it is hard to refute the fact that over the recent years, numerous facts of historical falsifications have been found out, starting from the end of the 19th century and earlier. The deeper we dive in time, the more distorted official historical position becomes. Each day, more and more people come to conclusion that some time ago, there was a single unified civilization and culture, which eventually became destroyed and fractured into many pieces by some force. There are numerous views on its original name, including titles like Tartaria, Scythia, Sarmatia, Slavic-Aryan Empire and others. However, no matter what name it really had, much more important is the fact that something great and colossal existed and unified people of the past.
Either way, at a certain point of time, some forces managed to radically change the course of human history, and unfortunately, we know almost no details of how exactly it happened. Hints and echoes of the past, gathered bit by bit, reveal that people of the recent past went through a global war and several planetary catastrophes. However, as skeptically-minded readers will notice, it is quite hard to prove, and to some seems unreal at all.
Nevertheless, there are things capable of surviving any war or cataclysm, concurrently storing a lot of valuable information inside. You may have probably heard a phrase of one smart person which states that «the world is ruled by symbols». It is the symbols that we are going to talk about. Symbols can change their color, shape, governmental or religious affiliation, but they never disappear forever. I will use this feature as a key for revealing some mysteries of the past. And one particular symbol will help me with this task – the symbol of an 8-pointed star and a moon (crescent).
In order to avoid misunderstandings and confusion, it should be stated beforehand that this particular symbol can be found in different variations (be it arrangement of the moon and the star, or the number of its points), which can be explained by the symbol’s transformation over the years, inaccuracy, or deliberate distortion of the original.
A pretty famous symbol, isn’t it? You most probably know it as a symbol from flags of Turkey and Pakistan, or probably think that it is somehow related to Islam. Wikipedia page of this symbol surprisingly reveals plenty of curious information (throughout the whole article I’ll be using English versions of Wikipedia pages, as they are usually the most informative):
The star and crescent is an iconographic symbol used in various historical contexts, prominently as a symbol of the Ottoman Empire, with numerous modern countries still using it as a national symbol. It is also often erroneously considered as a symbol of Islam by extension.
Crescent and star have a long prior history in the iconography of the Ancient Near East as representing either the Sun and Moon or the Moon and Morning Star (or their divine personifications). Throughout history, this symbol was used in the iconography of Sumerians, in the Kingdom of Pontus, the Bosporan Kingdom, and The Roman Empire.
Source
Subsequently, the symbol of crescent and star was used in medieval heraldry, but gained the widest popularity after appearing on the flag of the Ottoman Empire. Ultimately, this symbol ended up on the flags of a number of other states.
At the end of the 20th century, a variation of this symbol in the shape of a crescent became widespread as a symbol of Islam. However, many followers of Islam reject this symbol, believing that it’s not original and that it was associated with this religion by mistake.
Based on this information, we are dealing with a very ancient and ambiguous symbol.
Concerning the question of connection between this symbol and Islam, it is really interesting. For me personally, this association is quite firmly rooted. However, all the sources on this topic that I checked unanimously claimed that the symbol originally was not connected with Islam. Here is a link to an article where, in a fairly concise and understandable form, they explain the essence of this issue.
Either way, there are still a lot of other questions related to this symbol that we have to answer.
If you’ve been keen on studying history for a long time, then you most likely know (or may have begun to guess) that concepts such as the Ottoman Empire (or Roman, or Mongol, or any other ancient empire), created by historical science, are very controversial, just like the whole official chronology. Numerous researchers of history (including the authors of tart-aria.info and other resources) have repeatedly proved that such concepts are historical falsifications, created to conceal information about the existence of some great unified state in the past and those fragments that remained after its fall. There has also been substantial evidence that the generally accepted timeline of history has been artificially stretched back as much as 1,000 years. Perhaps you think otherwise, and this is your right. But as you read this article, I advise you to keep this information in mind.
Anyway, at the beginning of the article I said that symbols contain a treasure trove of useful information about the past. So why don't we take advantage of this and try to sort out the historical confusion? Even if you tend to adhere to the established historical position, it will be even more interesting, as all the symbols and images provided later in this article are taken from official historical sources. For the most part, I just tell you where to look and what to focus on.
Let’s assume that we know nothing about the existence of any proto-states of the past. How can the symbol of crescent and star help us find the truth?
Although historians cursorily mention the ancient origin of the star and crescent symbol, they minimize its significance as much as possible (saying that it is just a personification of moon and sun in very distant times). Based on how they present the information about this symbol, we can conclude that it began to play a significant role only after being put on the flags of the Ottoman Empire. We are also subtly hinted that this symbol is something more eastern than western, and if it is found somewhere not in the east, then it was «long ago and not true», or that «it is just a coincidence».
