Scientists, official-academic and alternative-conspiracy theorists, write that it is hewn out of solid rock, out of stone.
The oldest, they say, a statue on earth, a witness to the flood, a mystery of millennia … Stop lying already. Casting as casting. Like all historical antiquity.
It's high time to show it.
Ancient Egypt, sung by a million sources, keeps all its secrets in plain sight, but people are not supposed to notice them, because it is the cornerstone of the entire false history of officialdom and alternatives. Without it, the darkness of official and alternative sciences, academic and conspiracy theories, cultural, theological, esoteric views, biblical, Jewish and who knows what projects are crumbling; it is a very important part of the spiritual and material culture of mankind.
If we consider the main structures, then ancient Egypt, like antiquity, was invented in literature, materialized in the 18-19 centuries. within the framework of a global project of imparting history, after the creation of classical Greco-Roman antiquity, which began at the turn of the 17-18 centuries, on the eve of the creation / discovery of biblical Babylon. Like Babylon, invented by the creators of the Bible, materialized by great archaeologists, animated by science, literature, cinema, ancient Egypt was excavated and discovered in the 19th century by adventurers, consuls and others, who later became great archaeologists.
And like the biblical Babylon or ancient Palmyra, almost all of ancient Egypt is unfinished, unfinished column-walls without ceilings, not a day under the sand, 90 percent without finishing and attempts to finish and apply molded plaster. It's just one big perpetual out-of-the-matrix storytelling project, a long-term workshop program. Let's compare, so as not to be unfounded, how the supposedly newly excavated, discovered antiquities looked in the photographs of the middle - second half of the 19th century.
A bit of ancient Babylon
Promotional video:
The famous ziggurat Lv.
Everyone knows that it was built in the 21st century BC, reconstructed by all and sundry, from the New Babylonian king Navonidas in the 6th century. BC. to Saddam in the 20th century. AD and now it is practically a new building (like all the monuments of "ancient Babylon").
It is believed that the Ur ziggurat was discovered in the 19th century, but it was excavated and cleared "of centuries-old layers" only by the expedition of the British Museum employee Woolley from 1922 to 1934. In addition, Woolley participated in the discovery and excavation of many famous cities in Egypt, Sumer, Asia Minor, the British Museum is bursting with artifacts from these excavations. In 1928, the famous English writer Agatha Christie allegedly took part in the excavations of Ur, and there is a photograph that is quite poser.
The picture shows the wall of this very Ur. It remained in this form until 1922, and before that it stood for 2.5 thousand years.
Will you give it 2.5 thousand years? In Donetsk, Barnaul, there are many places where the same walls are added, and there are worse ones.
In the foreground, bricks are piled up and a wall of an ancient Babylonian house covered with sands sticks out, further the same neat stacked piles, as if the builders had thrown them. They left without completing these houses: on the walls and stacks of bricks there are no ceilings or traces of them.
Ishtar Gate, built by Nebuchadnezzar in the 6th century. BC. were "reconstructed" and sold to the largest museums in the world in the form of versions for tourists.
The Ishtar Gate and Processional Road were reconstructed in the 1930s. at the Pergamon Museum in Berlin from material found by Koldewey. Fragments of gates and lions that adorned the Processional Road are kept in various museums around the world. The Istanbul Archaeological Museum contains bas-reliefs of lions, dragons and bulls. The Detroit Museum of Art houses a Sirrush bas-relief. There are lion bas-reliefs in the Louvre, the Metropolitan Museum of Art in New York, the Oriental Institute in Chicago, the Museum of the Rhode Island School of Design and the Museum of Fine Arts in Boston. A replica of the Ishtar gate was built in Iraq at the entrance to the museum
At the turn of the 19th and 20th centuries, the Ishtar Gate was like this.
Where are the centuries-old layers here? There is none of them. It did not last 2,5 thousand years, it is just abandoned construction. It was not buried by sand, grass grew on it, and the palm tree made its way. Nobody dug anything here.
The gate of the palace of Nebuchadnezzar. Was it three thousand years under the sand? No, of course not. The sand didn't even get into the niche and grooves. In the lower niche, if you look closely, there is also no sand. These are weeds. The hill was being cleaned, rubbish was piled here. They were going to build something, but the best use was found for these abandoned walls.
Directly before the "excavations of Koldewey" Babylon looked like this.
