Last of the Sacred Forests

LAST OF THE SACRED FORESTS

'In the high places of our land, dwelt the Giant Gods in the days of our ancient fathers.' (Huanca Indian legend of Peru, South America.)

'I WAS in a great subterranean hall—it appeared as though it had been hewn by the hands of a colossus—there were deep niches in the ancient walls which contained scrolls and scripts beyond count. I was alone, there was no sound. Over everything hung the atmosphere and odor of hoary age—how remote in the past I do not know! I had been to this chamber before many times, but I desired to know the name of this forgotten depository of the ancient ones. Suddenly, for the first time, I heard a voice within me say "Masma, Masma, Masma!" That this place was real, I was certain, and that it held a key to the mysteries of the world!'

The year was 1905, the place was the city of Andahuaylas, Peru, and the man was Pedro Astete. His description of a tomb-like place above comes from his now famous Dream of Masma known in Peru as El Sueño de Masma.

Pedro Astete was born in Lima, Peru, November 7, 1871. He studied in New York, Madrid, and traveled to various parts of the world to pursue his greatest interest—'Numbers, Signs, and Letters' of the ancient and secret science. Any mystery, large or small, was his special delight. He was a very colorful personality and lived in an equally colorful place in the old house of `La Calle de Polvos Azules', or 'Street of the Blue Dust', a place he almost never left after his years of traveling were over. A great balcony looked out over the Rio Rimac that now passes close behind the Presidential Palace in Lima. Here he had a magnificent view of the lofty Andes where, thousands of years ago, a race of great intelligence left footsteps in Time.

Astete was a great scientist who, like many before him, was not appreciated during his lifetime. He died in Lima, January 5, 1940. He wrote volumes of information on the lost and ancient science, but little has been published.

Dr. Daniel Ruzo, a friend of Pedro Astete, and a well-known researcher of Peru, has published one of his books (Los Signos Develación del Lenguaje de los Símbolos, 1953). Dr. Ruzo believes Astete experienced far more than a dream; he feels certain that this man was teleported or projected to an actual location beneath the surface of the Earth.

Dr. Ruzo used the word 'Masma' as a key to attempt to locate the area in the `vision' of his friend Astete. Here is where one really becomes confused, because all over South America there exists a great ancient collection of many races representing many migrations. It is nearly impossible to separate them, classify them, and to study them. For instance, the only 'Masma' in Peru is a tiny Quechua Indian village north of Jauja in the Departamento de Junin. Could there possibly be a connection? It still is not known, although there is something most curious about the name of the village: Masma. Masma is the seventeenth Patriarch in the Bible after Noah. What possible connection can there be between a character out of Holy Scripture, a `dream' of a Peruvian in 1905, and a tiny, forgotten, almost deserted Indian village? I do not know, but there are many Hebrew place-names in Peru and other parts of the Continent. This is only one unexplained mystery, and South America apparently is the 'Mother of Mysteries'; she literally abounds in them. For example, is Ophir of the Bible really Peru, and is Yectan really Yucatan, Mexico? Some of these questions I hope to answer soon. I think we will discover that many of the Old Testament Bible characters also represent races and lands.

Perhaps the word 'Masma' in Astete's `dream' has nothing to do with known places, but represents something else. Because of the strange figures seen from the air and on the ground near the hills of San Cristobal (not far from Lima) on the coast of Peru, Dr. Ruzo believes the subterranean depository may be there. Fantastic monoliths are in the mountains of this area, although it is difficult to study them now because of their ruined state due to thousands upon thousands of years of erosion.

Dr. Ruzo continued to search for the elusive `Library of the Great Ones'. Finally, in 1952, he made a discovery high in the Andes that some day will place his name beside the immortals of exploration. Its importance is so overwhelming he might just as well have discovered the Great Pyramid at Gizeh. For twenty-five years Dr. Ruzo had explored the mountains and the coast of his country to study and photograph giant stone figures made by a vanished race. These figures, isolated and partially destroyed, were not considered important, and sufficient proof was lacking.

In 1952, Dr. Ruzo heard about a remarkable monolithic carving that existed high on a plateau overlooking the village of San Pedro de Casta. This plateau is called 'Marcahuasi'. It is three kilometers long by one kilometer wide and is located between the Santa Eulalia and the Rimac Valleys. San Pedro de Casta is 9,800 feet above sea level and the plateau itself is a little over 12,000 feet.

The remarkable monolithic carving that Dr. Ruzo heard about is undoubtedly the most important figure on the plateau. (See Figure 2). It faces Lake Shotoc and is over twenty-five meters in height. The oldest name Dr. Ruzo can find for this enormous carved head, is 'Peca-Gasha' or 'the head of the narrow pass'. Undoubtedly, this is not the original name, but is used by the natives of the area at the present time. Also, Dr. Ruzo has photographed this head over three hundred times at different times of the year and from different angles. At least sixteen anthropomorphic figures are carved on the 'Peca-Gasha' and they apparently represent several different races.

In the early part of 1957, I met and talked with Dr. Ruzo at his home near Lima, Peru, and I became convinced that the evidence he had accumulated through the years of research was indisputable. Through the kindness of this fine man, arrangements were made so that my expeditionary party, then working in Peru, might visit the fabulous plateau.

On June 7, 1957, we made our way on foot and on horseback over tortuous Andean trails to San Pedro de Casta and from there on up and up and up to the plateau itself. The native people of the village far below, descendants of the Huanca Indians, fear the plateau because they say it is an ancient place of `magicians', 'wizards', or `Giant Gods'. Their ancestors, the Huancas, held their sacred rituals of `Huari' at Marcahuasi. The word huari in the Quechua language means: giant or strong. Formerly, the 'Huarinas' (virgins in the worship of the god Huari) danced at the monolithic altars of Marcahuasi, casting their shadows upon stone figures carved in the days when the Earth was young. There are two altars that must have been used. One of these is now called 'Mayoralas'. It is located over a hundred meters above an abyss, and the gigantic stones which form it face the sunset. The modern name of 'Mayoralas' is one applied to the maidens that sing and dance in the ritual festivals during the first week in October every year far below in San Pedro de Casta. The ancient name for the virgins was 'Taquet' ('to sing' in Quechua) and this is also another name for the stone altar whose stones apparently were carved to represent giant creatures in the act of singing. The figures are placed in such a way that special acoustic effects are permitted. This was part of the plan of the ancient builders who wanted the religious chants to be amplified.

The other altar of importance is called 'Cancaucho' and faces the sunrise. It is so gigantic it could hold a large modern army in front of it. On a little hill near this altar there is a king or priest sitting on a throne with his hands folded in prayer. Figure No. 3 shows 'Cancaucho' with its weird, snow-white facing. Figure No. 4 is the author exploring the surrounding area. (The altar is in the right background.)

Why the festivals are no longer held at Marcahuasi is not known, unless it is because of the fear of the place in general. Formerly, the 'Huarinas' were virgins; now the natives have dispensed with that requirement. Men of the village below say that the first night of the ritual in October is secret, and no white man may ever witness its dances or hear its strange songs, performed in hidden valleys in the surrounding hills. The second day the fiesta is held in town, and the local Catholic priest officiates, since it now has all the appearances of a Christian celebration, although it is, in reality, a ritual to the worship and adoration of `Huari', the most ancient of all gods in this area. More of him later on.

We were greeted by all kinds of friendly people in San Pedro de Casta who followed us up to the plateau. There were women in curious hats and bright attire, naked, dusty children, teachers from the local school, and important politicians. Figure No. 5 shows some of our friends with their families, and Figure No. 6 is the great 'PecaGasha' itself with a swarm of friends at its base. This will give you an idea how colossal it really is.

The entire plateau is covered by a coarse, dry vegetation and is also covered by fog most of the time during seven months of the year. However, between May and September the sun turns it into a delightful place, although the nights and early mornings are very cold.

