Roman Officer Ancient Miniature Art

Roman Officer Ancient Miniature Art

Photo Copyright 2007
David Xavier Kenney

ANCIENT ARMORER'S TRAINING DEVICE

This is a 1st to 4th C. AD Armorer's Training Device. It is 6.1 cm in length. It is made of bronze, silver / lead wash, niello, and sand with resin, it is also weighted with lead. It is made to look as a pendant. The device is weighted so that when it's beard is tapped it will wobble almost to the point of vibration for several seconds and then come to an abrupt stop, it is an artist's/craftsman's (an armorer smith is both) visual training device for focusing on miniature detail. As a pendant it shows a face with a long pointed beard and a tooth that has large round bear ears. If it is viewed from the side the beard's curve will make the tooth's shape appear as a fang. Upside down it will appear as another face with a wide triangular beard, The pointed beard will appear as a flaming spear head. Both faces look somewhat Asiatic. There is miniature work in the ears and on the top loop, therefore the smith was schooled in this technique. On the back there are various scenes, a few are highlighted in niello.

This tool was used by a specific type of iron weapons smith, he was also a warrior. The tooth symbolizes that he was of a pedigree that claimed to be descended from the first iron metal smiths that worked in meteorite iron. The slang used to identify this type of armorer would have been: Iron tooth, Black tooth, Blue tooth, Biter, or Bite. The fang shows that he was, or was capable of being a warrior, slang names would have been similar as the tooth slang except fang would replace the tooth. The sand that is seen symbolizes fire. The back of the piece shows the power of this smith, it shows a mountain forge and various figures. On the left there is a meteor / meteorite falling from a triangular shape to a forge on the bottom, some of this is highlighted in niello. There are various forms of swords or sword hilts in different areas, any cruciform swords seen show either a knowledge of or a connection to peoples of the Eastern Steppes and, or the ancient Chinese. It is likely that this armorer was either an Alan, or Sarmatian, or associated with those ancient people. Near the bottom right there is a symbol that is highlighted in niello. This symbol shows a mounted warrior in eastern armor holding up a sword or sword like weapon. He is on either a two or three headed horse, or this is a group of warriors. It is distinct and more three dimensional than the rest of the work, in my opinion this is the personal mark of the metal smith. In summary this piece belonged to a warrior shaman type armorer that could be seen in modern terms as a technician / craftsman / artist, mystic, and physical combatant. There is little doubt that this was one of the most feared individuals in the ancient barbarian world, it is also very possible that he was a weapons smith of a legionary auxiliary unit.

PREHISTORIC MINIATURE ART

I have been asked by several esteemed individuals in science as to how I came about this branch of study, and would like to extend a special thanks to Jim for his comments.

Essentially my answer is that I started this in order to further verify the authenticity of certain Roman and Migration Period artifacts (particularly those of the Balkans). During the course of examining these artifacts I discovered that most ancient metal smiths used miniature art regularly. I do not know how much this was known or understood by their clients, etc. This led to noticing that there was similar miniature art on Neolithic stone artifacts (particularly of Northern European and ancient Anatolian cultures). Then to the 40,000 to 30,000 year old Upper Paleolithic stones from the Aurignacian Culture of Germany and France (who evidently had access to some form of magnification). These stones (most are not tools, but purely art recordings) and others like them are an awe inspiring discovery, as they are a type of prehistoric European library. From there I began to study Lower Paleolithic stones and rock tools (plus one rock art tablet) from the 800,000 (others claim 600,000) to 250,000 year old Heidelbergensis homo erectus ("Heidelberg Man") of Germany and France, some are dated at 600,000 years old and others are dated at 800,000 to 400,000 years old. These are truly the most astounding discovery, as these stones and rocks and others like them give clues as to what the first Europeans actually looked like: how they lived and what they believed in; they are the most ancient of prehistoric libraries to date. The dating with these prehistoric artifacts was done by others, I have no expertise in this area. Next I found similar art (in the style of the Roman period) on many medieval artifacts of Northern and Eastern European peoples. I then found similar art on certain jewelry items and gilded bronze statuary pieces of the 18th to 19th C. At some point in the late 19th C. this technique appears to have disappeared, although in certain circumstances it may have continued up until 1918. Posted On: 16 March 08.

Dave Kenney

The following artifacts show prehistoric miniature art. Over the past eight years certain individuals in Italy have been pioneers in an attempt to gain recognition that man created sophisticated art in the Lower Paleolithic (2 million to 120,000 years ago), Middle Paleolithic (300,00 to 30,000 years ago), and Upper Paleolithic (40,000 years to 10,000 years ago) ages. Their work shows that the earliest representational art form many have been bi-faced sculptures that probably had a religious significance. These examples are rather weathered but clearly show what these pioneers describe. The following miniature art is of a prehistoric era and is nothing short of amazing. The most amazing is the 600,000 year old miniature art on several artifacts that show that pre-historic man in Europe was much more advanced than ever thought previously. These primitive people appear to have lived in tribes, built huts, had boats, concocted special beverages, smoked, and had a complex religious belief system. It also hints that the current theories of a linear evolution in Europe is not necessarily so. It appears that there were several species of man in Europe at the same time, which included: a type of ape man; a type of man who was closer to what modern humans appear like today; and a perhaps a mix of the two. There may have been even more species. There is also a legend of a meteor event that is given credit for the dawn of a "type of modern man." This meteor event appears to be associated with a bear dragon combination creature. Other prominent totems are the cave lion man and the horse. The mammoth was held in special reverence as was the European bison. The meaning of the art on these artifacts appears to show that many of the legends and myths that were written by the "higher" cultures of the ancient Middle East and the Mediterranean may have been of Western and Central European origin and may be as old or older than 600,000 BC. The art also shows that these early beings had rope. A leap in progress for prehistoric man that is associated with various types of stone tool making may have in fact been have due more to the invention of rope from animal hair (most likely horse hair) or plant fibers. A great leap appears to have been the invention of the lariat (and the lasso technique); this was probably when man became secure enough to begin developing higher social and artistic endeavors. This is seen on the front of the "Paleo Rodeo Cowboy Statue" with this collection, Remington would have been proud. The twisting or braiding of two strands to make rope may be in part what the first bi-facial figures truly represent. This appears to have had a religious significance and an association with barbering and healing (therefore the twisted motifs used in the symbol of the barber shop as well as medicine), it may also have been that a barber / healer was a shaman who was the maker of a tribal leader (a type of king maker). These first cowboys may have been the first great prehistoric artists, and they appear to have been well groomed too (we may now know the real reason why the barber is so important in some Westerns). With rope prehistoric men could take down the largest of land creatures, the mammoth, and even the fastest of creatures such as the horse could not escape. In essence "primitive" man had the power to capture, kill, or even harness; he had the means to an unlimited supply of meat on demand. The elite symbolic significance of the rope or knot is seen in symbolism throughout history with the "Hercules knot" or the "Gordian knot" being the most well known. The knot, tassel, or lanyard is still used symbolically in various religious traditions and with various military insignia or decorations, most notably the officer's sword knot or tassel. At some time this must have also applied to making nets such as fishing nets. Art on prehistoric Nordic artifacts shows that at some time 7,000 years ago great whales such as the sperm whale were viewed as a type of sea mammoth, and that these sea mammoths were in fact hunted. The twisted shape of the narwhal horn at this time appears to have been associated with the rope and its related religious significance, this can be seen with Pictures 80 and 81 with the "Nordic Royal Stone" that is with this collection.

Revised Mar 2008

Bear Dragon Information:

This information is provided for background on the bear dragon symbol as seen in ancient art. On the "Euro Rock" in this collection, the headdress seen in Pictures 5 through 8 shows a bear dragon with its snout in a cup. The image of this combination totem creature is c. 600,000 years old. The mythical origin of this bear dragon may have to do with images of the bear and the dragonesque figure connected to stories of a sacred celestial birth and a meteor/meteorite event. Images from these stories can be seen on the Back and Front (in that order) of the "Resurrection Stone" in this collection. Two 1st to 4th c. AD Thraco Dacian bear dragon head torc pendants (with art that shows a meteor/meteorite event) can be seen by Clicking Here and Clicking Here! A bear and dragon conflict can be seen in a few very rare ancient Germanic tribes' artifacts and one Anatolian Neolithic depiction; an example of each of these can be seen in the King Arthur Banner Collection at www.kingarthurbanner.com. The Anglo Saxon story of Beowulf may be of a bear and dragon conflict. Historically the bear dragon as a combination totem creature is only mentioned in connection with Huangdi (the Yellow Emperor, c. 2697 BC to 2598 BC), who was the mythical or legendary founder of the Han Chinese; he is first mentioned during the height of the Han dynasty (206 BC to 220 AD). You may view three Neolithic (4500 to 2250 B.C.) Jade Hongshan Bear Dragons by Clicking Here!

Photo Copyright 2007
David Xavier Kenney

PALEO "ART MASTER'S STONE"

The information with this artifact comes with a statement: Of all the regions of the world the artist and art are held in the highest esteem in Western, Central and Southern Europe, although historically at times this has been just as so in Northern and Eastern Europe. After you view this artifact you may see why this is true. I have the background, experience, and travel to make such a statement.

31 Dec. 2007 David Xavier Kenney

Art Seen On This Stone Is Made To Change With Movement. It Is A Type Of Prehistoric Manual Animation.

This is a Homo Erectus Heidelbergensis (Heidelberg Man) Quartzite Artifact from the Lower Paleolithic Period; it is 6.9 cm in length. Careful examination shows that it is a knife, but the tip may have been used for rope making or as an applicator for face paint, or both of these. It is from a well known old German collection and originates from a famed site in Battenberg (Palatinate / Germany). The site is scientifically dated at 600,000 years old. The artifact has carvings and appears to include among other images, a portrait of a man who is possibly wearing a headdress. It is painted with red, blue, black, yellow, and white paint from minerals. Some of the painting is layered; this technique is not seen again until the Late Roman Period; it then disappears, and then reappears in Late Medieval Times. The art shows many figures and themes, but most importantly it is a first view at the first and only known Paleolithic portrait. In effect, one could say based on what can be seen on this artifact, "Meet Mr. Heidelberg, the First Art Master." The man's portrait can be seen in Pictures 11 and 12. Pictures 3 and 4 show a cave lion man and a horned figure in profile; the cave lion man may be the artist as a shaman. You may view this Art Master working in his studio (or on "public art") in Pictures 41 through 46. The slightly slanted area that was used to apply the paint has carvings. This area shows facing a figures, at another angle is a figure holding a cup. Overall the image is in the shape of an evergreen tree with a animal dragonesque head on it's base. When turned sideways, this area shows a fish; inside the fish there are figures. Above this is a thin adjunct panel that when placed upside down shows a bear dragon man or bison man and a man, both are drinking from cups. The spruce tree information hinted at in this artifact may be scant evidence for a highly speculative theory that I have on the possible origin of blonde hair*. The Stone Age animation on this artifact is scheduled to be reproduced via pictures and computer, the results to be announced on this website.

