DIVION IOI in Egypt

This is a photo of Nefertiti the Goddess who lived in Ancient Egypt, notice this Goddess's head. Her skull is extremely elongated, this would mean her brain would be much larger than a normal human's. Therefore making her extremely intelligent. This is actually a statue of her, it is in a museum in Egypt currently. Several pictures in Ancient Egypt portray some of the Gods or Goddesses with extremely large elongated heads. Is this some coincidence, why would the Ancient Egyptians make such large heads in their photos, carvings, and statues, there had to be a motivation of some kind apart from an artistic one, and in my opinion there is nothing artistically appealing about a large elongated head, so why did they do it? Read on to find out why!

This is a photo of a skull found in Peru, notice the elongated back of the skull. This is one of the many Deformed skulls photographed in the Museo Regional de Ica.

This is clearly not a human skull, we have been fed a variety of unlogical explanations as to why this skull has this formation. Several like it were found in Peru with small variations. Many artifacts that were clearly of Egyptian origin were also found in Peru dating back to the time of the Ancient Egyptians. However these two cultures and countries were not supposed to have had contact back then being so far from each other. Many odd things are found in Peru, the Nazca lines, a set of animal and geometrical lines engraved onto the ground which extend for miles. Engraving these lines would require a view from above to do them correctly, yet they were not supposed to have aircraft back then. So how did they do it?? This skull gives us a good idea. If they had brains big enough to fit into these skulls they could obviously find ways to fly in aircraft or spacecraft no doubt. A photo of other skulls found in Peru are below. 

The next picture is an engraving in Ancient Egypt, notice the hats worn by the two adults, could they be covering their large heads and skulls? Notice the 2 babies, one on the left has an elongated skull, so do the 2 on the right. Could all these facts be just coincidences? Of course not? We are not all that gullible to keep accepting all these foolish arguments for all these obvious alien things we see around the world. Egypt, Peru, Mexico, Easter Island, we have been fed a bunch of baloney about the origins of all these incredible works and their builders. We are told in schools that the great pyramid of Egypt took 40 years to build and it's purpose was to bury a pharoah. Come on now, are we that gullible and were the Egyptians that gullible? Of course not, who would spend 40 years of hard labor building a pyramid just to stuff a dead body in it after 40 years of hard work. That hardly sounds logical for such an obviously advanced culture as the Ancient Egyptians. They invented their own language for god sakes, are we to think they were dumb enough to spend 40 years sweating their guts out for only burying 1 body. That is the stupidest thing we have been fed by Egyptologists to date. In Mexico the group of pyramids including the pyramid of the sun are known by people in Mexico by legend as "Place where the gods touch the earth." In all evidence this probably means where the aliens landed. Where they touched the Earth... Think about it, the pyramids are large stone monuments in Mexico with steps going down the sides. What better purpose for the steps than to allow the aliens to climb down the pyramids to the ground. That is the most logical reason for their construction. And to think that primitive people could build something so incredible is well not likely in all logic.

 
This picture contains 1 Egyptian with some strange device on his or her head, while his friend has an elongated head and slanted eyes. This photo is not artistic in nature as you can see. Their is nothing very artistic about it, so why give the guy such a large head. Because he had one is the most logical answer. Look at the complex code on the tablet, some primitive people didn't do all that, aliens did.

Here are all the skulls found that are  elongated at the back. All these skulls are cataloged and genuine. They are all together in a museum.

This object was found at Saqqara, in Egypt. This is one of the flying machines that we see portrayed in Ancient Egyptian paintings on walls and hieroglyphics. Notice the spirals on each side of the object, this is a universal shape, in fact it is the most common geometrical shape in the universe. To represent it in such a way depicts their understanding of the universe, to put it on this plane could signify that they explore the universe. The side view of this object resembles the following hieroglyph below  which is found several times throughout Egypt. It looks like a plane of some sort, as does the object above. However I am more inclined to think this was an airship used once in the atmosphere of a planet. Ufo's of the disc type were probably used to enter space, however this plane type could also possibly enter space, however the aerodynamics might be more suitable to an atmospheric environment, such as us using planes to fly in the sky as opposed to the space shuttle.

 
One of the  Deformed skulls photographed in the Museo Regional de Ica.

Reptilian looking entities found in Iraq - 5,000-4,500 BC.

Sumerian Gods

Alien Gray Entity


Art Exhibit British Museum #52

Strange suited figure found in Kiev. It dates to ca. 4,000 BC.

