What is going on here?!

[Hazel]

Now what do you make of these photographs?

Renovations? Elsewhere? Film set? A joke or plain old hoax?

Posted these because the whole scene (true or not) reminds us that the veils of lies and deceit are falling all around us and suspension of disbelief is becoming a regular call...

http://http://worldtruth.tv/1954-photos-show-stonehenge-being-built/

[TargeT]

8aCFppygoCw

interesting...

[araucaria]

It’s definitely not the original – if that’s the suggestion – although the landscape looks fairly plausible.

If this had been the pyramids, I’d immediately say they were around in the time of Herodotus (5th c. BC). So I had a look at Samuel Pepys and found that Stonehenge was around at least in the early 1660s:



9th (Tuesday). When come to Oxford, a very sweet place: paid our guide, L1 2s. 6d.; barber, 2s. 6d.; book, Stonage, 4s.
[This must have been either Inigo Jones's "The most notable Antiquity of Great Britain vulgarly called Stonehenge," printed in 1655, or "Chorea Gigantum, or the most famous Antiquity of Great Britain, vulgarly called Stones Heng, standing on Salisbury Plain, restor'd to the Danes," by Walter Charleton, M.D., and published in 1663.] http://www.pepys.info/1668/1668jun.html
http://wafflesatnoon.com/stonehenge-built-modern-times/

[Agape]

I've heard about it long ago so it has to be old news ...

http://www.indymedia.org.uk/en/2005/12/330623.html?c=on

How They Rebuilt Stonehenge 50 years ago


For decades the official Stonehenge guidebooks have been full of fascinating facts and figures and theories surrounding the world's greatest prehistoric monument. What the glossy brochures do not mention, however, is the systematic rebuilding of the 4,000 year old stone circle throughout the 20th Century.

This is one of the dark secrets of history archaeologists don't talk about: The day they had the builders in at Stonehenge to recreate the most famous ancient monument in Britain as they thought it ought to look.

This picture shows workers on the site in 1901 in a restoration which caused outrage at the time but which is rarely referred to in official guidebooks. For it means that Stonehenge, jewel in the crown of Britain's heritage industry, is not all it seems. Much of what the ancient site's millions of visitors see in fact dates back less than 50 years.

From 1901 to 1964, the majority of the stone circle was restored in a series of makeovers which have left it, in the words of one archaeologist, as 'a product of the 20th century heritage industry'. But the information is markedly absent from the guidebooks and info-phones used by tourists at the site. Coming in the wake of the news that the nearby Avebury stone circle was almost totally rebuilt in the 1920s, the revelation about Stonehenge has caused embarrassment among archaelogists. English Heritage, the guardian of the monument, is to rewrite the official guide, which dismisses the Henge's recent history in a few words. Dave Batchelor, English Heritage's senior archaeologist said he would personally rewrite the official guide. 'The detail was dropped in the Sixties', he admitted. 'But times have changed and we now believe this is an important piece of the Stonehenge story and must be told'.

Cambridge University archeological archivist and leading Stonehenge author Christopher Chippindale admitted: 'Not much of what we see at Stonehenge hasn't been touched in some way'. And historical research student Brian Edwards, who recently revealed that the nearby Avebury Monument had been totally rebuilt, has found rare pictures of Stonehenge being restored. He said: 'It has been as if Stonehenge had been historically cleansed'. 'For too long people have been kept in the dark over the Stonehenge restoration work. I am astonished by how few people know about it. It is wonderful the guide book is going to tell the full story in the future.'

A million visitors a year are awe-struck as they look back in time into another age and marvel at the primitive technology and muscle-power which must have been employed transporting the huge monoliths and raising them on Salisbury Plain. They gasp as they are told about this strangely spiritual site.... mankind's first computer, its standing stones and precise lintels, lining up magically and mysteriously with the heavens above and the solstice suns.