*My speculative musings on the origin of blonde hair are as follows. That blonde (yellow) hair on humans did not occur as same as yellowish fur on animals. Among ancient animals the coloring may have evolved solely due to camouflage, but with humans it may have been an accidental process. That this may have occurred because a group of an unspecified species of the Lower Paleolithic who worshipped the bear and the dragon had for tens or hundreds of thousands of years been regularly drinking a concoction made from needles and/or cones of a type of spruce tree; perhaps this was something like a spruce "beer." That this group also connected the drinking of the spruce concoction and their hair color to a celestial event that had to do with a meteor / meteorite. The evidence for this is very scant and has no scientific basis, instead it can only be theorized due to ancient art depictions of a bear, a dragon, a cup or a drinking horn, an evergreen tree, and a meteor / meteorite event which feature blondes. On other artifacts in this collection aspects of this can be seen, specifically with Pictures 38 and 39 of the "Resurrection Stone" Back, and the "Nordic Arthor (Arthur) Stone". Aspects of this theme can be seen on ancient Thraco Dacian, Germanic, and Finnic art up until the end of the Migration Period and then after that only with art that has to do with legends and children's stories. Concerning later prehistoric drinking vessels: On Side 3 of the "Nordic Royal Stone" that is with this collection there is near the area that is shown with Picture 87 an art depiction that suggests that the ancient Nordics of 4000 BC to 2,500 BC may have been made two beverages from the birch tree and an evergreen tree, this would have occurred sometime between February and March. It may have been a type of birch beer and spruce beer.

Revised Jan 2008

Photo Copyright 2008
David Xavier Kenney

PALEO "MASTER CARVER'S KNIFE"

This is a Homo Erectus Heidelbergensis (Heidelberg Man) Quartzite Knife from the Lower Paleolithic Period; it is 6.7 cm in length. It is from a well known old German collection and originates from a famed site in Battenberg (Palatinate / Germany). The site is scientifically dated at 600,000 years old. It has carvings and a small amount of paint from minerals mixed with resin. The first pictures show a cave bear's head or a combination cave bear cat head with carvings. The carvings have a couple of figures and a serpentine creature or creatures (much like the later Celtic art). Pictures 8 thru 12 show a large beaver with two human heads for teeth. The bear and beaver theme with prehistoric and ancient art can be seen with the "Nordic Beaver / Bear Knife" of 6,900 to 4,400 BC with this collection and the later "Anglo Saxon (with Briton influence) Bronze Carving Knife Handle" with the King Arthur Banner Collection" on kingarthurbanner.com. These human figures may be two women or a man and a woman, they are holding a small child with a roundish face. In turn the small child is the hair or hat of a man that is under these figures. The man is presenting a smaller long haired standing figure with a staff or a standard with a disc finial. Pictures 13 and 14 show figures and faces, these may represent a group or a tribe. Pictures 15 thru 19 show two roe deer or wild goats in profile facing a man in profile. Pictures 20 and 21 show figures and faces. Picture 22 may show a wooly mammoth head. Pictures 23 thru 25 shows a Janus face (bi-face), one face has features that look like a modern man, the other face has features of an ape man. This may mean that Heidelberg knew that he was of two species, or that he understood a concept of scientific evolution? Picture 26 shows a bear or bison head, on the top there is an animal Janus head, these appear to be of a cave lion and cave lioness. There are carvings on this shown in the detail with Pictures 27 thru 29. Pictures 30 and 31 may show a horse's or a wild sheep's head. With the carvings there is a crouched man in profile, he is holding a rope, it is as if harnessing or riding, or both of these. Pictures 32 thru 34 show a long snouted bear's head with carvings. Pictures 35 thru 64 are a repeat of the pictures of the back of the knife, but were taken with less natural light. These show the detail with the small painted area and other contrast. Pictures 35 thru 39 show the area that is painted as a blonde woman. She may be a goddess of rope; in essence, a goddess that binds; but she also may be a horse goddess. and or the mount of a storm god. This will be explained in the information with the next group of pictures. As in Pictures 23 thru 25, the knife shows a Janus face. The blonde woman is angled towards the left; this side shows a modern man's profile. In Picture 36 the blonde woman appears to have a line or rope over the modern man's mouth. This hints that women were the first to learn to speak, or that it was thought that women had the ability to control others' speech. In another position, Pictures 40 thru 53 show a bearded figure that is above the painted area. In Picture 41 it begins to show the painted area as a horse's head. In Picture 42 it begins to show that there is a hut with a triangular roof under the horse's head; there are figures in front of this scene. It is as if the bearded figure is riding a horse above the hut that has a congregation gathered in front of it. In Picture 43 it shows that the there are flames and or smoke emitting from the horse's nostril (lightning). There are four or five balls on top of the roof (thunder). This is similar to the horse / bull seen with the flag pennant on the "Euro Stone" that is in this collection. All this may suggest that the first huts were seen as protection against the elements, but it may also suggest that there was a special hut that was seen as protection against thunder and lightning, and was associated with a horse riding storm god. This may be a first look at what the first temples were like. Interestingly enough the region where this artifact came from is near where the Germanic tribes worshipped their thunder god at Thor or Donar's Oak; this tree was felled by the Christian missionary Winfrid (St. Boniface) in 723 AD. The painted area in another position with Pictures 54 thru 59 may show a dark haired woman in a horizontal position; she may be a fertility goddess. In another position Pictures 60 thru 64 may show figures in a horizontal position; this once again may have to do with fertility. It should be noted that up until the Middle Ages, certain Nordic tribes still thought that thunder represented a fertility rite, and that roundish stone age crushing stones were thought to be the result of thunder bolts; they were called "thunder stones."

Revised Jan, Feb 2008

Photo Copyright 2007
David Xavier Kenney

PALEO "RESURRECTION STONE" FRONT

Information and Pictures With This Artifact Are Divided Into The Following Three Sections, Front, Back, And Side & Top. There is a Fourth Posting With This Artifact, This Has Various Pictures From The Three Sections, It Shows A "Cave Man Christmas Type Theme". Art Seen On This Stone Is Made To Change With Movement. It Is A Type Of Prehistoric Manual Animation.

ON THIS STONE A DEPICTION OF A BIRD AS A FIRE BRINGER WITH A METEOR SUGGESTS THE GREAT ANTIQUITY AND IMPORTANCE OF THE ICONGRAPHY SEEN ON THE HILT OF THE ROMAN PARAZONIUM AND THE PARASPATHA, BOTH SEEN WITH THE ROMAN OFFICER PERMANENT COLLECTION.

ARTIFACT INFO: This is a Homo Erectus Heidelbergensis (Heidelberg Man) Quartzite Tool from the Lower Paleolithic Period, it is 9.8 cm in length. It is from a well known old German collection and originates from a famed site in Battenberg (Palatinate / Germany). The site is scientifically dated at 600,000 years old. The finger grips show that it was made as a precision type of tool (with spring action coming from the index finger along the top pushing the point against the upper palm), it is for sawing or cutting, but not chopping. In my opinion this was used for cutting hair, another function is as a shaving device. There is a slightly curved area that is 3.9 cm in length, it is as sharp as a knife and it can be expected that 600,000 years ago it had been razor sharp. The finger grips give an exact hold for shaving a beard and, or mustache. Therefore it is highly likely that this is a grooming tool, a type of duel-purpose barber's tool, but also possibly as a leather working and, or a medical tool. Any leather working may suggest the wearing of hides, not just furs. With a medical use, we know that in ancient historical times that at least some barbers also performed lancing or bleeding, so it may have been the same with the Heidelbergensis, either with individual circumstances or as a specialist to a group. The artifact has carvings and is painted with; black, brown, purple, blue, red, orange, sienna, yellow, and white paint from minerals. Some of the paint has a semi-luminous effect, this is particularly seen with the white paint.

SPECULATIONS: The iconography on this stone changes the known perception of prehistoric man and much more. It shows that the Homo Erectus Heidelbergensis of c. 600,000 years ago was as sophisticated and technologically advanced as man of the Late Neolithic age. It suggests that Heidelbergensis had both family units and band or tribal units; wore furs and hides; lived in huts; had boats; had an advanced belief system; and created highly sophisticated art. Certain well known myths and religious stories may have originated from the beliefs of Heidelbergensis.

The iconography on the front suggests that Heidelbergensis had known of (or had experienced) a meteor/meteorite event that was viewed as a huge bird (with a fire stick in it?s beak) as a bringer of fire (this is somewhat similar to the story of Prometheus). When the stone is moved the fire stick will change from black to white, this may suggest lightning or black lightning, the effect is created with paint and a type of resin. The meteor is shown as a dark disc on top of an egg headed face (seen in Picture 8). This unique face can be seen on a few artifacts with the King Arthur Banner Collection, they are as follows: The face on the bear's hindquarters of the "Neolithic Anatolian Bear and Dragon Statue", go to Picture 3; The face on the corner of the "Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god", go to West Picture 2: and to a lesser degree the two dragonesque faces on the "Roman Legionary Dragon Head Armor Piece". It appears that this meteor face represents the child wrapped in hides / man's face on the back of this stone. It shows that it is very likely that Heidelbergensis believed in a "star man", if so then he may have been a resurrector, or a savior figure, or the bringer of a technology, or all of these. The art also shows a flood event (this is somewhat similar to the story of Noah). In one position there is a figure (or figures) departing a settlement (of huts) and a group in a canoe. This meteor/meteorite event and flood appears to have been viewed as a force representing a resurrection of the dead; or a force of reincarnation; or a transmitter of souls; or all of these (The resurrection theme can be seen in Pictures 30 thru 44), this could be seen as somewhat similar to some Christian beliefs. The front of the stone also features a depiction of a yellow haired Herculean figure on a sacred mountain peak that may have represented the Matterhorn, or the peak of a mountain somewhere in Eastern Central Germany (due to the shape of the stone when seen at an angle in Picture 59). The tip of the peak appears to have one or two goddess type figures. Turned on its side, the mountain peak appears to be transformed into the shape of a mammoth's head with the point as a bear's head. Some of the images of the human figure appears to represent a prehistoric type of ape/man which far predates even Heidelbergensis (a type of the more ancient Paranthropus boisei or Australopithecus robustus of Africa?), he is seen in this respect in Picture 67 thru 70, the yellow hair may represent a cave lion's hide that is symbolic of a solar connection, but possibly it shows that he was of a tribe of blondes that were of a more "primitive" type of species, he or his kind may have been an inspiration for a tradition of stories that would eventually become the legends of Hercules. The iconography on this stone shows that he is associated with a sacred cup (seen in Pictures 64 thru 66); the bear, the cave lion; the fish, the horse; an erect serpent as a staff (but also possibly as a foe); and the sun as a solar cave lion's head. Near the ape/man figure is a bird's nest with an egg or eggs (perhaps as a solar symbol and another reference to the ape/man's yellow hair* or cave lion's hide); the nest also possibly represents a bush and/or a spring bath. In front of the ape/man (in Pictures 67 thru 69) it shows a cave that appears to contain several human figures, this may suggest a type of family unit.