The first thing that caught my eye after I was made speechless with the sight of the 'Peca-Gasha', was a cement block with a bronze plaque. It read:

The Peruvian Association of Astronomy determined the magnetic declination of the plateau and an aerial photograph was taken which is now in the archives of the Peruvian Air Ministry. Dr. Ruzo has been studying the relationship of the symbols represented in all the stone figures and the mathematical relationship among the figures themselves. There is no question that the position of the sculptures on the plateau and surrounding the little lakes on top indicates a general pre-established plan of the ancient priests and master builders. At the four cardinal points of the plateau we find the most outstanding and important carved figures.

I spent many days on horseback, traveling over the entire area of Marcahuasi. I can give you here only a little of what I saw, for to really appreciate and be thrilled by the plateau, you must see it for yourself—words are inadequate. Ouspensky, in writing of the Sphinx of Egypt, said:

"... it had seemed to me that it would be necessary to approach it with the full equipment of a knowledge different from ours, with some new form of perception, some special kind of mathematics..."

If Ouspensky had ever seen Marcahuasi, he would have immediately realized that his words were even more fitting for Peru than they were for Egypt, for we must also approach the strange monoliths of the plateau with a 'knowledge different from ours... a new form of perception... a special kind of mathematics.' If we don't, we are liable to go mad.

There are magnificent artificial lake systems and large dams and canals. On the stones rising from the ancient water level are carved figures that once cast curious shadows on the surfaces of sacred lakes. Strangely enough, there is a small lake on the plateau today called `Black Lagoon', and out of its centre rises the perfectly carved head of a scaly dinosaur-like monster as if it were just breaking the surface, resting its enormous, ponderous body on the bottom.

After studying hundreds of carvings on the plateau, Dr. Ruzo reached a startling conclusion. But the evidence was all there. Gigantic altars that could accommodate only very large life forms. How large? At least twelve feet tall. Therefore, Ruzo believes Marcahuasi holds important keys to the world's ancient mysteries—it is possibly the last 'Sacred Forest' in such a state of preservation. One of the great 'Sacred Forests' of whispered antiquity where the 'gods' met in council to decide the fate of the world.

When you view the figures on the plateau you feel you are looking at some long-forgotten museum of the 'Giant Gods', for it seems that everything ever created is represented here. There are all kinds of great birds and animals from lions and elephants to camels and penguins—all of which never existed in South America. (See Fig. No. 7, 'The Lion', and Fig. No. 8, 'The Group of Elephants'.) In Figure No. 8 you will find the elephants (one going away from you and others leaning against him) in the centre of the photograph. To the extreme left you will notice several stone burial 'chulpas' (tombs) of the Incas.

There are countless human faces representing all the races of mankind. (See Fig. No. 9, which is called 'La Negrita', the colored woman.) Many great stone heads bear strong resemblance to those found on Easter Island in the Pacific Ocean, for they possess the same features with the stone hats and all that the Island statues are famous for. There is another curious figure exactly like Easter Island representations. It is a great carving of a headless man with a gigantic bird head attached to the end of his spine.

Obviously, ancient religions are represented, for there are many sphinxes in evidence. (See Fig. No. 10, and look at the photograph with a magnifying glass. a. is called `The Warrior's Helmet'; b. is called `Elephant Head'; c. is a pair of magnificent sphinxes that appear to be Grecian, for they have the faces of women; and d. looks like a great `Toad'.)

Figure No. 11 also gives you a close-up view of the same great 'Warrior's Helmet'.

Thoueris (Ta-urt), the Egyptian goddess represented as a hippopotamus, was supposed by priests at Thebes, where she was worshipped as Apet, to have given birth to Osiris. She is always shown leaning on an amulet which represented the blood of Isis and is similar in shape to the crux ansata, the Egyptian ankh, sacred emblem of Eternal Life. (See Fig. No. 12 for the Marcahuasi 'Thoueris', and Fig. No. 13 for the Egyptian Thoueris in the Cairo Museum). When the light is just right, the typical headgear, features, arm, and even the sacred amulet are plainly visible on the Marcahuasi goddess.

Figure No. 14 is of `The Turtle'. This great monolith looks out towards the west, and one gets a magnificent view of the Pacific Ocean from this point. This great figure has been 'guarding the way' for thousands of years, long before the Incas were ever heard of, long before Pizarro plundered an Empire, long before you and I knew existence. What tales he could tell if he could but talk to us!

Figure No. 15 is of a strange carved face in front of the 'Cancaucho' Altar. When we get a side view of this face (See Fig. No. 16) a most unusual effect is discovered. There are really two faces in one. If you look at the front of the carving only, you will see the face of an Old Patriarch, kind and wise, but, if you look at the whole figure and view the great depression near the top as an eye, you find you have the opposite, a hideous and sinister face, a 'prince of devils!'

Figure No. 17 is called simply, 'The Lovers', since we find two figures locked in a tight embrace and kissing.

Some of the carvings of Marcahuasi appear to be natural at first instead of artificial. That is, they could be the weird result of erosion over thousands of years and not man made. There are several reasons why they appear this way on first study. First of all, if the ancients wanted to portray a man in stone, they wouldn't choose a group of stones that had more the appearance of a dog or bird, etc. They would first find the rocks that in a general, rough way had the outline of what they desired in the final product.

Natural igneous rock formations of crystalline texture (granite; diorite) would have their original shapes roughly adapted by having only one feature carved on them; others would be carved so that from different angles of observation, three or more distinct figures could be seen. Now, after thousands of years of destructive action caused by erosion (for the stones are now profoundly weathered) the features added by the builders have almost disappeared, and the stones have nearly reverted to their original appearance of being nothing but `stones'.

Therefore, we have two main reasons why several 'experts' have called the discovery at Marcahuasi "Ruzo's Folly"! They don't realize that the figures appear natural—of course, they have only studied photographs of the area since they wouldn't take the time to examine the evidence first hand—because the ancients chose those formations that had the original outlines of what they desired to create. This gave the entire piece of art the appearance of having 'grown up out of the ground'. They only depended on their sculptural techniques when it was absolutely necessary to complete the figure so that it would be easily recognizable. The second reason is that the so-called `authorities' do not realize the fantastic age of the images and therefore don't take into account the fact that erosion has almost destroyed that which intelligent beings carved in the rock formations. The ancients wanted everything to remain as natural as possible, for they felt they could not improve on that which the Creator had brought into existence. How much better our world would be if we had the same feelings today.

Dr. M. K. Jessup, former astronomer at the University of Michigan and explorer of note (Mexico and Peru) has informed me that the amount of time necessary to produce such erosion in the great carved figures is staggering. He says at least 100,000 years would be required and more likely 1,000,000. Here, then, is perhaps one of the great clues to the identity of the designers and builders of the `Sacred Forest'. Who could have possibly constructed these figures at such an early date?

The ancients built enormous stone platforms for the express purpose of viewing their creations—several of these have been located recently on the plateau. The figures were never meant to be seen from all angles at once. The builders desired that only a section of each group be viewed at one time. Therefore, they constructed observation platforms that fixed the point of view. So ingenious and inventive were the designers, so adroit at their labor, that they were able to perform miracles on the plateau by the clever utilization of light and shadow falling upon the completed figures and their surroundings.

Many of the monoliths were never meant to be observed except during certain, fixed hours of the day, or of the month. Others were meant to be observed the entire year through and still others require an extreme angle of sunlight—or moonlight—to be visible and meaningful at all. Yes, many of the images only can be appreciated in the twilight when no sunlight falls upon their surfaces. Many carvings were meant to be purely solstitial in that they appear only at a solstice in June or December of each year.

Several of the larger groupings of figures are definitely related to each other, since they stand in the four cardinal directions of the plateau, and since it is possible to draw straight lines connecting three or more points of importance. Many of these lines, if lengthened, indicate the rising or setting of the sun.

Perhaps the most predominant feature in the figures, and one which definitely proves sculpturing by an intelligence, is the treatment of the eye formation. Many of the statues have three or even four eyes, but from a distance they present only two eyes, no matter what angle you observe them from.