Well, let’s look at one curious photo:
It was found by a famous history researcher – tech_dancer. I took this photo from this article. It depicts a greenhouse and some building behind him in Brazil of 1860-1870. Most people will conclude that the building in the background is just some mosque, although Islamic mosques are not what you normally expect to see in 19th century Brazil, right? To complete the picture, it should probably be said that even nowadays, according to official statistics, the number of Muslims in Brazil does not exceed 1% of the population. Moreover, according to all the same official sources, the first Islamic mosque in Brazil was opened in 1929 in Sao Paulo:
But the point here is not even the mosque (if it is a mosque at all). The enlarged fragment reveals some curious symbols to us:
The first thing that stands out are the 5-pointed stars on the top. If this building was indeed a mosque, then these stars would seem foreign there. And don’t they say that this symbol in conjunction with the crescent appeared in Islam by mistake, and only at the end of the 20th century? Another thing to notice are the two big 8-pointed stars. What are they doing there? They shouldn’t be there in this form. But if it’s not an Islamic mosque and not a religious building, then what culture stood behind the construction of it?
Look at another photo:
Is it a mosque or a church/temple? The description of the image obviously tells us that this is a mosque, but take a closer look with your own eyes, doesn’t it look like a cross between a mosque and a church/temple? Of course it does! But what does all this mean?
If at this stage you are already confused, then I am afraid that the following images may confuse you even more:
All four paintings share the same plot. A plot that tells about the birth of Jesus and about a certain delegation of sages/kings who came to this event from the East in order to bring some gifts (there are quite a few interpretations of this event, so I have outlined the main details). We will not touch upon the issue of the veracity of this story and other subtleties associated with religion. At the moment, we are only interested in the depicted symbols and their affiliation. Let's imagine for a while that we do not know the plot of these paintings, and will only look at what is depicted in them.
We see some important event and people that gathered around it. But all paintings focus on the fact that a certain delegation arrived at the scene. We also see that all people look the same, both ethnically and in terms of how they are dressed. All this tells us that they are people of a same culture (and once probably a same nation). However, we also see that the delegation arrived with flags, and that it came from somewhere far away. It is obvious that if they were local, they wouldn’t come there with flags. And since they came from somewhere with flags, we can conclude that they represent another state/nation, which means that at that time there already was some kind of split between people, even if it was not so obvious from this scene.
I think you will agree that if we didn’t know the plot of this scene and looked at the version of it where no flags are depicted, we would never guess that it tells about different nations or even different cultures and religions. But it is precisely this interpretation that the official history is trying to present to us.
They seem to be trying to convince us that there has always been one culture in the west and another in the east. That the confrontation taking place between them for many centuries was something inevitable and absolutely natural.
The images shown above demonstrate various episodes of the years-long confrontation between two certain sides. All of them clearly show flags and symbols of the belligerents. It is believed that all these wars were part of a global confrontation between «Western and Eastern civilizations» (as they say nowadays). All of these wars are divided by official history into different periods, be it wars against the Arab Caliphate in the 7-8 centuries, the crusades of the 11-13 centuries, or the Ottoman-Habsburg wars of the 16-18 centuries. The official history has described the events of the last thousand years in such confusing and illogical way that it is almost impossible for an ordinary person to figure out all this confusion alone. And it was done this way on purpose. Because if they explained everything as it really was, people would quickly understand what's really going on. But unfortunately, all these arguments are powerless against the huge historical machine and its self-replicating program in the minds of people. As stated earlier, our weapon against the lies are symbols. They are the thing which will expose the whole fraud.
Look at the image of the seal of King Richard I of England:
Before we continue, I’d like make a short remark. The seal of the King of England is not some useless bauble. It is a very important item, associated directly with the head of state. According to the official website of the royal family of Great Britain, the tradition of making royal seals began in the 11th century and continues to this day. These seals are used by monarchs to approve various documents instead of signing. Each seal is unique and made in a single copy.
Someone will probably say: «Ok, they put some ancient pagan symbols on it – what’s the big deal?»
However, I want to remind you that it is the seal of the very Richard the 1st who personally participated in the Battle of Arsuf in 1191 in the midst of the Crusades. In this battle, the crusaders fought against the troops of Saladin, who was the leader of the Muslim military campaign against the crusaders. Saladin was also the Sultan of Egypt and Syria.
(To me personally, he looks like some vedic sage rather than a sultan. Or maybe our knowledge about their appearance in the past is greatly distorted?)
