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Antarctica (Public Domain) and Figure 6 © William James Veall: a drawn pattern of rocks seemingly set in the form of an ancient legend embedded into the seashore; Deriv.

A Message on the Shore: Do Satellite Photographs Now Prove Existence of Humans on Antarctica…6000 Years Ago? – Part II

Reading the history of Antarctica, references clearly state that there was never any indigenous flora and fauna of any kind present on the continent because the land mass had been completely covered in an ice sheet for at least nine million years... before even prehistoric Man.

[READ PART I]

According to experts in ancient cartography and oceanography, only a very advanced maritime culture exploring Antarctica after the end of the last Ice Age, 11000 years ago, could possibly have created accurate geographical and cartographical information in maps. Yet such maps seemingly exist. So, who was this suddenly, incredibly advanced civilization?

Craggy mountain landscape in Antarctica ( Public Domain )

 [Read Part I here]

Satellite Images Reveal Surprises

Now this discovery by William James Veall asks the question: who carved with such finesse two massive deer heads, which by their conformation suggest they may be of the Huemul species? Sculpture size (per each) averages 18 meters length by six meters width (59 by 20 feet).

FIGURES 9 and 9a: Amongst the plethora of Antarctica imagery I have recorded each piece of imagery brought forth its own particular surprise. The two animals depicted in this exciting figure were no exception.

FIGURES 9 and 9a: Amongst the plethora of Antarctica imagery I have recorded each piece of imagery brought forth its own particular surprise. The two animals depicted in this exciting figure were no exception.

Were the two sculptures homeland icons or had successive waves of immigrants imported deer as a source of live food or milk provision; this poses another question: from where? The nearest habitat for the Huemul species of deer would likely be Patagonia, South America.

A Heumul, male south Andean deer (Hippocamelus bisulcus) in Cerro Castillo National Reserve, Aysén Region, Chile.

A Heumul, male south Andean deer (Hippocamelus bisulcus) in Cerro Castillo National Reserve, Aysén Region, Chile. ( CC BY-SA 3.0 )

There is a possible solution. During a period of temperate climate, did a sea route open between Cape Horn (Patagonia) and the Shetland Islands? I am quite confident in putting forward this suggestion because distinct traces of rock art activity are visible on the rock faces of some of the islands in the Shetland group. (to be published later)

Also, Nelson Island directly faces Peninsula Antarctica where I have recorded more human head portraiture, one of which is MS 3815 depicted in Figure 5, located on Marambio Island.  Did some peoples set foot on Antarctica before or after those who landed at Ross Sea? Also, did the same people in a great period of climatic change either circumnavigate or use a deglaciated land route across Antarctica to reach the Ross Sea community? Hence, explaining why there are different races immortalized in its human head portraiture.

The answer to such questions is a huge and separate project in itself, probably even greater than the Ross Sea investigation because it must take into account transient movement of humans and animals between the tip of South America and Peninsula Antarctica, likely intervals of glaciation and deglaciation during periods of climatic change.

If the current glacial melt-down continues there will inevitably be the discovery of more human head portraits, with, perhaps, some very important inscriptive material; all of which will make fascinating comparisons with the Ross Sea anchorage and solve the question of who really were the first to set foot on Antarctica.

FIGURE 10 and 10a   What an amazing discovery! Carved entirely from white rock, an oval shaped human head with a round eyed, rather chilling stare marked with ancient symbols. Dots in a circle about a center point motif is typical late 13th century BC. Mycenaean. (Size 44 meters high x 33 meters width).

FIGURE 10 and 10a   What an amazing discovery! Carved entirely from white rock, an oval shaped human head with a round eyed, rather chilling stare marked with ancient symbols. Dots in a circle about a center point motif is typical late 13th century BC. Mycenaean. (Size 44 meters high x 33 meters width).

FIGURE 11 and 11a: A superbly sculptured human head in a 'Romanesque/Greco' style helmet with an open loop GIS mark on the front panel. The portrait, nearly 800 meters in height by 400 meters wide is carved into the steep face of a mountain ridge. Immediately to the right (facing) is a very distinct GIS symbol which gives a latitudinal reading of 82º 25 15 00S. Six hundred meters to the east is 'pecked' a diamond point GIS indicating the longitude of the site.

