Metal plates by Carlo Crespi. Collection of Padre Crespi. Theories about the contents of the collection

The truth about Father Crespi and the mysterious Artifacts.

The Story of Father Crespi is a mysterious and controversial tale of a priest from Ecuador who dedicated his life to searching for the unknown. civilizations, the study of strange gold artifacts, an underground cave system containing a metal library, paintings of strange figures linking America to the Sumerian civilization, symbols depicting an unknown language, evidence of extraterrestrial contact, and a strange conspiracy involving the disappearance of thousands of artifacts. But how much of this story is true? Ancient Origins attempted to find answers and was granted access by the Central Bank of Ecuador to Father Crespi's private collection of artifacts hidden in hidden vaults and storage areas, including, among other things, controversial carved metal plates that had not been shown or photographed for a long time. decades.

If you Google the name “Father Crespi,” you will find dozens of sites telling the strange story of the humble priest and his connection to a mysterious collection of artifacts.

The Man Behind the Mystery

Father Carlos Crespi was a Salesian monk who was born in Italy in 1891. He studied anthropology at the University of Milan before becoming a priest. In 1923, he was assigned to the small city of Cuenca in the Ecuadorian Andes to work among the indigenous peoples. It was here that he devoted 59 years of his life to charitable work until his death in 1982.

However, it was not only the people of Cuenca whom he helped. Father Crespi also had a deep personal interest in the many indigenous tribes throughout Ecuador, seeking to learn as much as possible about their culture and traditions, and providing assistance wherever possible. People talk about his devotion to serving God, voluntary asceticism - sometimes he could sleep on the floor of small huts of a few nationalities, with only one blanket.
The footage was filmed by Father Crespi in 1927 and is the first film about the life and culture of the local community.

Crespi Collection

This was due to Father Crespi's devotion to people and his selflessness. Residents began to bring him artifacts. These artifacts flocked from all corners of the country and even beyond its borders, and copies of works from almost all indigenous cultures of Ecuador were passed on. Other objects, including numerous carved metal plates, were believed to be modern designs or replicas of ancient artifacts, although Crespi always showed great gratitude regardless of the value of the gift. Not wanting to shame impoverished families by giving them cash gifts for nothing, Crespi began paying some of them for objects they brought to him.

Philip Coppens explains:
“When poor people brought him these plates or other artifacts that he collected, my father was sure that they were rewarded for their efforts. He knew that several local families were poor, but this pride did not allow them to ask for money unless it was in payment for something. And consequently, more and more metal plates found their way to the priest. Some of them, Crespi was sure of this, were fakes - and they were often of the crudest workmanship."
Over time, Father Crespi acquired more than 50,000 objects, many of which were kept in the courtyard of the Church of Maria Oxilladora until the Vatican gave him permission to organize a museum to house the collection. Unfortunately, many of the artifacts were destroyed in a fire in 1962. After Crespi's father passed away, the remaining artifacts disappeared without a trace. Various claims have arisen as to what happened to the artifacts that survived the fire - some say they were kept in the church's cellar archives, others say they were sold to private collectors, or that they were sent to the Vatican. For many decades, little was known about the fate of Crespi's precious artifacts, moreover, no one had seen them.

"Gold of the Gods"

While thousands of "Crespi artifacts" are unremarkable and can be clearly classified according to their age and the indigenous culture to which they belong, there remained a small subset of items that sparked intense debate.
Some of the artifacts are Babylonian in style, others appear to have been carved from gold with strange motifs and symbols that are unlike objects from any South American culture. Some of the gold plates show a type of ancient writing, although to our knowledge no one has identified or translated it.