According to data from Wikipedia, this battle became one of the largest and most important for the crusaders, because thanks to the victory in it, they managed to regain control of the Mediterranean coastal strip.
Then why would Richard the 1st put the symbols used by his enemies on his seal? Will you say that he or the people back then didn’t know anything about the Muslims against whom they waged war? No, this is simply impossible, at least because, according to all the same sources, in 1188 in England (and partially in France) the so-called "Saladin tax" (Saladin tithe, or the Aid of 1188) was introduced in order to raise funds for another crusade against the Muslims, who in 1187 dared to oust Christians from Jerusalem. As for Richard the 1st and his seal, it should be said that he ascended the throne in 1189, so there is no way he couldn’t know about the major events that were happening in the world.
Ok, let’s assume that Richard the 1st was just weird and for some unknown reason decided to borrow the symbols of the crown’s enemies, but what should we do about this? Pay attention to the floor in the hall:
The 8-pointed stars are clearly visible on the floor. The same stars that are usually put on flags along with crescents. How come the empire, directly and indirectly involved in years-long war against Muslims, is laying tiles with enemy symbols in the very heart of the capital? After all, this is one of the main temples in London, and people walking there could well have personally participated in the crusades. Did they really not question those symbols when they saw them?
Imagine the social discontent if people saw the Red square in Moscow paved with swastikas, right after the end of WW2. Even though some people know about the true origin of this symbol, the overall reaction would be extremely negative, though nobody would allow this to happen anyway. But why do we see it in London? Either this symbol was much more important than it is presented to us now, or this temple was built much earlier than stated in official sources (1710). Currently there is no such tile in the temple (instead of it a black and white mosaic is laid out), how long ago it was removed I don’t know. But under the cathedral there is an underground floor called the crypt, and there the tiles are more interesting (perhaps even original):
A skeptical reader may think that all this is some kind of misunderstanding and say something like – «Well, these are just stars. Different stars were drawn everywhere and all the time, with one or two rays more or less, what's the difference? And the moon (or the sun) looms in the sky all the time, why not draw them somewhere?»
But I’m afraid it’s never that simple when we are dealing with symbols. And to the great regret of historians, but to the great happiness of researchers like us, these symbols can reveal extremely interesting details. And the deeper we dig, the more shocking results we get.
When the crescent and star symbol is found in a random painting or book, it has little to say to an unprepared person. Take a look at the following images for example:
(Translation of the title: «Description of the journey from Konstanz to Jerusalem»)
Most people would not even pay attention to the depicted symbols. But even when you notice them and try to figure out their meaning, it is extremely difficult without the appropriate context. So let's try to take something less abstract. For example, all the same battles between the crusaders and Muslims. Since these events were resonant, there are quite a lot of corresponding paintings and prints left. And most importantly, looking at them can reveal what is happening. And in order to understand not just what is happening, but rather what is REALLY happening, we will focus on the symbols.
Do you remember this image, shown earlier?
It was taken from a 14th century book titled «Fleur des histoires de la terre d'Orient», written by a certain aristocrat and historiographer Hayton of Corycus. Let’s look at the other images from this book:
So far, everything seems to correspond to the accepted concept (although in fact, you should have already been alarmed by the fact that the crusaders have a star on their flag, similar to the one that is inscribed in the crescent). We look further:
Wait a minute, what is this? The same knights-crusaders that just had a different flag in the previous image suddenly hold the flag of those against whom they are fighting? Maybe it’s some kind of mistake and these are Arabs under the helmets?
Judging by this one, we can conclude that there is no mistake. (The flower symbol on the right flag deserves additional attention, but I will not analyze it in this article.) But that's not all, there are others:
The following image reveals presence of the crescent symbol at both sides simultaneously, which completely excludes possibility of any confusion with the sides (hint: look at the shield of one of the warriors in the fortress):
And ultimately, a little bonus:
A curious symbol on the right flag, isn’t it? You can see the very same symbol in one of the prints taken from «Chronicle of John Skylitzes» (a Greek historian that lived in the 11th century). The description of this illustration says that it depicts the siege of the Syrian city Edessa by the Byzantine army and the subsequent counter-attack from the Arabs:
The Arabs have exactly the same spiral-shaped symbol on their shields as in the previous image.
Okay, some people may say that one book doesn’t prove anything. Maybe we should check other sources on this issue? Of course we should! It is exactly what we will do. Our next object of interest is a book titled «Croniques abregies commençans au temps de Herode Antipas, persecuteur de la chrestienté, et finissant l'an de grace mil IIc et LXXVI», which has a lot of interesting illustrations, depicting various episodes from the crusades. The following print, for instance, shows us one of the biggest events of those times – the siege of Jerusalem by Saladin in 1187, which resulted in crusaders’ capitulation.