Another photo of the "ruins of Babylon" before the excavation. There are obvious unfinished walls here, and there are no ceilings. Almost all of "ancient Babylon" is just such walls, begun and abandoned, and nowhere are there traces of floors, slabs and beams.
In my opinion, in the suburbs of Donetsk, in the villages abandoned and transferred to the workshop for "film sets", the same "antiquity" is. In Barnaul, the same villages were in the 90s, when people were abandoning buildings.
And it was not covered with sand for thousands of years, not even for a year, otherwise the desert grasses would not have grown.
Why did palm trees grow under millennial sands?
And in general: where are the materials, descriptions, film and photo documents, the entire course of the excavations of Babylon? There is nothing.
I understand that these photos are very few for such conclusions, but they can be explained by only one thing: “ancient Babylon” is a global scam. The entire “great history of Babylon” was made in media, museum artifacts were made on the stream, as were the “ancient Greek” ones and others. And directly on the spot, some town abandoned by the developers was used and presented as a "great city".
Until the 20th century, we recall that the city of Babylon was considered a biblical metaphor. But it was calculated, discovered and excavated by the German architect (!!!), teacher, archaeologist Robert Koldewey in 1899-1917. Previously a participant in the excavations of Troy.
His boss himself, the great mentor and archaeologist Heinrich Schliemann, did not really trust photographers to immortalize his works, leaving only a few clearly staged photographs from the epoch-making excavations of other "literary cities" - Mycenae and Troy-Ilion.
He preferred to preserve his encyclopedic discoveries in Hellas and Troy in a drawn form for centuries.
And for good reason. All the same disgusting vegetation from under the boulders that lay under the bushes of cultural layers from Homeric times in the newly excavated Mycenaean gates and fortresses, perennial weeds and shrubs, makes one doubt that they have just been excavated.
A bit of antique Palmyra
If you look at this Arc de Triomphe with elements of Hellenistic and ancient Roman styles, as it was in the 1870s …
To the next arch …
To Triumphalnaya from a different angle …
To the colonnade 1500 m long …
To the Temple of Baal …
Temple of Diocletian …
then any normal person is obliged to see: it was not brought by the sands for 2 thousand years, not for a year, or even for a day.
The photo clearly shows that "Palmyra", "Babylon", "Nineveh" … - abandoned shortly before the shooting unfinished, which for thousands of years, not a year, not a single day was covered by sand.
Otherwise, there would be no desert grasses and shrubs with which all these "antiquities" were overgrown after it was staged and thrown, then "opened" and filmed in the middle of the 19th century, at the dawn of the "era of photographs".
Nobody dug anything there. The photographer found them the way these structures were. 10-20 years have passed since the construction, judging by the height of the vegetation.
There was a reportage about the construction of the masterpiece of the ancient Hatra, which the ISL mocked at, opening steel hot-rolled channels from an open-hearth furnace inside the ancient heads and fittings in Hellenistic statues of the 3rd century BC.
It's even more interesting this time!
Well, since we are talking about the vandalism of the extras from the ISIS media phantom, let us recall how the actors demolished the winged guards from concrete cubes with molded plaster from the palace of the Assyrian king Senacherib (allegedly 8th century BC) by the great British archaeologist Henry Layard (“opened and excavated "in 1845-1851) and statues with fittings from the fortress Dur-Sharrukin Sargon II (allegedly built in the 8th century BC) of the French consul Paul-Emile Bott (" discovered and dug up "in 1842- 44 years, continued to "open" Victor Place in 1852-55) and dismantled the "winged geniuses", a reinforced product according to the Lego principle from the Ashurnazirpal II palace in Kalakh (made allegedly in the 9th century BC, "dug up" in 1845-1851) In addition to that post, there are several more reinforced foundries (did not show it before).
And a little more Palmyra. Filming before all the Syrian-Igil-military performances. The fittings are there through and through, if you look closely, in the museum exhibits and "Roman-Hellenistic ruins."
Steel bookmarks.
The entrance post of the Temple of Baal is all in fittings, round and shaped. The ancient Palmirians cut it off))
Let's admire the Temple of Peter a little, whole-cut in all works, textbooks and brochures. The "early Christians of ancient Rome" carved the Temple of Peter in a solid rock. Without plaster, bricks and casting, as usual))
A bit of ancient Baalbek
Ancient Roman builders screwed up with this largest stone-hewn building of antiquity a century and a half ago. It's amazing how different Denikens on this ancient Baalbek are still being fought.