Richard Wingate, a Florida researcher and writer, visited Father Crespi in the mid-1970s and photographed the extensive collection of artifacts. He said: “In a dusty, cramped shed off the porch of the Church of Mary in Cuenco, Ecuador, lies the most valuable archaeological treasure on earth. There is more than $1 million worth of “dazzling gold and large quantities of silver,” but it is difficult to imagine the value of this forgotten treasure, and this is not its main advantage. There are ancient artifacts identified as Assyrian, Egyptian, Chinese and African so perfect in their craftsmanship and beauty that any museum director would consider them top-notch acquisitions. Because this treasure is the strangest collection of ancient archaeological objects in existence, its value lies in the historical questions it raises and demands to be answered. However, it is unknown that historians deliberately neglect this property and do not mention this collection even in the journals of orthodox archeology.”

A video showing Father Crespi in front of more controversial artifacts can be seen below. Crespi himself says that these artifacts were not created in Ecuador, and many of them are even from Babylon.

In 1973, Swiss ancient alien researcher Däniken published his acclaimed book The Gold of the Gods, claiming that Juan Moritz, an aristocratic Argentine-Hungarian entrepreneur, had discovered a series of tunnels in caves in Ecuador that contained a metal library and numerous gold artifacts and that it was those objects which were given by Father Crespi, forming the disputed part of his collection. In addition, Däniken claimed that the artifacts were created by a lost civilization with the help of extraterrestrial beings. Father Crespi and the history of his artifacts became famous.
According to Moritz and Däniken, the so-called "Metal Library" consisted of thousands of books made on metal pages, each page engraved on one side with symbols, geometric patterns and inscriptions. So what happened to these mysterious metal books, and were they real?

The priest of the Church of Mary, where Crespi spent most of his life and devoted it to religion and charity, insisted that no object from Crespi's collection was ever left in the church after the fire, but instead the collection was acquired by the Central Bank of Ecuador.

Having examined the collection in the bank, we were shocked:

The metal plates of the legendary library were located in the opposite part of the building complex in the closed storage rooms of the dilapidated elements of the old building. We were in shock - metal plates and artifacts were scattered all over the floor, lying around in cardboard boxes, and collected in different piles. It was clear that no importance was attached to these plates!

Questions remained unanswered.

Our research allowed us to verify the following facts:
Father Crespi's collection is clearly not complete, but was acquired by the Central Bank of Ecuador and is currently stored in its museum vaults.
Much of the Crespi collection consists of authentic and valuable artifacts collected from all over Ecuador.
The so-called “Metallic” library mentioned by Däniken is nothing more than modern carved inscriptions on cheap metal.
But... there are still a number of unresolved questions - where are the artifacts that were photographed and filmed in the 1970s, consisting of gold, carved hieroglyphs and Sumerian figures? Why are they not available from the Central Bank of Ecuadorian Warehouses? Were they genuine? And if so, what is their significance?
While Father Crespi's story has clearly become a sensation, dramatized and falsified for decades, the real mystery remains that most of the artifacts he collected are missing and we are no closer to an answer.

[based on materials from http://www.ancient-origins.net/]

The Shrine of Saint Mary of the Auxiladora in Cuenca, Ecuador, is called the Church of the Beggars. Its parishioners are of little interest in the history of human development and Darwin's theory of evolution. Perhaps this is why few people know about what is stored there, down in the basement of the temple.
And in the basement of the temple the famous collection of Padre Crespi is kept. The Padre Crespi collection consists of rectangular plates of silver and gold, on which strange designs are applied by chasing. Scientists estimate the age of the finds at 3.5 thousand years. Padre Crespi brought them to Cuenca from Silvia from the Indians, among whom he lived for many years as a missionary. However, the Salesian fathers immediately became interested in the collection, and the plates were ordered to be confiscated.