* Anthropologist C. Scott Littleton suggests that blonde hair may have originated from Neanderthals. Littleton bases his hypothesis on the climatic conditions of northern latitude and cold weather adaptation. Other physical features included thick barrel chests; short limbs; and hooded eyes under heavy eye ridges. He feels that the classic Neanderthal's skin color was probably fair (being relatively devoid of melanin), that their eyes were blue or hazel, and again that their hair was generally blonde (possibly reddish). Lighter skin, eye, and hair color among their successors, the Cro- Magnons, may have in part resulted from the infusion of Neanderthal genes among any fertile (probably rare) offspring of Homo sapiens and Neanderthal matings. He also suggests that it is equally possible that latent albinism among these relatively recent African emigres became much more common independent of any contacts with the indigenes, due to pressures exerted by their northern, ice-age environment of C. 40,000 BC.

Revised Dec 2007

Photo Copyright 2007
David Xavier Kenney

PALEO "RESURRECTION STONE" BACK

The iconography on the back shows that Heidelbergensis appeared to revere a story involving a celestial boat made of hides (because it is on the back it appears that the celestial was believed to be mirrored in an underground cave); a journey of two figures with a long snouted bear (it is not a cave bear as the cave bear had a short snout) at the helm, but inverted; and the belief of a sacred birth or rebirth of a figure of a child wrapped in hides (but in another position it is also of a man's face. Picture 29 shows that he is holding a stick shaped like a "Y") and, or a star in a celestial cave (these themes can be seen when the stone is held in the position in which its outline resembles a mammoth) surrounded by animals (this is somewhat similar to the story of the birth of Christ but also the myth of the birth of the god Mithra). In one position there is a large woman's face done in sienna (tan) with dark brown hair over the child wrapped in hides, it is if she is kissing or smelling the child wrapped in hides/man's face. There is a star made from a clear resin that can appear metallic white, it can appear or disappear with the slightest movement; in essence it can be viewed as if twinkling. It appears to be the star Arcturus, of the star/constellation of Arcturus (more commonly known as Bootes). Near this are three orange dots (that are faded) and a spike (that is dark brown with a gray head) which together form a diamond shape. In Pictures 11 and 12 shows that the white star will change into an orange star, the form that the three dots make in these two pictures appear exact to the kite shape of the constellation / star Arcturus. It appears that the constellation of Arcturus was viewed as a type of camp fire (or oven), but that the star Arcturus itself (a massive orange star) was viewed as a star that changed (this suggests some type of stellar event) from white to orange.. There is also a wooden stick with a stone on top (that looks like a spike), this may have symbolized a marker. Behind this is a small black and white dotted "U" form (similar to a studded heel) seen below "the stone on a stick" in Picture 49 and 50 (and on the second darker type flame seen with the meteor face, seen in Picture 8), this may represent meteorite iron. This symbolism coincides with a sacred meteor shower or comet depicted on the stone as a large dragonesque dark skinned woman's blonde hair*. There is a horn (or a fang, or a claw) that is the drinking vessel of this dark celestial woman. The child wrapped in hides/man's face is on the tip of this drinking horn. It appears that the dark celestial woman is a swallower, refiner and spitter of meteors or "special meteors that ride or have a rider", in effect she is a celestial amazonion initiator and projector. This figure is in line with what is seen with the dragon on the Roman Parazonium's hilt that is with the Roman Officer Permanent Collection, it appears to be of this most ancient tradition and is last seen with certain aspects of the medieval Arthurian legends. In another position she is the long snouted bear and the drinking horn would appear as if coming from the bear's head, therefore she may be a type of bear dragon. In one position this star can be seen as being overhead of the child wrapped in hides/man's face (this is somewhat similar to the story of the star and the birth of Christ). The Stone Age animation with this artifact is scheduled to be reproduced via pictures and computer, the results will be available on March 1st of 2008, it will then be shown on this website. *According to information with art depictions on my artifacts this dark celestial woman may be the origin of an ancient Northern Germanic tradition of a black goddess associated with the constellation of Cassiopeia and the sea. This tradition may have been the inspiration for the Greek myth of Cassiopeia and possibly for the image of the European Black Madonna's.

*According to information with art depictions on my artifacts this dark celestial woman may be the origin of an ancient Northern Germanic tradition of a black goddess associated with the constellation of Cassiopeia and the sea. This tradition may have been the inspiration for the Greek myth of Cassiopeia and possibly for the image of the European Black Madonna's.

Revised Dec 2007

Photo Copyright 2007
David Xavier Kenney

PALEO "RESURRECTION STONE" SIDE & TOP

The theme on this part of the stone appears to have to do with a boy who becomes a leader of a tribe. Pictures 2, 3 and 4 show a red horse with a bluish white moon or possibly the morning star (the planet Venus at dawn). This moon or star is made from a piece of mica that may have paint on it. The red horse may represent the planet Mars; the Aura Borealis; the dust of a volcanic event; or a meteorite, comet, or asteroid impact. Picture 5 shows carved figures. There are various faces and a bearded face with a tilted conical hat in profile. Pictures 6 through 23 show a taller woman embracing a long haired boy in a loin cloth, it is as if they are kissing. The extra height of the woman should mean that she is older or a goddess. Pictures 6 through 9 and 20 through 23 show that these two figures together make a cave lion's head. The boy is holding over his shoulder a type of scepter or a mace (or both of these), there is also an animal's paw hanging down from the scepter's handle (this points to an area that has a crevice that is significant and will be explained later). Depending on which angle the object is positioned at, it can be seen as having a horse's head; a cave lion's head, or a man's head. The horse's head and a cave lion man's head can be seen on The Captured Trophy Flag (or Commander's Pennant Flag) on the 30,000 year old "Euro Stone" in this collection. It is a solar symbol associated with the bee and a "cup goddess." To view this go to Pictures 16 and 17 of that artifact. Between the woman and the boy there is an Amazonian figure. She is positioned as if coming from a crevice, holding the scepter overhead, she appears to be presenting the scepter to the boy, although the taller woman also could be seen as part of this presenting. There is a wicker type of mat on the boy's back; this may represent a bed mat as a fertility symbol or it may even be a shield, or both. If the wicker mat is a shield, then the scepter may have been a battle weapon. This scene appears to have to do with a type of tribal leadership (kingship) with an older woman or a goddess as the initiator. The cave lion head, the scepter, and the mat (or shield) may be the symbols of a legendary tribal boy leader. As this is the side that in another perspective shows the origin of the meteor, then the scepter's head may have been made from the stone or iron of a legendary meteorite. This all rings of a type of "sword in the stone" of the Arthurian legends. Although there appears to have been many ancient variations of this theme, this may actually represent the original story. Pictures 24 and 25 show the horse is now a bird (most likely an eagle) as a type of headdress for a man in profile. Turned upside down, Pictures 26 through 35 show a figure in a pointed hat. From this viewpoint the blue white moon or star is very distinct. The figure?s belly is round as if pregnant, so it should be assumed that the figure represents a woman. On this figure there are various smaller figures, possibly naked. The belly in Pictures 26 through 30 shows that it can also be viewed as a large deer's head. Pictures 36 and 37 from a different angle show figures under the blue white star or moon. There are two discs. In the center of one of the discs is a round object on a stick. Besides any connection to the celestial, this gives the answer as to where a hidden central theme can be found on this side of the stone (it is in the shape of the crevice that the animal's (cave lion's) paw points to). Picture 38 shows that the belly / deer's head?s left ear has a crevice. Pictures 39 and 40 show a figure climbing to the crevice with a torch; above its head is an enclosed equal armed cross. According to my research on ancient artifacts, the equal armed cross when enclosed was a symbol for a meteor / meteorite that was thought to contain iron. Pictures 40 through 42 show an equal armed cross in front of a face inside the crevice. Pictures 43 through 47 show that when the crevice area is tipped downward and to the right it is in the same shape as the round object on a stick mentioned previously, behind and over the crevice there are two reindeer heads. These are very faint. There is another figure to the right of the crevice. Inside the crevice there is a man facing front and a woman facing to the left in profile. The man appears more "primitive" and is somewhat ape-like. The woman is drinking out of a ladle or kissing a cup, or kissing or eating a third child; the man may be holding or presenting this ladle, cup, or child. Under these figures are two children that are sitting on a rectangular object. They are facing and embracing each other, but yet with outstretched arms. These two children appear almost exact to many ancient depictions of Romulus and Remus. The origin of that legend and its images may be far more ancient than anyone could have ever known, it may also be the origin of al Cain and Able type story.

Revised Jan 2008

Photo Copyright 2007
David Xavier Kenney

PALEO "RESURRECTION STONE" CHRISTMAS (A Type Of Cave Man Christmas With A C. 600,000 Year Old Meteor / Meteorite Santa Claus)."

If you would just like to view the c. 600,000 Year Old Meteor / Meteorite Cave Man Santa Claus then go directly to Pictures 12 and 13.