Now, if this part of the stone block is shown to someone, without saying that the hewn temple of Jupiter, everyone will be the first to say: formwork and mortar, Moreover, with sinuses. Underfilled, bunglers, the layer and the next drove.
Scientists, however, are talking about lasers, super-tools for cutting stone talk.
Well, that's their job.
And then the largest "stone blocks" in the history of mankind, these are the same ones.
The edge of the blocks is a clear corner from which the formwork frame is made, and some kind of weaving on this frame.
True, the "scientists" here are about the "mysterious super-tool" with which the "great civilizations" were used to chamfer the stone, tryndyat.
"Scientists" also need the kids to earn on milk.
And here already the chamfer does not roll. Because this is debris that got on the lower casting and was poured with the upper casting.
According to the assumptions of scientists (about the chamfer), it was just that the laser broke down in the great civilizations, so one block of concrete had to be cast. Only one. And the rest, as scientists say, were cut with a laser. And then by the power of thought they raised them against each other. And other scientists say that the blocks were molded with mantras from the rock, and raised too. A hundred Buddhist monks will gather, and well, play a pipe, perform mantras, but some monk had a Sahasrara not in purusha, like all normal monks, but a neighbor's widow under the hem, so a single work was messed up in one place!
Well, they are leaking, of course, like most antiquities, like a fool. In the form of oozing, announced in the science of tanning. Both columns and blocks. Here's the real secret of all this casting - the biomaterial involved in that casting. To all pyramids, baalbeks, cromlechs and dolmens at all latitudes. Organics in various doses - blood-plasma-tissue fluid-lymph (lymph) with this sacred genetics.
Which is understandable, given the electrification of Baalbek, which is clearly redundant for simply illuminating just plates for pilgrims. Let's admire it with the help of excellent photos from the LAI forum.
But scientists have not yet been ordered to reveal this sacred secret. Maybe the priests will be trusted to open it, maybe the politicians, this is another topic …
And in this, about false history, we will admire the ancient Roman steel laying in the ancient Roman stone-cut architecture of the ancient Roman temple of Jupiter -
and then we will look at a couple of Baalbek's solid-hewn granite columns in order to recall the cult St. Petersburg columns - the Alexandria, Kazan and Isaac cathedrals.
In Baalbek, both technologies of casting from artificial granite are presented, in one place examples of such columns stand side by side: one component under cast granite plaster, like all St. Petersburg ones, the other from cast component parts.
Petersburg, contrary to the official and alternative scientists, are all composite, under a molded shell. The Pillar of Alexandria, when viewed through different filters, will inevitably show all ten parts.
Isaac's Columns, if, for example, apply a red filter to this famous photo with a patch, will show the component parts.
The constituent parts of the columns of Kazan, although they are inside and illuminated at the same time, can be pulled, for example, from this original
Cutting out such fools entirely, sharpening, dragging, placing - there are no fools either in ordinary human or in Pleiadian-Syrian civilization, they are found only among historians, alternative and official,.
The stump is clear, neither 5 thousand Romans, nor 5 carriages of the Anunakhs will be dragged and strained, and the largest hewn object in the history of mankind is the famous Southern Stone. It was cast exactly in that place and in the form in which it is now - that is, on an inclined platform, unevenly lying, like the Romans threw it that way.
It clearly shows the horizontal layers of casting, absolutely inevitable with such a volume. The arrows show the boundaries of the layers.
With side lighting, not only is the difference in the texture of the layers located horizontally noticeable, but also the zone of cracks between the layers, which also runs horizontally.
In the lower part of the South Stone, where uniform high-quality casting is a problematic matter according to physical laws, the ancient Romans developed natural sinuses on the upper edge of the South Stone. Next to the sinuses, a chain of grooves from the timber is visible, with which the upper sash of the South Stone formwork was fastened. The circle shows the sinuses in the casting, where the mortar did not fill the space under the formwork, the ruler shows a series of notches from under the formwork beam.
The arrow shows the influx of the upper layer to the lower one at the last pouring of the South stone. The penultimate fill has already hardened. The ancient Romans put the formwork for the last fill higher than it should have, the last fill did not coincide with the penultimate one and flowed over it.
Here's a nice photo from the right angle.
Original:
It is very interesting to listen to fellow scientists hewnders: how did erosion choose these wonderful erosion grooves from under the beams, square and located at an equal distance along the ruler?
Or are they aliens with vajras?
And this remarkable influx of erosion made the first stage.
The result is a shape, a silhouette of a stone.