Even though this illustration does not contain the sought symbols (except for the tops of the buildings in the form of crescents, which can be attributed to the presence of Muslims there even before the arrival of Christians), it once again shows us that from an ethnic point of view, Saladin's troops were no different from those against whom they fought. Even the style of clothing is generally the same. If you are interested in the aspect related to symbols, then we should address other sources related to this event. Both of the following illustrations depict the desired symbol in different variations:
(The symbol can be seen above the tent on the left.)
(The symbol can be seen on the red flag on the left.)
Regarding this particular case, it should be said that those versions of the book that are uploaded to digital libraries, have no illustrations for some reason. There are only few of them in the digital archives of the National Library of Great Britain, specifically here. (Given that they don’t want to upload all the illustrations, I can assume that, apparently, there is something they want to hide.)
But let’s get back to the images from «Croniques abregies commençans au temps de Herode Antipas, persecuteur de la chrestienté, et finissant l'an de grace mil IIc et LXXVI», does it have anything else that deserves our attention?
It turns out that this book has some inconvenient facts as well. For some reason, the crusaders are carrying a flag with a crescent, and here it is simply impossible to confuse the sides – they even have a leader carrying a huge wooden cross in his hands (why does he need it, I wonder....).
If you have already read the Wikipedia page about this symbol, then you have probably noticed that it does not hide from us the presence of this symbol in the medieval heraldry of European states:
My personal research has also confirmed the abundant presence of such symbols in old European heraldry (due to illegibility of inscriptions inside the books, I’m citing only the titles of the sources):
«Armas de los Condes, Vescondes etc. de Cataluña, de Castilla, de Portugal» (15-16 centuries).
«Ancien armorial colorié, où sont figurés les blasons de différents princes et seigneurs de France, Allemagne, Flandre, Angleterre, Espagne, Italie, etc» (15 century).
«Grünenberg, Konrad Das Wappenbuch Conrads von Grünenberg, Ritters und Bürgers zu Constanz» (15 century).
Although historians do not deny the presence of such symbols in old European heraldry, they do not at all try to explain how all these symbols appeared simultaneously on the coats of arms and flags of ancient states, and on the coats of arms and flags of states that for centuries fought against each other on the basis of religion and a number of other geopolitical factors. The argument that at a certain point in history one side «just borrowed» the symbol from the other sounds extremely unconvincing. If, as we are told, there was a cultural abyss and violent enmity between the two sides, then why on earth would someone suddenly begin to adopt the symbols of an alien and hostile culture? And if these symbols were close to people from both sides of the conflict (to such high degree that even years-long wars did not discourage them from removing it from their flags and coats of arms), then maybe there was something that united all these people at one time? Perhaps, before the start of that war people lived within the framework of one civilization/culture/state? Before we continue to develop this idea, let's take a look at another interesting example:
Under the name «Turks» they assume Ottoman Empire. In total, they besieged the city twice – the first try occurred in 1529, and the second one in 1683. Both attempts to capture the city failed.
At first, everything seems to fit into the standard concept, we see how the «Turks» enter the city with their usual flags:
But the entire established narrative is crumbling over one small detail located at the top of St. Stephen's Cathedral:
Taking into account that even according to the official history, the city had never been captured by Ottoman Empire (or any other invaders from the East), you can’t say that this symbol was installed by someone else apart from the local citizens. But what conclusions can we draw from this, since the symbol was there originally?
Firstly, the fact that it was installed on the main temple of the city, in one of the largest cultural centers of Europe, tells us that crescent and star was not just some pagan attribute that accidentally migrated to selected flags/coats of arms of individual clans or military formations, but rather an important state symbol, since it was chosen to be placed in the most prominent place in the city.
Secondly, the fact that this is a temple, and not just some kind of administrative building, reveals the connection of this symbol with the ideological views of people of that time, which also gives additional significance to this symbol.
It should be said that the temple from Vienna is not the only example of star and crescent symbol appearing at places where people do not expect to see it. In Saint-Petersburg’s Hermitage museum there is a curious artifact called «Alexander Nevsky’s tomb»:
This artifact is decorated with thematic reliefs depicting the most important events of his life. One of the reliefs shows the moment when Alexander Nevsky entered Pskov and liberated it from the Livonian Order in 1242. We are looking at this particular one because it demonstrates all the same symbols of crescents and stars on the tops of city buildings:
I suspect that there may be many more such examples. I have cited only those that I found myself in the process of writing the article.