This is an attempt to piece together the story of some of the art which appears on this artifact. In my opinion it represents a Lower Paleolithic Heidelbergensis type of Christmas. Pictures 1 and 2 show a skull-like face; according to the research of others a carved skull is typical of the art carved on some stones of prehistoric man of the Lower Paleolithic. An evergreen tree topped with a diamond is superimposed on the forehead this skull face. According to my artifacts, in Roman Times a diamond symbol represented to the ancient Germanics, the Thraco Dacians, the Steppe Nomads, some North African peoples, and some Northern Middle Eastern peoples, either the sun or a star, or both; it is a symbol of regeneration. It may have had the same meaning with all ancient cultures. If it is just a star, then according to my research it may very well represent the constellation / star Arcturus (commonly known as Bootes). The Thraco Dacians used the diamond as their primary national symbol. Inside the tree there is a bust of a human figure and other figures on each side and overhead. Hence this is a type of Christmas tree; the bust of the central figure may be a tree god that represents "light and immortality" or "light and rebirth." Pictures 3, 4, and 5 show a boat or sled (with a figure head) that has standing figures in it. This is on top of a bird that may be an eagle; the boat or sled may be disc shaped. Pictures 6 and 7 show a dugout boat with a woman's face on the prow, facing upward; it is as if it is being launched. Pictures 9, 10 and 11 show a figure that appears elf like but with a long pointed nose; this figure is holding a cup. Below this in paint are faint figures that appear somewhat like a sled being pulled by animals (reindeer or wolves, or both). Pictures 12 and 13 show another elf, but much larger. The elf when looked at from a different perspective, appears to be a Santa Claus face with a very large beard. Pictures 13, 14 and 15 show a figure or figures standing over a dark female form; it is as if the standing figure (or figures) is holding her. All this is on what appears to be a type of meteor / meteorite. Pictures 16 and 17 show the first elf figure's head and hat transformed into a very stout naked woman seen from the rear, with a flame coming from the top of her head. This woman also appears as a kiln that according to current general archaeological belief, should not exist until at least 570,000 years later; it may represent a volcano. The flame is going over to a figure on the stone's front. Pictures 18 and 19 show a wolf man figure facing a bison type figure; there is a red heart on the bison figure. It is as if these two figures are battling with the flame between them. Picture 20 shows that the flame also forms the hair for a large dark dragonesque figure that is drinking from a drinking horn. The tip of the horn has a child wrapped in hides. From this perspective the large figure with the flaming hair is also a long snouted bear's head. Picture 21 shows that the drinking horn has a white dot in it which twinkles when moved like a star. Picture 23 shows a bear and a large boy looking at the child in hides. Picture 24 shows the boy now has a crest that is a serpent; it now appears that this scene takes place in a cave. Picture 25 shows the child in hides is also a man's face; the man is either holding or looking at a stick or plant shaped like a "Y." Picture 26 shows a figure standing over the child with hides; to the right there is a carved bearded figure with a club. Picture 27 shows a figure over the drinking horn with a white dot in it. Picture 28 shows three figures in a hide type of boat; one figure is standing. In the fore is the long snouted bear facing aft. The bear has a white dot over its nose. The white dot may be the Pole Star, the star Spica, or the moon; it is as if the figures in the boat are being guided by or following the star or moon. Picture 29 is on the Front of the stone. It shows a disc; an egg shaped face with flames (a meteor or comet); a large bird holding a torch in its beak; and a large man's head looking at these symbols. Picture 30 shows the disc, the meteor or comet, and the bird's face and torch. Picture 31 shows a large crested bird head, or sea serpent head, or dragon head with a large oval shaped object in its beak or mouth. There are lines coming from this that should symbolize rain. Under this there are various animals facing standing human figures. Seen from a different perspective, these figures also appear as huts (forming a camp or a settlement). To the right there is a long white figure that may be a goddess. Picture 32 shows a figure or figures in a canoe; to the right there is a hut and people in a line. This could also be viewed as people in a long boat. Picture 33 shows a large head with the white figure appearing as if it is issuing or being blown from the mouth. This appears to continue with the making of a boy king. If you would like to see this perspective of the stone then go to last segment with this artifact titled: Lower Paleolithic "The Resurrection Stone" Side & Top.

Photo Copyright 2007
David Xavier Kenney

PALEO "EURO ROCK"

The Art Seen On This Stone Is Made To Change With Movement. It Is A Type Of Prehistoric Manual Animation. It is a visual recorded story. The overall shape of the rock is similar to a bear's paw, but without the claws as a bear mitt. This can best be seen in Pictures 15 and 16. It is now hypothesized that this rock with its visually recorded story was used in oath taking. It is the earliest known representation of the concept of law; it is a practice that is with us to this day. Concerning the bear paw with oaths, in the early 20th C. ethnographers reported certain tribal peoples of Western Siberia as taking sacred oaths of truth speaking on a bear's paw.

This is a Homo Erectus Heidelbergensis (Heidelberg Man) Quartzite Artifact from the Lower Paleolithic Period. It is a massive 18.6 cm in length. It is from a well known old German collection and originates from a famed site in Battenberg (Palatinate / Germany). The site is scientifically dated at 600,000 years old. The artifact has many intricate carvings and residue from paint, charcoal and resin, some of which provides shadowing that is now faint. On one side there are two white painted horse line figures. The carved art is made in a style that when moved will create a type of manual animation. It has a carry hold which shows the stone was been designed to be carried with the right hand (the Gladiator Ad Shingle in the Roman Officer Permanent Collection has a similar carry hold, but for either hand) and a slightly slanted bottom that will fit comfortably on the knee. Apparently, while in the sitting position (as on a rock or a log), it was placed on the knee and moved to create a primitive show. Interestingly "The Art Master's Stone (aka AMS)" in this collection has two separate figures (a man or a woman, seen in AMS Pictures 22 through 27; and a woman, seen in AMS Pictures 28 through 34) that are holding a large engraved disc in front of their bellies. These discs should represent some sort of fertility belief, but they may also depict a larger version of this artifact. In essence, if this artifact is a more compact version, it can be compared to something like a 600,000 year old DVD. Needless to say it suggests that there may have been a Stone Age type of animation industry; the site at Battenberg may have been the center for this as a type of "Stone Age Hollywood." The Stone Age animation with this artifact is scheduled to be reproduced via pictures and computer; the results to be announced on this website. Further speculations are that this artifact shows the story of a founding and that it was used during a ritual.

THE ARTHURIAN CONNECTION: On one side, Pictures 2 and 3 show what appears to be a Woolly Mammoth. The woolly mammoth or straight tusked elephant is a theme seen on the "Resurrection Stone" and the "Nordic Arthor (Arthur) Stone," both in this collection. On one side, when turned upside down: Pictures 5 through 8 show a Face in Profile Wearing a Large Bear Dragon Headdress (a boy King Arthur figure)*. The bear dragon is drinking from a cup, but close up and viewed from the right it is also a pipe with flames (and/or smoke) coming from it**. Picture 9 shows that this pipe is also a drinking horn. This may be similar to the dragon with drinking horn seen on the "Resurrection Stone, Back" in this collection. Pictures 10 through 12 show a woman's face in profile, a horse head, and a man's face. Picture 13 shows that when very slightly turned, this image changes into a mat or a shield with a head over it. This mat may have been for bedding purposes but it may have also been used for a shamanistic journey (this type of mat or shield can be seen on the "Resurrection Stone, Side & Top"). The images in the last four pictures suggest that a horse, a woman as a goddess or guide, and a mat were used in a shamanistic rite. Pictures 16 through 18 show a figure that is a bearded man, who appears to be standing or sitting. To the left is a nude woman who due to the light reflection appears darker (a Guinevere figure). Pictures 19 through 25 show that the central figure's face either changes to or is also a figure with a darker beard and pointed animal ears (a Merlin type figure); he is holding a staff with faces on it (most likely a totem type of scepter). Picture 26 shows the nude woman's body; her navel shows water spurting from it (that is also a small standing figure; under this in front of her womb there is a face).

At another angle this rock shows a land of two active volcanoes (not seen with these pictures). When the rock is put on one of its sides (also not seen with these pictures), it appears to show the following: the abduction of a woman or a fertility goddess, or a statue of a fertility goddess (that may have been made of wood); an epic conflict between two or more tribes; totem animals and monsters (of land, sea, and air) at the forefront of that conflict; and then the unification of the tribes under one leader who becomes deified (or later becomes deified). Certain aspects of this theme are similar to the story of the Trojan War but also the medieval Arthurian stories (according to the overall theme of this rock these stories may actually have been rooted with the keeping of law), except that if my interpretations are correct then this story is over a half a million years old!

* Note: Note: This image of a bear dragon is the earliest image of a dragon known. As a bear dragon symbol this predates the famed bear dragon totem of the Yellow Emperor (Huangdi, the legendary founder of the Chinese) by hundreds of thousands of years. For reference there are three "Neolithic Chinese Bear Dragons" of the Hongshan Culture that are with the King Arthur Banner Collection at www.kingarthurbanner.com. With that collection there are also two Thraco Dacian Bear Dragon Head Torc Pendants that are listed as "Torc Bear Meteor Pendant of The Thraco Dacian Goddess Bendis" and "Torc Bear Meteorite Pendant of the Thraco Dacian Goddess Bendis". The ancient bear dragon theme may also include a bear and dragon fight theme. This can be seen with the "Neolithic Anatolian Bear and Dragon Statue", and the "Germanic Gothic Buckle", both are also with the King Arthur Banner Collection.

** For other ancient references with a shaman's pipe go to the "Nordic Arthor (Arthur) Stone" with Pictures 26 and 27 in this collection, and the "Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god" with Bezel Pictures 4, 5, and 6 in the "King Arthur Banner Collection" on kingarthurbanner.com. .

Revised Dec. 2007, Mar 2008

Photo Copyright 2008
David Xavier Kenney

PALEO "ARTHUR STATUE"

This is a c. 800,000 to 400,000 BC Quartzite Statue that is free standing in four different positions, it is also a cutting tool much like a billhook type of sickle. It is 12.3 cm in the length. It most likely was made by a Heidelbergensis. It originates from a German collection and was found south of Toulouse, France along the high gravel terraces of the Garonne River. The art on the front of the statue as seen with the next sement of this posting (PALEO "ARTHUR STATUE" MYTH AND LEGEND) appears to have themes that may be the absolute earliest origins of stories that would eventualy become the influence for the Arthurian legends, the pictures were taken with less daylight. With this segment the pictures were taken during increased daylight, they show that there are faint carvings on much of the statue, these carvings depict a horse goddess that may be similar to the later Gallo Roman horse goddess Epona, this goddess is thought by some to be ancient, but is only known during the Roman Imperial Era.* When put on it's side it shows a sculpted large horse's head, when turned upside down it shows another horses's head. The front has carvings and a painting. This painting had been made using mineral/resin paint and charcoal/resin paint. It shows a line figure with a club and a lariat throwing a lasso, there is a white steak going through the figure (most likely symbolizing lightning). Turned upside down the figure transforms into a sitting line figure on and in a horse (the horse with this is faintly carved), the white streak is over the head and under a bird head, it as if the bird's head is a shaman's totem headdress being cut off. On the back it has carvings and a small amount of paint. Overall the depictions appear to be of a goddess of oats (carved) with an oat god (painted). There is a mountain or mountain range, serpents, and a grave or a bin. It would appear that this Heidelbergensis may have had an understanding of agriculture. Initial speculation is that this prehistoric man may have believed that the horse had taught man agriculture, perhaps specifically with the planting and harvesting of oats. When the back of the artifact is seen from another position the images transform as a meteor / meteorite event with a plant or flower. This appears to be the fennel plant, the shape of the meteor / meteorite itself is similar to a fennel bulb. The yellow disc face on top of the stalk (above the meteor streak) may represent a flower of that plant, but it may also represent the sun. If so then it suggests solar worship. This symbolism may be the origin of the Greek story of Prometheus and the bringing of fire in a fennel stalk. More information to soon be provided.

*For reference with one image of this goddess (there are several different types) go to the kingarthurbanner.com artifact collection and access the "Miniature Statue Bust Of Vercingetorix, Artifact Picture 2 "Gallo Roman Bronze Artifact of the Goddess Epona" For speculation with Epona as an influence with the iconography of a later artifact go to the "Viking Horse Pendant" that is also with that collection.