And then the second erosion came and chose the already familiar grooves, as well as the sinuses from casting AND ON THE REDGE OF THE FLOOR, AND UNDER IT, in the dent into which it was flowing.
A bit of ancient Egypt
No matter how scarce the vegetation of the Egyptian deserts (and almost all of ancient Egypt was made on the border of the desert and in the desert), she will also indicate in the first photographs of the main "open-excavated monuments of ancient Egypt" that no one dug them out, and stood with construction.
The famous complex of Medinet Abu Ramses III, allegedly built in the 12th century BC … Was discovered and excavated by scientists from the Supreme Council of Antiquities (SCA) of Egypt in 1859, was completely dug out of the sand, before the SCA website reports, a large number of Coptic buildings were removed, and excavations were completed in the 1920s by the Oriental Institute of Chiga University.
The photo has a date - March 18, 1862. Part of the pharaoh's hall in the palace temple. "The ruins, three years as excavated," have long been lying like that, overgrown with desert grass, delighted by the shadow.
More Medinet Abu.
About this pylon, there can be no question of a thousand-year or even a week-long stay under the sand: trees have grown near it.
They generally forgot to remove the beams on which the "ancient hewn elements of ancient Egyptian architecture" are held.
Here are three fun pictures.
Column Hall of Amenhotep III, the same Luxor, Medinet Abu. Photographer Henry Kammas, 1864. The second author is unknown, but obviously later.
Photo 1.
In the photo there are abandoned building paraphernalia for refilling and finishing and bushes-trees piled up in a heap by the finishers, from which they cleared the site. Has it been under the sand for three thousand years? It was not a day under the sand, since such bushes have grown (which in the desert, we recall, add centimeters per year). The date of excavation is, recall, 1859.
The sand was delivered later. And in 1864, neither the floors were ready, nor the mortar from the columns and arches was cleaned off.
The case has shifted. The sand was brought in, but the mortar cans and scaffolding have not yet been removed.
Photo 2 and 3.
Now it's another matter! Antiquity is ready. Current view.
Even funnier is the Hypostyle (ie, supported by continuous rows of columns) hall. Here is all that remains of the columns, historians write.
Plans and renovations are drawn. New Kingdom Architecture - Please!
And in the photo "after the excavations" are the same lower sectors of the columns, and not a single upper sector was born here, although there should be about three hundred of them here. Where have you gone? The ancient Egyptians did not make them. No one has ever built this hall, so they left it as it is. The timing was pressing, the suppliers let up, the superintendents decided: this will do; We're not trying for the pharaohs, but only for contemporary sheep with their descendants. We give history, let them also work hard, strain their brains, finish drawing something …
Another monument in the same Luxor is the famous Temple of Amun-Ra in the town of Karnak, the largest temple complex of Ancient Egypt, built in the 20-13th centuries BC, a UNESCO World Heritage Site. Before the excavations of the 19th century, it was completely buried with sand - they do not hesitate to write scientific and tourist brochures.
There is a photo of the famous excavations. Western entrance to the sanctuary of Amun.
Almost from the same point - a photo of today.
What do we see? Something strange.
The railway is on "Arab traction", of course. Ancient Egyptian plates, the stump is clear, no. Blocks are in a mess. Arabs are rolling trolleys with casts of some masterpieces towards the temple - very interesting. Above the rams in the right row is the tripod of the lifting structure. And rams with the bodies of a lion are clearly lacking in either line. This is not an excavation. This is the final construction. They will remove construction waste, bring sheep, lay out plates - there will be a heritage of humanity and UNESCO.
A wonderful photo in the subject: the arrival of the ram-headed sphinx at the excavation of the ram-headed avenue. They were unloaded with the same tripod before being installed at the entrance to the Temple of Amun.
Forgotten pillars for raw "ancient Egyptian hewn" casting in the middle aisle of the Amun-Ra temple.
The armature not smeared by the photographer is the same Karnak Temple of Amun.
And here is the familiar from the entrance to the palace, the ancient Egyptian railway inside it.
And since we are talking about the railway transport of the ancient Egyptians, we will show the transport and the ancient Egyptians.
Now look closely at those ancient Egyptians - the middle Nile, the tomb of Tahark. What do they do with the help of two rails, a crowbar and a lever from the beams - do they carefully remove the ancient Egyptian masterpiece, the priceless concrete slab of the ceiling of the pyramidal temple of Pharanon Taharqa, getting to the tomb, or do they put it in place on the supporting walls?