Unfortunately, by order of the Salesians, the plates were taken out of the country. But Padre Crespi, in order to preserve these cultural objects in the city, organized the production of their copies. They were made by experienced craftsmen, under his strict scientific guidance. Unfortunately, copies were not made of all the plates, but even the small part that was saved explained the reason for the fear of the Salesian fathers.
The drawings on the plates undermined all ideas about the history of mankind. Some of the plates were unusual in their design. For example, there is a plate of an Indian along with an elephant, this is very strange, because in Ecuador there are no, and never have been, elephants. How does modern science explain this incredible proximity? No way! And this is especially strange given the fact that there have never been elephants not only in Ecuador, but throughout the American continent as a whole.
Perhaps serious historians and archaeologists simply do not know about this ancient tablet. Among the parishioners of the church of the poor in distant Ecuador, there are probably no doctors of science either. But the Church of St. Mary of Auxiladora is far from the only place that keeps mysteries of this kind. http://vk.cc/3VrHp3

Carlo Crespi Croci was born in 1891 in Italy in a small town near Milan. From early childhood, he chose the path of a priest for himself, helping the local padre at church services. Already at the age of fifteen, Carlo became a novice in one of the monasteries belonging to the Salesian Order (founded in 1856). At the same time, he managed to obtain a secular education at the University of Padua. He initially majored in anthropology and later received a doctorate in engineering and music.

Crespi first came to Ecuador in 1923, but not as a missionary, but to collect various data for an international exhibition. In 1931, Crespi was assigned to the Salesian mission in Macas, a town in the Ecuadorian jungle. Here he did not stay long and in 1933 he moved to the city of Cuenca, which is located approximately 230 km south of the capital of Ecuador, Quito. In Cuenca there was the headquarters of the Inca Tupac Yupanqui, who annexed the lands of Ecuador to the Inca Empire in the 70s of the 15th century.

In Cuenca, Padre Crespi developed vigorous missionary activity. Within ten years, he managed to found an agricultural school in the city and an institute of oriental studies to prepare young people for work in the eastern (Amazonian) regions of the country. He also founded Cornelio Merchan College to educate local underprivileged children and became its first principal. In 1931, Crespi made a documentary about the Jivaro Indians who lived in the upper Amazon.

But his main merit was that Padre Crespi devoted all his time to caring for local residents, primarily to teaching children from low-income families. During his lifetime, in 1974, one of the streets in Cuenca was named after him. Padre Crespi's anthropological interests led him, from the very beginning of his missionary work, to buy antiquities from local residents that they found in the fields or in the jungle. The appalling poverty of the local population allowed him to purchase antiquities of amazing value from peasants for mere pennies. At the same time, Crespi bought modern crafts and objects of Christian art from the Indians in order to at least somehow support his parishioners.

As a result, his collection occupied three huge rooms at the Cornelio Merchan College. Local residents brought him everything - from Inca ceramics to stone slabs, thrones and even ancient skulls. The padre himself never accounted for, much less cataloged, his collection. That is why it is difficult to call this a collection. It was precisely a collection of things, the total number of which no one counted. However, Padre Crespi's collection as a whole can be divided into three parts. The first part consisted of objects of modern production, handicrafts of local Indians, either imitating examples of ancient Ecuadorian art, or made in the Christian tradition. Numerous objects made in the 16th–19th centuries can also be included here. The second part, the most numerous, consisted of objects from various pre-Hispanic cultures of Ecuador, which local residents found in their fields or during unauthorized excavations. Thus, the Crespi collection represented ceramics from all Indian cultures of Ecuador (with the exception of the earliest - the Valdivia culture).

But the third part of the collection is of greatest interest. It includes products that cannot be correlated with any of the known archaeological cultures of America. These were mainly objects made of copper, copper alloys, as well as gold and, in rare cases, silver. Most of these artifacts were made by coining on metal sheets, although cast items were also available. The collection included masks, crowns, ornamented breastplates, etc. But the most interesting were numerous metal plates covered with plot images and... inscriptions. Padre Crespi collected probably more than a hundred of these plates. Some of them were of considerable size - up to 1.5–2 m in width and up to 1 m in height. There were also smaller plates and metal plates.

Padre Crespi collected a collection of ancient artifacts for more than 50 years. It contained mysterious gold plates with designs on them that could contain information from a “mysterious metal library. After Crespi's death, traces of the collection are lost.