7000 year old petroglyph discovered in the province of Querato, Mexico in 1966.

There are 4 figures with outstretched arms below a large oval object radiating what appear to be beams of light.

Petroglyphs dating back thousands of years ago by ancient Indians in the American Southwest. According to Indian folklore, two objects collided high in the sky and one crash-landed in the region of Death Valley. Some men arrived (presumably in another ship) and spent some time repairing the damaged craft and were observed by the local Indians. The two images below may possibly depict the ship (left) used by the men who came to repair the damaged craft. In comparing the two images, the one on the right seems to depict structural damage around the edges and the bottom. Could it be the one that allegedly crashed? The images are stills taken from an old TV series entitled "In search of..." hosted by Leonard Nimoy.

6000 BC from Tassili, Sahara Desert, North Africa.

Cave painting from Tanzania. Estimated to be up to 29,000 years old. This picture is located in Itolo and depicts several disc shaped objects.

Wandjina petroglyphs from Kimberley, Australia.

About 5,000 years old and may represent alien beings.

Illustration depicting a sighting of a burning wheel in the year 900 over Japan.

This is a tapestry called Summer's Triumph It was created in Bruges in 1538 and presently resides at the Bayerisches National Museum. You can clearly see several disc shaped objects in the top of the tapestry. 

15th Century

Rome

This picture shows a UFO sighting over Hamburg, Germany
The objects were described as 'two glowing wheels' -
November 4, 1697 - Wheels - Spoked Wheels.

A disk shaped object is shining beams of light down on John the Baptist and Jesus - Fitzwilliam Musuem, Cambridge, England - Painted in 1710 by Flemish artist Aert De Gelder. It depicts a classic, hovering, silvery, saucer shaped UFO shining beams of light down on John the Baptist and Jesus. What could have inspired the artist to combine these two subjects?

Frescos throughout Europe which reveal the appearance of space ships in the skies including this painting of 'The Crucifixion' - painted in 1350. It seems to depict a small human looking man looking over his shoulder - at another UFO as if in pursuit - as he flies across the sky in what is clearly a space ship. The leading craft is decorated with two twinkling stars, one reminiscent of national insignia on modern aircraft. This painting hangs above the altar at the Visoki Decani Monestary in Kosovo, Yugoslavia. 
 

This painting is called "The Madonna with Saint Giovannino". It was painted in the 15th century by Domenico Ghirlandaio (1449-1494) and hangs as part of the Loeser collection in the Palazzo Vecchio. Above Mary's right shoulder is a disk shaped object. Below is a blow up of this section and a man and his dog can clearly be seen looking up at the object.
 

The painting above was done by Carlo Crivelli (1430-1495) and is called "The Annunciation with Saint Emidius" (1486) and hangs in the National Gallery, London. A disk shaped object is shining a pencil beam of light down into Mary's crown chakra. A blow up of the object is next to the painting.

The Clock that told the Future

You have to love a clock that doesn't bother counting insignificant minutes and seconds. Built in 1410, Prague's Astronomical Clock tells time on a much grander scale. On the outer rings, you can see the hours tick by on a 24-hour scheme, but also "Bohemian Time"—a system that counted the hours since sunset. The inner mechanical components colorfully mark the sunrise, sunset, phases of the moon, position of the sun, and the zodiac, essentially painting a picture of the position of the earth within the universe as it was understood in medieval times. On the hour, the four animated figures around the dial—later additions—come to life: Death with his hourglass and bell, Vanity with his mirror, Greed waving a bag of gold, and a Turk. The last two (inadvertently) depict the 17th-century ethnic stereotypes and tensions that would haunt Central Europe in the future.

Writer: Megan Cytron Photo: Frank Yang

THE TURKS OF PRAGUE: THE MUNDANE AND THE SUBLIME

The Prague Orloj

This is a draft chapter, copyright I. Kalmar 2008. Do not quote in print or on the internet without the author’s permission. Asterisks (*) indicate places to be filled in or revised.
One of the major tourist attractions of Prague is the famous Orloj, a large astronomical clock whose origins are shrouded in mystery. The Orloj takes up two or three stories on the outside wall of the city’s old city hall. It has two clock faces, the one on top showing time (as well as astronomical models of the universe) and the one at the bottom the calendar. The upper clock face includes the figures of Vanity holding a mirror and of *, both of which wear a hat that has some elements recalling an Ottoman turban. There is also Avarice, represented before the post-World-War II renovation by the hooked-nosed figure of a Jew. Finally, there is a skeleton representing Death. Since an ingenious nineteenth century remodeling, every hour on the hour when the clock tolls, Death pulls on a string setting in motion a procession of Jesus’ disciples. He also makes Vanity, Avarice, and * shake their heads, deliberately rejecting the message about the limits of Time.

