Arkeologiset arvoitukset

NUMBER ONE VOYNICH MANUSCRIPT
The Voynich manuscript is an illustrated codex hand-written in an unknown writing system . The vellum on which it is written has been carbon-dated to the early 15th
century (1404–1438), and it may have been composed in Northern Italy during the Italian Renaissance. The manuscript is named after Wilfrid Voynich, a Polish book
dealer who purchased it in 1912 . Some of the pages are missing, with around 240 remaining. The text is written from left to right, and most of the pages have
illustrations or diagrams. Some pages are foldable sheets. The ink drawings of plants features in it are of a completely unknown origin. What's also unusual is the
undecipherable text accompanying the plants and the many astronomical and astrological charts, as well as numerous female nudes which allude to some kind of
reproductive processes, judging by their swollen bellies and interaction with interconnected tubes and capsules. The book also contains over a 100 drawings of possibly
medicinal variety of herbs and roots in various jars. This book comes from Central Europe is named after the antique bookseller, Wilfrid M. Voynich, who bought it in
1912. No one has yet succeeded in deciphering the text . In 1969 the Voynich manuscript was donated by Hans P. Kraus to Yale University's Beinecke Rare Book and
Manuscript Library, where it is catalogued under the number MS 408.

NUMBER TWO CODEX SERAPHINUS
Codex Seraphinianus originally published in 1981, is an illustrated encyclopedia of an imaginary world, created by the Italian artist, architect, and industrial
designer Luigi Serafini during thirty months, from 1976 to 1978. The book is approximately 360 pages long, and written in a cipher alphabet in an imaginary language.
The origins of the Codex Seraphinus are not too mysterious, while its contents are. All the pictures and charts looked very mysterious and they depict that they
indicates something, but didn't know what. In a talk at Oxford University in 2009, Serafini claimed there was no real meaning in the text of the book, which was
written in a process resembling automatic writing. The book is an encyclopedia in manuscript with copious hand-drawn, colored-pencil illustrations of bizarre and
fantastical flora, fauna, anatomies, fashions, and foods. It has been compared to the still undeciphered Voynich manuscript . The illustrations are often bizarre
parodies of things in the real world: bleeding fruit, a plant that grows into roughly the shape of a chair and is subsequently made into one, a lovemaking couple that
metamorphoses into an alligator, etc. Others depict apparently senseless machines, often with a delicate appearance. There are also illustrations readily recognizable
as maps or human faces. On the other hand, especially in the "physics" chapter, many images look almost completely abstract, Practically all figures are brightly
coloured and rich in details.

NUMBER THREE THE SMITHFIELD DECRETALS
Officially known as the Decretals of Gregory IX, this is a collection of canonical law ordered in the 13th century by Pope Gregory IX. Such collections were fairly
common at the time, but what’s bizarre about these decretals is the illustrations that went along with them. The Smithfield Decretals were created as an illuminated
manuscript, which was a style that combined illustrations and flowery calligraphy with the lettering. It was a painstaking and expensive process, because each drawing
had to be done by hand. Again, nothing unusual about that; plenty of early religious texts did it. But when you dig through the copious illustrations in the
Smithfield Decretals, you start finding some very weird things. Scattered throughout the pages are violent scenes of giant rabbits decapitating people, geese lynching
a wolf, unicorns, and plenty like the intriguing scene pictured above, which appears to be. . . well, you can see for yourself.

Julkaistu 10.5.2019
Ancient Statues and Monuments were seemingly achieved right at the start of Civilization as we know it, if we are to believe the Historicity of our timeline of existence, then it does appear that technology has regressed through the ages, or maybe there was a #LostCivilization that are responsible for these incredible feats of engineering brilliance?