Friend of the Indians

The story of Padre Crespi is one of the most mysterious of all stories, telling about the legacies of unknown civilizations, mysterious artifacts, a huge number of golden objects with images of strange figures and symbols belonging to Sumerian and other unknown languages. The secrets that surround this story once again prove the desire to hide the truth from the public.

Carlos Crespi was born in Milan in 1891 and died in 1982. He was a Salesian monk who dedicated his life to worship, missionary work and love. For more than 50 years he lived in the small town of Cuenca in Ecuador, where he came as a young man to collect data for an exhibition. He had many talents, he was:

teacher;
botanist;
ethnographer;
musician.
He opened a school and organized an orchestra. Thanks to his missionary work, he became a beloved and respected person for the native Indians, whose tribes considered him a true friend.

In gratitude for his work and help to the local population, the indigenous people gave Father Crespi ancient artifacts. They said that many of the items were found in underground caves in the Ecuadorian jungle in the vicinity of 200 km from the town of Cuenca. Some of the amazing artifacts given to him bore similarities to the civilizations of the East and the Old World. Over time, so many of them accumulated that they could fill a large museum. Rumor has it that the padre kept them in his house, and they occupied more than one room, but the exact location was not revealed and remains unknown to this day.

Padre Crespi received permission from the Vatican to open a museum at the Salesian School of Cuenca, which became the largest museum before 1960 in Ecuador. Crespi suggested that there was a connection between the artifacts of his collection and the ancient civilizations of Babylon and Sumer. Among the exhibits were gold or gilded tablets with drawings and symbols, the information on which no one had studied or deciphered. Some time later the museum burned down, possibly due to arson, and most of the artifacts were destroyed. Padre Crespi managed to save only a few of them. After Crespi's death, all exhibits became inaccessible to the public. According to rumors, some things were transported to the Vatican.

Theories about the contents of the collection

Padre Crespi believed that most ancient artifacts contained symbols of a language that predates the flood. Researcher Richard Wingate noted that the collection included Assyrian, Egyptian, Chinese and African artifacts. Neil Armstrong, the first man to walk on the moon, was part of an expedition organized in 1976 by the British military in the caves of Ecuador.

There are theories that the treasures of Atlantis, a lost continent that preceded all known civilizations, were hidden in the caves, or perhaps the artifacts contained information transmitted from space. The treasure was in the form of a “metal library”, the information was stored on metal plates similar to those that the Indians gave to Father Crespi.

The age and origin of the artifacts from Padre Crespi's collection remain unknown, and the fact that they have all disappeared and are hidden from researchers makes their further study impossible. It is difficult to imagine how important discoveries for archeology and our knowledge of human origins could be revealed to the world by the treasures of this collection. It is possible that artifacts from a mysterious library of underground caves in Ecuador could change the course of history forever.

From another source:

Assembly of Padre Crespi

Carlo Crespi Croci was born in 1891 in Italy in a small town near Milan. His family was completely civil, but Carlos chose the path of a priest from early childhood, helping the local padre at church services. Already at the age of fifteen, Carlo became a novice in one of the monasteries belonging to the Salesian Order (founded in 1856). At the same time, he managed to obtain a secular education at the University of Padua. He initially majored in anthropology and later received a doctorate in engineering and music.
Crespi first came to Ecuador in 1923, but not as a missionary, but to collect various data for an international exhibition. In 1931, Crespi was assigned to the Salesian mission in Macas, a town in the Ecuadorian jungle. He did not stay here long and in 1933 he moved to the city of Cuenca. Cuenca is located approximately 230 km south of Ecuador's capital Quito. In Cuenca there was the headquarters of the Inca Tupac Yupanqui, who annexed the lands of Ecuador to the Inca Empire in the 70s of the 15th century.
In Cuenca, Padre Crespi developed vigorous missionary activity. Within ten years, he managed to found an agricultural school in the city and an institute of oriental studies to prepare young people for work in the eastern (Amazonian) regions of the country. He also founded the Cornelio Merchan College to educate local underprivileged children and became its first director. In addition to his missionary activities, Carlo Crespi was interested in music. He organized a local orchestra, which performed mainly works written by Crespi himself. In 1931, Crespi made a documentary about the Jivaro Indians who lived in the upper Amazon.

