumed that the construction began in the fourth century. After that, that cathedral has allegedly been rebuilt many times, and nothing remained from the original cathedrals whatsoever.
The construction of the Gothic cathedral is supposed to have commenced in 1248. Some sources even mentioned the exact date as the 15th of August, 1240. It is further assumed that the construction was finished for the most part by the 16th century, circa 1560. After that this gigantic medieval cathedral has alleged the undergone minor renovations, but by and large it's shape remained on altered.
How valid is this point of view? When was the cathedral that we can see today really constructed is the construction that we see truly medieval dating from the 13th to the 16th century. For the most part and figures 1.55. We can see a schematic drawing from a technical brochure that demonstrates which parts of the cathedral, our medieval in which ones were built over the last two centuries.
The full name of the brochure is Ghafar for din Comor dome professor Dr. Arnold Wolf. The dome of cologne is endanger graphic documents on weathering. It was originally addressed to professionals specializing in the preservation and restoration of stone constructions. It was printed in cologne and can be obtained inside the cathedral. According to the scheme, the oldest part of the mission, the masonry that which belongs to the years, 1248 to 1560 is represented by a horizontal shading.
The rest shown by seven other kinds of shadings, such as diagonal dotted, et cetera, was constructed a lot later after 1826, amazingly enough, the oldest part of the masonry, the horizontal shading amounts to a small part of the modern edifice, really, it only covers half of the cathedrals foundation. And even this small medieval fragment is not a whole, since it consists of two parts that are pretty distant from each other, figures 1.55, the rest of the masonry, that is the major part of the entire modern edifice only appeared in the early 14th century.
The absence of masonry dating to 15, 60 to 1825 is particularly suspicious, suspicious. Does it mean that there were no works at all conducted in 250 years or so that they did not affect the structure of the cathedral in any way worthy of mentioning what German historian's and architects are telling us in this manner is that the cathedral that we see today was essentially built in the 16th century. By what criteria does Skalla Geri in history, call it a medieval cathedral.
Someone might say that despite the fact that the cathedral was built in the 16th century, it should still faithfully represent medieval original that a stood there since the 13th century, we would like to ask the groundwork for this hypothesis. Are there any genuine medieval graphical representations of the cologne cathedral before the 16th century? Apparently there are none the same brochure by Arnold.
A Wolf contains and engraved dated and engraving dated 1834 to 1836 that depicts the cathedral pretty much the way it is nowadays. The album 10 17 contains what appears to be the oldest picture of the cathedral on page 21, dating from 1809. We consider all of this to mean that the construction of the cathedral in its present form has only commenced in the 16th century, which is proven by the masonry scream, masonry scheme, as shown above the cathedral was built between 1825 in 1835, for the most part.
And the engraving dated from 1834 to 1836 reflected the final stages of the cathedral's construction. There were a renovations done in the 16th through 20th century, but no, no major changes. I'm sorry. They were all renovations done in the 19th through 20th century, but no major changes. There were some traces of an ancient building on the site of the modern cathedral, since some mysterious masonry dating from 1248 to 1560 is present on the scheme.
However, this very scheme explicitly tells us that the medieval masonry was used as building material in the 16th century construction. Let us study figure 1.55 yet again, the lower part of the left power is made of stones dating from the 16th century laced with layers dating from the 18th through 19th century. The upper part, I'm sorry. I fucked that up.
The lower part of the left tower is made of stones dating from the 19th century laced with layers dating from the 13th through the 16th century. The upper part of this tower is con is a construction of the 19th century. And the same is true for the other tower. The old medieval building that had stood on the place of the modern cathedral was deconstructed in the 19th century.
It's masonry used as construction material for the new edits. We would like to pose the following questions to the historian's and the archeologists. Are there any genuine medieval pictures of either the cologne, cathedral or its predecessor that had existed before the 17th century? Does the modern cologne, cathedral bear any resemblance to the medieval cathedral that had stood on the same site before the 19th century?
Our hypothesis is that if there has really been a cathedral here, it was significantly different from the modern, what a great deal, a smaller for one thing. Why are there no traces of masonry dating to the period between 15, 16, 1825 in the walls of the modern cologne cathedral? Doesn't this mean that the construction really commenced in the 19th century on the spot that had been previously occupied by a building of smaller proportions dating from the 13th to the 16th century.
One should also question the reasons for dating the old masonry to the 13th through 16th century. These stones may well belong to the 13th. They will. I am sorry, guys, I'm getting tired. These stones may well belong to the 17th through 18th century. Another inquiry that we find worthy of making concerns, the methods used by modern archeologists for dating masonry fragments.