In the centre of one group of figures, one can observe the great reclining form of a very old man. He is attended by two women who stand over him. Also, there appear to be several animal forms which could easily represent the Four Elements of the ancients. Dr. Ruzo discovered something about these particular figures that makes us pause in amazement at the intelligence of the designers. When a photograph of the figure of the old man is taken, and the negative is projected on a screen, you see the face of a handsome young man with hair falling over his forehead, and he looks at you with a virile, proud and noble expression. How could the ancients portray a senile and ugly old man and know that a photograph taken thousands of years later would change him into a youthful creature in the bloom of his manhood? This I call the mystery of the 'Methuselah of Marcahuasi'!

Originally, there must have been many petroglyphs and pictographs at Marcahuasi but, unfortunately, these have almost all been erased by the effects of time. However, when the light of the sun strikes some of them at a certain angle, five and six pointed stars, circles, triangles and rectangles show up. Others can only be viewed in very subdued light.

There is one pictograph painted on the neck of the giant 'Peca-Gasha' that has been well preserved, due to its location under the protruding chin of the figure. With a make-shift ladder I climbed to this point to study the design in detail. It is made in a strange way—small black dots have been used to form the lines of the design. (See Fig. No. 18.)

The larger square contains sixteen smaller squares, and it is flanked by two circles. Each of these circles has another circle within it and in the centre a dot. All lines of the design are in black, except the second line within each circle which is in yellow. This square of sixteen smaller squares has been observed on rock formations throughout the world, and I have even observed it in my explorations in the Mohave Desert of the State of California in the United States. One possible clue to the meaning of this pictograph may be found in the fact that the two circle designs are the same as the ninth letter of the Greek alphabet.

Dr. Ruzo says of this simple drawing: 'This squared design, a two dimensional space sub-divided by crosses repeated at regular intervals, is the central figure of Pedro Astete's work, Los Signos'. What a strange story begins to unfold! Astete 'dreams' of a fabulous depository of an ancient race in 1905 and in his research comes up with the idea that all symbolism or symbols of the past, present and, of course, future can be traced to the basic design of the 'Sixteen Squares'. Then, in 1952, forty-seven years after his 'dream' and twelve years after his death, his friend finds the 'Sixteen Squares' exactly reproduced on the greatest stone carving of a hitherto scientifically unknown plateau of the High Andes. What is the answer? As they would say in Peru: 'Quien sabe, señor?' But it seems most likely that Astete—and even Ruzo, etc.—was guided in his work by an unseen intelligence. Could this possibly have been at the direction of the vanished `El' Race? We will look at the possibilities a little later on, staggering as they may be.

The design of the `Squares' is undoubtedly the highest symbol of a very ancient mythology : it was placed on the heads of the Egyptian gods, it was engraved on important monuments the world over, and it is found in a very ancient monolithic ruin near Cuzco, Peru, former capital of the Inca Empire. It should be pointed out that the well-known 'Stair-Step' design or design of `Evolution' found in all symbolism-especially in Mexico-is only a secondary symbol of the 'Sixteen Squares' being only one of the possible symbolic expressions within the 'Squares'. (See Fig. No. 19.)

Figure No. 19 clearly shows us that we have four steps to climb to reach the top. Does this `top' symbolize the conquest of the four conditions, MEST, or the harmonization of an individual with the Four Great Primary Forces? It is obvious that the 'Stair-Step' design, long thought to be one of the very earliest symbols on Earth, is not as old as the `Sixteen Squares' from which it must have been derived.

Also, at Marcahuasi, near one of the strange altars that must have accommodated a creature at least twelve feet tall, due to the distance from the head rest to the foot position on top of the altar, we find another symbol. (See Fig. No. 20.) The four squares within a larger square again symbolize the Four Great Primary Forces working also within the Earth.

Besides geometric designs, unusual glyphs or characters have been discovered on the plateau. (See Fig. No. 21.) One is very similar to the early Chinese characters SAI: to walk slowly; and PIEN: to separate. Most of these characters seem to be grouped around what may be tombs. Great stone slabs have giant faces carved on top of them, and these may be the faces of those buried in the crypts. However, these may be what is known as 'false tombs'.

Most of the people today at San Pedro de Casta are not even aware of the existence of such fabulous figures high above them on the plateau. However, there are some legends, and one of them says that during a certain ancient period the great sorcerers and healers gathered together on the plateau and that there is a rock now which represents each one who attended the council. Another story tells of the `Caris', the hard-working men, and the 'Quellas', the idle, lazy men. The people believe that there are stone images of these men on the plateau. When Dr. Ruzo first went to Marcahuasi he located stone figures portraying these two types of men. The 'Caris' are shown with a great burden on their backs (the aguayunco), and the 'Quellas' are shown lying on the ground, asleep.

Cristobal de Molina says in his Relacion de las Fábulas y Ritos de los Incas, that, 'Tecsi Viracocha, the Incomprehensible God, came along the mountain road visiting and inspecting all the provinces to see how they had begun to multiply and to accomplish what he had ordered them. He found some rebel nations that had not fulfilled his orders, and a large part of these he turned to stone into figures of men and women, with the same dress they were wearing.' This conversion into stone took place, says the legend, at Tiahuanaco, Bolivia; Pucara; Jauja (very near Masma); Pachacamac; Cajamarca, and other places.

It is an interesting fact that the `Incomprehensible God' is used and that in the above places today one can see giant stone figures, but, because no one understands them, they say the 'gods' turned people into stone. Yet, it may be that the 'gods' of yesterday, the 'Elder Race' created on the Marcahuasi plateau and elsewhere an ancient museum—a time capsule, so to speak, that depicted the future animals, the races of mankind and their religions, and the symbolism of the future world that was to follow them millions of years later! Fantastic? Yet, were they not called `Planet Preparers' and were they not 'Incomprehensible'?

There is another story that says Tupac Inca Yupanqui, one of the great Inca Emperors, traveled to Jauja where he visited some very ancient buildings, and the people there told him these had been built by some very brave strangers who were white, very tall, and so invincible and valiant that only time could overwhelm them. Obviously these ruins were Pre-Inca if the Emperor of the Inca Empire knew nothing about them. Also, remember, Jauja is very near Masma, that strange little village that bears the name from Genesis and from Astete's 1905 'vision'. The legend says 'very tall' beings created these things and only `time could overwhelm them'. We begin to get clues that 'overwhelm' us, too, but we must move on. Who was tall, and who was overwhelmed by Time?

The early Huancas and their conquerors, the Incas, spoke of many places in the land that had been the former homes or locations of 'magicians', wizards', and `Giant Gods'. Legends of the 'Corisapra', or the 'Golden Beards', are widespread throughout South America. In the old records of the city of Andahuaylas, Peru, among the family names of Indians, the surname 'Corisapra' is repeated over and over again indicating a blonde and bearded people in Peru in ancient times and undoubtedly in the very area of Andahuaylas. Remember, again, that Pedro Astete had his now famous 'dream' in this same city in 1905. Is there any connection? Perhaps not, but what if tiny Andahuaylas is located over a great subterranean chamber once occupied by the 'El' Race? There are so many loose threads to bring together in this matter that it is almost impossible to concentrate on it. Surely, it could drive one literally mad? Complicated mystery upon mystery becomes a barrier to our research.

There are several reasons why the 'El's' may have had something to do with the figures of Marcahuasi. First of all, of course, there is the fantastic age of the granite formations themselves. Also, there are no house remains on the plateau which correspond to the age of the monoliths. Remember, the `El's' lived underground. Astete saw `scrolls' when he had his 'dream'—and the 'El's' used no written word—only tiny crystals which contained thousands of items of information. These constituted their historical records, etc., and they were `played back' to a researcher in their 'libraries' through the use of a magnetic field that would enclose the crystal from their archives. If Astete's subterranean chamber belongs to the 'El's' then why the `scrolls' on the shelves and in the niches? This appears to be a contradiction but may not be—only time will tell.

In the symbols of Marcahuasi we appear to have clues of the Cyclopeans. (See Fig. No. 18.) In the two circle designs we find the symbol of the ninth level or the Energy Universe (Infinity) in the ninth letter of the Greek alphabet. In the `Sixteen Squares' we find 8+8=16, and we already know that the symbolism of eight is for the Thought or Theta Universe.