As a result, his collection occupied three huge rooms at the Cornelio Merchan College. Local residents brought him everything - from Inca ceramics to stone slabs and thrones. The padre himself never accounted for, much less cataloged, his collection. That is why it is difficult to call this a collection. It was precisely a collection of things, the total number of which no one counted. However, in general, Padre Crespi's collection can be divided into three parts.
The first part consisted of items of modern production- crafts of local Indians, imitating either examples of ancient Ecuadorian art, or made in the Christian tradition. Numerous objects made in the 16th-19th centuries can also be included here.

The second part, the most numerous, consisted of objects from various pre-Spanish cultures of Ecuador, which local residents found in their fields or during unauthorized excavations. Thus, the Crespi collection represented ceramics from all Indian cultures of Ecuador (with the exception of the earliest - the Valdivia culture).

But of greatest interest is third part of the meeting. It includes products that cannot be correlated with any of the known archaeological cultures of America. These were mainly objects made of copper, copper alloys, and sometimes gold. Most of these artifacts were made by coining on metal sheets. The congregation had masks, crowns, breastplates, etc. But the most interesting were the numerous metal plates covered with plot images and... inscriptions. Padre Crespi collected probably more than a hundred of these plates. Some of them were of considerable size - up to 1.5 m in width and up to 1 m in height. There were also smaller plates, metal plates (obviously used to decorate wooden products).
The images on such plates had nothing to do with the cultural traditions of ancient America. They were directly related to the cultures of the Old World, or more precisely, the civilizations of the Mediterranean basin and the Middle East. So on one of the plates a regular (not stepped) pyramid was depicted, similar to the pyramids of the Giza plateau. Along the lower edge of this plate there is an inscription made in an unknown “alphabet”. Two elephants are depicted in the lower corners. It is clear that by the time the first civilizations arose in America, elephants were no longer found. But their images are by no means unique in the Crespi collection. The unknown “alphabet” with which the inscription is made is also found on other objects. This type of writing is not known to modern researchers. At first glance, it bears a certain resemblance to the writing of Mohenjo-Daro. On other plates there is another type of writing, which, according to rare researchers, resembles either Early Libyan or Proto-Minoan writing. One of the American researchers of the Crespi collection suggested that the inscriptions were made in “neo-Punic” or Cretan writing, but in the Quechua language. However, I am not aware of any serious attempts to decipher these inscriptions.

A very small number of researchers, mainly from the United States, have attempted to study the Crespi collection. Representatives of the Mormon Church in the USA showed great interest in it, but the dramatic history of Padre Crespi’s meeting did not allow any serious research.
Representatives of official science simply ignored this meeting. And some church representatives stated that all things were modern products of local peasants. At the same time (according to some fragmentary data) many things from the collection of Padre Crespi after his death were secretly taken to the Vatican.

Naturally, data that goes against the official concept is ignored or hushed up. But the huge number of objects in the Crespi collection force us to rethink our ideas about contacts between the Old and New Worlds in ancient times. Interestingly, the collection included metal plaques depicting the well-known winged bulls from the palace of Nineveh, as well as winged vulture-headed “geniuses,” which are striking examples of ancient Babylonian art. One of the plates depicts a priest in a tiara similar to the papal one or reminiscent of the crown of Lower Egypt. On a huge number of plates there is always an image of a wriggling snake - a symbol of the cosmic serpent. Most plates have holes in the corners. Obviously, the plates were used for cladding wooden or stone objects or walls.
In addition to plates made of copper (or copper alloys), the Crespi collection contains many stone tablets with images and inscriptions in unknown languages engraved on them. It is noteworthy that it was precisely these categories of objects, according to Padre Crespi, that the Indians found in the jungle in underground tunnels and chambers. Padre Crespi claimed that an ancient system of underground tunnels stretches from the city of Cuenca into the jungle, more than 200 km long. I wrote about a similar tunnel system back in 1972. Erich von Däniken in his book "The Gold of the Gods". He also brought the first images of things from Padre Crespi’s collection.