But now, as if to head off a potential great archaeological controversy - and following interest displayed by historical researcher Brian Edwards and a local newspaper, the brochures will be re-written, to include the 'forgotten years'. The years when teams of navvies sat aboard the greatest cranes in the British Empire to hoist stones upright; drag leaning trilithons into position, replace fallen lintels which once sat atop the huge sarsens. As Mr Edwards - the erstwhile enfant terrible of British archaeology following revelations that nearby Avebury was a total 20s and 30s rebuild by marmalade millionaire Alexander Keiller - says: 'What we have been looking at is a 20th Century landscape, which is reminiscent of what Stonehenge MIGHT have been like thousands of years ago. It has been created by the heritage industry and is NOT the creation of prehistoric people. What we saw at the Millennium is less than 50 years old.'

In archaeological terms the re-writing of the guidebooks is dynamite. English Heritage run Stonehenge on behalf of the nation, and an English Heritage insider revealed: 'Dark forces were at work in the 70s, when a decision was taken to drop the information about the restorations Now that is about to change.'

The Restoration and Rebuild

The first restoration of Stonehenge was launched 100 years ago this year.

And, in 1901, as the builders went to work, The Times letters column was full of bucolic missives of complaint. But the first stage of 'restoration' thundered ahead regardless and the style guru of the day, John Ruskin, released the maxim which was to outlive him.... 'Restoration is a lie,' he stormed. Nevertheless the Stonehenge makeover was to gather momentum and more work was carried out in 1919, 1920, 1958, 1959 and 1964. Christopher Chippindale, curator at the Cambridge University Museum of Archaeology and Anthropology and Anthropology, and author of Stonehenge Complete, admits: 'Nearly all the stones have been moved in some way and are standing in concrete.'

A stone was straightened and set in concrete in 1901, six further stones in 1919 and 1920, three more in 1959 and four in 1964. There was also the excavation of the Altar stone and re-erection of the Trilithon in 1958.

The guide book 'Stonehenge and Neighbouring Monuments' , and the audio tour of the Henge omit any comprehensive mention of the rebuilding in the 20th Century. Only on page 18 is there a slight reference...'A number of the leaning and fallen stones have been straightened and re-erected.' But even that official guide book does contain clues to the large scale restoration, which was not deemed worth a full entry.

Why does John Constable's 1835 painting of the Henge on pages 18 and 19 look so vastly different from the latter-day pristine photograph across pages 28 and 29? REASON: A lot of restoration work had taken place in between the two images being recorded. And, during long hot summers it would be possible - if one could get near to the stones - to see the turf peeling back to reveal the concrete boots into which the majority of the stones are now set. A dead give-away, but difficult to spot now as proximity to the Henge is limited.
Our pictures clearly show the rebuilding in progress. Some were discovered by Mr Chippendale and were used in a revised edition of his book. Many of those have since been lost. Others were found by Mr Edwards who unearthed guide books from the time when Stonehenge was not ashamed of its past and featured photographs and stories of the resorations.
'The news is sensational,' said Mr Edwards, a decorate student at the University of the West of England. 'Once I realised how much work had been carried out, I was amazed to discover that practically no-one outside of the henge know of its reconstruction in the last 100 years. I have always thought that if people are bothering to make a trip to Stonehenge, from home or abroad, then the least they should expect is a true story.'


http://science.nationalgeographic.com/science/archaeology/photos/stonehenge/#/stonehenge-restoration_24768_600x450.jpg


My feeling is that the original looked not only better but its architecture was more refined than this kind of replica .

There are similar celtic monuments set all over the Europe , most have been barely noticed not to speak about restoring them till the end of 20th century ,

don't forget one thing .. for about thousand years and especially through out the dark middle ages Catholic church was in a strong hold and dominated over cultural and historical roots of Europe in such manner that anything related to what they labeled 'pagan' history, places of worship , cultures etc . which included Celts but every other religious 'minority' was forsaken , forbidden and viewed as wrong .