Now that you’ve seen enough evidence of the presence of this symbol both in the West and in the East, let's try to find out why this symbol, being so significant and widespread (as we have found out), is put by the official historical science in such an ambiguous position? Why do we have to make so much effort to find traces of its use even where it had always been in the most prominent place? Why are historians not trying to highlight the obvious connection between all the available facts of the use of this symbol, while completely concealing some of those facts?
In order to partially clarify these circumstances, we will return to the case of St. Stephen's Cathedral in Vienna.
In 1686, 3 years after the second siege of the city by the «Turks/Ottomans», the crescent and star symbol was removed from the cathedral’s top and a two-headed eagle with a cross was installed in its place. In addition to the obvious fact of replacing one symbol with another, there was something ostentatious (or rather ceremonial) in it. In order to understand what I'm talking about, you’ll need to see the following print:
It depicts the crescent moon with an 8-pointed star removed from the very top. But the most important thing here is the inscription that they contemptuously wrote on the crescent along with an image of the fig sign. As it is barely readable here, let's look at the real artifact, the very star and crescent that once towered over the cathedral. Fortunately, it has survived and it’s currently located at one of the museums in Vienna (there are also comments given by the museum):
The inscription «Haec Solymanne Memoria tua» can be translated as «This is for you, Suleiman». From the museum's comments, we learn some new details that immediately raise suspicion. It turns out that they know the exact date of the crescent and star’s installation on the cathedral – July 28, 1519 (not a day earlier, not a day later). But the original meaning of this symbol is «not clear to them». They have only guesses that it could symbolize «the relationship of spiritual and secular power, where the Pope is a star, and the emperor is a crescent», or already familiar to us «it's just a moon and a star» (I hope that after reading this, you felt all the ridiculousness of their explanations). Moreover, according to their version, just a year after the first siege of Vienna (in 1530), the city council sent a request to the emperor (apparently Ferdinand the 1st) to replace this symbol with the figure of St. George. However, only 156 years later (!), in 1686, the crescent and star symbol was replaced by a cross with a two-headed eagle, which was done as a part of fulfilling a certain oath given by emperor Leopold the 1st during the second siege of the city (I wonder why he took this oath and who made him do it). The museum’s comments also state that «it was said both in Vienna and the Ottoman Empire that the symbol was mounted on the tower by order of the Sultan» (apparently Suleiman).
Their story immediately raises a number of questions.
Firstly, doesn’t it seem strange to you that the given date of installation of the crescent and star is so suspiciously close to the date of the first siege? It turns out that the symbol stood only 10 years before they decided to remove it. It looks as if they intentionally try to rejuvenate it, so that people in no case would come to an idea that there was some kind of religious cult or ideology in Europe associated with this symbol since ancient times.
Secondly, why did they have to ask for the Emperor's permission to change the symbol, and more importantly, why did they drag out this question for 156 years if they wanted to replace it so eagerly? Was it really that difficult? Or maybe people didn't want the symbol to be removed from the top of the cathedral? Or maybe, as an option, in 1530 no one asked anyone for anything, and they tell us about it in order to create a false impression of rejection of the symbol by the population of the city.
Thirdly, how can they say that the symbol was installed by order of Suleiman, if they themselves write in the very same text that the symbol was installed 10 years before the first siege, with notion that the city has never been conquered anyway?
These comments are contrary to common sense and are clearly written for narrow-minded and uneducated people. But either way, the crescent and star was removed and it is an indisputable fact. Asking the question of why they removed it, a person will probably come to the following explanation: «people saw the symbol among the enemies who came to seize their homeland, so they questioned the need of having a similar symbol at the top of the main cathedral of their city». Although logically, they should have tried to find explanation of this similarity in symbols, it is quite possible that the historical memory of those people had already been lost, so they could genuinely develop hatred towards this symbol after the attempted invasions (again I’m noticing a parallel with the swastika situation after the Second World War).
But what haunts me the most is the fact that this story is known to a limited number of people. And even worse, this is just one of those cases that I managed to unearth. But there could be (and most likely there were) much more of such cases! Both in Europe and around the world.
And speaking about the whole world, I am not exaggerating at all. Various independent historical researchers have repeatedly come to the conclusion that the sought proto-state spread almost over the entire planet. In a 16th century atlas titled «Cosmographie universelle, selon les navigateurs tant anciens que modernes. Le Testu, Guillaume» I found very strong arguments, both in favor of the above conclusion, and in favor of what I wrote about in this article:
What you see in the images is the southern coast of the current US territory (which can be easily identified by Florida and the Yucatan Peninsula, the names of which are written on the map). And here is a part of today's Canada from the same atlas (its east coast, to be precise):
I think that the symbols depicted in this Atlas do not need comments. You should already understand everything yourself. And it should be much more obvious to you now what kind of culture was behind the creation of that strange religious building in Brazil in the 19th century photo, as well as a number of other old buildings in the North and South Americas.