And if they do it, who put the rails on the supporting walls, on which the slab is rolled? Pharaoh Taharka?
But this Pharaoh has just been dug out of the sand? Or was it brought to the place of the find in a trolley? Of course, they did not dig it out, but only brought it - the sand did not have time to fill even in the grooves inside the cast mold with the garbage packed in a hurry. For 2200 years he had to fill up.
Pylon ruins, Karnak again. Palm trees do not grow under the sand from which the pylon was dug out a century and a half ago. They are at least the same age as construction.
A typical Egyptian unfinished building that has never been under the sand is the Ramesseum of Ramses II (allegedly the 13th century BC). In the photo of 1875, the bushes give him away again.
Another city from the sands of Hermontis (15th century BC), which has never been under the sand.
Anyone will continue - Egypt was thrown in in grandiose portions during the "discovery", the dawn of the era of photography.
And we will take a look at Abu Simbel - unique ancient Egyptian statues, solidly hewn by ancient Egyptian stonecutters from the ancient Egyptian monolithic rocks in the 13th century BC. and open-described, i.e. erected in the early 18th century. Interesting in that they were dismantled as a lego and transported higher in 1964-68 in connection with the flooding of the reservoir of the Aswan hydroelectric station. They were cast, like all such statues, in cubes, held, like the winged geniuses of Assyria, with fittings, which bent down when the cubes were excavated.
Let's see a pseudo-documentary about the transfer of the complex. From the epic 9-month sawing with hand saws, according to the participants in the work, there was one underframe in three seconds, and that indistinct night one. But the whole film is sawing the model of Ramses' head)) Are they not lying?
There are two questions for the sawers. How to cut a shape WIDER than the length of a hand saw (the same Ramses head - the original, not the model)? How is it possible to saw off a fragment from the BOTTOM under a load of tens of tons?
Admiring the casting.
Assembly 1968 and disassembly 1964.
Let's take a closer look at the last photo.
This is a parsing.
The arrow does not remotely smell like a file on this edge.
These grooves - small arrows - are a priori impossible to cut.
Disassemble the hewn statue like lego bricks. With which she was consistently filled with the "ancient Egyptians".
And immediately to the trolls, so as not to be stupid. This is exactly the analysis of the statues, not the assembly. Disassembled over the Nile, assembled over the Aswan Sea, where the edge is not visible.
From the linden solid-hewn Abu Simbel we pass to the Sphinx.
Allegedly, the oldest statue of mankind, a witness to floods and a keeper of the pyramids, carved from solid rock, in fact, is the last of the objects of ancient Egypt on Giza, which was completed already in the photo-era.
"Solid rock" is, of course, nonsense. Here, stacks were formed of marriage, assorted material from all over Giza, tiles and transportable blocks, four such stacks-pedestals combined into a body, upon completion of the construction of "ancient Egypt on Giza" cast a head as the final of a great construction project. There is no more primitive monumental structure.
In early photo shoots, four separate pedestals are clearly visible, and there was even a through passage between the third and fourth.
It is perfectly visible what materials the solid rock was made of - an ordinary building waste.
Another "rock".
The rear part was reported and refilled, the third pile-pedestal nearest to it was reported from the left side of the Sphinx and compared with the fourth.
That is, the Sphinx was being completed already in the era of photographs, and the emerging era of new media did not become a hindrance.
We look at the changes in rump. Alignment.
Extension connection. At the same time, take a good look at what kind of "solid rock" is in this Sphinx.
This is how the usual current appearance of the beast turned out.
The mane and the last third of the upper part of the head were added to the usual look.
The traces of this final refill of the head are still visible.
The next time, under the guise of repair, reconstruction or renovation, the plaster will be renewed, and the "solid rock" will remain as good as new.
This is how all the "Egyptian antiquities" were done, only the last revision of the Sphinx is official.
As we have already seen at the construction of Stonehenge, on Giza, and specifically on the Sphinx, a narrow-gauge railway was also used, and unlike the construction site of British antiquity, where it remained only in documents, on the Sphinx it repeatedly appeared in the photo, at different stages of completion of construction (look at the rump and mane).
And in this wonderful photo of allegedly 1925 (this is a lie; the mane is half as far back as the 19th century), we will find not only rails, a trolley, containers for mortar and bulk materials, but also recognizable posts with a thorn - the upper right corner; photo is clickable, like most in this post.