Their policy had far reaching consequences leading to many divisions of faith .. but also ignorance of other cultures and customs among common people, including intellectuals and mainstream academia ,
one reason why 'masonic lodges' had to keep their knowledge secret , among else , because all from Old Egypt to Hinduism , Buddhism, Mayas or Islam was once looked upon as 'anti-christian' and basically wrong .

It's the dark and light side of 'secrecy' and the very reason of why so many confusions prevail to this day , apart from information not being so readily available before - even if and when it was, thanks to great travellers , anthropologists and historians - it was prohibited knowledge and could not be shared openly ..


:angel:


http://www.radio.cz/en/section/curraffrs/unearthing-bohemias-celtic-heritage-ahead-of-samhain-the-new-year


Unearthing Bohemia's Celtic heritage ahead of Samhain, the 'New Year


http://history-world.org/celts.htm



The religious beliefs and practices of the ancient Celts

[araucaria]

I visited Stonehenge one cloudy day in April 2013, feeling unwell, so my critical faculties were far from at their sharpest. I brought home the glossy brochure – copyrighted 2005, with printings of the French version in 2010, 2011, and 2012. It mentions “three complete trilithons have survived (one - the one nearest to the tarmac path, was reconstructed in 1958”) – which suggests, does it not, that everything else is as was. So if we are to get more transparency, it seems that we are still waiting.

From the same brochure, below is a drawing of Stonehenge in 1574 by a Dutch traveller Lucas de Heere, and a painting by Turner (1775-1851).

27185

27186

Why do we look at this monument so uncritically? I think it has something to do with all the different possible viewing angles and also the many reconstructions that we also see. Also, we tend to presume that restoration work is carried out with maximum fidelity and maximum honesty. If it is pottery reconstructed from fragments for example, the normal procedure is to do the guesswork in a different colour.

[RunningDeer]

Question at the bottom of the article: "p.s. So, what in your opinion, is shown in the photo – the restoration or construction of Stonehenge twin?"

On this page it states (http://fishki.net/46388-stroitelstvo-stounhendzha-108-foto.html):

На этих снимках, якобы запечатлен процесс строительства Стоунхенджа, как утверждает автор статьи, фотографии сделаны в 1954 году.

Давайте попробуем разобраться, что же запечатлено на фото?
Далее привожу фрагмент статьи

Goggle translator:

These pictures supposedly captures the process of building of Stonehenge, as the author of this article, photos were taken in 1954.

Let's try to understand what is imprinted on the photo?

Next quote a fragment of the article:

[SHOCK] 1954 PHOTOS SHOW STONEHENGE BEING BUILT (http://beforeitsnews.com/blogging-citizen-journalism/2013/12/shock-1954-photos-show-stonehenge-being-built-2449888.html)

Wednesday, December 18, 2013 0:55

(Before It's News)

(Be The Media) – This Russian website shows stunning photos of what appears to be Stonehenge being built. The author provides a detailed information about how the British government/military built this new age cult site and speculates the fact that it may have actually built from scratch or at least remodeled. The author also contends it may be a replica of the original. The pictures are stunning nonetheless.

Below is a rough Google translation of the author’s analysis.

Note: I suggest you save a copy of these photos “just in case” they disappear or the website gets conveniently shut down. You never know…

Stonehenge. Filming 1954-1958 yy At all times, all governments (and especially outside – and nadpravitelstvennye circles) engaged in forgery. Pictures of 1954 and 1958.


http://i1262.photobucket.com/albums/ii610/WhiteCrowBlackDeer/restavraciya-0053_zps113f3b15.jpghttp://i1262.photobucket.com/albums/ii610/WhiteCrowBlackDeer/restavraciya-0077_zpsf1fefa75.jpg

http://i1262.photobucket.com/albums/ii610/WhiteCrowBlackDeer/restavraciya-0106_zpsd9017612.jpghttp://i1262.photobucket.com/albums/ii610/WhiteCrowBlackDeer/restavraciya-0019_zpsadeb0db4.jpg

http://i1262.photobucket.com/albums/ii610/WhiteCrowBlackDeer/aa_zpsf29d3ec3.jpghttp://i1262.photobucket.com/albums/ii610/WhiteCrowBlackDeer/restavraciya-0095_zps50afc440.jpg