At first glance, it may seem that there is no clear evidence left, but if you do some digging, you may find very curious photos:
(8-pointed star on the dome.)
(Crescent on the top of the building on the right side.)
Unfortunately, such photos are rare, but at least we have something. It should be said that the buildings in the given photos are important not in terms of their construction date, but rather in terms of the symbols that were placed on them.
The information about the real past has to be collected bit by bit. Someone clearly did not want (and still does not want) people to know about the genuine symbols of the old civilization. Therefore, ever since then, they’ve been methodically erasing them from history, especially in those places where they would have caused more questions.
Somewhere the symbol is simply removed from all sources, somewhere they replace the historical facts associated with it, and somewhere they distort the appearance of the symbol itself, as happened with a Polish noble coat of arms called «Leliva»:
Let's go back to the question of relationship between all the facts of using the crescent and star. How do we put everything we know into one big picture? What do you think unites all the considered facts? Obviously, the people and the territory (even though they were artificially separated). And what separates these facts? There is only one answer – time. Recall what I wrote at the very beginning of the article. The history of the last thousand years (or maybe even some 500 years) is artificially stretched on a chronological scale for more than two thousand years (including the so-called «BC» period). If you use this magic formula and pull the timeline inward, everything immediately fits and becomes clear.
If we imagine that all the evidence and artifacts we have considered took place at approximately the same time, then we will see a complete picture of events.
Think over and answer the following question – what symbols are usually found simultaneously on flags/coats of arms, on money, and on culturally and religiously important objects? As for me, the answer is obvious – the most important state symbols.
This symbol has been greatly distorted and erased from our history for one single reason. It was the symbol of those who lost the war. And as you know, the history is written by winners. And in order to understand who won, all you have to do is to notice what symbol has dominated most of the coats of arms of various states for the last 200 years.
But what kind of war was it, during which some forces destroyed our proto-state and its culture? And the most important question is, how did they manage to do this? The answers to these questions are probably contained in the so-called «Augsburg Book of Miracles»:
Opinions on what is depicted in its illustrations differ: some people think that these are just delusional visions of the end of the world, while others see them as evidence of a global planetary catastrophe, which is mentioned in various legends and sacred texts from around the world. I personally incline towards the second option, and I will try to convince you of this.
The book consists of many odd illustrations, each of them being interesting in its own way. Here are some examples of them:
Almost all the illustrations in the book demonstrate some kind of cataclysm, accompanied by the fall of celestial bodies, the destruction of cities, the presence of unusual creatures and other oddities. But now I will show you one that stands out from all the others:
Familiar symbols, aren't they? The image clearly depicts some kind of battle between the two sides/factions. But the book is not about war at all, it’s about planetary cataclysm. Or maybe all of this is directly connected, and it was during this particular cataclysm that the outcome of all further events was determined? Let's take a look at other illustrations from the book:
In addition to the obvious confrontation of some two sides during this cataclysm, we are unequivocally hinted that all this happened both on land and in the sky. But what attracted my attention particularly, was the presence in a number of illustrations of bright celestial bodies, in the amount of exactly three spheres:
While these celestial objects may be mistaken for suns at first look, for obvious reasons we know they are not. There is only one star in our solar system, and two more could not materialize out of nowhere. Another assumption could be that the illustrations depict the explosions of some bombs/charges in the atmosphere (like nuclear). This sounds much more believable, since they would emit the same bright light as the sun (or maybe even brighter). And although I have no doubt that some of the illustrations indeed depict some clusters of energy, I still tend to think that depiction of three spherical celestial objects, means something else. And this something, in my opinion, is an image of three moons. Those very three moons that you could have repeatedly heard of from various ancient legends. Why am I so sure that these are the moons? Because I have already seen them in other places:
All the same old coats of arms. The presence of three crescents/spheres/moons on such a large number of coats of arms cannot be a simple coincidence. But if you still have doubts as to whether three moons actually orbit the Earth, take a look at the following images, taken from a 14th century book titled «Benoît de Sainte-Maure, Roman de Troie»:
The symbols on the highlighted shields very much resemble the orbits of celestial objects. It is not difficult to compare all the information and understand that these orbits belong to the three moons.