In 1962, Cornelio Merchan College was destroyed by fire as a result of arson. Most of the Crespi collection was saved, but The room containing the most valuable and highly artistic items was destroyed in the fire. On the ruins of the college, Padre Crespi erected the Church of Maria Auxiladora, which still stands today. Padre Crespi himself died in 1982. at the age of 91. Shortly before his death, in 1980. he sold most of his collection to the Museum of the Central Bank in Cuenca (Museo del Banco Central). The bank paid Crespi $433,000. This money was used to build a new school. The museum began to select items from the Crespi collection in order to separate valuable antiquities from modern handicrafts. During this process, many artifacts “went to the side.” It is obvious that the museum selected objects belonging to the famous archaeological cultures of Ecuador. According to some reports, most of the hammered metal plates were returned to the Church of Maria Auxiladora, where they may still be kept. Unfortunately, I do not have any detailed information about the current state of the Crespi collection. This is a matter for future research.
Candidate of Historical Sciences

Carlo Crespi Croci was born in 1891 in Italy in a small town near Milan. His family was completely civil, but Carlos chose the path of a priest from early childhood, helping the local padre at church services. Already at the age of fifteen, Carlo became a novice in one of the monasteries belonging to the Salesian Order (founded in 1856). At the same time, he managed to obtain a secular education at the University of Padua. He initially majored in anthropology and later received a doctorate in engineering and music.

First Crespi came to Ecuador in 1923, but not as a missionary, but to collect various data for an international exhibition. In 1931, Crespi was assigned to the Salesian mission in Macas, a town in the Ecuadorian jungle. He did not stay here long and in 1933 he moved to the city of Cuenca. Cuenca is located approximately 230 km south of Ecuador's capital Quito. In Cuenca there was the headquarters of the Inca Tupac Yupanqui, who annexed the lands of Ecuador to the Inca Empire in the 70s of the 15th century.

In Cuenca Padre Crespi developed vigorous missionary activity. Within ten years, he managed to found an agricultural school in the city and an institute of oriental studies to prepare young people for work in the eastern (Amazonian) regions of the country. He also founded the Cornelio Merchan College to educate local underprivileged children and became its first director. In addition to Carlo's missionary activities Crespi was interested in music. He organized a local orchestra, which performed mainly works written by himself. Crespi. In 1931 Crespi made a documentary about the Jivaro Indians who lived in the upper reaches of the Amazon.

But his main merit was that all his time Padre Crespi devoted himself to caring for local residents, primarily to teaching children from low-income families. During his lifetime, in 1974, one of the streets in Cuenca was named after him. Anthropological interests Padre Crespi led to the fact that from the very beginning of his missionary activity he began to buy antiquities from local residents that they found in the fields or in the jungle. The appalling poverty of the local population allowed him to acquire amazing value from the peasants for mere pennies. Wherein Crespi He bought modern crafts and objects of Christian art from the Indians in order to at least somehow support his parishioners.

As a result, his collection occupied three huge rooms at the Cornelio Merchan College. Local residents brought him everything - from Inca ceramics to stone slabs and thrones. The padre himself never accounted for, much less cataloged, his . That is why it is difficult to call this a collection. These were precisely the things whose total number no one counted. However, in general Padre Crespi's meeting can be divided into three parts. The first part consisted of objects of modern production - crafts of local Indians, imitating either examples of ancient Ecuadorian art, or made in the Christian tradition. Numerous objects made in the 16th-19th centuries can also be included here. The second part, the most numerous, consisted of objects from various pre-Spanish cultures of Ecuador, which local residents found in their fields or during unauthorized excavations. So in Crespi meeting Ceramics from all Indian cultures of Ecuador were represented (with the exception of the earliest, the Valdivia culture).