The first reaction of some readers who continue to say something about the ” recess “, ” restoration” , ” replacement ” , ” ancient megaliths ,” convinced that without explanation did not do. In the early photos , ranging from the 1st , which is higher than you see white circles denoting the space for future ” megalith ” . This is the ” scope of work ” for builders . Layout object from the customer , made with lime in the wells of the blue , pristine lawn. ” Megaliths ” not pulled out as carrots , leaving no trace of this procedure.

Next, consider if the pictures closely, you will find both military and barbed wire in the area, and other details , saying that at a certain point in the future ” cyclopean building ” ancient Druid atlanto – asura- siriyanto – Aryans was protected sensitive sites . See ” customer representatives ” who are not officials , builders, workers, the surrounding residents. Has “initiated ” with some of my bookmarks and equipment. Stonehenge – ” Space Portal “, ” energy crystals “, etc., etc. played an important role in the presentation associated with the ” apocalyptic “, ” irregular ” and the rest, took care of that when tab . Until the same time the appointment of construction thereof – biological and spiritual contamination. Which is illustrated by modern photographic materials at the end of this post.

The author even provides some , as he calls them ” little known facts ” :

1. First near Stonehenge military exercises were held in 1898.

2 . From that time until the Second World War, the Ministry of Defence bought up large tracts of land in the area

3 . Currently, the Ministry of Defence owns 390 square kilometers (!) In the vicinity of Stonehenge , some of which are closed permanently to other access is severely limited . ( By Wikimapia border nearest military base – a mile from these stones to the north, and the military airstrip – 5 kilometers to the south- east).

4 . In the past, in the vicinity of Stonehenge were carried branch railway and airport, both were subsequently removed (there are other sources that the military airfield was much closer , at a distance of one mile from Stonehenge )

5 . In 1943 the village of Imber ( 15 kilometers from Stonehenge ) and village Par Hinton were evicted . In the article about Imber says that to this day the village is under the control of military

6. In 2 kilometers north of Stonehenge located Royal Artillery School , which conducts real shooting 340 (!) Days per year

7. At 9 kilometers south -east , with the military airfield , located Defence Science and Technology Laboratory , whose work is primarily classified.

8. Another 17 kilometers to the west of Stonehenge is a military base and the Air combat helicopter airport ” Apaches “

9. In the area of Stonehenge is not conducted agricultural activities because of the danger of running into a dud , which for centuries has accumulated a lot. Because of this, green meadows around Stonehenge acquired scientific value (Site of Special Scientific Interest) as are the latest natural lawns in England , perhaps – and throughout Europe .

So, to summarize:

- Stonehenge around for over 100 years
– closed area , guarded by the military patrolled by military aircraft and helicopters , with daily artelleristskimi firings.

- Local residents evicted during the Second World War, under the pretext of exercises; villages took control of the military, the situation persists to this day.

- Selkohozyaystvennaya activity over large areas of the plains , where the Stonehenge prohibited

- On the territory there was an infrastructure that enables large-scale construction (including airports, railway line ) , which was later abolished as unnecessary

Perhaps a more suitable place for the construction of Stonehenge was hard to find … “

In other words, everything is clear. On the territory protected by the British War Department , consciously and purposefully been erected this ” center of ancient civilization “, ” heritage of the great ancestors ,” ” Monument of Humanity” , which became (not by itself , clearly put ) the most important religious center at least deliberately inculcated ” spirituality ” .

There is no doubt that the most ” heritage of humanity ” and ” spirituality ” , is an important attribute of this means ” heritage ” and ” science ” that unfolded around thereof ” heritage ” colossal scale their “research” one customer .

p.s. So, what in your opinion, is shown in the photo – the restoration or construction of Stonehenge twin ?