Clocks were a common “vanitas device.” Ordinary upright clocks used in private homes often featured a skull and the inscription, tempus fugit or “time is running (out).” The message was to oppose the eternity of Heaven to the fleeting character of earthly existence. The theme became extremely popular in the Renaissance. In the famous Ambassadors of Hans Holbein the Younger (1533, fig. *),1 the two men’s wealth may be considered an allegory of Avarice, the mirror of Vanity,* and the considerable girth of the men perhaps as Gluttony. But the focus here is not on these medieval categories of sin as much as on worldly pleasures and knowledge do not represent sin as much as the folly of relying on this world rather than the divine sphere beyond. Worldly pleasure is symbolized, as it would be frequently also in the next century, by music: here, a lute and pipes. Music, apart from being widely considered a particularly fleeting pleasure, helped to represent sensuality by invoking the sense of hearing. The carpets, like the rich garments, of the men stand for wealth and prestige, and they also bring in the sense of touch. The most important signs of worldliness, however, are those of scientific knowledge. One of the men holds a telescope; there are globes, scientific instruments and an open book. But although the two men are obviously competent in science, they are completely unaware of the foreshortened skull that flies by, as if in a different dimension, at the bottom of the scene. It reminds us but not them that neither worldly knowledge nor pleasure will save us at the Day of Judgment approaches, and are not worth much compared to Faith. That was and remains the standard interpretation of the opening verse of the biblical book of Ecclesiastes, which warns about all human endeavor being in vain: “Vanity of vanities, all is vanity,” vanitas vanitorum omnia vanita,2- hence “vanity painting,” “vanity device,” the name given to works with this message, including Prague’s astronomical clock.

Although the hourly parade of the figures on the Orloj’s upper clock face dates in its present form only to a nineteenth century renovation, it captures this spirit of stressing the limits of the world, which the much older clock has no doubt long represented. Clocks themselves were a worldly achievement of what we now call technology and science, and one of the greatest inventions of the secular scientific spirit. Here a magnificent clock is forced here to pay obeisance to religion and so proclaims its own limitations.

What concerns us here is not so much the more spectacular upper clock face, but the more modestly decorated bottom of the Orloj composition. Under the calendar face there are two statues of “Turks,” part of a set of figurines that was placed on it in the seventeenth century, most likely in 1659.3 Like one of Holbein’s Ambassadors, one of the Turks holds a telescope and is popularly known as The Astronomer. The other Turkholding a book, an item also found in the Holbein picture, and is popularly known as The Philosopher (fig. *).

4 Next to the Philosopher stands the imposing, over sized figure of an angel. The angel holds a drawn sword in one hand and in the other (hidden behind a shield decorated with a cross) a pointer aimed at the calendar. No doubt it is the Archangel Michael, the heavenly warrior whom Christian tradition expects to appear on Judgment Day to lead our souls to judgment. He points to the calendar to remind us that tempus fugit

Wisely, the nineteenth century designers of the upper face’s mechanical show did not make the Turks’ heads shake in denial along with those of Avarice, Vanity, and *. For the Turks’ failing is not that they willingly contradict the supremacy of God over human science and pleasure, but that they are ignorant of it. What the Orloj is saying to us is that worldly knowledge is really disguised ignorance if it is not coupled with religion. If you have worldly wisdom but not the Holy Faith then you might as well be a Turk.

A Turk? Classic Church doctrine has it that the gates of heaven remain closed to those who have not been baptized. Those who died before Christ cannot get in; even Abraham and Plato must languish in Purgatory. Muslim philosophers (philosophy then included science and medicine, as well as alchemy and astrology) were often classed with these righteous non-Christians, especially the Greeks whose knowledge they inherited and transmitted to the Christian world. In Rafael’s School of Athens the Arab savant Avicenna (****-****) is anachronously included with Plato and the rest; in Dante’s Purgatory, too, he lingers with Hebrews and Greeks. The Muslim scholars’ wisdom like the Greeks’ was pre-Christian, not in chronological terms but in terms of the logic of Christianity: it figured at the limits of worldly knowledge where Christians could enter with a higher Truth.