Paul Chessman from BYU and others in the late 1970’s. J Golden Barton in 1998 tells of a visit see Father Crespi with Dr. But in these pictures the head is simultaneously sun or star. The symbol of holy power has always been the head. There are representations of men with sun's rays round their heads and there are men depicted with star po ints coming from them. The sun was often part of the scenery in known Inca engravings, but man was never equated with the sun, as I see time and again in these photographs. For the moment I can onl y say that I am dumbfounded.

To be able to give a precise scientific verdict I should have to subject each plaque to a detailed and lengthy examination, and compare each one with material alr eady available. Years ago I myself supported the view th at the Incas had no writing in the alphabetical sense of the word. ‘If these pictures are genuine, and ev erything indicates that they are, because no one makes forgeries in gold, at any rate not on such a larg e scale, this is the biggest archaeological sensation since the discovery of Troy. Profes sor Stingl, who was a guest in my house, saw the photographs I had taken at Cuenca. In versunkenen Mayasta~dten (1971), for example, is highly acclaimed. today he is a member of the Academy of Sciences at Prague and author of archaeological and ethnological books.

“Professor Miloslav Stingi is the leading South American scholar in the Ir on Curtain countries he graduated in the ancient civilizations of America. Next to or over the pyramid animals of various kinds are always present…. I took a close look at more than 40 objects.Īll the pyramid engravings have four things in common: a sun, but more frequently several suns, is depicted above the pyramid snakes are always flying “Father Crespi has partially stacked his metal plaques by motifs, for example those with pictures of pyramids. “Most of the symbols and pre- historic representations are older than the Flood.’” He said “ ‘Every’ thing that the Indians brought me from the tunnels dates to before Christ. What Fa ther Crespi managed to salvage from the damaged museum was housed in two long narrow rooms, which were in a terrible muddle.īrass, copper, sheet -metal, zinc, tin and st one and wooden objects and in the midst of them all pure gold, sheet-gold, silver and sheet -silver.Įric Van Danken in His book Gold of The Gods says of this Treasure “Let the Vatican grail guardian Father Crespi of Cuenca be the key witness to the pre-Ĭhristian origin of the metal treasures. This museum (in the Salesian School at Cuenca) grew and grew Until in 1960 it was one of the biggest museums in Ecuador, and Crespi was recognized as an archaeological authority.īut he has always been a rather embarrassing servant of his church, for heĪsserts vehemently that he can prove that there was a direct conne ction between the Old World (Babylon) and the New World (pre-Inca civilizations) and that goes right against prevailing opinion.Ĭomplicating matters, on 20th July 1962 there was an act of arson and the father’s museum was burnt down. Over a period of time the father had so many precious objects stored in his house and the church that one day he received permission from the Vatican to open a museum to display them. They (the local indians) used to bring him presents from their hiding pl aces. He was a priest of the Church of Maria Auxiliadora.Ĭr espi was accepted by the local indians as a real friend. I doubt that you will be able to find a complete recounting of this story elsewhere in the Western Internet today.įather Carlo Crespi, who comes from Milan, has lived in the small town of Cuenca, Ecuador, for more than 50 years. It’s a great read and I really hope that you all enjoy what is presented here. This is a nice mystery that has turned the archeological world on it’s side.

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