Click HERE to see many more photos (http://fishki.net/46388-stroitelstvo-stounhendzha-108-foto.html)

[araucaria]

The Oxford English Dictionary cites sources dating all the way back to the 11th century - Henry of Huntingdon and Geoffrey of Monmouth, writing in Latin. Here’s Geoffrey (Hist. Brit.):

Intra lapidum structuram sepultus fuit, quae haud longe a Salesberia mira arte composita, Anglorum lingua Stanheng nuncupatur

Which translates, with a little help from google, ‘He/it was buried within the stone structure built with wonderful skill not far from Salisbury, and which in the English language is called Stanheng’.

I rather like Charles Dickens’ line from The Old Curiosity Shop (1840): ‘A dreary waste of cold potatoes, looking as eatable as Stonehenge’. :)

[Atlas]

So I had a look at Samuel Pepys and found that Stonehenge was around at least in the early 1660s

Thanks araucaria. There is an even earlier mention of Stonehenge in 1603:

http://www.rareoldprints.com/swlitf/catalogue.nsf/images/27E4DE9D62D212538025790A003AD6F9/$FILE/Stonehenge_Camden.jpg
http://www.rareoldprints.com/wiltshireprints

And again in 1610:

https://dl.dropboxusercontent.com/u/44908464/avalon/divers/stonehenge1610.jpg
http://isida-project.org/england_2014/stonehenge.htm

Another early mention of Stonehenge from a 1440 manuscript, the Scala Mundi:

https://dl.dropboxusercontent.com/u/44908464/avalon/divers/stonehenge1440.jpg

According to wikipedia, the oldest known depiction of Stonehenge is "Merlin building Stonehenge" in the 2nd quarter of the 14th century:

https://dl.dropboxusercontent.com/u/44908464/avalon/divers/stonehengeoldest.jpg
http://www.bl.uk/catalogues/illuminatedmanuscripts/TourArtEarly.asp

Here is what National Geographic wrote about the 1958 restoration:




It required one of the largest cranes in England to lift Stonehenge's massive rock lintels during a rehabilitation project at the site in 1958. The size of the stones used to build the ancient monument—some pillars are 30 feet (9 meters) long and weigh 50 tons (45 metric tons)—and the distances they were moved have led to wild theories of supernatural involvement in the building of the structure.

http://images.nationalgeographic.com/wpf/media-live/photos/000/247/cache/stonehenge-crane_24769_600x450.jpg
http://science.nationalgeographic.com/science/archaeology/photos/stonehenge/#/stonehenge-crane_24769_600x450.jpg

[WhiteFeather]

Now if they can only show how they constructed The Egyptian Pyramids, that would be cool, or impossible for humans perhaps. Or maybe just humans that utilized 100 percent of their brain capacity. ;)

[araucaria]

What we really need to know now is exactly what went on during this restoration work. Were these stones removed and cleaned and then put back exactly in place (and with what tolerances – in the way a referee will clean your snooker ball and put it back? Or were some of the standing stones actually lying stones – lying on the ground? Judging from the old iconography, this does not seem to be the case. Or were they perhaps rearranged slightly to make fools of all the new agers finding alignments where there were possibly none to be found? In which case, we would be dealing with standing stones that were also lying stones – in a different sense of the word ‘lying’. It could be for instance that all the relative positions of the stones were kept accurately, but the whole monument swung round.

The photographs and video show how the work was restoration done – definitely not in the way the monument was first built :) – but they supply none of the technical data that we now want. If none is forthcoming, then we are talking about archaeological sloppiness on the scale of the forensic sloppiness we saw at the World Trade Center. This is certainly not how archaeology is normally conducted.