How can they be certain that a given stone was used for the construction of a cathedral wall in the year that they consider to be the correct dating and not some other. We conclude with a general observation concerning the unnaturally prolonged construction of many historical buildings of medieval Europe. According to a skeleton theory in history, they were built very slowly, indeed for centuries. On end. The Strausberg cathedral is a perfect example that you used to be the tallest building in Europe.
We are now being told that its construction began in 10, 15, and ended as late as 1275. That makes 260 years the Irvin Vaughn Steinbeck power allegedly took a a 162 years to build the historian. Cole Rausch makes the logical conclusion that the entire edifice of the cathedral took four and 24 years to build almost half a millennium Cole Rosch also couldn't have missed the unnaturally procrastinated construction of the cologne cathedral, apparently realizing the necessity of explaining such unnaturally extended terms.
He offers the following as a theory, the cologne cathedral whose construction began in 1248 and lasted for 250 years such tardiness can be explained by the fact that it's stones bare a great amount of artwork. As we are beginning to understand artwork has got absolutely nothing to do with a matter at hand, it is the erroneous Skalla Jerian chronology that has arbitrarily extended the construction period into several centuries.
Archeological methods are most often based on Scala Jerian datings 13.5, okay. The modern methods of archeological dating rely on the scalp Geri and crunchy to a great extent. And they often lead the researcher, did a great errors, which are blatantly obvious. In some cases, let us give you a few examples. The excavation of a borrow that was dated with absolute certainty to the epic of Kiev Russia, the alleged ninth through 11th century, according to the archeological method occurred recently, however, 19th century coins were found in the same borrow among the bones.
This is mentioned in the article by the, by a little Russian historian XY Klowski. He published in a 97 in the 12th issue of the Almanac of history and archeology on page 83, it is clear that the coins could not have made their way into the bar or by chance. Is there an explanation, as a matter of fact, there is, and a simple one at that the ancient bar all belong to the 19th century and there was nothing surprising about it.
All right, since the pagan church also known as Romesh had existed in Russia and by a low Russia until the 20th century complete with specific burial rights, the center of the Roman church had been in the BI-LO Russian village of Romi in the 19th century. It had possessed in arch Bishop more than a hundred perishes and a special language use that by priests and sacraments, there is a 19th century volume containing a detailed description of this old Russian pagan church.
Another example, a different borrow is being excavated and the archeologist make another perfectly certain dating that a scribes it to the bronze age, the ground under the borrow had been Virgin until the hole that proceeded the bar all had been dug sum 18 century ceramics we're found in this hole. It could only have got there during the burial. This is yet another case of the archeologist using scientific the methods for the dating of the 18 century mound, the bronze age or the time when the rather inexperienced humanity could not have fathomed the intricacies of iron metallurgy.
But the 18th century was a period when both iron and steel were already known quite well. This borrow only got dated to the bronze age, since it hadn't any steel or iron items in the cases described the borrows contained objects that contradicted their initial datings. If there are no such objects, the archeologists date, the borrows, scientifically to times in a Memorial, the very method of archeological dating appears extremely flawed and wholly dependent on the operatory known Scala, Geri and chronology.
It blows my mind, a ladies and gentlemen, the lack of critical thinking by people today, what the fuck are we doing? And how many people just listen to TV or listening to the radio? And they believe everything coming out of there. Like I don't like it. I don't understand it. Like what, why, why that's all I got guys, I'm going to try to whip it out more.
I'm on vacation this week. So I thought a lot of calls to finish this series and we are only a quarter of the way through this book. So we're going to be powering down. I'm going to try to break them down into bite size chunks and get some more out there for you guys. Thank you very much for your time spending a little bit time with me and listening to me and thank God for every single one of you listening to this.
Speaker 1 (48m 56s): You are the future. You are the resistance. You are
Speaker 0 (49m 0s): The fucking only people thinking out there. I love you. I love you. I love you. Thank you.
http://anatolyfomenko.com/
https://en.m.wikipedia.org/wiki/The_Society_of_the_Spectacle
https://youtu.be/3Say79Pcg8I
https://app.podscribe.ai/episode/70399806
Speaker 0 (0s): Welcome back my friends, we are back again with our friend and a toll, a four Manco history Fiction or Science left off. Number four, the foundations of archeological methods have been based on the scallop Jerian chronology from the very beginning. Let us begin.
13.1, the ambiguity of archeological datings and their dependence on the existing chronology. The reader may inquire about the state of affairs concerning other methods of dating historical sources and artifacts use nowadays modern archeologists speak of the ignorant diggers of the previous centuries in painted tones.