Perhaps the `El's' didn't plan and build the great `Forest' of Marcahuasi, but maybe it was constructed at a later date by those who retained some kind of a memory of the 'Elder Race'. This could have been through 'sensitives' of the day who tuned-in to the underground `libraries'.

There are figures with only one great eye on the plateau, and the legends and traditions point to the fact that 'Giant Gods' lived there. If it wasn't the `El's' then who or what was it? And we have more evidence than legendary evidence. For we have the mute, unbelievable altars that could accommodate nothing under twelve feet in height. I am convinced these were not sacrificial altars, but were used in temples that were both centers of religious and spiritual devotion as well as scientific laboratories.

The god `Huari' of the Huancas was evidently a Hercules or a culture-hero of these people. Very likely he had been a giant king or being in the dim past. Like his Greek counterpart, the Huanca 'Hercules-Huari' was celebrated for strength. The huaris, or 'great ones', were the ancestors of the aristocrats of the tribe, and were regarded as specially favorable towards agricultural effort (perhaps because of the underground 'El' accomplishment. The 'El's' sprang from the soil into the Theta Universe, and this symbolized growing things and bountiful crops that had to come from the soil also?). The huaris were called the 'gods of great strength', and many libations of chicha (strong drink) were sacrificed to them by the priests. Ancestors were deeply revered, a memory of the 'Elder Race'?

The fact that the worship of `Huari' and the huaris was widespread can be seen in the names of towns, etc., today in Peru : Huari; Huariaca; Huaribamba, etc. Memory of the Huancas is found in such place names as : Huancayo; Huanacupampa; Huanca; Huancabamba; Huancane; Huancano; Huancape; Huancapon; Huancarama; Huancaray; Huancaraylla; Huancarqui; Huanca-Sancos; Huancaspata; Huancavelica; Huancaya, and many others.

Monstrous stone figures, carved into fantastic shapes, enormous altars for giant beings, faces, signs and symbols that only become visible during certain times of the year when the sun or moonlight strikes them at the right angle, any of these things alone is quite enough to stir our sense of imagination and make us thrill to the happenings of a long forgotten yesterday, but there is more on Marcahuasi and about Marcahuasi that is even yet more incredible.

Something literally 'out of this world' seems to be hovering over the plateau. One night the view of the moon was beautiful and I joined several native youths who were sitting next to the great bulk of 'Peca-Gasha'. Then my ear immediately caught something I had heard before, while exploring, but because of the wind howling around the plateau and the figures, I never paid much attention to it before. Undoubtedly, the sound of the wind had drowned it out so that it was not too noticeable.

An eerie humming sound filled the cool crisp night air. I asked the boys if the sound was made by crickets, and they politely informed me that there were no crickets anywhere on the plateau and there never had been—it was too high. Then I asked them if the sound was made by any animal they knew about. Again they informed me politely that the sound was not made by any known animal. I could readily see that the boys didn't want to talk about the sound, for they had been laughing and enjoying the evening until I had drawn their attention to the odd droning coming from the great carved head towering above us. Now they were quiet, and appeared most uncommunicative. I asked them more questions which they didn't answer for a long time—we all just sat there, engulfed in the steadily increasing pitch of the sound. Finally, one of the youths told me that their ancestors spoke of the sound, but said they didn't know what it was either!

I listened to it again carefully; it was so loud it could have been tape-recorded on the spot. What did it really sound like? It was like a swarm of bees at a distance, yet like crickets too—much more staccato than bees. Then the thought struck me like a demoniac thunderbolt; of course, the strange clicking sounds of the 'El's', this is what it must have sounded like. A chill went up my spine that was not altogether caused by the coolness of the Andean night. I got up and walked over to a point where I could look down into the valley below, and I beheld a sight I shall never forget, like a 'Punch-and-Judy' show or a pantomime the shadows cast by the carved figures high up on the plateau were turning into the forms of men, animals and mythological creatures in the valley beneath me. What great race conceived these things? Here was something outside of human ability to understand—a peek into another dimension! Who carved stones so that at certain angles they would change shape and cast shadows at twilight into low valleys, so that when the moon moves across the night sky, strange and fantastic forms go through thousands of motions as if they were alive? As I turned to go to my sleeping bag, I glanced back for the last time to see a shadow-figure that looked all the world like a little hook-nosed humpback `Punch' emerge from the rocks below. The monoliths of Marcahuasi—figures of another world we will never fully comprehend. The words of Ouspensky burned in my brain: `... it had seemed to me that it would be necessary to approach it with the full equipment of a knowledge different from ours...'

In other parts of the world the strange humming sounds have been reported, and some `experts' have declared it is the action of the wind. However, there was absolutely no wind of any kind the night I heard the sounds coming from 'Peca-Gasha', and the wind will not answer the question of what is causing such noises in different stone figures throughout the world. It is usually associated with objects made of granite. Let us remember that granite was the sacred rock of the Egyptians and other ancient people. Why was it considered sacred? It is just possible that the great stone figures of Marcahuasi are in reality some kind of fantastic batteries, but for what purpose? In each figure there are thousands of quartz crystals displaying a piezoelectric effect due to the tremendous pressure of the crystallized substances. It is stated that the humming sound is getting louder year by year at Marcahuasi and at other places in the world. Why?

During the time of the `El's' on (or I should say under) the Earth our planet was bombarded with a certain intensity of Cosmic Rays. I believe that a decrease or an increase in intensity will cause widespread changes on the planet, such as the size of animal and plant life, etc. Scientific calculations show that at the present time the electron count has speeded up and the Cosmic Ray bombardment of our world has increased fantastically. Perhaps the humming sound will continue to increase until the Cosmic Ray intensity is the same as it was during the time of the builders of the Marcahuasi monoliths. At this time, when the intensity is exactly right, the tombs and subterranean chambers of the plateau may open and reveal their 'time-capsule' contents. Is there a cosmic lock on the secrets of Marcahuasi that will open in accordance with that which is written: '... for there is nothing covered, that shall not be revealed; and hid, that shall not be known.' (St. Matthew x:26)

The name Marcahuasi is evidently a name that came from the time when the Inca army occupied the area of the plateau. Because of its strategic position, it was the ideal location for a fortress. In Quechua, `Marcahuasi' means: 'house of two stories'. This describes the headquarters building of the Inca military colony that lived on the plateau shortly after 1350 A.D. and established the rule of the Empire of the Sun over the entire region. The Incas knew nothing about the giant stone figures and the conquered Huancas only had their strange legends of 'Giant Gods'.

There are also stone `chulpas' (burial tombs) near the fortress, built either in series, isolated, or in a two-storied arrangement. These tombs, which contained the splendid mummies of important military leaders, have all been violated. Evidently the Spanish did a thorough job of plundering when they arrived on the plateau shortly after they had murdered the Inca Emperor Atahualpa at Cajamarca, Peru. Today, they stand as mute evidence of man's insatiable lust for gold.

During our exploration of the plateau, we came upon a cave that had obviously been used for ancient burials, for in its entrance we found many skulls and pieces of clothing that had been made from llama and alpaca fur. This cave is in a beautiful place that overlooks a valley thousands of feet below. As we sat down to rest in front of the cave, I noticed an artificial stone or adobe wall that ran in front of the original, or natural granite wall of the cave. Suddenly, an exciting thought came to me: could it be possible that the Spanish didn't find all the tombs at Marcahuasi, that some might still be intact, untouched since the time the soldiers at the fortress buried their dead in them? Of course, I had no hopes of finding objects of gold or silver, for poor soldiers didn't own such costly and precious material. While I sat looking at the man-made wall which passed over the natural wall, I had an idea. Would the Incas have gone to all the trouble of building an artificial wall in front of a perfectly good natural wall? In other words, why were there two walls on top of each other, unless—unless the natural wall behind the first Inca wall was not solid, but had a hole or entrance in it that would lead to—to what? I sat quietly while these thoughts went around in my mind. Finally, I thought it was fanciful to think of such a thing, and yet the possibility was there.