Revised Jan 2008

Photo Copyright 2008
David Xavier Kenney

PALEO "ARTHUR STATUE" MYTH AND LEGEND

The pictures for this segment of this posting were taken with less daylight. They show that along with the carvings and paint, another technique had been used. The technique involved taking charcoal and applying it in different thicknesses and shades. Due to the techniques used, a central carving of an eye becomes a prominent feature. Various themes contained in this object allude to a very ancient prehistoric Arthurian type story. The art on this stone may represent what is absolutely the most ancient origin for the inspiration for the Medieval Arthurian stories. Part of this involved what appears to be a sacred hazel tree of a huntress goddess who is associated with the celestial and animals; a red bison; and a red spear that is associated with a vessel that pours. This vessel may have had the same meaning as a type of grail cup. There is a young man or boy who is associated with the bear (in my opinion similar to an Arthur figure); then a figure with a pointed beard that is a master of animals (similar to a Druidic Merlin figure). It is well known to folklorists that the hazel tree was most sacred to the Gauls and the Celts, but it was also sacred to the Germanic tribes. In my opinion the theme portrayed by the art on this stone is seen nowhere more clearly than in the ancient Irish and Welsh stories, which are thought to have derived from the Gauls. If this is of interest then it is suggested that you may also want to view the information and pictures about the Euro Stone "Aurignacian Grail and Sword In The Stone," also found on this website. These suggest that there may have been at least three great belief transitions in European history. The first occurring C. 800,000 to 400,000 years ago; the second occurring C. 30,000 years ago; and the last occurring during the 4th to 5th C. AD. More information will be posted soon.

The art on Picture 1 shows a figure with a lightly carved disc face. Superimposed at an angle on this face is a large eye that is in a triangle; this image was created with paint. Picture 2 shows a woman's face (huntress goddess) with a large eye with a staff (or club); over her and on facing left there is a large bear in profile, that is biting the head of a staff. Picture 3 shows the same, but with a standing bison (in red paint) with an ear that is a spear head. There is a white and yellow stream emitting from the bison's mouth. On the back of the bison is a faint standing figure that may be a bee man holding a vessel, as if pouring a stream to the bison's mouth from behind. This should be milk and honey, the milk deriving from crushed hazelnuts; this drink must have been believed to have had ritualistic or health benefits or both. The woman's eye may represent a hazelnut; it may also represent the sun and / or the moon. Below this and connected to the bison is a fish with its mouth open. In front of this is a roundish object, which may be a hazelnut; if so then it may show that the ancient Irish story of Fionn Mac Cumhail (Finn Mac Cool) and the salmon of wisdom is at least a half million years old. It should be mentioned that there are also other Gaelic versions of this story, which is thought to have originated in Gaul. Picture 4 shows that the disc face is a woman's face, it also shows the large woman's face with the large eye and holding the staff. Pictures 5 and 6 show the head of the staff has a man's head. Picture 7 shows the detail of the large woman's eye. Picture 8 shows the detail of the bear and the staff head / man's face. Picture 9 shows the stone slightly turned, it has a large giant type figure facing to the left. Picture 10 shows the woman with the carved disc face as if there is a stream pouring from her mouth. Picture 11 shows the giant figure, the large carved woman's face, with what was a stream pouring from her mouth now representing a rider on a horse with a cap facing to the left. Pictures 12 thru 14 show the detail, which reveals the stream may represent a hazel tree's male catkins as a "sun runner." For a half million year old comparison with this theme check out the "Roman Greek Bronze Brooch" and the "Roman Greek Silvered Bronze Brooch" in the "Roman Amazon Collection" on this website. Pictures 16 and 17 show the giant figure. Pictures 18 thru 23 show the large triangular woman's face now as a wolf, fox, or cat face. Pictures 24 thru 29 show the stone on its side, with carved faces and figures that appear as if piloting a kayak type of boat. Pictures 30 thru 33 show a horse's head, ropes as if harnessing, the prow of a boat, and a horizontal pipe (smoking pipe). Pictures 34 and 35 show this theme viewed upside down; they feature a face or faces with the pipe upside down. Pictures 36 thru 39 on the bottom show a long hut, a bearded man, the pipe, and a nude female figure that when slightly moved will change into faces. Picture 39 also shows that this same area has a bearded man in front of a small bowl (most likely the bowl of a pipe) next to a face with a round fur lined hood. Pictures 41 thru 44 show that this is a scythe / bill hook tool. Pictures 45 and 46 show that the woman with the carved disc face when facing to the right may be a rider; the overall shape and carving with Picture 45 shows a woman's face in a tall hat in profile. Pictures 47 thru 49 show that at this angle there is a figure under the horse's head, this is near the edge to the right, it is a young man or boy (his head is the eye of the woman's face). Pictures 50 and 51 show that the young man or boy is wearing a triangular hood (suggesting a solar dawn connection?). The left side of the hood is shaped like a bear's head. Pictures 52 and 53 show a kneeling figure with a large head in a pointed hat and with a pointed beard. The figure is in a boat; behind him is a horse's head facing to the left. Pictures 54 through 62 show this figure in detail; they also show that his hat has a cave lion and lioness head on top. The horse and the cave lion and lioness show that he is a master of animals. The pointed beard is distinct; this figure may possibly have a C. half million year old tradition in many cultures, which may be seen with the "Ancient Armorer's Training Device" that is in this collection.

Revised Feb 2008

Photo Copyright 2008
David Xavier Kenney

PALEO "ART MASTER'S ROCK"

This is a c. 800,000 to 400,000 BC Quartzite Hand Axe. It is 13.3 cm in the length. It most likely was made by a Heidelbergensis. It originates from a German collection and was found south of Toulouse, France along the high gravel terraces of the Garonne River. It has carvings and paint from minerals including charcoal and chalk (or quick-lime) mixed with resin. The artifact is titled "The Art Master's Rock" due the technique using chalk or quicklime paint. This same technique can be seen "Battle Axe Culture Stone Axe Head" of 2,900 to 2,350 BC and the 11st to 12 the C. AD "Viking Whetstone Depicting Varangian Guardsmen" that are both with this collection. In sense this Heidelbergensis artifact is the first known example of painting using this technique, it is a type of pastel. There are figure holds on all four sides, they all give a comfortable carry, these finger hold areas are extremely well worn. This rock may have been a weapon or a status symbol, it may have been carried for generations. The art with the first few pictures shows the busts of two figures in profile facing a bear in profile that is in a wedge shape, but with a standing bear figure inside this. The figures are emitting lines from their mouths to the bear. There are dots in the bear that may represent a constellation. The next couple of pictures show figures in profile facing a type of pentagonal or hexagonal standard on a pole, overhead there is a serpent. Pictures 11 thru 16 show a bearded figure with a large head and a prominent mustache. Below this figure there are smaller standing figures with a horizontal but looped line around them, there is a taller standing figure or figures on each side. A figure or two near the center is holding diagonally a pole with a disc final, it is pointed downward. This may symbolize the surrender or capture of a group or tribe, or a type of ritual that was held in a circle. Pictures 17 thru 19 show the rock on it's side. it has a disc face in front and a wing on the side. This wing is connected to a bird that at different angles has an animal or human face, it is over the pentagonal type standard. Pictures 20 thru 22 is a side standing view of the rock. It shows a hooded figure holding what may be a child. Pictures 24 thru 27 show a large serpent facing a group of figures, one figure has it's arm outstretched as if protecting the others. Another view shows that the group is holding a smaller serpent. This may be be a type of shaman combat. Under the large serpent's head there is a serpent fight, or a reptile and serpent fight. On the back of the rock with Pictures 28 thru 30. Under the large face there is a disc with a bubble, it looks similar to a "flying saucer, each to their own with art interpretation but in my opinion it is a flying wolf's head, or possibly a Janus wolf's head, it also hints that it is a slipper. In this wolf flying wolf's head there are a couple of figures. This should symbolize a shaman's journey. Under this is leaping figure, and under the leaping figure there is a standing figure. There is a large face with a mustache to the side of these. Pictures 32 thru 35 show a large face with a figure coming from it's head reaching up at a nebula. Under and inn front of this head is a wolf or dog. Pictures 36 thru 38 show a large rodent or wolf head to the front of this is a woman in a tall headdress holding a staff. Pictures 39, 40, 42,43,44, and 45 show a hunter (painted) and a straight tusked elephant or wooly mammoth shown in relief with chalk or quick-lime. The lines seen with Pictures 39 and 40 hint at a spear head. The animal's jagged crest with Pictures 39, 40, and 41 hint at a reptile. Picture 41 also shows an inward facing bear head and a serpent head. More information to soon follow

Photo Copyright 2007
David Xavier Kenney

NORDIC CHRISTMAS STONE

This is a Stone Knife (with one side serrated and partially painted with a white mineral mixed with resin) from the Maglemose Culture and is 8,900 to 6,400 years old, it was found in Naera, Denmark and is from an old European collection. It is in the shape of a cave bear tooth and claw, this is specific and significant, according to research with artifacts this is symbolic of the water compass, hence it represents a navigator. The theme of the art shows that it is of the ancient Nordic Winter Blot (known only due to medieval writings), or something similar, due to speculations with art interpretations (stout bearded figures in pointed hats, reindeers, sleighs, ect.) it appears that it was very similar to the modern concept of Christmas, hence the title. More information and upgraded pictures to follow soon.

Photo Copyright 2007
David Xavier Kenney

NORDIC CHRISTMAS POLE STAR STONE

This is a Stone Scraper from the Maglemose Culture and is 8,900 to 6,400 years old, it was found in Naera, Denmark and is from an old European collection. The iconography shows a Shaman's hut with a smoke hole or a type of chimney, a symbolic journey to the Pole Star that has a hut with a polar bear, and most importantly a sled ride with children, a bearded man, and reindeer, hence the title. With a first look the Pole Star appears to be symbolized by a stout phallic figure on top of a polar bear hut, but interestingly enough the wedge entrance is actually a seal, this seal impression shows a toe (as a toe nail) and a couple of figures (seen in Picture 10), although hidden this should be the actual symbol of the Pole Star. The reason for this is that it should be connected to the Norse myth of "Aurvandil's Toe" (known from medieval writings). The "toe" part of this myth concerns the Norse god Thor on a journey carrying the hero or god Aurvandil in a basket, at some point Aurvandil's toe becomes frozen, so Thor breaks this off and throws it to the heavens to become a star. There are some that speculate that Aurvandil's star is the Pole Star, and I agree. I believe that the phallic figure seen on the stone may represent a type of Pole Star lodestone. Another representation of this can be seen on the of the Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god on the website www.kingarthurbanner.com. It is on the East Panel Pictures as the base of a knife and spearhead, the knife / spearhead shows a fire breathing polar bear on wavy spears (as ski's). Traditional beliefs of certain tribal peoples know the Pole Star as the world axis, in history this included the pre Christian Vikings who saw the pole star as a spike with a jeweled head. In fact the entrance of the polar bear hut (particular when viewed with the seal impression) could have been considered as a type of pre-historical of jewel.