Since many artifacts have become defaced in the search for valuables, the archeologist count a a S Y S excavated 7,729 mounds in thee Vladimir sues doll area, a S S spits in has the following to say about it. When the items found in excavations in 1851 to 1854 came to the disposal of the <inaudible> sorry for the pronunciation guys, Rummy on Stev museum, they were a chaotic pile of materials with no markings whatsoever.
And no one could tell which mound this or the other object had belonged to the grandiose excavations of 1851 through 1854 shall be mourned by the scientists for years to come. Nowadays, the excavation methods are a lot more advanced. However, applying them to ancient excavations is as impossibly is an impossibility. Since these have already been conducted by the diggers of the past, the basics of archeological dating methods are as follows.
The best way of reducing the age of a given European culture is finding out which Egyptian dynasty, this European tribe traded with the findings of my son. I made Greek in the Egyptian mounds of the 18th and 19th dynasties allow the archeologist to consider the dynasty and the culture as contemporaries similar vessels are found later on in mice and I together with a particular kind of pin that is later also found in Germany near some urns, a similar urn is found near a finger together with the different kind of pen, which resembles the one found in Sweden in the so-called borrow of king Bjorn, which can thus be dated as a contemporary of the 18th, 19th Egyptian dining in his disease.
However, it turns out that king Bjorn barrel could not have a belong to Bjorn king of the Vikings, a a well-known medieval character. Sure. Since it predates his time by about two millennia, firstly, one fails to understand what criteria of similarity have been used here. Secondly, and a lot more importantly, I might add all that all of these methods are heavily dependent on the all priority datings of the ancient Egyptian Pharaoh died.
Dynasty's this method, which is also known as the Dominos method and all similar ones are based on pure <inaudible> subjectivism in that principally on a scale of Jerian chronology, newly found artifacts, such as vessels are compared to similar findings dated in accordance with the consensual chronology, the alteration of the chronological scale scale automatically alters the chronology of the new archeology findings and erroneous chronology, completely invalidates all such methods.
It is a little wonder that the archaeologist investing there trust in such methods are constantly confronted with bizarre facts. It appears that in certain remote parts of India, Europe, what encounters, the coexistence of things whose prototype's in the east are separated from each other by centuries. These furthermore L S T a line firmly denies all connections between king Bjorn's Baro and the medieval Beorn king of the Vikings.
This method tells us only that Bjorn borrow is contemporary to the 18th, 19th Egyptian dynasties. It tells us nothing about the possible datings and these actual rains, which may well be medieval along with Bjorn Viking. The first screen teams of Egyptian chronology were based on the work of monotheists who had compiled the list of the pharaohs, allegedly in the century, BC and grouped them into 30 dynasties.
Having added up all the years of Raines and assuming that their rains have all been consecutive, the figures, he got proved, formidable, Flanders portray Elle Barnhart, and other Egyptologists had estimated the duration of the history of ancient Egypt to equal five to 6,000 years. This is how the long chronology of Egypt was born.
The one that had been prevalent for a long time E Meier and his followers had developed a so-called a short chronology as an alternative. It's a problem is that the pharaohs and their entire dynasties often reigned simultaneously as COE ruler's in different parts of the country. Men, a Theone was making the assumption that the state had been a monolithic one under a single ruler. And so he had lined all of the Pharos in D sequence, and that was considerably extended.
The entire history of the state. We should add that the short chronology of Egypt is still way too long and should really have been called a slightly shorter chronology. As we have already mentioned in reference to the data provided by the Egyptologist Henrik brew. Gosh, the so-called short chronology is also based on a theoretical foundations. We learned that its creator IE Meyer has based his deductions on the annual records and entries referring to memorable events made by the pharaohs themselves.
However, this chain of knowledge has reached us as separate links with many gaps and distortions. This is why attaching the archeological and material to the Egyptian scale does not solve the problem of absolute or indeed even relative dating 13.2, the excavations of Pompei, the dating of this towns destruction, the excavations of the ancient town of Pompei are a perfect illustration to the problems that arise and the dating of archeological materials.
First and foremost, it isn't clear which years eruption destroyed it. Apparently the 15th century author Jacopo son, a Xero wrote, we were approaching the town and could already see it's towers, houses, theatres, and temples untouched by the centuries. It is assumed however that the town of Pompei has gotten destroyed and completely buried after the eruption of nine a D.