Before we left the area, I had one of the native men with me remove several of the stones from the adobe wall; quickly we saw that the cave wall behind it was not solid as I had suspected, and there was a large cavity there. As we peered into the dusty interior we found that we had discovered an unopened tomb! I could see by the dim light that there were many mummies lying on the floor of the crypt. Later we learned they were of young soldiers who had been attached to the fortress on the plateau, and since there were remains of women and children also, we realized these must have belonged to the families of the same soldiers.

Figure No. 22 shows a workman on the right holding a complete mummy in front of the newly opened tomb, and the author on the left holding the mummy bundle of some long-dead warrior. In front of the cave you can see countless skulls, parts of mummy bundles, etc., that came from the interior where the cave had been sealed up with stones by the Inca owners. Figure No. 23 shows the author with two of the finds from the new tomb (that's me on the right!). Notice one of the mummies is still tied with the ancient rope that encircled his body preparing him for burial.

I had an experience in the deepest part of that tomb which I would like to relate. We had removed all of the mummies but one. This one was deep in the tomb and it was impossible to stand up in this area for it was only about three feet high and very narrow. The odor of the centuries was overpowering and the atmosphere very oppressive—fine dust was on everything. I was as excited as though I had found another 'Tut-ankh-amun' and crawled into the tomb and bent down in the small area to remove the last mummy-bundle. I had come to Marchuasi to look at giant stone figures, not to excavate a tomb, so I had no tools with me to do a proper job. I had to use my hands to dig around the mummy to free it of the debris of centuries.

While I was engaged in this work, I suddenly felt a terrific pain in the right side of my head. At first I thought something had fallen from the ceiling and hit me, but that was impossible for the ceiling was barely an inch from my head as I bent down to work. I continued to excavate, but a pressure began to build up in my head and I found myself with the most awful headache I have ever experienced, and I have had very few in my lifetime. Finally, I could work no more for the pain was so great I could hardly see what I was doing. I stumbled out of the cave-tomb and went to bed to remain there for two and a half days.

During those days of confinement I ran a high temperature and the headache continued. Natives coming to look at the sick `gringo' would shake their heads and say, under their breath: `Soroche.' This means altitude or mountain sickness, and we were nearly 12,400 feet above sea level. However, my headache had nothing to do with 'soroche' and besides I didn't have the other common symptoms of the condition.

A few hours before I got up in the middle of the third day a native brought me that last mummy I had been working on at the time of the awful headache. He wanted to show me the pieces of the woolen poncho and part of the soldier's array of weapons that had been attached to the outside of the mummy-bundle of vicuna hide. This was all interesting enough, but as the man turned to go, I saw the right and back side of the mummy, a part I had never seen because I was unable to complete the excavations in the tomb several days before. What I saw made my blood run cold. In exactly the same place on the head where I had had my terrible headache, the mummy's skull displayed a great gaping hole that must have been caused by some ancient adversary's powerful stone war club.

What did all of this mean? I really don't know. However, I have heard it explained that in haunted castles and places where violent deaths have occurred—either accidental or as a result of murder—not always is the discarnate entity itself doing the `haunting', but only the `astral shell' that stays on going through similar motions it knew during the entity's last moments on Earth. Because of the nature of the death through violent means, something takes place which is very much like taking a picture by letting light fall on sensitive film or photographic paper. The entity may have long since gone on to his heavenly reward, or whatever his fate was to be, while his 'astral double or shell' continues to 'haunt' the death area year after year.

Is it possible that in the unopened tomb, where no one had been since the day the mummy was placed there, the `astral shell' of this ancient Inca soldier was still around, hovering over the former body, and, if so, did this 'shell' still contain all the impressions of battle, wounds, agony and eventual death that had actually occurred many centuries in the past? Is that why natives in Peru today are, as they say: '... more afraid of the dead in tombs than of dying.' And if all this is true is it possible that somehow I got in rapport with that 'shell' through my enthusiasm over the discovery? Did I actually feel the dying pains of a young Inca warrior who died on the battlefield serving 'Lord Inca' on his throne in Cuzco? Was it a battle where the Inca army defeated the Huancas of the Marcahuasi plateau? Perhaps we will never know these answers.

Having accepted the reality of UFOs, or ships from other worlds visiting the Earth now and in the ancient past, I have often wondered as I viewed portions of the 'Capac Nan', Royal Road of the Incas, in various isolated parts of Peru, if the travelers ever looked up to see what we see in our skies today? Did the young chasquis, or runners, who were `chosen from among the most active and swiftest of all their tribesmen' hurry along the greatest highway of the ancient world, encountering heights of 15,000 feet, did they ever pause for a moment to look up in wonderment at a swiftly moving unidentified flying object? And did they report breathlessly later to an official of `Lord Inca' at one of the highway stations or tampus that they had witnessed a sacred sight—the Illa-Siva or 'light rings', the Rampa-Liviac or 'litters of electric energies?' I believe they did, and I am now preparing a book that will reveal this and other truths about the unknown and mysterious beginnings of the Inca Empire.

The travelers along the greatest known road in the world were in communication with the travelers along the greatest 'highway of the stars', the road in the sky that this book deals with. Here is a correlation that excites us and makes us pause and wonder.

There are other people in the world who are vitally interested in Marcahuasi and its great monoliths. On July 12, 1957, H. S. Bellamy wrote the following in a letter to Dr. Ruzo from Vienna :

These things (the Marcahuasi figures) are really astounding, although I am afraid I know nothing further about them than what I have learned from your book (La Cultura Masma), I am fully prepared to regard them as genuine monuments left by a people that have long since disappeared.

Mr. Bellamy is well-known for his books : Moons, Myths and Man; Built Before The Flood; The Calendar Of Tiahuanaco, and many others.

On September 1, 1957, Peter Allan, Mr. Bellamy's co-author of The Calendar Of Tiahuanaco, wrote to Dr. Ruzo from England:

Congratulations on making a discovery of the greatest importance.

After reading your book and having spent hours studying the photographs, it seems to me that the culture of Marcahuasi may well be of such an extreme antiquity that it might profitably be studied in the light of our findings in respect to the Tiahuanaco monuments.

Prof. Henri Bac of France wrote:

I have read and re-read your inspiring book on La Cultura Masma which interests me very much because it supports my own theories on Atlantean migrations...

The distinguished geographer, lecturer and explorer, Dr. Joseph Grellier, professor of the School of Anthropology in Paris, France, wrote:

The archaeology of Peru presented by Dr. Daniel Ruzo, the fifth of January, at the Sorbonne (University of Paris) for the Ethnographical Society of Paris was a brilliant lecture on the Marcahuasi Plateau which he has studied since 1952. During a conference which I gave last Friday in the Louvre, under the auspices of the Society of Comparative Civilization, I presented his colored slides. This excited much emotion as well as interest.

Dr. Grellier is the discoverer of the sources of the Orinoco in South America, and since 1949 he has been studying the geography of Colombia and Venezuela. He is a well-known authority on the effects of erosion, and he claims that the stone figures of Marcahuasi could not possibly be natural.

Prof. Pierre Legallic, noted scientist and lecturer of France, wrote:

... these vestiges (at Marcahuasi) are not in places of habitation but in places where many people used to gather... places of reunion like Jerusalem for the Hebrews and Mecca the holy city of the Moslems... the assemblage of monuments in this area depicts a sacred work like the caverns, crypts and grottos known throughout the world to be places of pilgrimage only. One can see at Marcahuasi a 'Sacred Forest' or a hidden grove or wood of countless European legends... the only one that remains so well preserved.

Dr. M. Martigny of France, professor of the School of Anthropology, wrote :

I am very interested in your work. Would you be able to send me a text of your investigations so that I might present it to the Ethnographical Society? I am certain that my colleagues will greatly appreciate it as well as I. We will study the possibility of organizing a scientific expedition to the area of your discoveries.