But the third part is of greatest interest. It includes products that cannot be correlated with any of the known archaeological cultures of America. These were mainly objects made of copper, copper alloys, and sometimes gold. Most of these were made by embossing on metal sheets. The congregation had masks, crowns, breastplates, etc. But the most interesting were the numerous metal plates covered with plot images and... inscriptions. Padre Crespi collected probably more than a hundred of these plates. Some of them were of considerable size - up to 1.5 m in width and up to 1 m in height. There were also smaller plates, metal plates (obviously used to decorate wooden products).

The images on such plates had nothing to do with the cultural traditions of ancient America. They were directly related to the cultures of the Old World, or more precisely, the civilizations of the Mediterranean basin and the Middle East. So on one of the plates a regular (not stepped) pyramid was depicted, similar to the pyramids of the Giza plateau. Along the lower edge of this plate there is an inscription made in an unknown “alphabet”. Two elephants are depicted in the lower corners. It is clear that by the time the first civilizations arose in America, elephants were no longer found. But their images are by no means unique in the Crespi collection. The unknown “alphabet” with which the inscription is made is also found on other objects. This type of writing is not known to modern researchers. At first glance, it bears a certain resemblance to the writing of Mohenjo-Daro. On other plates there is another type of writing, which, according to rare researchers, resembles either Early Libyan or Proto-Minoan writing. One of the American researchers Crespi meetings assumed that the inscriptions were made in “neo-Punic” or Cretan writing, but in the Quechua language. However, I am not aware of any serious attempts to decipher these inscriptions.

A very small number of researchers, mostly from the United States, have attempted to study Crespi meetings. Representatives of the Mormon Church in the USA showed great interest in him, but the dramatic story meetings of Padre Crespi did not allow any serious research to be carried out.

Representatives of official science simply ignored this. And some church representatives stated that all things were modern products of local peasants. At the same time (according to some fragmentary data) many things from meetings of Padre Crespi after his death they were secretly taken to the Vatican.

Naturally, data that goes against the official concept is ignored or hushed up. But a huge number of items in Crespi meeting force us to rethink our ideas about contacts between the Old and New Worlds in ancient times. It's interesting that in meeting there were metal plates depicting the well-known winged bulls from the palace of Nineveh, as well as winged vulture-headed “geniuses”, which are striking examples of ancient Babylonian art. One of the plates depicts a priest in a tiara similar to the papal one or reminiscent of the crown of Lower Egypt. On a huge number of plates there is always an image of a wriggling snake - a symbol of the cosmic serpent. Most plates have holes in the corners. Obviously, the plates were used for cladding wooden or stone objects or walls.

In addition to plates made of copper (or copper alloys) in meeting Crespi there are many stone tablets with images and inscriptions engraved on them in unknown languages. It is noteworthy that it is these categories, according to Padre Crespi, the Indians found them in the jungle in underground tunnels and chambers. Padre Crespi claimed that an ancient system of underground tunnels stretches from the city of Cuenca into the jungle, more than 200 km long. I wrote about a similar tunnel system back in 1972. Erich von Däniken in his book "The Gold of the Gods". He also brought the first images from meetings of Padre Crespi.

(admin )The inscriptions on the two upper tablets (a) and (b) are similar to the letter of the all-clear letter which, in this case, was written from right to left in a mirror image and in a frame, so they wrote through or for the dead, several letters can be guessed, so the first letter in the top row photo (a) The letter [Our] in mirror form, the fourth [UK]. For a specialist, such inscriptions will be familiar. Here is an example taken from the book by A.F. Abramov. "Bukovnik of the All-Illustrious Letter":