This is why the archeologists have to interpret sun a zero in the following manner. In the 15th century, some of the buildings of Pompei were already emerging from the debris. It is that assume that Pompei had been covered by a thick layer of earth. Since the ruins of the town were only found in 1748, and discovery was purely accident. Accidental Herculaneum was discovered in 1711. Nowadays the history of the discovery of Palm Pompei is related after the documented recollections of that epoch as follows during the construction of a canal on the river Sarno 1594 to 1600, the ruins of an ancient town were found.
Nobody had the nearest notion. It might be Pompei, methodical, scientific excavations were started as late as 1860 by Giuseppe Fiorelli. However, his method of work was far from the usual scientific standards. The excavations were indeed conducted in a barbaric manner. Nowadays it is hard to estimate the damage done by the sheer vandalism of the time.
If somebody thought a picture or a figuring wasn't artfully enough or visually pleasing, it would become destroyed and thrown away as trash sculpture fragments had been sold as souvenirs, often a statuettes and yeah, saints. Some of these Christians forgeries may have been medieval originals that did not fit the scholar, Jerry in chronology, and hence wound up sold as souvenirs instead of becoming part of a museum's collection.
If one's cogitation is to be confined within the paradigm of the scholar, Jerry in a chronology, the artistic level of the artifacts found in Palm pay is a very high indeed. Be it frescoes in lays or statues. The state of science is also a deemed advanced enough to correspond to that of the Renaissance. Epic. One of the findings was a sundial with a uniform hourly divisions, which were considered a high level of precision.
Even towards the end of the middle ages. This finding was analyzed by N a more Azhar and ancient picture have a part of such a device that had been found on a Villa near the town of Pompei can still be seen in figure 1.47 VE closed Bosky wrote that a set of surgical instruments has been discovered. That is all the more noteworthy said in some of the items have been supposed to belong to the modern times, discovered in introduced by the scientific avant garde of the operative medicine.
Some of the graffiti art found on the walls of Pompei is clearly medieval in its origins. For instance, the picture have a hooded Hyndman <inaudible> and figure 1.48. We see a medieval henchmen that drags his victim, Amanda, in a cave onto a scaffold with a rope V close Bosky tells us this is a copy from a drawing made on plaster with some sharp object.
Another drawing that is definitely worthy of our attention is that a, of a medieval, a warrior wearing a helmet with a visor figure 1.49. These two drawings are, but a small part of that pain graffiti that is explicitly medieval in its concept. <inaudible> one should mark the illustrations that one sees on page 44, figure 1.5. Nowadays, we are told that it portrays ancient gladiator's.
However, what we see as clearly a medieval Knight with a visor on his helmet, this is a well-known military equipment of the middle ages V <inaudible> sums up his general impression of the excavations of Pompei as follows. I have been amazed many a time to find that ancient Pompei and artifacts often prove to be spitting images of the objects of a much later epic page one 33. We also found out we also found out that according to <inaudible>, many of the famous Pompeiian in lays bare in amazing resemblance to the medieval frescoes of Raphael and Giuliani Romano in composition coloring and style to put it simply, they look like medieval frescoes, and example of such an inlay can be seen in figure 1.51.
This is assumed to be the ancient battle of Alexander. The great and the Persian came Darious. The inlay was discovered in 1831 and is now in the domain of the national museum of Naples V Closky. His comment runs as follows on the floor of the tree. Klinean one sees the famous mosaic from colored stone, which now crowns the collection of the museum in Naples.
The color in the technique are unparalleled. The composition may well be compared to the best works of Raphael <inaudible> and Juliana Romano. It is most remarkable indeed, that there should be a semblance between the work of the anonymous ancient artists of Raphael Raphael's battle between countries <inaudible> and Maxentius and S well, and the composition of the main group, certain decorations of the Roman, a third may of Titus bear, amazing resemblance to some of Raphael's frescoes as well.
The scalp history as followed by a class Vasuki tries to convince them is that all of these works of ancient art were created in the first century, had the latest and have remained buried until very recently when the excavations of Pompei finally began Raphael Giuliani, Romano, other artists of the Renaissance are supposed to have created painting strongly resembling the ancient originals without even having seen them.
All of this is what the suspicious, the hypothesis that we put forward is as follows Palm, they pay is a medieval town of the Renaissance epoch. It has been destroyed by one of the relatively recent eruptions of the Soviets. The ancient Pompeiian artists were contemporaries of Raphael in Romano. Hence the stylistic SIM lenses Pompei might have been destroyed and buried by ashes during the well-known eruption of the <inaudible> that occurred in 1500, or even by the eruption of 1631.