FIGURE 11 and 11a: A superbly sculptured human head in a 'Romanesque/Greco' style helmet with an open loop GIS mark on the front panel. The portrait, nearly 800 meters in height by 400 meters wide is carved into the steep face of a mountain ridge. Immediately to the right (facing) is a very distinct GIS symbol which gives a latitudinal reading of 82º 25 15 00S. Six hundred meters to the east is 'pecked' a diamond point GIS indicating the longitude of the site.

Satellite photographs show the sculpture is on a mountain side in the Holyoake Range. The very fact this colossal bust was carved in such a remote snowbound location greatly puzzled me, although I do accept the bust may have been carved if this area of Antarctica had once upon a time become ice-free and accessible. When and by whom, and for what purpose was this massive figure set in this particular location?

Satellite Navigation Reveals Ancient Records

And then, I remembered reading from an excellent book by the late Prof. Charles Hapgood, (FRGS) " Maps of the Ancient Sea Kings " that Oronteus Finaeus had plotted the position of the South Pole from ancient maps he had acquired. Hapgood cannily computed that Oronteus Finaeus' South Pole was in fact 7.5º (800 km/497 miles) from the true South Pole we recognize today.

Now came the moment of truth!  My satellite navigator had, on the 9th May 2017, recorded a latitudinal reading of 82º 25' for the statue, almost the 7.5º from the true South Pole. I then checked out the longitudinal co-ordinate, 160º 32'.

Each co-ordinate confirmed almost exactly the position of the South Pole—precisely as Oronteus  Finaeus had marked upon his 1531 AD map.

I firmly believe the gigantic 800-meter-high (2625 feet) sculpture was carved, not only to permanently mark what was believed to be, at the time, the true South Pole, but to honor and record in Memoriam the first peoples ever to knowingly reach the 'South Pole'.

Messages on the Seashore

The very last thing I expected to end up doing was writing an in-depth article, analyzing and creating artwork for numerous portraits, drawing maps, plus epigraphy tables, all resulting from a fun-loving hunch to circumnavigate the vast continent of Antarctica by remote sensing satellite—all out of sheer curiosity.

To find a whole host of human head portraits, seemingly of at least five differing cultures, plus animal heads, all interspersed with a mass of inscriptive material and, romantically, ' a message on the seashore', was mind-blowing to say the least.

There is absolutely no doubt in my mind, against all the known odds, that Antarctica had been visited in the ancient past with possibly some long-term habitation along, at least, the coastal regions in periods of more temperate climate; this proof completely rebuts the long-held belief that "Antarctica NEVER had any native people living there, in fact until AD 1822, NO ONE had even set eyes on Antarctica."

But surely the 'icing on the cake' was when I discovered the importance of the massive figure carved in the Holyoake mountain range to commemorate the discovery of and record the exact location of the South Pole as extrapolated from Oronteus Finaeus' ancient maps.

I have a slight reservation about this point, having recorded by remote sensing hundreds of GIS (Geodetic and Identification) markers. I have always been astonished at the incredible accuracy achieved by the ancient map makers— and I am not talking in 'degrees' but 'minutes' of accuracy—quietly suggestive of an ancient civilization possessing knowledge of astronomy, navigation and map-making with superlative scientific equipment not equaled by 'modern' man until at least the 19th century.

Dating of artifactual material is at best very much trial and error. The dress code of any ancient statue or portrait is almost always a sound clue to provenance. Here, one clue is in the rather 'Romanesque/Greco' style of helmet as seen above. In fact, along the Ross Sea section there appears to be at least four busts similarly helmeted, suggesting an expeditionary force from the Mediterranean had indeed succeeded in reaching Antarctica.