There is one notorious example: the work done by Arthur Evans at the Palace of Minos at Knossos on Crete:


Discovery of Minoan civilization

Now that the restriction of the Ottoman firman was removed, there was a great rush on the part of all the other archaeologists to obtain first permission to dig from the new Cretan government. They soon found that Arthur had a monopoly. Using the Cretan Exploration Fund, now being swollen by contributions from others, he paid off the debt for the land. Then he ordered stores from Britain. He hired two foremen, and they hired 32 diggers. He went joyfully to work on the flower-covered hill in March 1900.

Assisted by Dr. Duncan Mackenzie, who had already distinguished himself by his excavations on the island of Melos, and Mr. Fyfe, an architect from the British School at Athens, Evans employed a large staff of local labourers as excavators, and began work in 1900. Within a few months they had uncovered a substantial portion of what he called the Palace of Minos. The term "palace" may be misleading; Knossos was an intricate collection of over 1000 interlocking rooms, some of which served as artisans' workrooms and food processing centres (e.g. wine presses). It served as a central storage point, and a religious and administrative center.

On the basis of the ceramic evidence and stratigraphy, Evans concluded that there was another civilization on Crete that had existed before those brought to light by the adventurer-archaeologist Heinrich Schliemann at Mycenae and Tiryns. The small ruin of Knossos spanned 5 acres (20,000 m2) and the palace had a maze-like quality that reminded Evans of the labyrinth described in Greek mythology. In the myth, the labyrinth had been built by King Minos to hide the Minotaur, a half-man half-bull creature that was the offspring of Minos' wife, Pasiphae, and a bull. Evans dubbed the civilization once inhabiting this great palace the Minoan civilization.

By 1903, most of the palace was excavated, bringing to light an advanced city containing artwork and many examples of writing. Painted on the walls of the palace were numerous scenes depicting bulls, leading Evans to conclude that the Minoans did indeed worship the bull. In 1905 he finished excavations. He then proceeded to have the room called the throne room (due to the throne-like stone chair fixed in the room) repainted by a father-and-son team of Swiss artists, the Émile Gilliérons Junior and Senior. While Evans based the recreations on archaeological evidence, some of the best-known frescoes from the throne room were almost complete inventions of the Gilliérons, according to his critics.[
http://en.wikipedia.org/wiki/Arthur_Evans#Discovery_of_Minoan_civilization

Who are the Gilliérons? A recent exhibition at the Metropolitan Museum of Art describes their work:


Historic Images of the Greek Bronze Age
The Reproductions of E. Gilliéron & Son
May 17, 2011–December 8, 2012

See Now at the Met for a series of articles related to the exhibition.

Astonishing archaeological discoveries made by Heinrich Schliemann at Troy (1871–73) and Mycenae (1876) linked the heroes of Homer's epics to the material culture of the Greek Bronze Age (3000–1050 B.C.). The wealth of artifacts drawn from the shaft graves at Mycenae dazzled the world. No less spectacular were the results of Arthur Evans's excavations at Knossos (1900–1931), on the island of Crete, where he unearthed the remains of a vast complex of buildings belonging to a sophisticated prehistoric culture; he called it Minoan after the legendary King Minos.

This exhibition focuses on the work of Swiss-born Emile Gilliéron (1850–1924) and his son, Emile (1885–1939), who were among the foremost art restorers of their time. Gilliéron père worked alongside Schliemann, and both he and his son would later spend a large part of their careers assisting Evans at Knossos, where they witnessed firsthand the discovery of tantalizingly fragmentary wall paintings of exquisite quality and helped realize Evans's vision of their original appearance. The Gilliérons also established a thriving business that catered to the popular demand for reproductions of antiquities from the newly identified Minoan and Mycenaean civilizations. Their work influenced the study of Aegean art and was integral to its widespread introduction throughout Europe and North America, where the art of prehistoric Greece would inspire a generation of writers, intellectuals, and artists, from James Joyce and Sigmund Freud to Pablo Picasso and Giorgio de Chirico, who studied drawing under the elder Gilliéron.