Dr. Antonio Pampa y Pompa, secretary of the National Academy of Sciences of Mexico and director of the National Institute of Anthropology and History wrote :

I congratulate you for the form and depth of your research. I recently made a very dangerous journey to the hill of Meco (Cerro del Meco) and had the satisfaction of observing similar monoliths in their original position... I have come to the conclusion that these are not natural but made by man (intelligent beings). They are very similar to the Sphinx. Therefore, I will appreciate your communications which I shall make known to the Academy of Sciences. You and I will form two units of investigation in America studying this prehistoric cultural expression.

Prof. Denis Saurat, author and lecturer of France, wrote:

The more I look at the photographs and read and re-read your book, the more I am impressed by your astonishing discoveries. You give extremely important information which appears to me to be decisive. I am going to give a conference in December in the Centre Universitaire Mediterranen, and I will utilize your material as documents for I intend to discuss your findings thoroughly.

I don't believe the distinguished gentlemen quoted would gather at the Sorbonne or the Louvre or the Mexican Academy of Sciences to view and study 'Ruzo's Folly' if he had nothing but photographs of granite masses, badly eroded, and showing not the slightest indication that they were ever carved.

Throughout the world scientists are beginning to recognize similar discoveries. In Mexico there are the monolithic constructions of Malinalco, and the "Guanajuato Frogs' are not freaks of nature, but were carved by a highly intelligent race in ancient times. There are great carvings on `Sugar Loaf' at Rio de Janeiro, Brazil, and others in Italy, Spain, France, etc.

Recently I received several letters from Rome that are of extreme importance in connection with the discoveries at Marcahuasi. Prof. Costantino Cattoi and his wife Maria Mataloni Cattoi, both research scientists and archaeologists, write that they have discovered in certain places there is a strange concentration underground of electro-magnetic energy. And they have further found that where this energy exists gigantic stone figures like those of Marcahuasi are found, and they have further noted that there is a high frequency of UFO sightings in the same areas. When I first read this information all I could think of was the monoliths of Marcahuasi and their strange humming sound like the `click' of the `El's'.

Prof. Cattoi has a photograph of a UFO hovering directly over an enormous carved stone head. He has studied and photographed hundreds of such figures for over forty years and has discovered lions, dragons, and even the one-eyed Cyclops. Again, we are reminded of Marcahuasi and the one-eyed 'Elder Race' beneath Lago de Titicaca.

Prof. Cattoi is a retired Italian Air Force colonel, one of Italy's most decorated airmen. In 1923 the 36^th Italian Geological Congress praised his pioneering use of the airplane in archaeological research. In 1929 he met his wife while conducting excavations in central Italy. At the present time he is one of the directors of the Latin Academy of Science and Art in Rome.

He is the discoverer of the ancient Etruscan city of Capena which he located twenty miles north of Rome, and in 1932 a royal decree changed the name of the modern city near the ruins from Leprignano to 'Capena' in honour of Cattoi's discovery.

Cattoi and his wife discovered an older 'Capena' about seven feet below the surface close to the Etruscan Capena. This discovery was never revealed because of strange `mysteries' at the place. There are in existence vertical pits and several tunnels and chambers, one on top of the other in levels. This indicates a vast underground city. Cattoi believes that this great city is connected by tunnels with another subterranean city beneath the ancient city of Rome itself.

The early Christians did not build the Catacombs of Rome, but only used them for safe places in which to meet and be buried.

After his work at Capena, Cattoi was requested by the Antiquities and Fine Arts Department of Trapani and Marsala (Sicily) to attempt to locate the ancient city of Lylybeus. After working for one year, on December 25, 1931, Cattoi announced that he had located the city in the 'Stagnone di Marsala' (the Great Pond of Marsala). His announcement caused a general surprise and a major upset among historians and archaeologists. 'Authorities' and 'experts' saw their theories challenged and they refused to recognize Cattoi's discovery. Because of this attitude it is just as well that Cattoi didn't announce everything he had found under the waters of the 'Stagnone'. Stranded on the sand bottom of the pond, he and his wife discovered two large `boats' that appeared to be made of 'bronze'. Nearby they found a large mural or wall painting now mostly covered with a lime formation. This painting depicted a map of the ancient city of Lylybeus and strange, undecipherable hieroglyphics that may be of the original language of Earth. Also in the 'Stagnone' area Cattoi discovered many stone Tau's or T's, and we already have discussed the possible meaning of the 'T'.

In the vicinity of Trapani (Sicily) Cattoi and his wife located a great hill that had been carved as a monstrous 'Sphinx'. This is one of the many great sculptures which `experts' have called 'freaks of nature', but Cattoi claims it was originally a magnificent work. The 'Trapani Sphinx' has the head of a dog, and because of this and other factors Cattoi connects it with one of the principal gods of EgyptThoth (Tehuti), whose name means `the measurer'. The Greeks identified this god with Hermes and he was known to the Romans as Mercury, messenger of the gods.

An interesting correlation is realized when we read the words of Dr. Ruzo:

'We have seen many figures of dogs or of dog heads on several peaks of the Andes of Peru... its outline against the sky is a very common sight to the traveler.'

The dog was the most important sacred symbol of the Huancas and because of this was identified with the god 'Huari'. Evidently, the dog was sacred over most of ancient South America in the dim past and finally he was revered in the Marcahuasi area only by the Huancas. I believe this indicates that the religious or spiritual `Mecca' for the worship of 'Huari' was at Marcahuasi, and the dog continued to be revered only at the site where its cult was the strongest. Many dogs and dog heads can be seen today on top of the Marcahuasi Plateau, adding their mute evidence to all the other monoliths of forgotten time.

In September, 1954, Cattoi discovered the city of Cosa, which he located on the bottom of the Tyrrhenian Sea near the Island of Giglio off the Italian coast. Cattoi claims Cosa is ancient beyond belief and that he knows that scattered within, or near this and other sunken cities in the Mediterranean Sea, are many space ships or UFOs which didn't have time to escape from the doomed cities when they suddenly sank beneath the angry water.

On May 5, 1955, Cattoi discovered another great 'Sphinx' on Mount Argentario near Orbetello, Italy. Again, the figure is related to Thoth (Hermes-Mercury) and the discovery is even more important when one realizes that the ancient legend says that Mercury (Thoth-Hermes), the 'divine teacher' left the very same Mount Argentario on a falcon or hawk with golden wings and reached Egypt bringing along the Book of the Sacred Word and the divine teachings on science, art and agriculture.

Prof. Cattoi has found a strange figure on the 'Sphinx'—the body of a child wrapped in a blanket with the head of a baboon. Remember, baboon's have dog-like muzzles. And of the two animals sacred to Thoth, the cenotaphalas is most important to our discussion here. This animal is the dog-headed ape and in Egypt always was grouped in numbers of eight when they attended Thoth, he also appeared as a dog-headed ape and this made a total of nine. The cynocephali were called `watchers for the dawn', and nine of them were said to open the gates in the west for the setting sun, and each is then called by a name: `Opener of the Earth', 'Soul of the Earth', 'Heart of the Earth', etc. They are thus represented in the illustrations to a work frequently inscribed on the walls of royal Theban tombs, relating to the passage of the sun during the hours of night, and called 'The book of that which is in the underworld'. In the judgment scene represented in papyri of the Book of the Dead, and on the walls at Der el Medineh, a cynocephalus is seated on the balance in the middle of the beam of the scales in which the heart of the deceased is being weighed, while Thoth stands by with palette and reed pen waiting to record the result. In this case the cynocephalus may represent equilibrium, which would naturally be a quality of the god Thoth (Hermes-Mercury).

Here, again, we have a mystery that is similar to the mystery of the connection between Astete's `dream' of 1905 of 'Masma', the Patriarch of Genesis called Masma, and the small, isolated Indian village of Masma in Peru. As in that mystery, we again find apparent correlation, but just what does it all mean? It has been so garbled by centuries and even millennia of tradition and legends that it is almost impossible to sift out the real original meaning or happening. However, there is enough evidence to give us much to think about. What is the connection between the carved Peruvian dog heads of the Huancas and the dog-headed 'Sphinx' of Cattoi and the dog-headed ape the sacred symbol of the god Thoth?