If you haven’t stopped believing in coincidences yet, now it is high time.
In the meantime, I will show you another strange symbol or object that is found both in the Augsburg Book of Miracles and in the old heraldry (and actually in many more places):
If you turn to the Internet for information, you will most likely find mentionings of the Old Testament prophet Ezekiel, who is famous for describing an unusual (divine) vision called by the term «merkabah (merkavah)». It is interesting that from Hebrew «merkaba» is translated as «chariot» (Hebrew: מֶרְכָּבָה = chariot). Although the association of this symbol with a wheel (of the same chariot for example) is firmly rooted in our minds, I suspect that initially, there was a greater meaning in all this. Maybe the following images will tell us what it could really be:
Looks pretty weird, right? I don't know what you see in these pictures, but I personally see a certain aircraft. If you take into account all those strange celestial phenomena in the illustrations of the Augsburg book, then the presence of high-tech aircraft there does not seem impossible.
But what about other sources? We cannot draw clear-cut conclusions from one single book (the authenticity of which may be doubted by some people). Fortunately for us, other sources describing similar phenomena exist, and not even one. Firstly, take a look at a 16th century book called «Kometenbuch»:
The book describes supposedly ordinary comets. At first illustrations seem to correspond to the title. But the further we go into the book, the weirder the images become:
Once again we see the appearance of three luminous spheres as in the Augsburg Book of Miracles. Moreover, the left illustration has the flying object marked with a sword (which obviously symbolizes its military use), and the right one shows a whole city burning (apparently it was already destroyed by one of these «harmless comets»). We look further:
The first two illustrations depict either an explosion or one of the spheres/moons surrounded by some energy. The second one has a strange object that stands out from everything we saw before. Could it be a missile? The third illustration deserves special attention. To say that it is a «meteor shower» means to say nothing. The round object is clearly some kind of aircraft. Maybe it is the very «merkabah» in action? A closer look at this illustration reveals some curious details:
The horsemen in the clouds symbolize nothing else but a battle in the sky. The same image can be found in the previous book:
The authors probably had to present information in a slightly veiled form to avoid potential censorship. I wonder why the riders from Kometenbuch are so faded – because of the book’s age, or because someone deliberately spoiled the illustration?
There are two other notable illustrations in the book:
I have no doubts that the illustration on the left shows one of the moons. But what is happening with it? Is it concentrating some kind of energy field around itself? The illustration on the right deserves even more attention. The majority of people will most likely think that it is another flying/falling object or projectile. But what if it is also one of the moons, captured at the moment when it was being shot at with some super-weapon or at the moment when the moon itself was doing it?
Let's leave this as an assumption for now and try to figure out that missile-looking thing that I showed you a bit earlier. You are probably wondering if there are any other books or illustrations showing similar objects. To our delight, other proofs exist, and you will see them right now. One of them can be seen among the illustrations of the same Augsburg Book of Miracles:
Intriguing illustrations, strikingly similar to missile launches, are presented in a book titled «Physica sacra» by Scheuchzer, Johann Jakob (1731):
The next book shedding light on missiles as well as other phenomena discussed earlier is «Prodigiorum ac ostentorum chronicon» by Conrad Lycosthenes (Conrad Wolffhart) (1557):
Once again, all the same images of three moons, two opposing sides and some kind of cataclysm. But here missiles are more distinguishable. We look further:
We see that for some reason there is a cruciform mark on one of the moons. Could it symbolize a marked target? (By the way, we have already seen it in one of the illustrations of the Augsburg Book of Miracles.) The penultimate illustration shows a moon that shoots a certain projectile and fire, and the last one shows how two shells of unknown type fly up to the moon from two sides. It looks like they were waiting for this blow and turned on some kind of force field to reflect the strike. Something similar, but probably more veiled, is found in the Augsburg Book of Miracles:
It cannot be a coincidence that they drew a sword right under the circle and the moon surrounded by some colored spheres that looks like force field. It is also possible that this force field was used for both defensive and offensive purposes.
There is also one detail should be noted at this stage, regarding the texts below the illustrations. Although I do not have the opportunity to translate them, I am almost sure that these texts for the most part have nothing to do with the events shown in the illustrations. The same goes for the dates given in these books. So if you know the languages used in the given sources and see some kind of contradiction – don’t be surprised. These books would have never been published if they had been accompanied by truthful comments about what was happening. However, if you have managed to find some clues or hints in these texts, share them with other people.
Meanwhile, we will continue to study illustrations from other sources. The next book is titled «Des prodiges et Polydore Vergile» by Julius Obsequens:
Once again, the same formula as before is repeated – three moons, a catastrophe, missiles, flying ships and some dragon-like creatures.