Also in the era of photographs, a stele was made of Thutmose IV of the XVIII dynasty, who ruled in 1397-1388 BC. eh..
Son of Amenhotep II and Queen Tiaa. although he was the son of the main queen, he was not originally intended to be his father's successor, historians say. Subsequently, Thutmose talked about a wonderful dream that he dreamed when, while still a prince, after a hunt, he rested in the shadow of the Great Sphinx. In a dream, the god Khorem-akhet-Khepri-Ra-Atum, whom the Sphinx allegedly portrayed, appeared to him, and demanded to clear him of the sands that were brought by the wind from the desert, and by the time of Thutmose they had almost completely buried the Great Sphinx under them. As a reward for this service, God promised to make Thutmose pharaoh. Waking up, Thutmose recruited workers, cleared the Sphinx and soon became pharaoh.
An inscription describing this event was placed on a slab at the front paws of the Sphinx. By the way, Pharaoh Khafren is also mentioned in the same inscription, from which science concludes that the Great Sphinx was carved during the reign of Khafre (IV dynasty, 2558-2532 BC), and alternative science - even 10 thousand years earlier.
The proper inscription of Thutmose IV was slapped onto the cube during construction work, it was covered with a bag, protecting it from pebbles and pesska.
Also pay attention to the builders' trolleys.
From this angle, it is clear that the inscription of Thutmose IV was made over the previous inscription, which somehow did not suit the customer.
There they are, Amenhotep II with Thutmose IV)))
Joke. they did not cast the inscription. But the guys are certainly aware of what was going on at Giza.
And now let's see why the "most mysterious and great statue in the world" has a clear curving tail hacked, rounded sides and made a round lion's butt.
The Sphinx of myths and legends took its current form not so long ago. For two centuries of information support, falsification of the current familiar Sphinx has saturated all eras, but until the 18th century the Sphinx was a creature with a fish tail. A completely recognizable image of a creature known under the name of mermaids, sirens, pharaohs, nereids, sea maidens … It, under its own name (Triton, Dagon …) was the progenitor of the Sumerians, Assyrians, Philistines …
In the 16th century (well, that's how it is believed, let's hold on to the traditional history for a better understanding of metamorphosis) Sphinxes with fish tails were all over the place.
This dates back to 1505-36.
Pottery of 1557 (so it is believed), is stored in the Louvre.
Piranezi 1740-1778.
Sphinxes are heterosexual, i.e. a separate breeding species. 1540-45.
They make up a typical sacred composition “two on the side” and accompany the sacral vessel with gendryan. Those. are carriers of the sacral gene.
1551.
Yet. Heinrich Aldegrever 1535.
Allaert Claesz. 1520-50.
Proteus, Nereids accompanied the Sea King, he is also Neptune and Poseidon. Egypt in "ancient" Greek mythology is a country where Poseidon and his descendants ruled. Proteus, nereids, incl. The Sphinx, Poseidon's retinue, standing with him over the Nile.
Print made by Cornelis BosThe God of the Nile. 1546.
A second pair of paws appeared from time to time and finally grew by the 18th century. Although the Triton-like features (in the sense of a newt - an amphibian) the Sphinx retained.
Bernard Picart 1696-98.
The creature that was the first prototype of the Sphinx, then not yet "open" and not "unearthed", a creature with an inhuman gene is another topic. There is a dark video - hammer in the search for dead mermaid, real mermaid.
Excavation of the (believed to be) Sphinx began in 1858, mostly ended in 1925.
Around the beginning of the excavation, many outstanding (really so!) Works of literature, music and all types of art about mermaids have been created. For the same excavations, the Sphinx of its current appearance was actively glorified, stamped, myths and legends were recorded, in the 1830s small copies of the Sphinx were brought to the same Petersburg.
Around the same time, sea people, mermaids disappeared from reviews and works on geography, biology (it is everywhere indicated that the author of the systematization of the living world Linnaeus in the 18th century systematized mermaids, like hydras, although the works themselves are not found with them).
It turns out that the Sphinx was given the ass of a lion, and not the original one, which should be according to ancient myths, within the framework of one global program of leading the abomination, now known as a mermaid, into the realm of fairy tales and legends - i.e. mythologizing it.
On the eve of endowing science with tools for the accurate classification of the living world, they were taken out of sight from unnecessary questions.
The mermaid remained, in addition to art and folklore, in the starry sky and in astrology - Capricorn, but already having nothing to do with the Sphinx.
Read the continuation here.