Most of the Pompei in graffiti cannot be used for dating purposes, such as quotidian announcement, sling. However, some of the inscriptions explicitly contradict a scalp material in a chronology. One of them can be found in figure three 89 and was translated by any Morozov as follows the hunt and the decorations, a Valen tennis Niro, Augustus, the holy son of that. The Holi I Lucretia's Valenta is the imminent the 28th of March.
Okay. We run into a contradiction between the Scala Geri in history, in actual inscriptions discovered as a result of excavations and emperor with a double name of Valentas Nero is mentioned here where, whereas in Scala, Jeri and chronology, these names belong to two different emperors separated by about 300 years, a longer version of the same ancient announcement referring to the pageants, a six through 12th, April, correct?
We seen in eight 73, figure 1.52, the translation of three-D by the fire Dover separates Nero from Valentina's. As we had expected, we had no opportunity of checking the auth authority of both translations artifacts of the Christian Epiq have been found in the ancient town of Herculaneum and figures.
1.53, for instance, one can see a Christian chapel discovered during the excavations of Herculaneum with a large cross on the wall, 13 three, the allegedly accelerated destruction of the ancient monuments. The archeologists of the 20th century have noticed a rather odd tendency, the overwhelming majority of the ancient monuments report deterioration in their condition that allegedly started two or 300 years ago from the moment their study began.
In other words, and has become more intense than during the proceeding centuries and even millennia. The examples are widely known the theater of Epidaurus Parthenon, the Coliseum, the palaces of Venice, et cetera. Here's another example in the form of an article from the is Vestia newspaper, October 31st, 1981, a a Sphinx in peril, a famous figure of the S Jesus Finks in Egypt has stood steadfast for five millennia.
However, pollution has a flick. Did it terribly a large piece of the sculpture? A POL has fallen off the reasons for this are as follows high humidity, salty ground, and primarily the accumulation of sewage around this things that isn't filtered in any way at all. It is nevertheless supposed to have stood for 5,000 years without any problems whatsoever. This condition of deterioration is usually explained by the negative effect of modern industry.
However, as far as we know, there has been no quantitative research conducted to this day as to whether or not modern industry, a flex ancient constraint is that made of stone one logically assume all of these buildings to be a lot more recent. Then what the scholar, Jerry in chronology tells us they are subject to erosion and have a constant yeah. Natural destruction, rain, which, which is rather high.
Okay. All right. I'm going to deviate from this book for just a moment, because I think there's something really relevant in another book I've reading that dovetails with it. And that book is called the spectacle of society by guide to a board. Let me read you this passages. And I think it will really help put a pin in some of the theories by a Anatoli flamenco reasoning about history is inseparably reasoning about power.
Greece was the moment when power and its change were discussed and understood that democracy of the masters of society, Greek conditions, where the inverse of the conditions known to the despotic state, where power settles its accounts only with itself within the inaccessible obscurity of its densest point through palace revolution, which is placed beyond the pale of discussion by a success or failure alike.
However, the power shared among the Greek communities existed only with the expenditure of a social life whose production remained separate and static within the survival class. Only those who do not work Liv in the division among the Greek communities and it, and in the struggle to exploit for in cities, the principle of separation, which internally grounded, each of them was externalized Greece, which had dreamed of universal history.
This is important Greece, which had dreamed of universal history did not succeed in unifying itself in the face of invasion, or even in unifying the calendars of its independent city's in Greece, historical time became conscious, but not yet conscious of itself. After the disappearance of the locally favorable conditions known to the Greek communities, the regression of Western historical thought was not accompanied by a rehabilitation of ancient mythic organizations out of the confrontations of the Mediterranean populations out of the formation and collapse of the Roman state appear to a semi historical religions, which became a fundamental factors in the new consciousness of time and in the new armor of separate power.
The model theistic religions were a compromise between myth and history between cyclical time, which still dominated production and irreversible time where populations, clash and regroup the religions, which grew out of Judaism are abstract. Universal acknowledgments have irreversible time, which is a democratized open to all, but in the realm of illusion, time is totally oriented toward a single final event.
The kingdom of God is at hand, OK. That that may be difficult for some people to listen to only once and understand. In fact, for me reading it multiple times, highlighting it and then rereading it out loud has really only helped me to graze the very top of meaning of these two books. Let me try to paraphrase what the hell I think is happening history.
According to Moz, rough, according to what we do in reading and history or a fiction and a toy Flamingo points out some unbelievable points about the scallops or dating, which is completely fraudulent. And when we compare it with a passenger's, I just read, we can understand, and even underscore the points and a totally for Minkah was making, he is making the claim that the Greeks and the Romans actually were the Renaissance, the medieval times were the Greek and Roman times.
