La "ReBeLióN de lOs ArTeFaCtOs"

Peru is still an unknown quantity in the world of astronomy. In 1910, Eduard Seler discovered a building in the Moché area known as "la "Huaca de la Luna." Mr. Schaedel studied in detail the murals found there before they were destroyed. Nothing came of the studies, other than to give the name La "Rebelión de los Artefactos" to the pictures found on the walls.

In 1971, Federico Kauffmann Doig included two of the drawings in his book titled: Arqueológia Peruana. I had been reading about the Bennett Monument and the forty or so Nail Heads found in the walls of Chávin de Huántar. For me, the book was difficult to read because, although I speak Spanish fairly well, I am not comfortable reading a lot of it. It was for this reason, I was turning pages in Doig's book strictly for the pictures. The Bolivian catechism caught my eye and I began to draw it out. The black and white art was tiny and had to be enlarged. While waiting, I browsed through the book and discovered the picture entitled the "Rebelión de los Artefactos."

The picture itself is explained by the caption. It states that the objects are animated and destroyed humanity. Mr. Imbelloni investigated the myths that appeared to relate to these forms and encountered many variations in different regions of [South] America.

The pictures reminded me of another mural I had seen many years ago. It was drawn as graffiti on a wall in Pompeii, Italy uncovered from under the volcanic ash. At that time, I was investigating Praja-Pati of India and had just found that "god" was no other than Orion, the Hunter, an easily recognizable constellation. As a matter of course, I began to investigate these stars and various sky charts, both old and new. Some had stories or fables associated with them and others were only drawings.

Even then, they were different. Some of the charts were just dots showing where the stars were located, while others were ornate drawings which included animals or people figures enveloping the various stars contained within the parameters of the constellations. More often than not, Orion was shown connected to Auriga and Capella. The drawings were all diverse. When one looks at enough of these sky charts, the stars in the constellations become clearer than the pictures drawn around them. The various forms enclosing the stars become irrelevant and the constellation itself stands out.

And so it was when I saw the wall graffiti of Pompeii with other art forms unrelated to astronomy. I first noticed these figures of Aeneas, his son, his father on his shoulder holding casket (or a book) because of their dog-like faces and monkey tails. The faces were not from early Roman times, but instead from the time of Thomas More; much too late for the volcanic eruption that covered the walls where the graffiti was found.

The artist who painted the family portrait of Thomas More was name Holbein. He also painted a table with square-faced monkeys around the table edge. Those XVI century faces were very similar to Aeneas and his family found in the second century graffiti. Art styles do change from century to century and sometimes from year to year. But to have two types of art to be so similar over a span of more than 1000 years was strange. Especially since Holbein's work was not a "Roman" imitation. On the other hand, that of Pompeii, which in itself was not a conventional Roman art form, was hidden for so long.

It was more like sappers (those who burrowed under city wall to undermine them during sieges) encountered a deeper wall and drew their own graffiti for entertainment or to be used for future education. Or was it someone who had found a hole in the ground, fleeing oppression. As it is, the dog-faced monkey is found also in two other places: one, on a modern map as geography and secondly, as a god of the Underworld.

The identification of Aeneas and his family was not based on any inscription but on the myths of the land. Since the faces were so strange, it was necessary to darken the background so that they would stand out clearly. As I was filling in the background, I realized that I was looking at the constellations Orion, Auriga and Capella with Sirius, the Dog Star trailing behind. Checking my star charts I found that the stars of that constellation fit into the graffiti very well. I put the picture away with my other "may-be's".

Recently, the Aeneas group came to mind when I read about the death of an noted astronomer who had helped me solve a star time problem. Although I mentioned it once or twice, it was filed away once again. . . . until I found the picture of the "Rebelión de los Artefactos."

Although one element is missing, in the drawing of the rebellion (Astronomy: Sirius, the Dog Star or as in the graffiti: the Son of Aeneas), it had the same general form as Aeneas carrying his father on his shoulder, who was holding the chest in his arms. The identification of the Moché constellation was by the three small circles at the groin of the human figure and the dots in the body.

The three dots in the groin were the same three stars in the groin of Praja-Pati, the Indian version, and as part of the second star in the sword or Orion. Of these three stars, one is called the Trapezeum. There is much said about the three stones of creation in Meso-American lore, but they have not been identified as yet. It is said by the scholars that they might be located in the Maya constellation: the Peccaries. Yet, in the Codex Borgia the creation storyboard ends with a perforator piercing the phallus of two gods. . . (two aspects of the same god?). Were they illustrating the Nebula in the Trapezeum of the Orion of Winter and he of the Summer? Or that of the early evening and pre-dawn morning?

The drawing next to it I believe to be two other constellations. One, Cepheus with the scepter which comes to mind because the staff of the second figure in the group is parallel to the ground. And just above the head of that staff is a bird form. This second figure of the Cepheus group might well be the constellation of the Northern Cross which is also part of the constellation Cygnus.

The Hawaiians tell of a great bird called URI, located in the constellation, the Northern Cross. The position of URI is not in the star in the middle of the beak of Cygnus. It has been assumed that the beak contains an exploded blue star called X-1. However, the bird in the Hawaiian myths is located in the hypotenuse of the upper right arm and top of the cross and is said to have caused much mischief in the heavens, on the sea and on the land and confirm La "Rebelión de los Artefactos."

Aeneas on the other hand, was part of the great Homeric saga of the Iliad. If one deletes humans from the story, one finds that the gods resided in the heavens and took part in the destructive battle of Troy. Apollo races down the mountain (a volcano), made the humans ill, killed the pack animals (with a billowing gas clouds), to finally climb the tree (as flowing lava) and killed the birds in their nests. All the gods (stars) in the heavens took part in the battle, including the over-anxious child/god in the sun chariot.

As a human event, Aeneas, with his family, were led by Aphrodite (Venus) through the mountain caves of (volcanic workshop of Hephaestus). But if it was a sky event, Venus, the planet, passed in front of the Orion constellation (once called Ares). Was she pushed into a longer orbit across the stars in the sword, during the conflagration of the skies, when the great blazing bird flew through the heavens dropping great eggs (meteorites?) in the ocean.

I contend that the Moché figures are just one more visual report of that rebellion, not of the artifacts, but of the constellations. It was an event seen around the world and recorded as "god-like" because the people watching the constellations in such a battle became afraid. In 1911, when Halley's Comet made its appearance, even educated people hid in their houses and waited for the end of the world. Others, knowing that is was just a celestial phenomenon, were awed by the beauty of the iridescent blue peacock-like tail.

Velikovsky missed the fact that the phallus was involved in the meeting with Venus. The phallus, sword, or Trapezeum is the only place that Aphrodite as Venus the Planet could have been when she "slept" with Ares and got caught in the golden net (the sparkling tail of the comet). Venus, the planet, was never out of orbit and neither was Mars. Orion with his three stars in the groin area was the Ares of the disaster. And Venus, in her normal orbit, was just passing by.