Photo Copyright 2007
David Xavier Kenney

NORDIC CHRISTMAS POLE STAR AXE

This is a 6,000 year old Silex Flint Axe (it is actually a hammer axe) and is from the Erteboelle Culture. It is from an old European collection. The art along with some natural aspects of the flint had been made by carving, mineral paint mixed with Resins, and Dyes. The theme of the iconography is specific, it is of a journey to the Arctic, and a shamanistic journey to the Pole Star. Due to this; the sleigh with rider, box of items (gifts?) and a reindeer, it should be of the Nordic Winter Blot, hence Christmas has been added to the title. A key to the pole star being associated with this art is the large toe seen in Pictures 12 thru 14, this should be connected to a Norse myth of "Aurvandil's Toe" (known from medieval writings). The "toe" part of this myth concerns the Norse god Thor on a journey carrying the hero or god Aurvandil in a basket, at some point Aurvandil's toe becomes frozen, so Thor breaks this off and throws it to the heavens to become a star. There are some that speculate that Aurvandil's star is the pole star, and I agree. The two large pottery type heads seen with the Wooly Mammoth in Pictures 17 and 18 may be the Gemini twins, or something like that. The Kayak with the Feather is symbolic of a shaman's journey. It is evident that the Mesolithic maker of this axe knew something of the Arctic region.

Photo Copyright 2007
David Xavier Kenney

NORDIC ARTHOR (ARTHUR) STONE

This artifact represents the conclusion of several years of research with many thousands of artifacts. In mentioning this research, I would like to thank Dr. Antonio Trinchese for his assistance in providing information on ancient seafarers and the water compass, and his progressive intellect.

This particular artifact is a stone knife that appears to have been designed and used to cut rope or leather strips. It is from the Maglemose Culture and is 8,900 to 6,400 years old. It was found in Norre, Denmark and is from an old European collection. This artifact combined with information from other artifacts may validate my theory that the influence for the King Arthur of the medieval writers may have originated from a tradition from Northern Europe. This theory was first introduced with information about the 5th Century Jute Great Square Headed Brooch (Found In Kent) in the King Arthur Banner Collection at www.KingArthurBanner.com. My speculation concerning the art of that brooch is that there may have been a Jute and/or Saxon god that was referred to by the Romano Britains as "Arthor (or Bear Thunderer"), Gildas refers to a "charioteer from the "receptacle of the bear" named "Cuneglasus", in my opinion this is a Gildas's slang for a war / thunder god that is associated with the bear*. The word Arthor being a theorized combination of Greco Latin (or Old Welsh, as in British Celtic) and some form of the Germanic. Thus it is, Art or Ar as a bear and Thor or Tor as reference to a thunder / storm god, or something similar. This may have been a legendary bear shaman made into a demi-god and a type of war/thunder god that would later during the Viking Age be known as the god Thor. If so then in my opinion he is connected to the Big Dipper and the Pole Star. Some of the depictions on the stone when moved create a type of manually controlled animation. Pictures 1 and 2 show a large grayish black combination creature made of a mammoth and a dog or wolf with the sky and clouds in the background. The creature's trunk is swooping up a small figure that also appears as a phallus. There is little doubt that the combination creature represents a storm as a storm god. Pictures 3 through 7 show the large figure changing into another combination creature, a wooly rhinoceros and a bird with a large arm that is lifting or throwing a small figure to the 1:00 or 2:00 o'clock position. Pictures 8 and 9 show a cat on a toe that also looks like the bottom of a shoe or boot. There are two figures inside the toe. Overhead is a blonde figure in a dragon or fish headdress. The toe seems to represent something similar to the Norse myth of "Aurvandil's Toe" (known from medieval writings). The "toe" part of this myth concerns the Norse god Thor who is on a journey carrying the hero or god Aurvandil in a basket. At some point Aurvandil's toe becomes frozen, so Thor breaks it off and throws it to the heavens to become a star. There are some who speculate that Aurvandil's star is the pole star, and I agree. From the depictions it appears that Aurvandil may have once been a lone human figure who was swept away by a storm god. Picture 10 shows the toe as a phallus. There is a spotted figure to the side; the cat has a tongue next to this. The spotted figure should represent a legendary strong man who represents a lodestone (a type of Hercules, the lodestone was known to some of the ancients as the Stone of Hercules). The cat's tongue may also be connected to this. Pictures 11 through 16 show more of the spotted figure, or figures. There is also a rectangle that has very small figures on it, which appears to be flying. Pictures 17 through 21 suggest the mystical, perhaps to do with the sky. The central whitish form in Pictures 18 and 19 may suggest a wooly mammoth. Pictures 22 and 23 show a larger figure with several smaller figures and in the distance a star. This may represent a legend or belief similar to the later Christian "star of Bethlehem." In fact, certain depictions on artifacts suggest that the ancient Nordics may have had a winter ritual to do with the pole star, and that this may have been on or near the winter solstice. Pictures 25 through 27 show a one eyed (or winking) long haired blonde boy's (or woman's?) face appearing or being held in front of an upright bear (a boy bear shaman). In front of this figure is a flute that is also a smoking pipe. The blonde boy's face and the pipe may represent the big dipper or little dipper, the boy's face being a cup of one of the dippers and the flute/pipe being the arm. There is a smoke ring to the right. Pictures 28 through 30 show the same, but with a nude female figure. There is a pointed object aimed at her breast, in front of the smoke ring. Picture 31 shows that the pointed object is the tip of a narwhal horn. According to the Nordic Royal Stone information that is included with this collection, a narwhal horn tip dagger was associated with the winter solstice and an unknown legend. This legend may have involved a "lady of the sea" and may have been similar to the Inuit legend about "how the narwhal got its horn."* This can be seen in Pictures 80 through 83 with the Royal Stone. The weapon seen in Picture 9 may also be a type of narwhal horn weapon. My speculation is that this is where the legends of a mystical weapon like Excalibur began. Picture 32 shows the narwhal horn tip is now gray and next to a line figure, the blonde figure is now wearing a garland. The narwhal horn tip with the line figure may be significant as the predominant art that is contained in the stone. It "may" represent magnetic north and true north. Picture 33 shows the narwhal horn tip is now metallic looking (as in iron, from a meteorite?). In Picture 34 the narwhal horn is now black (once again, as in iron, and from a meteorite?). Picture 35 shows a beaker in the shape of a nude woman's body. This reminds one of the beaker pottery that the later Funnel Beaker Culture (c. 3450 BC to 2950 BC) is known for. For those who theorize that the grail cup represents a woman's body, according to the depiction of this beaker, they may be right. Picture 36 shows a beaker top with coils, and figures massed on top. Pictures 37 through 39 show figures massed on top, but coming in a line formation towards a large type of cistern shape that formed the boy's face in another view (it is a somewhat rectangular shape; again, I speculate that this is the cup of one of the dippers). This is on the left buttock of the nude woman's body that is a beaker. The blonde figure is in front of a cistern. Pictures 40 and 41 show figures massed on top, but with a boy's face in a hood. Picture 42 through 44 show a figure holding the cistern with the narwhale horn tip in front. In my opinion this shows a type of water compass. Pictures 45 and 46 show the narwhal horn tip and smoke ring as a type of mushroom.

*An Excerpt From An Edited Footnote With The 5th Century Jute Great Square Headed Brooch (Found In Kent): "Saint Gildas (Gildas Badonicus, 5th to 6th C. AD) in his "The Ruin Of Britain" (written in Latin) mentions the wickedness of a charioteer from the "receptacle of the bear" named "Cuneglasus." He goes on to say that Cuneglasus means "Red Butcher" in Latin. Yet this name is not Latin, it is Old Welsh. The name in Modern Welsh is Cynlas, coming from the root word "cwn" which means hound or wolf. If my theory is correct, Cuneglasus, a Romano British King of Powys, converted to a belief in the Jute Anglo Saxon god Thunar (who perhaps was a triad god). If so then this would explain Gildas?s outrage against him, although according to his sermons Gildas seems to have been outraged against everyone."

* An Excerpt From The Information With The Nordic Royal Stone: "The Inuit have a story (with various versions) that tells of a woman that either falls in the sea or is pulled under by a Narwhal, her hair becomes a narwhal horn, and this explains why it is twisted. The narwhal may be the Mesolithic and original "sword in the stone", but as the "dagger in the stone", the narwhal's skin is typically speckled as are most rocks or stones, with its tusk seen as a harpoon; it may have been once been known as the "harpoon in the stone". Another theory is that any gray colored whale with an unsuccessful harpoon sticking in it could have been seen the same way. Any women or goddesses associated with this should be similar to an Inuit story. The narwhal uses its tusk in a ritual called tusking, this could have been seen initially as being similar to sparring harpoons or spears, and then later as lances or swords.The Inuit name for the narwhal is "he who points his tusk to the sky". This is because the narwhal when surfacing usually breaks the sea's surface with its tusk pointed up; this could be seen as similar to the medieval lady of the lake's arm and her hand surfacing with the sword. Thus the original "Lady of the Lake" may be the "Lady of the Sea" as the "Narwhal Woman," any capture of such a horn may have been viewed as a sign of a great leader."

Photo Copyright 2007
David Xavier Kenney

THE RHINE GOLD CAMEO

Although This Artifact Was Purported To Have Been Found Somewhere Along The Danube in Bavaria, Recent Research With The Painted Art Depictions Suggests That The Painted River Theme Is Of An Upper Ancient Paleolithic River That Had A North / South Orientation. This Speculation Is Based On North / South Reindeer Migrations, It Will Also Give a Better Explanation With The Sea Creatures Seen. This Along With The Carved Cave Lion Man Peak Shows That The Overall Theme Is Of The Winter Solstice. IF YOU WOULD LIKE TO SEE A SCENE OF A C. 30,000 YEAR OLD RIVER RITUAL GO TO PICTURES 42 THRU 49.

This artifact is from a dealer in Germany, and originates from an old German collection. Found somewhere along the Danube in Bavaria, this amazing 30,000 year old Aurignacian Scraper done in a cameo style shows various prehistoric animals and some extraordinary scenes. Without the fanfare or hype that usually accompanies astounding ancient discoveries, it can simply be said that this stone appears to give answers to questions that historians, anthropologists, and archeologists have had since there has been a study of the Stone Age. Apart from the fact that the cameo style of engraving was not thought to appear until 25,000 years later in Sumeria, there are some scenes it contains that can not be explained for such an early period in man's history; nevertheless they exist.