And when in this other book, society of the spectacle, we understand from this book, why that would be done. And the why is about power. The why is the fundamental understanding of the ruling class and the how and why we finally get to understand that and is brought to us by a guide support in his book. What they are saying is the basic tenant of Orwell's greatest quote.
And that quote is he who controls the present controls the past, and he who controls the past controls. The future what's happened. What Anatoli flamenco is illustrating to me, at least in my opinion, is that this was not only a hostile takeover or the foundation for the ruling elite to take over forever. But it was a fundamental shift in the way we understand time, time, ladies and gentlemen, this was the time we became slaves.
The dark ages, the middle ages was the time the average person was no longer free. You see, think about what it means to control history. Think about the amount of power that gives you. If I can say, if I can write down in a book that your mom and dad were king, well, there's the history forever.
You've gone. You've actually done time traveling because you've gone back and written things down that are bullshit and don't even exist. But after a while, no one knows. Nobody knows it's the greatest theft on earth. And it's not so much a theft of material things. It's a, it's a, a, a fundamental thefts in everyone's life. Like they have robbed us of our faculties.
Think about this, think about what does it mean to you to have free time? To me, it means I can do whatever I want. Hey, I finally got some free time. Sometimes we tell children, after you finished doing this, you can have free time if you're an adult and you have a job as your time when you're at a job, when you are working for someone else, when you are working to commodify the world, even if it's your own business, that's not your time.
The only way you can have free time. Think about this concept. The only way you can have free time as if you have time that isn't yours, the concept of free time comes from having time. That is not yours. The very tenent free time. That means that it was a time when you weren't free. You get it. And this is what history is all about. History. Think about the etymology of history. H I S T O R Y.
His story, his story, his story history. It's all bullshit. Folks. All of it. It's all bullshit. I know I'm kind of getting out in the woods here and I'm going to get back to and toy flamenco. Cause I know that's what people are tuning in for, but it's very difficult for me to not just explode in not anger, but this explode and understanding.
When you begin to understand that everything that you've been told your whole life is bullshit. I'll tell you what it kind of has a crazy effect on you. And you start thinking why, why would they do that? Why to control your mind, right? To control not only your mind, but to control and enslave everybody forever. Think about the way that another point this guy's making is that the model theistic religions were a compromise between myth and history, right?
We know that the Greeks and Romans were not monotheists. They had all the gods on Mount Olympus and that's not even counting the people that were a part of the Roman empire that believed in the, you know, the, the gods of the earth and pan and all of these different that guys that were the gods of the barbarians. If you will. So what the camp, what did you day at religions? What the medieval times and what the scalp injure dating has done to the minds of men is fundamentally changed the way we understand the concept of time.
According to guide the board, the Romans, the Greeks, prior to the Renaissance, if that's even real, they experienced time as the, as a journey, as one travels through time. One is traveling on a journey. Boy rose to be a man. A man grows to be a husband in a provider who grows to be a scholar who grows to be an elderly man and then moves on to the next level, whatever that level is.
But they experienced and not only experience, but celebrated the very passage of time. Milestones. There were a rights of pat and I think of the term Rite of passage, the way people experienced time was a celebratory journey. Once mysticism and the, the, the Mount Olympus gods.
Once there was a compromise to have monotheism time changed because now it's not celebrating the journey of time. Now what's happening is like a race to the end. Instead of celebrating the journey you're on, you are running out of time. It's no longer a journey. Now it is a time for you to get things done before you die.
That simple shift, that very simple way of being taught. What time is his? What has enslaved UHS? And that is why scout the scavenger dating was important. And that's why this grand unbelievable attempt to create history was born and think for a moment about the frescoes that were painted, the sculptures that were done.
When we, as a free men were able to celebrate the passage of time. When we, as men and women of this world could celebrate the passage of time. We can create great works of art. We can create beauty. We can create divine mathematical formulas that help us understand the world. When we look at time through the lit, through the lens of irreversible time, and by irreversible time, I mean, you're born, God is waiting for you in the king of Kings is waiting in heaven and you can't go back and you better get all these things done before you go on to die.
Under this version of history, we ourselves have become the commodity. We have become enslaved to time. It's no longer something that we celebrate. It's something we fear. Okay, thank you for letting me get that out. I think it's really relevant. At least it is, to me, we're going over all this different stuff from Anatolia, flamenco and Masra, and we're pointing out the actual dates and pictures.