First of all, the cynocephali numbered eight and were called `Watchers for the dawn'. This reminds us of the eighth level or the Thought or Theta Universe. Also, the title `watchers' is most significant, for those on an eighth level (as the `El's' are now) are 'watchers for the dawn' in the sense they are watching or waiting for the ninth level or the Energy Universe (Infinity). When these eight dog-headed apes joined Thoth, they became nine and they 'opened the gates in the west for the setting sun'. The significance here is obvious, Thoth as `the measurer', symbol of equilibrium, standing for the attainment of the ninth or Energy Universe. Also, the apes were given names such as `Heart of the Earth', etc. All of this symbolism reminds us of the 'El's' and their passage from the seventh level to that of Theta. The `El's' who lived underground and the apes called `Heart of the Earth', etc. 'The book of that which is in the underworld' may refer specifically to the underworld of the `Elder Race' or the Cyclopeans. In other words, we may find that which we have called 'most ancient', the religious symbolism of Egypt and other ancient civilizations is only effect, built on top of an actual happening that is millions of years older. Therefore, the passage of the 'Elder's' into the Theta Universe when they became true `El's' would be cause. In the strange, unknown symbolism of the world, as it appears in the so-called myths of gods and demons, we find confirmation of a fact that goes back to the very beginnings of the planet Earth. For another example, look at the frontispiece of this book. In this design we have a Pre-Inca representation of the great road in the sky from Peru, South America. The Moon here is flanked by two eight-pointed stars. The Moon was especially connected with Thoth as `the measurer' and as a great lunar deity he wore the lunar crescent-in this symbol from Peru we find the lunar crescent also, and we find the Jaguar God (or is it a dog-headed creature?) with three horn-like projections coming out of the front of him (and above him) and we find four of these projections coming out of the back of him. In Egypt there were ten chief mythological localities with gods ruling over each one. Thoth is connected with the third and the seventh localities. In the Peruvian design we have the symbol of three above the head of the creature (three horn-like projections) and when we add all the projections together we get seven. The seventh locality could refer to seven levels of our 'Spectrum of Awareness' we discussed in our section on The Time-Spanners. Thoth, as god of the seventh locality (level), which was the 'Place of judgment' to the Egyptians, was the guardian of the way which led to the eighth level or the Thought-Theta Universe. Therefore, he is always represented in the judgment scenes in Egypt where he records on his palette the result of the weighing of the heart of the deceased (to see if they were suitable to pass on to the Theta or eighth level from the seventh level (locality) which was the locality (level) known as the `Place of judgment'?). Remember, the seventh level is Sense of Purpose, and is the apparent upper limit of Physical Organism Awareness. Because of this inner meaning of the symbolism spoken of above, it is obvious why the Egyptians transferred to their own doctrines the original happening of the 'El's' going from the seventh level which was physical existence to the eighth level which was non-physical existence and made it pertain to the Egyptian dead in the seventh locality which was the `Place of Judgment'. Here also, is the proof that in 'dying' we are really `living' for when the 'Elder's' lost their physical equipment they didn't really `die' but found true life in non-physical existence. I think we may discover that what we call 'life' is really death, and the death we fear much may be living at its fullest.

Also in our ancient Peruvian symbol we find two eight-pointed stars (8 + 8 = 16). Notice each one is made up of a four-pointed star and a simple Greek cross making a total of eight points. This could symbolize the Four Great Primary Forces revolving around the circle in the centre which is First Divine Cause. The crossed lines of the cross can stand for crossed lines of light energy and when combined with the Four Great Primary Forces a total of eight is reached. Also, you will recognize the dotted circle in the centre as the ninth letter of the Greek alphabet. Above the entire design is a disc which I believe stands for the coming, in ancient times, of the `light rings' (Illa-Siva) or the 'litters of electric energies' (Rampa-Liviac) known also in Quechua as Quilla-Anca or `Moon Eagles'. (The UFOs of today.) Remember, Thoth as a lunar deity left Mount Argentario on a hawk (eagle) with golden wings. Does all of this add up to the fact that Thoth originally came from outer space as a Teacher to humanity on Earth? I have already stated that I believe Osiris of Egypt and Apollo of Greece were spacemen. [See Other Tongues-Other Flesh.]

The whole picture gets more complicated as we study it, but there is a connection between the `Flying Saucers' of the past and present with the 'El's' and with the legends of mankind that were used to build up a theology that attempted to explain God and the supernatural. Wherever we look into the mythology and symbolism of Egypt, Phoenicia, Greece, Rome, or the various ancient civilizations of South America, and indeed, the entire world, we will find references and symbols that unquestionably relate back to a time in the most dim past of millions of years ago when the EL-DERS became simply the `El's'. I believe the 'sensitives' of past ages in past great civilizations have `tuned in' so to speak with the centres of magnetic energy that are the 'El' `libraries', and that through this medium they have brought information to their people. They were the oracles of the ancient world, the inspired prophets who made known the divine purpose and revealed the sacred mysteries. Perhaps they did not really know where they obtained their information, but obtain it they did, and religious creeds and doctrines were based upon it throughout the world from Thebes to Athens and from Rome to Cuzco. The entire conception of Hell whether it's called Sheol, Hades, Tartarus, Gehenna or just simply `underworld' is bound up in the happenings of the `Elder Race' when this Race left the Earth from its underground Empire. The whole idea of Lords of the underworld and judges of the dead developed out of an occurrence that took place in 'the days when the Earth was young', the 'beginning of things' for our planet.

In respect to all of this, the much distorted account of Nebuchadnezzar's dream related in the fourth chapter of the Book of Daniel might be understood in a new light. The king saw 'a tree in the midst of the earth, and the height thereof was great'. (Daniel iv:10). 'The tree grew, and was strong, and the height thereof reached unto heaven, and the sight thereof to the end of all the earth: The leaves thereof were fair, and the fruit thereof much... (Daniel iv:11,12). Then the king saw in his vision: '... behold, a watcher and an holy one came down from heaven...' (Daniel iv:13). Later we read: 'Let his heart be changed from man's, and let a beast's heart be given unto him; and let seven times pass over him. This matter is by the decree of the watchers, and the demand by the word of the holy ones...' (Daniel iv:16,17).

The Akawais of British Guiana have a legend that says the great world tree which the creator, Makunaima, caused to grow in the middle of the Earth bore all manner of wonderful fruit.

Could Nebuchadnezzar's 'tree in the midst of the earth' represent the same thing as the 'tree in the middle of the earth' from British Guiana? And could that possibly relate to the underground cities of the 'Elder Race' and the fantastic power and force that was built up there over countless ages until the Power of Creative Thought was realized by the Cyclopeans? Remember, `the tree grew, and was strong, and the height thereof reached unto heaven.' Did not the `Elder Race' `grow' and become 'strong', and did not their 'height' appear to `reach unto heaven'? 'Wonderful fruit' was on the `tree' according to the Bible and to the Akawais. The `Elder's' produced such `fruit' also in their accomplishments. The exchange of a man's heart for a beast's heart could refer to the later Great Abomination or Adultery on the Earth when MAN (the 'Sons of God') became HU-MAN (children of the 'daughters of men'), and mankind lost the Power of Creative Thought. Then we read that seven times must pass over him. Could this mean that anyone wishing to enter the Theta or Thought Universe of level eight, must first pass through the seven levels of Physical Organism Awareness or the `seven times'? And who are the 'watchers'? Remember, the eight cynocephali of Egypt were also called `the watchers'. The 'watchers' decree the matter, or the entry into Theta (8), but the 'holy ones' demand it by their word. The `holy ones' could easily be the Great Primary Forces or Universal Laws that the Infinite One has put into effect for they are immutable, unchangeable, and would, therefore, `demand by their word'.