The Minoan Frescoes at Knossos

When fragments of major wall paintings first emerged at Knossos, Evans realized that the task of conserving and restoring the frescoes would require special expertise. Gilliéron père and fils would serve as chief restorers at Knossos for more than thirty years. By 1930, and with Evans's guidance, they had reconstructed the wall paintings of entire rooms in the palace at Knossos, which remains the largest Bronze Age settlement ever found on Crete.

The work of Gilliéron père is particularly well represented in this exhibition. All the reproductions are at a scale of one to one, and in most cases the original fragments are carefully delineated from the restored areas. The watercolors were painted largely onsite, and often at the same time as or shortly after the restorations themselves were made. Much of the restorative work has withstood later research, though details of some reconstructions have been proved to be questionable or incorrect. Nonetheless, the Gilliérons' creations, even those whose appearances owe much to the imaginations of their makers, are today among the most readily recognizable images of Minoan art.

The Gilliérons and the Met

As early as 1894 the elder Gilliéron, already established in Greece as an eminent artist and archaeological draftsman, was making metal copies of important Mycenaean gold objects from molds taken directly from the original works of art. In many cases Gilliéron reworked a mold to recreate an object in its original undamaged form. He first sold his copies through the family business on Skoufa Street in Athens, and by 1906 he had a catalogue of ninety electrotypes, manufactured in Germany by the Württemberg Electroplate Company. Major museums and institutions in Europe, such as the South Kensington Museum in London (now the Victoria and Albert Museum) and the Winckelmann Institute in Berlin, acquired Gilliéron's reproductions for display and study.

Between 1906 and 1932 the Metropolitan Museum acquired hundreds of reproductions of prehistoric Greek art from the firm of E. Gilliéron & Son and displayed them alongside original antiquities with the intention of presenting as complete a record as possible of this remarkable period in the history of art. It is notable that in many cases, the Museum commissioned the copies, with the excavators' permission, shortly after the originals were discovered and before they were fully published. The one-to-one scale replicas, typically executed in painted plaster or as metal electrotypes, documented these extraordinary, colorful objects in a way that photography was unable to do at the time. They formed part of the Metropolitan's much larger collection of plaster casts and electrotypes of world art, while the watercolor reproductions of paintings reflected antiquarian practices prevalent at the time—evident even here within the Museum, most prominently in the galleries of Egyptian art.

Gilliéron fils continued to make and sell reproductions until his death in 1939, but the Metropolitan moved steadily away from acquiring replicas until the practice was abandoned entirely in favor of original works of art. All reproductions were eventually removed from display; those shown here appear for the first time in decades. Thanks to their historical importance and usefulness as study references, as well as the precision with which they were made, these works remain valuable representations of ancient artistic achievements that continue to inspire wonder and delight.

Master Craftsmen and Master Forgers

It is clear that Gilliéron père and fils were inventive, talented artists capable of producing both accurate copies and clever restorations. All the works on view in this exhibition were created as reproductions of original works and sold as such. Some pieces were even made using the same techniques and materials as their prototypes. Since major forgeries of Minoan and Mycenaean antiquities—notably gold and ivory statuettes and gold signet rings and relief vessels—were being made in the first half of the twentieth century, some scholars have suggested that one or both of the Gilliérons were forgers as well as restorers. Contested works of art that have been attributed to them include elaborate chryselephantine snake goddesses, the gold signet rings known as the Ring of Minos and the Ring of Nestor, and the well-known disk from Phaistos, on Crete.
http://www.metmuseum.org/exhibitions/listings/2011/historic-images-of-the-greek-bronze-age--the-reproductions-of-e-gilli%C3%A9ron--son

There is another somewhat different case: the suggestion that we weren’t told everything about the discovery and excavation of Tutankhamun’s tomb (Gerald O’Farrell’s book The Tutankhamun Deception):