The Cro-Magnons of the Aurignacian Culture are considered to be the first modern humans. They were the first to carve and paint figurative subjects on objects, and decorate themselves with bone and shell jewelry. The famed Cave Art of western Spain and southern France is of this culture. The artifact is 6.1 cm in length; the painted area is done in red and yellow ochres, and charcoal; there are many miniature carvings. The cameo portion shows two figures which are in a pointed hat, in profile. These should be primary figures. The figure in relief depicts a cave bear standing on his hind legs. The other figure should be of a river goddess or god, possibly representing the Upper Ancient Paleolithic Rhine, or a portion of the Rhine. The fact that bears fish may be the connection between the two figures. The dolphins seen in pictures 48 and 49 suggest that the mouth of the Rhine of the Upper Ancient Paleolihic Period may have once had river dolphins. The picture of the whale head in pictures 55 and 56 suggests that there may have been migratory whales in the Rhine. The reindeer doe boat (hide boat on a frame) seen in pictures 44 thru 47 shows no figures in it (it should be noted that reindeers are excellent swimmers). The reindeer buck seen in pictures 52 and 53 suggests that the buck is running in pursuit of the doe boat (being pushed or guided by a Bear Wolf), this boat type may have been purely ritual. The figure seen in pictures 48 through 50 may be on a long log type of fishing boat. The dugout boat seen in pictures 55 and 56 may have been for transport. Until now artifact evidence for boats of the stone age only goes back to 6,000 years ago; evidence of the oldest painted depiction of a boat is thought to date from 9,000 to 10,000 years old. However as stated, this stone dates to 30,000 years ago. The overall outline formed by the stone when viewed as a cameo resembles the shape of the western face of the Matterhorn in the Alps; the cave lion man and figures seen in picture 20 also show that this area was very probably based on an image of the western face of the Matterhorn, but with a view that is oriented slightly to the south east. As the shape of this mountain peak forms the back of the hat, it hints that the Swiss Italian Alps, or a place within view of these Alps, may be the place where the ancestors of the maker of this scraper originated*. Additional pictures of the artifact, depicting possible views of the Matterhorn from other vantage points, pictures of these will be posted soon. The peak of the cave lion man is juxtaposed by the edge of the river where the mermaid (or the mermaid's tail) is positioned. This area may be depicting the river Vispa which originates from Matterhorn glaciers, and eventually flows through the town of Zermatt. Thirty thousand years ago there may have been a river or stream that had been connected from the Vispa to the Rhine. There is another possibility, we know from the ancient Greeks that there was a common belief that certain rivers (if not all rivers) were connected via subterranean rivers; the Aurignacian Culture may have held the same belief. Another alternative is that this theme represents a mountain peak similar to the Matterhorn that is in Bavaria or somewhere else in Southern Germany that is near the Rhine river (or an unknown river) during the last Ice Age. It also suggests that the cave lion had been a primary totem of a band (or a tribe?); and that the roe stag and the dragon (or a cave lioness, or panther), along with human figures, had been their high totems. Additional speculations concerning this artifact will be published soon.

* If so, then this may also give a clue to the very ancient origin of the shape of the Phrygian type hat that was so popular with much later Northern and Eastern peoples.

All photography is done with natural daylight and no enhancements, as with all our miniature art photographs.

Revised: Oct and Nov. 07

Photo Copyright 2007
David Xavier Kenney

THE EURO STONE

This is a C. 30,000 year old Aurignacian Scraper from an old German collection; the object was found at Altmuhltal, in Central Bavaria. It is 6.2 cm in length. The paint with this art appears to have been created with Red and Yellow Minerals (ochres) possibly mixed with Resins, and a Black Mineral or Charcoal Pigment Resin. There are a few minute amounts of a silver which are strategically placed. How this silver was applied is a mystery but it may have been made from silver ore that had been ground to a powder and then mixed with ichthyocol (a fish glue usually made from sturgeon bladders). One area of the stone is made in the style of a Cameo. This appears to have been done by mixing sand and resins. According to certain Roman artifacts, this technique was still in use on bronze during Roman Times. There is one small area that shows a distinct yellow dye (see below; on a bee hive this should represent honey). I believe it is one of the main focuses of this piece. Typically the art on the stone is fossilized, and is now more or less a part of the stone.

The iconography seen on this stone may validate that some of Europe's legends and myths are as ancient as its first modern ancestors (Cro-Magnons, in this instance of the Aurignacian Culture).

It shows many firsts, but most distinctly, it shows the oldest known scene depicting warfare and conquest (through symbolism), although due to what has been discovered with that art on "The Euro Rock" (with this collection) this may soon change. The stone may include images that are a precursor to the Arthurian Sacred Banner and Cup (or Bowl); Hercules as a Lion Shaman / Warrior; and the Merovingian (Salian Franks) Sacred Bees. One scene shows a flag raising; another a totem being broken and knocked down; and another showing a totem head pole being taken down. If you would like to view these, go directly to Pictures 47 thru 55. Of particular interest are the Honey Bee and Stag Shamans that are seen in Pictures 55 thru 61*.

The sail boats (that are not thought to have existed until the late 3rd Millennium BC, if that seems amazing then check out the boats and canoes on the c. 600,000 year old Resurrection Stone), monkey, and pottery kilns may possibly be of a Cro-Magnon band or group coming out of Africa. With that said, Europe may very well have had monkeys in prehistoric times. Of special interest is that there are suggestions that there may have been striped cave lions, horses and cave bears in Europe during Paleolithic Times. Pictures 8 through 10 show a sea or river invasion with a flag (of an animal's hide) raising a type of striped wild boar; it is taking place on a sea or river cliff. This is the earliest known image of a flag. The hide skin flag when placed upright shows that it has the form of a woman holding a bowl, a facing cave bear and cave lioness heads; on the flag tip there are two women in profile. The upper portion on the right of the flag shows a ship's sail / pennant flag in the shape of a horse / bull's head. The flag has a large lion man's face (best seen in Pictures 16 and 17). There is a type of bulb coming from the horse / bull's nostril, which has an equal armed cross (this may have once been the color red) with four white dots (this may represent lightning, a meteor, a pear, or both). The flag in the area of the horse's ear also has a bee head mushroom finial and a bull or bison flag stave. There can be little doubt that this is a type of royal flag; the horse and cave lion can be seen thousands of years later as a type of coat of arms on the Nordic Beaver / Cave Bear Knife (of the Maglemose Culture, Denmark) which is a part of this collection. After careful consideration it appears that this is a captured trophy flag.

* This shows that a Honey Bee Shaman is the forward element of a brute force that is at the "tip of the spear head". This Shaman is under the protection of a Honey Bee goddess and is seen opposing a Stag (or Reindeer) Shaman by luring woman (with honey) off the Stag Shaman's totem. Both shamans are clean shaven which in ancient terms suggests that they are associated with the feminine, and both creatures' identities (honey bee and deer stag) are associated with fertility; but the Honey Bee goddess is feminine whereas the stag god is masculine. The Honey Bee Shaman is a type of Dionysus diplomat / public relations warrior. The message is clear with these opposing Paleolithic warrior shamans; for an easy victory win the women, and for a chance at successfully defending a settlement, do not lose the women. The Honey Bee Shaman is holding the Honey Bee goddess's missing antennae (this loops up to the Bee Herm, hence it is "in the face" of the Stag Shaman). The Stag (or Reindeer) Shaman can be seen without horns (defeated) near the bottom in Picture 31 and with his head is seen on the bottom of the totem in Picture 82. The same type of Bee Shaman's antennae fertility whip can be seen in Pictures 8 and 9 of the Nordic Christmas Pole Star Axe; Pictures 8 and 9 of the Nordic Hercules Stone, and Picture 11 of the Nordic Compass Fish Knife. In my opinion this shows that some of this Aurignacian Honey Bee worship continued many thousands of years later with the Nordics of the Mesolithic, and possibly continued into the Viking Era.

Revised Dec 2007, Feb 2008

All photography is done with natural daylight and no enhancements, as with all our miniature art photographs.

Photo Copyright 2008
David Xavier Kenney

THE EURO STONE "AURIGNACIAN GRAIL AND SWORD IN THE STONE"

IF YOU WOULD LIKE TO VIEW IMAGES Of A C. 30,000 YEAR OLD BLACK MADONNA OVER A BLACK PEARL GO TO PICTURES 65 THRU 71

This is a work in progress. There is some symbolism contained in the art on this stone that can be seen in the Arthurian legends. More importantly there is also symbolism that appears to reflect Europe's classical myths, as well as some ancient Egyptian and Semitic myths. As this object is C. 30,000 year old, it brings to light a revolutionary implication, which is that the origin of many of these myths could be just that ancient. This discovery has lead to my opinion that the history of prehistoric Europe should be reviewed and updated. This is not to suggest this review should be based on just the art seen here, but with other research and with new finds that give credence to this. If you find this possibility of interest then you may want to view the information and pictures included in the "Paleo Arthur Statue Myth and Legend" section on this website; it may show that many traditions stayed the same, but also that around the time that the art on this stone was made there were new developments. Some of the initial information with this is as follows:

Picture 1 shows a horse head with a long mane, it as if running, perhaps symbolizing a river. Pictures 2 through 6 show a skin flag (shown vertical) that may have an overall shape of a hazel or chestnut tree with a stag head on top. The detail of the form shows a standing bear with a stag head in profile and cup with a white face and a female figure over it. The standing bear's face is also a white triangular pennant type flag; this portion of the flag should symbolize a cup. Pictures 7 thru 11 show more detail; the face appears similar to a full (but yet quarter) moon. To the left of this is a standing bird, to the right a small reddish brown round shape or figure (that may represent a hazelnut or chestnut) and a female figure. Picture 12 shows the detail of this. Picture 13 shows the bottom of the flag and the area below the flag; it has a large engraved spear head. These pictures appear to show that this flag may have been symbolic of a grail cup and a moon / hunt type goddess similar to the Greek goddess Artemis (Ro. Diana). The smaller white pennant flag is upside down, this may be a captured flag, but it may also represent another newer type of grail cup. The flag and cup may have had a spiritual meaning, but may also have nutritional and or medicinal significance. Picture 14 shows a pottery vessel next to a bee hive, overhead the zig zag lines may represent bees. Picture 15 shows that the engraved area below the flag (part of the spear head) combined with the pottery vessel may be a large bowl or cauldron, if so then there are figures and a vertical boar's head that are in this. Picture 17 shows two kernels or seeds and a large moon face. Picture 18 shows the stone in a vertical position with the horse's head pointed downward. The art on the stone shows a figure with a flag riding a wild boar on a cliff, the wild boar is positioned as if it is coming from a river or sea; behind this are figures that appear as if climbing on top of the wild boar. Pictures 19 thru 21 show that the boar is striped. The detail with Picture 22 shows that the rider's hat has a diamond shaped top (put also as a standard on a pole or stick) that may symbolize a lion's face as a solar symbol. The right eye of the rider is an animal head, it may be a wild boar's head. The figure is holding what may be a bull roarer with a human face (with cat or wolf ears) in a position similar to that in which a shield would be held. Pictures 23 thru 30 show a type of "sword in the stone." There is a red heifer's head or calf's head; the hair shown in Pictures 56 thru 59 also appears as a seed. Inside this is a small pentagram made from silver (which is oxidized and appears black). There is a white dot above this and a streak that is much like lightning; it is as if it is a sword with a pentagram hilt. This is similar to the hilts of some Celtic swords. The black portion of the figures in front of this are also made of silver. How this silver was applied is a mystery but it may have been made from silver ore that had been ground to a powder and then mixed with isinglass or ichthyocol (fish gelatin or glue, usually made from sturgeon bladders)*, or a tree or plant resin. Although this area has the most silver there are other areas that also show minute amounts of silver. This all suggests that there may have been one legendary paleolithic sword or a dagger made from metal or bone, but there are indicators that this also has nutritional and, or medicinal symbolism. To the right there are standing figures. The symbolism with this may be very similar to the "sword of god" that Attila the Hun claimed to have found in the 5th C. AD, also a red heifer is given a special significance in the Jewish Talmud. Pictures 31 and 32 show the stone slanted, which gives another view of the rider, wild boar, and the area showing the "sword in the stone." Picture 33 shows the stone horizontal, but upside down. Picture 34 shows the bottom edge of the stone in this position. Pictures 35 thru 39 show figures in profile that are in a line. The figure that stands out is to the left, it shows a bearded man's head with a pointed hat in profile. On the back of that hat there is a sprig of what appears to be Saffron. On the front of the hat there is a Saffron flower with the three stigmas. In front of the man's face there is what appears to be a vertical pine cone pipe, as if the man is looking in the pipe's bowl. The Saffron flower is thought to have many medicinal qualities including treating menopausal difficulties, it is also thought to be an aphrodisiac. Picture 40 shows a female holding the white pennant, but it is also as if she is receiving this (this is also seen in Pictures 42 thru 45). The pennant now shows that it is a horse head, but it is also a bull's head; there is a faint cave lion man's face on this (so it is solar). The pennant's staff is of a bull, the finial is a bee's head, the nostrils of the horse / bull's head has a ball emitting from it. This ball has a cross with four dots on it, which may symbolize lightning. It also appears as a pear; the female may appear as if she is receiving lightning but also a pear. Pictures 42 and 46 thru 48 show a figure in brown skins and a Phrygian type hat. The figure is holding a cone with a diamond type white head. This may suggest the pole star. To his front there is a small white helmeted figure. This should be a male figure as the hat has a young stag horn; there is also a cross and circle with a flame on his hat. This torch holder and flame may suggest the constellation / star Arcturus representing a fire and or smith god. In front of this figure and on top of the white helmeted figure is an arrow that is perhaps a flaming arrow, or dart. This arrow points towards line figures, but in Picture 42 it also shows that it points towards a female line figure with a circle (which may suggest a pregnancy; this may be the origin of the circle and arrow symbol of Aries / Mars). Further on it points to the heifer head "sword in the stone" and then the area that has the black pearl. This figure should be a hunter / fire god; if the silver used on this stone had been smelted, then he may also be a metal smith god. The white helmeted figure may represent the flower Aconitum, aka as Monkshood, or Wolfsbane, but specifically Aconitum septentrionale aka as Northern wolfsbane, or another flower that appears similar. There are some that speculate that "Tyrhialm" the Old Norse name for Aconitum is derived from the Germanic war god Tyr. If so then the herb (thought to be a flower) that the Roman goddess Flora touched the goddess Juno with (in order to impregnate her) may have been this flower; the result of this encounter was the birth of the Roman war god Mars. Although this may be symbolic of a hunt god who used poison arrows, there could not be a fertility connection as Aconitum is well known as a poisonous flower. Picture 49 shows the stone vertically but with the horse's head pointing up, it is at a slight angle. The art on this now appears as a central figure that is on a ship's mast (the sail is rolled up). The figure is pointing to the right to an indented area that is 6 mm across at its widest width. Pictures 50 and 51 show this in detail. Pictures 52 thru 54 show a clean shaven face or a woman's face in profile. Picture 55 shows the line figure pointing to a white phallus with figures behind it. Pictures 56 thru 59 show the head of the line figure as a sitting bear (or other animal) that is a nut or a pod with a seed. Pictures 60 thru 62 show the white phallus with figures behind it, this may be connected to the horse / bull headed pennant, it may also be of a goddess similar to Aphrodite (Venus). In the left upper corner there is a distinct white pearl, this and the Aphrodite connection will soon be explained. Pictures 63 and 64 show the phallus and the area around it transforming. Pictures 65 and 66 also show the line figure's head as two seeds, next to it is a large moon face. Pictures 65, 68, 69, and 70 show an arched figure with a dark face, a white pearl, and a yellow crown over a black pearl in a shell and a five petaled flower, if refocused the flower will also appear as a saltire cross, or as a sideways Latin cross. This arched figure may be the actual origin of the Roman goddess Aphrodite (Roman Venus) and Europe's Black Madonna. Europe's Black Madonnas are a mystery; supposedly with no known tradition they suddenly appear during the 11th C. AD (although some are given an earlier pedigree). In my opinion they were from a very ancient tradition, and this ancient tradition may have been brought forth by the Normans or Saxons. The "Mina Guadeloupe" that is with the Joseph Napoleon Daguerreotype offer (featured on our home page) is of a Spanish Black Madonna. The Greek love goddess Aphrodite (Ro. Venus) was born from the blood and or semen of Uranus's (a sky god) severed phallus which created a foam on the sea. It appears that this figure may represent a Beluga Sturgeon issuing from the mouth of an Atlantic Sturgeon's head. The Atlantic Sturgeon is an eastern North American fish, it has a long nose such as the sturgeon head just mentioned. The European Sea Sturgeon (aka European Atlantic Sturgeon) has a short nose, this is the Sturgeon that is known to inhabit the Rhine River for reproduction (although in recent times these have disappeared due to over fishing, they are currently being reintroduced) along with the Garonne and Dordogne Rivers (these are considered extremely endangered, once again due to over fishing). So this art sugggests that Atlantic Sturgeons had once inhabited European rivers that were connected to the Atlantic Ocean, and may have disappeared due to over fishing. The yellow crown may represent yellow algae or yellow caviar; Picture 71 shows the detail of this, there may be a small figure. The older Beluga Sturgeons are known for their light or white caviar (the Beluga Sturgeon can live to be a hundred or more years old); it is the absolutely best caviar. Although the black pearl is in a shell (most likely an oyster) and should be an actual pearl, it still most likely represents black caviar. Caviar is thought to be an aphrodisiac. Contemporary information claims that the Atlantic Sturgeon until recently was known in the Rhine River; Beluga Sturgeon were once known in the upper Danube. Note the C. 7,000 year old stone artifact titled "Black Pearl" on our home page. The black pearl is only known to be produced by the Pinctada margaritifera oyster. The closest region to Europe where this oyster is known is off the coast of Somalia in the Red Sea; even so the natural black pearls produced by the oysters there are actually gray. The next closest region is the Persian Gulf, the Pinctada margaritifera oyster there can produces a black pearl. The black pearl may symbolize a young woman as a fertility goddess, the white pearl with the Beluga Sturgeon woman may symbolize a mother goddess or even a goddess of longevity, it should be noted that the line figure is pointing to the black pearl and flower with cross; these appear to be the focus on this side of the stone. The moon face seen in Picture 66 may be significant with sturgeon fishing as some Native American tribes refer to the August full moon as the "Full Sturgeon Moon;" this is due to their belief that sturgeons are easiest to catch during this time. The moon face seen in Pictures 65 and 66 and the white horse / bull head pennant seen in Picture 40 may suggest that this paleolithic moon goddess may be the origin of the goddess Europa and the Ionian goddess Lo. In Pictures 69 and 70 the Atlantic Sturgeon's throat shows a small standing figure holding a white phallus that is inserted in the oyster shell lip, it as if mating, over this is a small white heart. This suggests that the artist thought of the Atlantic Sturgeon as male, or both male and female, and possibly the Beluga Sturgeon as solely female. It also hints that the artist thought that pearls were the result of a male Sturgeon mating with an oyster, perhaps presuming that all oysters were female. The fact that the standing figure is the front of the Atlantic Sturgeon's throat when combined with the white pearl seen in the Beluga Sturgeon's throat may be significant. An answer to this may connect to a tradition of Mohawk Native Americans and the game of Lacrosse**. Picture 72 thru 76 shows the stone's top, it is back in a vertical position with the horse's head pointing downward. It shows a standing white figure on the edge, the wild boar, rider, and flag can be seen at a slanted angle. Pictures 77 and 78 show the stone tilted forward, this shows one version of the rider's face better. Pictures 79 and 80 show the stone tilted backward, this shows the other version of the rider's face better. Picture 81 shows a skin that has a bull's head on one upper corner and a hatted man's head on the other upper corner, below but connected is a hatted rider on a horse and, or hippocampus, behind this is an engraved equal armed cross, behind this and partially seen is a standing figure in a hat that is swinging a bull roarer (the bull roarer is the tail to the hippocampus or a fish). Pictures 82 and 83 shows the rider and the standing figure with bull roarer. Pictures 84 thru 89 again show the stone at an angle, which shows the standing white figure better; it also shows the line as a wild boar's tusk. Pictures 90 thru 97 show the indented area as a white bird's head. Pictures 91 and 92 may show figures in a skin raft with a narwhal horn (as a harpoon). Picture 93 shows where the white pear originates from, a wrapped white face. Pictures 94 through 97 show a nude female figure facing right, as if she is riding a white bird, the black pearl on top and in a dog's head (the dog's head is facing left towards the nude woman). Picture 97 shows a woman's face in a Phrygian hat in profile. Picture 99 thru 103 show a bee woman holding a pear; her hands are fish or serpents. Picture 103 shows one of these biting a grayish disc with a black "W" zig zag and a white line. Pictures 104 through 106 show a bearded man's face with his mouth open as if yelling. He is holding a club, which may represent a hazel, chestnut, or black thorn club. He appears to have animal figures around him.

*The highly refined coating used for the 7,000 year old "Black Pearl" stone artifact seen on the home page may have been ichthyocol, this may be the same with the, "Nordic Compass Fish Knife," the "Nordic Space Rock," and the "Nordic Rock," all seen in the ancient miniature art artifacts included with this collection.

**According to the paper "Mood as Verbal Definiteness in a 'Tenseless' Language" by Mark Baker and Lisa Travis, the Mohawks had a tradition of making their lacrosse balls from part of the throat of a Sturgeon. There is no mention of what part of the throat is used. Other tribes are noted as using the Sturgeon's throat to make a very strong glue. The game lacrosse in the Mohawk tradition is a fierce but friendly competition that was played for their creator god, but it was also a game that could be played to heal an ailing member of the tribe. There may be more to this as the Sturgeon's throat has bony plates that when necessary will crush its food (Gilbert 1989, Valdykoy and Greeley 1963). This along with the Mohawk lacrosse tradition hints that these bony plates may have been thought to have some form of medicinal and or a nutritional value; or it could be that the Mohawks used another part of the fish's throat, if so then that area may be where there was a benefit, either way it may be worth looking into by modern medical and nutritional researchers.

Revised Feb 2008

Photo Copyright 2008
David Xavier Kenney

THE EURO STONE "AURIGNACIAN AVALON AND MORE"

This is a work in progress. There will be picture edits and adds, also the information with these is soon to follow.

Photo Copyright 2007
David Xavier Kenney

CAVE LION KNIFE

This is a C. 30,000 Flint Knife of the Aurignacian Culture. It is from an Old German collection and was found was found at Altmuhltal, in Central Bavaria. It is 4.3 Cm in length. Besides the Cave Lions there is a theme that is centered around a boat (with Humans and animals), then two monkeys and pottery