The Gold of the Gods Read Online Free PDF Page A

with a brim. Hats have hollow spaces for even the most stupid heads to fit into.
    In
Gods from Outer Space
, I showed—without contradiction—why I consider that the sphere is the ideal shape for spaceships or space-stations. Spherical bodies rotate in space, thus creating an artificial gravity for the crew in the cabins placed at the sphere’s circumference. (Gravity is necessary for the metabolism of the organs on lengthy journeys.) The gold sphere once again supports my contention that the sphere was the shape used for celestial vehicles in distant ages.
    In addition to serving as a docking ramp for supply ships, the broad flange may also have been divided into cells to store solar energy. The technical possibilities, we can imagine, are endless.
    At all events, I should like to
know
how the matrix of this gold sphere came to be in Turkey, 7,500 miles from Ecuador! This find, carved out of stone, is on show in the Turkish Museum, Istanbul. It is the negative of the gold sphere in Bogota’s treasure: the same sphere, the same notched pattern on the encircling rim. The card under the stone matrix in the first story of the Museum at Istanbul says “Unclassifiable.” As long as science refuses to accept the idea that flying machines could cross the oceans and cover the vast distances between the continents as early as prehistoric times, its rigid prejudice will find certain puzzles insoluble.
    One cannot say that scholars have no imagination, but the fact remains that they insist on new discoveries fitting into accepted patterns.
    At Cuenca I photographed a copper object, some 20 inches high, representing a figure of normal human dimensions. An abnormal feature is that he has only four fingers on each hand and four toes on each foot. However, we also find representations of the gods with some of their limbs missing among the ancient Indians, the Maoris, the Etruscans and other peoples.
    Yet I read in a serious scientific publication how simple the solution of this mystery is. Toes and fingers were a kind of adding machine. If the artist wanted to express the number “19,” he left out one finger or one toe. Pursuing this scholarly fantasy, the number “16” was represented as a being with four plus four toes and four plus four fingers = 16! This ingenuous way of counting seems to me to be unworthy of a people who built roads and fortresses and cities.
    Why, by the gods of all the stars, did the intelligent Incas have to draw or sculpt a whole man with hands and feet to express the number 4? Deadly serious science gets entangled in the net of its own fantasy. To be sure it admits that the Incas
could
count, but it does not credit them with being able to represent “4” by four dots or four dashes. So they had to lop off fingers and toes.
O sancta simplidtas!
    As for the figure that is minus two fingers and two toes, the explanation as a childish method of counting is unconvincing, for according to Father Crespi, it is a representation of the “Star God.” In his right arm the smiling sun god clasps an animal combination of hippopotamus, parrot and snake, in his left, a staff with his emblem, the laughing sun at the top and a decorative snake’s head at the bottom. Star-like points surround the god’s happy face and they can be seen, too, on his two colleagues from caves in the Australian bush, the two “creators.” They wear overalls with broad straps around the chest.
    At some time in the future, probably after the metal library has been deciphered, it will transpire that figures with anatomically inaccurate limbs are really pictorial representations of traditional oral descriptions of phenomena from the cosmos that were different.
    The masterpiece of the Inca’s Dürer, Degas or Picasso, is a metal plaque measuring 38 1/2 inches by 19 inches by 1 inch. No matter how long one studies it, one keeps on making new discoveries. I noted down what I found: a star, a being with a fat paunch and a snake’s tail, a