The discovery and excavation of Tutankhamun’s tomb is one of the most famous archaeological finds in history. But compelling evidence suggests that the story we know is a sham: Howard Carter and Lord Carnarvon actually discovered Tutankhamun’s tomb several years before they told the world, looted it (even destroying artifacts to make it look like the work of early tomb robbers), resealed it, then led the world’s media back to the site to claim their place in history. The Tutankhamun Deception is the story of the skullduggery that went on in the Valley of the Kings and how the “Mummy’s Curse” might actually have been a systematic way of eliminating those who were about to blow the cover on one of the most astounding hoaxes in archaeological history.
See also http://www.goodreads.com/book/show/437327.The_Tutankhamun_Deception

I have no particular view on this subject, although it is true that the “Mummy’s Curse” sounds like a handy device for multiple extreme prejudice. I have an example of my own where the official story relies on the paranormal and an alternative theory does not. My point here is that any rearrangement at all of the contents of the tomb plays havoc with another alternative theory, that of Maurice Cotterell in The Tutankhamun Prophecies. He relies on precise number of this, that and the other, so these two alternative theorists can’t both be right (they may both be wrong anyway), and the end result of this friendly fire is confusion for the open-minded reader.

[Agape]

See here :

http://projectavalon.net/forum4/showthread.php?74801-Burried-Stonehenge-Relatives

They use Ground Penetrating Radar nowadays to explore the area and it's as expected , once inhabited settlement , really vast .

I've seen the place in 2007 on the way to Cornwall , thought it's a must .. but what you see on surface is ( I think ) poor remains of what's underground, long gone history . I wonder if there's large grave somewhere underneath they did not uncover yet and relics of civilisation.
The soil moves .. especially wet soil such as the one in English countryside , it gets soaked regularly and isolated stones and structures move .

http://i290.photobucket.com/albums/ll256/PaldenLhamo/Bury%20St%20Edmunds/IMG_1087_zps20808aa5.jpg (http://s290.photobucket.com/user/PaldenLhamo/media/Bury%20St%20Edmunds/IMG_1087_zps20808aa5.jpg.html)

http://i290.photobucket.com/albums/ll256/PaldenLhamo/Bury%20St%20Edmunds/IMG_1088_zpsae1f9177.jpg (http://s290.photobucket.com/user/PaldenLhamo/media/Bury%20St%20Edmunds/IMG_1088_zpsae1f9177.jpg.html)

http://i290.photobucket.com/albums/ll256/PaldenLhamo/Bury%20St%20Edmunds/IMG_1090_zpsb94e718a.jpg (http://s290.photobucket.com/user/PaldenLhamo/media/Bury%20St%20Edmunds/IMG_1090_zpsb94e718a.jpg.html)

( Courtesy of Barry King )

[araucaria]

According to this piece, visitors to Stonehenge should be paying only 70 pence: https://theheritagetrust.wordpress.com/category/stonehenge/


I have also just seen this strange article about children making gold items out of tiny studs of gold too intricate to be handled by adults, taking up to 2,500 hours on a single dagger. It begs the question of how the gold was produced in the first place. What process, I ask myself, do I not know about that is not hammering cast sheets into gold leaf?

Edit to add link: http://www.independent.co.uk/news/science/archaeology/stonehenges-most-intricate-archaeological-finds-were-probably-made-by-children-9738993.html

Leonardo de Vinci may well have spent 2,500 hours on the Mona Lisa, but he did not paint all the cracks, and it would be silly to suggest that he had an army of kids to do it either: http://en.wikipedia.org/wiki/Craquelure#mediaviewer/File:Mona_Lisa_detail_eyes.jpg
But clearly this is different: the equally sized round pieces with tiny gaps between them are not simply the haphazard result of an aging process. But we are also shown some carefully incised gold sheet artefacts. Surely some similar method was being used to mass-produce these studs – the equivalent of a concrete-indent roller used to provide a non-slip, imitation pebble or other such surface to otherwise smooth concrete.
http://www.concretetools.biz/concrete-indent-roller.html

[GNC Harteveld]

Same with dolmens in the Netherlands, lots of them have been 'restored' because the fell apart and by taking rocks from other places 'rebuilding' them to fit the 'experts' opinions.