And for me, I just want to share that with you guys, because that's what makes sense to me. It's, it's been blowing my goddamn mind about this concept of time. And this is the first time I've put this together. So I'm really excited that I got to get a kind of get out all my feelings in. And I hope, I hope that those of you are taking the time to listen to what I'm saying. Can thoroughly understand what the fuck I'm talking about. I love you guys. If you want to read the other book, it's called the spectacle of society by guy Debord and it is mindblowing.
Okay. Let me now get back to what you've been waiting for. 13 four. When did the construction of the cologne cathedral really begin nowadays? We are being told that the construction of the famous cologne cathedral carried on for several centuries, it is assumed that the construction began in the fourth century. After that, that cathedral has allegedly been rebuilt many times, and nothing remained from the original cathedrals whatsoever.
The construction of the Gothic cathedral is supposed to have commenced in 1248. Some sources even mentioned the exact date as the 15th of August, 1240. It is further assumed that the construction was finished for the most part by the 16th century, circa 1560. After that this gigantic medieval cathedral has alleged the undergone minor renovations, but by and large it's shape remained on altered.
How valid is this point of view? When was the cathedral that we can see today really constructed is the construction that we see truly medieval dating from the 13th to the 16th century. For the most part and figures 1.55. We can see a schematic drawing from a technical brochure that demonstrates which parts of the cathedral, our medieval in which ones were built over the last two centuries.
The full name of the brochure is Ghafar for din Comor dome professor Dr. Arnold Wolf. The dome of cologne is endanger graphic documents on weathering. It was originally addressed to professionals specializing in the preservation and restoration of stone constructions. It was printed in cologne and can be obtained inside the cathedral. According to the scheme, the oldest part of the mission, the masonry that which belongs to the years, 1248 to 1560 is represented by a horizontal shading.
The rest shown by seven other kinds of shadings, such as diagonal dotted, et cetera, was constructed a lot later after 1826, amazingly enough, the oldest part of the masonry, the horizontal shading amounts to a small part of the modern edifice, really, it only covers half of the cathedrals foundation. And even this small medieval fragment is not a whole, since it consists of two parts that are pretty distant from each other, figures 1.55, the rest of the masonry, that is the major part of the entire modern edifice only appeared in the early 14th century.
The absence of masonry dating to 15, 60 to 1825 is particularly suspicious, suspicious. Does it mean that there were no works at all conducted in 250 years or so that they did not affect the structure of the cathedral in any way worthy of mentioning what German historian's and architects are telling us in this manner is that the cathedral that we see today was essentially built in the 16th century. By what criteria does Skalla Geri in history, call it a medieval cathedral.
Someone might say that despite the fact that the cathedral was built in the 16th century, it should still faithfully represent medieval original that a stood there since the 13th century, we would like to ask the groundwork for this hypothesis. Are there any genuine medieval graphical representations of the cologne cathedral before the 16th century? Apparently there are none the same brochure by Arnold.
A Wolf contains and engraved dated and engraving dated 1834 to 1836 that depicts the cathedral pretty much the way it is nowadays. The album 10 17 contains what appears to be the oldest picture of the cathedral on page 21, dating from 1809. We consider all of this to mean that the construction of the cathedral in its present form has only commenced in the 16th century, which is proven by the masonry scream, masonry scheme, as shown above the cathedral was built between 1825 in 1835, for the most part.
And the engraving dated from 1834 to 1836 reflected the final stages of the cathedral's construction. There were a renovations done in the 16th through 20th century, but no, no major changes. I'm sorry. They were all renovations done in the 19th through 20th century, but no major changes. There were some traces of an ancient building on the site of the modern cathedral, since some mysterious masonry dating from 1248 to 1560 is present on the scheme.
However, this very scheme explicitly tells us that the medieval masonry was used as building material in the 16th century construction. Let us study figure 1.55 yet again, the lower part of the left power is made of stones dating from the 16th century laced with layers dating from the 18th through 19th century. The upper part, I'm sorry. I fucked that up.
The lower part of the left tower is made of stones dating from the 19th century laced with layers dating from the 13th through the 16th century. The upper part of this tower is con is a construction of the 19th century. And the same is true for the other tower. The old medieval building that had stood on the place of the modern cathedral was deconstructed in the 19th century.
It's masonry used as construction material for the new edits. We would like to pose the following questions to the historian's and the archeologists. Are there any genuine medieval pictures of either the cologne, cathedral or its predecessor that had existed before the 17th century? Does the modern cologne, cathedral bear any resemblance to the medieval cathedral that had stood on the same site before the 19th century?