As a space archaeologist, I make no claims to having expertise in epigraphy; this does not preclude making observations about the material I have uncovered in the course of my research. Therefore, is it possible to derive a time frame simply from the inscriptive material I have charted in Tables 1 – 3)?  The answer is yes. Firstly, by observing the historical extremities of the tabulated charts.

The very earliest stage of the Antarctic epigraphy chain would need to have Egyptian hieroglyphs: there are NONE. An end point to my tabulated chain would need to include the 'modernized' Greek alphabet, Hebrew, and perhaps even Roman lettering. There are NONE. Thus, we have established the limits of the charted inscriptive material.

Table 1 "Symbols discovered along the east coast of Australia".(Copyright WJV 2017)

Table 1 "Symbols discovered along the east coast of Australia".(Copyright WJV 2017)

Table 1 "Symbols discovered along the east coast of Australia" . MS 3755, Col 5, depicts a Proto-Sinaitic character, (man joyously waving arms about) circa 1850 BC. Is this the first link in the hypothesis? As we examine other characters in Tables 1 and 2 we find a bias towards the Minoan script, Linear A. Now, Linear A was developed, circa 1800 BC - 1400 BC, and used essentially as an 'accounting script'. Hence ‘dots and dashes’ signifying a base 10 script. (see table 3 and the "message on the sands" )

Table 2. Chart depicting the ancient symbols uncovered along the Ross Sea coastline of Antarctica by Space Archaeologist, William James Veall in April 2017. (Copyright WJV 2017)

Table 2. Chart depicting the ancient symbols uncovered along the Ross Sea coastline of Antarctica by Space Archaeologist, William James Veall in April 2017. (Copyright WJV 2017)

Table 3. “Message on the sands” (Copyright WJV 2017)

Table 3. “Message on the sands” (Copyright WJV 2017)

However, one will notice within the 'mix' (Tables 1, 2 and 3) are characters from the Mycenaean script Linear B, developed circa 1500 BC – 1200 BC and mainly used for communication.

Thus, we have a start date in our timeline made up from Proto-Sinaiatic (1850 BC) paralleled with Linear A (1800 BC - 1400 BC), followed by Linear B (1500 BC – 1200 BC). Linear B was followed by the Phoenician alphabet (1100 BC) which continued down into the Iron age (1050 BC) thence to be taken over by Greek alphabetical variants (800 - 750 BC). 

According to the inscriptive material, the Ross Sea region of Antarctica was subject to visitations and possible semi-permanent habitation during a period(s) of deglaciation 1850 BC through to, say at least 1050 BC, a time scale allowing for overlap—not far off 1000 years.

Also, I believe, over this 1000-year time span Antarctica was eventually circumnavigated 'en total' hence the map of Antarctica was actually bit-mapped, thus producing the historically reported series of slightly disjointed local maps.

An in-depth appraisal of glaciation and deglaciation of Antarctica even over just 10,000 years is extremely complex and outside the remit of this article. Suffice it to say, if perchance the 'message in the sands' was one of farewell, why was it 'written' in Linear A / Linear B and not the same alphabet as the mass of inscriptive material shown in Table 2? Were there successive visitations over the 1000-year period? Perhaps with the latter waves using a more 'modern' form of written communication.

Who Could have Created Such Works?

We have already discussed it was Aristotle who informed Marinus of Tyre in 400 BC of the existence of a Continent called Terra Australis (Antarctica) which he had gleaned from (local) maps hundreds of years old.

Now, if we accept the ancient maps Aristotle referred to, stretch back hundreds of years, 1450 BC is well within an acceptable time frame. A time frame that encompasses the period when the Minoans were extremely active commercial maritime traders, superb artisans at producing amazing gold and bronze human figurines and natural forms (animals (deer), birds, flowers and fish) and obviously would have included a range of iron and bronze tools for shipbuilding to fine arts.