And now, for a moment, back to Professor Cattoi and his discoveries in Italy. At the present time he is excavating parts of petrified bodies of giant beings on Mount Argentario, the place we have already associated with Thoth. He has also found remains in Albania, Greece and Libya. Cattoi says:

The great rock sculptures are concealing their age-old secrets ... their 'language' (their meaning) is largely unknown because it is the 'magic language of animals', written with symbols representing animal and human forms carved in stone to remind those of a far future time of the precepts of the original `wise men' who received them from the messengers of God. I believe that Thoth or Mercury-Hermes actually traveled to various parts of the ancient world starting from Mount Argentario wherever he went a gigantic carving was left of his own symbol the Dog. Sometimes there are two dogs shown... I believe this is because Isis came down to Earth from the star Sirius (the Dog Star) in the constellation Canis Major (larger dog) bringing with her the seed of wheat, the great cereal grain. The dog carving is found in many places in Europe and there is even an example in Karakorum, Siberia....

Was Mercury-Thoth's `falcon with gold-feathered wings' the same as the Peruvian `litters of electric energies' or `light rings'? Did the gods of antiquity come down from the stars themselves on their glorious road in the sky to enlighten hu-man-ity on Earth? The thought is intriguing and there is much proof for it.

So, in Italy, we have Giants, UFOs, and Monoliths; in Peru we have exactly the same thing. Cattoi has found areas where there is a concentration underground of electro-magnetic energy; at Marcahuasi I was fascinated by the humming monoliths. Cattoi says there are 'Flying Saucers' or UFOs on the bottom of the Mediterranean Sea near sunken cities; in Peru we have symbols that may be related to Mercury-Thoth who we believe was a being from space. And Cattoi has located hundreds of gigantic sculptures in Italy; at Marcahuasi and elsewhere there are many more identical in shape, technique used and evidently meaning—if we but knew that meaning.

What else is at Marcahuasi? Perhaps it would be better to say: 'What isn't there?' There are stones carved that have the appearance of monstrous catapults that could have been designed for some battle between gigantic creatures; there are figures of all kinds with strange hats, halos and cones on their heads; there are great reptiles too, dinosaurs belonging to some antediluvian world (Cattoi found many of these in Italy, etc.); there are fish carved to rise out of the centre of some artificial lake; there are sinister cloaked figures with dark hoods and demons and monsters and men; there are shadows that become condors, llamas and bats when the light is just right; there is a great altar where a priest could see the sun rising over an army of enormous toads; there are irregular, truncated tetrahedrons placed in fantastic positions; there are fish with little human faces and there are men with animal faces; there are giant men and dwarfed men and headless men. What madness is this; who conceived this fantastic `forest' of stone?

I remember one rainy day I rode out from the 'Peca-Gasha' where we made our camp to another part of the plateau. I was deep in thought and let the horse go where he pleased. He wandered into a dead-end canyon, and when he jerked to a standstill, I was rudely brought out of my state of reverie to look up at a gigantic hand in front of me. At the very end of this dead-end canyon the monstrous figure of a hand had been carved as though some great being were on the other side reaching his hand over like we would reach into a cookie jar. After my surprise, I settled down to study this sculpture and suddenly realized there were six fingers instead of five! Later, Dr. Ruzo told me he called this figure `La Mano'. The fact a hand was carved there at all was startling enough, but the six fingers! I have also found countless six-fingered beings in dancing positions carved on gigantic slabs of stone from a `Temple of the Wind' on a hill overlooking the Rio Sechin in the Casma valley of Peru. I am going to have a great deal to say about this temple in future works, for it is fantastically ancient and of great importance. (See Fig. No. 24.)

Dr. Ruzo also discovered something recently at Marcahuasi that is definitely a symbol of the `El's'. He found a tomb with the figure of a man on top of it and on his chest was carved a large 'L' or 90° angle or the main symbol in the mysteries of the Freemasons.

Is there anything else we could say about Marcahuasi that would make it any more fantastic or wonderful? It doesn't seem possible that there could be anything else; yet, there is, and something that makes everything else on the plateau pale into insignificance.

When I looked at an aerial photograph taken by the Peruvian Air Force and now in the files of the archives of the Peruvian Air Ministry, I saw more great figures, signs, lines and symbols. These can never be seen from the ground, like the man who can't see the forest for the trees when he is in that forest on the ground, but if he ever gets above the forest he will see it in its entirety. We must also observe our 'forest of stone' at Marcahuasi in the same way. These figures observed from high in the air are in no way to be confused with the giant carvings we are writing about that exist on the ground; they are completely separate and were for another purpose. When we are on the ground we cannot possibly make out their outline. Therefore, the ancients couldn't see the figures they were making for this purpose unless they, too, were able to go above the ground to do the viewing. But how could ancient people do that? Some 'experts' may say that they climbed to higher positions around the plateau and observed the construction of the figures from there. This is possible although it would take centuries for them to put a stone in position and then climb a mountain to see how it looked, climb down again and add another stone and then climb up again. A lot of work requiring a lot of time, but it could have been done, However, there is one point that I must mention that immediately destroys that `expert' opinion. You see, there is nothing higher around Marcahuasi to climb up to and to look down from. Then what is the answer?

Did the ancients have some kind of airships? This doesn't seem likely in this area. Were they able to jump up high enough to view their handiwork? This isn't likely, either. Then what is the answer? Like the man who said he climbed a great mountain simply `because it was there' we must deal with this fact in the same way. The fact is there, and it is undeniable, there are astronomically perfect lines laid out on the ground, a great network of strange figures (one looking for all the world like some old Chinese priest in a flowing robe), never meant to be seen from the ground. So, we have the fact, but what is the answer? In exactly the same location as the male lion on the ground (see Fig. No. 7) there is, when viewed from the air, a great figure of a female lion. Maybe the ancients weren't up in the air but somebody or something was.

Is it possible that these figures that only have meaning and are only visible from the air served as markers or beacons for the 'litters of electric energies' or UFOs arriving from outer space?

This, then, is the story of the monoliths of Marcahuasi that started in modern times through a `vision' of one Pedro Astete in 1905. The unknown designers and builders of this great city with a tremendous population where no one ever lived could be called `The Masma Race', `The Huari Race', or simply 'The Giant Race'. Were they really the EL-DERS before they became 'El's'? It doesn't seem likely because while the figures are very old (100,000 to 1,000,000 years) it is almost inconceivable that they could have existed for nearly a billion years and not be completely destroyed by time. Yet, anything is possible. However, I believe the ancient creation at Marcahuasi is some sort of a fantastic `museum' that was built by later races after the advent of hu-man-ity on the Earth. Here they placed those figures that would serve as prototypes for the creatures of ages to follow them. Is that part of the answer to the mystery of the 'Methuselah of Marcahuasi'? Was this carving made to show that man would be born, reach manhood and then die in future time on the Earth? Is this the symbolism of the old man turning into a young man or vice versa? If they were not `El's' at Marcahuasi, who were they? They were giants, that we do know, standing at least twelve feet in height. I believe they constructed their strange `Mecca in Stone' over an area that had been occupied by the `Elder Race' before its conquest of MEST, and that somehow their `sensitives' serving in the temples as oracles were able to tap the 'magnetic libraries' and thereby learn the history of the `El's'. Of course, this all would have been several hundred thousand years ago. Their 'museum' must have been dedicated to the memory of the `Elder Race' and to the future of hu-man-ity on Earth; in other words, to those of us who live on this little planet, love here and die here.

I hope we can learn something from the great mysteries carved in solid granite.

Figure No. 25 is of the sunset on the plateau, and we close this section of the book with the symbol of the great stone carving in this photograph. The figure appears to be an old `Patriarch' with his well-set features, his stern mien and his large stone hat. He has watched that same sun set over the plateau thousands upon thousands of times. He is the symbol of that which was created here, still and quiet, and waiting, waiting, waiting.

Again we have traveled the highway of yesterday and viewed the monoliths that touched the road to the stars in the last of the 'Sacred Forests'.

As Dr. Ruzo would say: `... the atmosphere enfolds us, there is an air of suspense that leaves our mind naked and transports our souls to the past—Marcahuasi, over twelve thousand feet about the thundering sea—Marcahuasi which towers above the Pacific, and which awakens in the depths of its visitors the most profound human emotions.'