It should be noted that three moons could have been in the Earth's orbit for a long time, so they didn’t have to appear abruptly on the horizon right at the moment of the given catastrophe. Moreover, catastrophes with the use of weapons currently unknown to us could happen more than once, and different catastrophes could well be described at different times. We also can’t know for sure how long that large-scale conflict lasted (it could last for several years or just one day). However, we should take into account the fact that after the last disaster (which most likely happened several centuries ago), our history was completely distorted. And if some half-true descriptions of the past have reached us, then most likely they were all created approximately at the same period as the last catastrophe. This assumption is also supported by the suspicious similarity between all the illustrations.
Either way, there is one more source of information that I want to show you. It is a book titled «Illustrations de Die Wunder Gottes in der Natur, ben Erscheinung der Cometen» (1518-1561). In fact, this book is practically the same as the previously analyzed «Prodigiorum ac ostentorum chronicon», since both were written by the same author – Conrad Lycosthenes (Wolffhart) and contain approximately the same illustrations. However, the following one has a number of images that we haven’t seen before (or they were not drawn as clearly as here):
Among the new elements is a strange flat rectangular plate flying in the sky (I have no idea what it is), as well as a small drawing of the elliptical orbit of a certain celestial object (I suspect that one of the two unknown moons):
It is unlikely that they would draw the orbit of this object if it was just a «comet». Although, given the covert nature of this topic, I don’t think we should focus on this particular issue (there is too little information to draw a clear conclusion). Let’s look further:
In addition to the large missile (which we haven’t seen before), the illustrations are notable for the depiction of the very energy, emanating from the spheres in the form of swords. Previously, we saw these phenomena separately (either just energy that appeared as a trail of a flying object, or just a sword next to an object with no full trajectory displayed). But now we see that the sphere is the source of energy, and it directs this energy in the form of a sword (obviously using it as a weapon). Confirmation of this can be found in the following illustrations (some of which have already been shown earlier in a different drawing style):
Once again we see missiles, a dragon, moons that shoot energy and defend themselves from it. And the last illustration looks particularly strange. In theory, these are exactly the same moons, but what do these odd drawings/patterns on their surface mean? I hope that some of the readers will be able to see what I could not notice, and will answer this question.
But what happened to these moons? Now we have only one moon, where have the other two gone? The only conclusion that I can draw from these images and the information that I came across during my research is that they were destroyed. Or, one was destroyed, and the other flew away in an unknown direction (it is very difficult to say when exactly all this happened and in what sequence).
If you have not yet understood what I am driving at, or hesitate to admit such a thought in your head, then I will voice it right now. The remaining moon, as well as the other two that were once in the Earth’s orbit, are huge space stations. These stations obviously have a complex and broad functionality, but there is no doubt that they can be used for combat purposes. Yes, just like the «Death Star» from the «Star Wars» saga:
Surely, this guess may not sit well with some people, but I honestly don't know what other conclusions can be drawn from looking at the presented illustrations. But if we try to develop this idea, we will inevitably come to a conclusion that mortal humans clearly were not the only participants in that global conflict. The idea that our ancestors could possess technologies like missiles and some kind of aircraft should not seem impossible to people with an alternative view of the events of the past. But huge celestial bodies like moons, shooting energy beams, clearly could not be controlled by human civilization. There is no doubt that these objects are under the jurisdiction of higher powers. However, it is up to you to decide who they really are. But the possible options are limited. They are either our creators (who are on our side), or some alien faction that has its own interests here. And since at least two sides participated in the conflict (and human civilization is still not wiped off the face of the Earth), we can conclude that there were most likely both. If you are interested in my personal opinion concerning the remaining moon and the side it belongs to, then I can tell you that, most likely, it is the moon of our creators (those that should be on our side). Why I think exactly this way – I’m not yet ready to explain. Mostly due to the fact that it is a very complex topic, and not all people are ready to accept even the information that was described before the «Death Star» concept.
As it was said earlier, the main goal of this article was to analyze symbols, although I went a bit further by comparing illustrations from various books and putting them into one logical picture. Taking into account the stated facts and conclusions, it is not difficult to understand why the symbol of the moon (or crescent) was so significant to the old civilization. For them, the moon was much more than just a block of stone hanging in the sky. Although we have considered only the the combat use aspect of these stations, you can guess yourself what other functions such objects are capable of while staying in our planet’s orbit.
Either way, there are still a lot of unanswered questions. I hope that this article will be useful for you and will push you towards doing your own research in this direction.