Our hypothesis is that if there has really been a cathedral here, it was significantly different from the modern, what a great deal, a smaller for one thing. Why are there no traces of masonry dating to the period between 15, 16, 1825 in the walls of the modern cologne cathedral? Doesn't this mean that the construction really commenced in the 19th century on the spot that had been previously occupied by a building of smaller proportions dating from the 13th to the 16th century.
One should also question the reasons for dating the old masonry to the 13th through 16th century. These stones may well belong to the 13th. They will. I am sorry, guys, I'm getting tired. These stones may well belong to the 17th through 18th century. Another inquiry that we find worthy of making concerns, the methods used by modern archeologists for dating masonry fragments.
How can they be certain that a given stone was used for the construction of a cathedral wall in the year that they consider to be the correct dating and not some other. We conclude with a general observation concerning the unnaturally prolonged construction of many historical buildings of medieval Europe. According to a skeleton theory in history, they were built very slowly, indeed for centuries. On end. The Strausberg cathedral is a perfect example that you used to be the tallest building in Europe.
We are now being told that its construction began in 10, 15, and ended as late as 1275. That makes 260 years the Irvin Vaughn Steinbeck power allegedly took a a 162 years to build the historian. Cole Rausch makes the logical conclusion that the entire edifice of the cathedral took four and 24 years to build almost half a millennium Cole Rosch also couldn't have missed the unnaturally procrastinated construction of the cologne cathedral, apparently realizing the necessity of explaining such unnaturally extended terms.
He offers the following as a theory, the cologne cathedral whose construction began in 1248 and lasted for 250 years such tardiness can be explained by the fact that it's stones bare a great amount of artwork. As we are beginning to understand artwork has got absolutely nothing to do with a matter at hand, it is the erroneous Skalla Jerian chronology that has arbitrarily extended the construction period into several centuries.
Archeological methods are most often based on Scala Jerian datings 13.5, okay. The modern methods of archeological dating rely on the scalp Geri and crunchy to a great extent. And they often lead the researcher, did a great errors, which are blatantly obvious. In some cases, let us give you a few examples. The excavation of a borrow that was dated with absolute certainty to the epic of Kiev Russia, the alleged ninth through 11th century, according to the archeological method occurred recently, however, 19th century coins were found in the same borrow among the bones.
This is mentioned in the article by the, by a little Russian historian XY Klowski. He published in a 97 in the 12th issue of the Almanac of history and archeology on page 83, it is clear that the coins could not have made their way into the bar or by chance. Is there an explanation, as a matter of fact, there is, and a simple one at that the ancient bar all belong to the 19th century and there was nothing surprising about it.
All right, since the pagan church also known as Romesh had existed in Russia and by a low Russia until the 20th century complete with specific burial rights, the center of the Roman church had been in the BI-LO Russian village of Romi in the 19th century. It had possessed in arch Bishop more than a hundred perishes and a special language use that by priests and sacraments, there is a 19th century volume containing a detailed description of this old Russian pagan church.
Another example, a different borrow is being excavated and the archeologist make another perfectly certain dating that a scribes it to the bronze age, the ground under the borrow had been Virgin until the hole that proceeded the bar all had been dug sum 18 century ceramics we're found in this hole. It could only have got there during the burial. This is yet another case of the archeologist using scientific the methods for the dating of the 18 century mound, the bronze age or the time when the rather inexperienced humanity could not have fathomed the intricacies of iron metallurgy.
But the 18th century was a period when both iron and steel were already known quite well. This borrow only got dated to the bronze age, since it hadn't any steel or iron items in the cases described the borrows contained objects that contradicted their initial datings. If there are no such objects, the archeologists date, the borrows, scientifically to times in a Memorial, the very method of archeological dating appears extremely flawed and wholly dependent on the operatory known Scala, Geri and chronology.
It blows my mind, a ladies and gentlemen, the lack of critical thinking by people today, what the fuck are we doing? And how many people just listen to TV or listening to the radio? And they believe everything coming out of there. Like I don't like it. I don't understand it. Like what, why, why that's all I got guys, I'm going to try to whip it out more.
I'm on vacation this week. So I thought a lot of calls to finish this series and we are only a quarter of the way through this book. So we're going to be powering down. I'm going to try to break them down into bite size chunks and get some more out there for you guys. Thank you very much for your time spending a little bit time with me and listening to me and thank God for every single one of you listening to this.
Speaker 1 (48m 56s): You are the future. You are the resistance. You are
Speaker 0 (49m 0s): The fucking only people thinking out there. I love you. I love you. I love you. Thank you.
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