A detail of the dolphin fresco, the Minoan palace of Knossos, Crete, (1700-1450 BCE)

A detail of the dolphin fresco, the Minoan palace of Knossos, Crete, (1700-1450 BCE) (Mark Cartwright/ CC BY-NC-SA 3.0 )

The Ross Sea sculptures could only have been carved by highly skilled artists working with possibly some of the hardest rock known to man; these artisans would surely have needed 'mauls and chisels' made from durable bronze or iron. This fact is very important because the dates of the Minoan Bronze Age (1500 – 1200 BC) and subsequent slight overlap into the Early Iron Age (1050 BC) firmly keep the Minoans in our postulated timeframe.

Many Different Cultures?

One very interesting point arises when considering, in such a short stretch of shoreline, there are at least five completely differing cultures depicted by the physiognomy of the busts; I do not believe they are a generation arising from linear development because quite simply we would be looking at tens of thousands of years, not just 10,000 years of deglaciated history.

What is more, the ancient artists have carefully selected their rock face work-pieces to reflect the color tones of the faces they desired to portray, hence, presenting us with everlasting original portraits of inhabitants 'in the flesh' exactly as they were centuries ago.

Strangely, even the portraits of the most primitive peoples are marked with the same 'international' loop or diamond point GIS, clearly indicating the statues are contemporaneous alongside the copius amounts of inscriptive material; this, as we have already said, is readily dateable between the limits of 1850 BC – 800 BC.

I cannot state categorically that Minoans were the very first to see or set foot upon the shores of Antarctica; that is something we will never know for certain. The very fact that 'primitive' busts were evident amongst the sculptures suggests local native 'Fisherfolk' from say Patagonia, New Guinea or Southern Australia, for example, could equally have taken advantage of a temperate climate window and were actually in residence before the Minoans arrived.

Clearly without close forensic examination I am unable to say one way or the other whether the Minoans with their passion for recreating all living creatures in paintings or sculptural form conceived the Ross Sea shoreline as a museum masterpiece, or whether the more primitive residents had the capability and tools to fashion imagery according to their own likeness before the Minoans arrived... and used a GIS insignia. (I don't think so?)

And to finish, some HOT NEWS:

FIGURE 12 and 12a:  Fig 12 is the original untouched satellite photograph. Fig. 12a has been lightly retouched by pencil only.

FIGURE 12 and 12a:  Fig 12 is the original untouched satellite photograph. Fig. 12a has been lightly retouched by pencil only.

This latest satellite capture shows here again we have the strange juxtaposition between the primitive form and symbolic material. Just where does this 'prehistoric' specimen of humanity fit into Antarctica's exposed chain of humanity?

Note the low forehead embellished with floral headband, small eyes set under a heavy brow (cranial) ridge. See the broad, squat nose over a large mouth showing very clearly a set of protruding sharp canines. Notice the flower, lower bottom right, amongst the inscriptive material.

Bearing in mind the previous Australia/Antarctica contact mentioned above, I suspect the image represents an early Aboriginal arrival on the Continent, but associated with inscriptive material… it’s a continuing mystery!

Finally, the fascinating question everyone will ask: Do you believe, now that Antarctica has been partially exposed, this continent will turn out to be the real 'Punt' and mysterious island of 'Atlantis'?

Space archaeologist and independent researcher, William James Veall is Director of Nascodex and Consultant to Nascodex Publications , and author of Portraits of the Gods .

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Top Image: Antarctica ( Public Domain ) and Figure 6 © William James Veall: a drawn pattern of rocks seemingly set in the form of an ancient legend embedded into the seashore; Deriv.

By William James Veall

References

FELL B.  A MERICA B.C.   Pocket Books. (Simon & Schuster Inc.) USA 1989

GLOBAL EXPLORER, 2017. [Online] Available at: https://www.globalxplorer.org/

HAPGOOD C.H.  MAPS OF THE ANCIENT SEA KINGS. Souvenir Press. UK 2001

HIGGINS R.  MINOAN and MYCENAEAN ART. Thames & Hudson. UK 1974

IFRAH G .  HISTOIRE INIVERSELLE DES CHIFFES. Editions Seghers . Paris.  1981

LEHRBURGER C. SECRETS OF ANCIENT AMERICA. Bear & Co. (I/T International) 2015

OBREGON M.  BEYOND THE EDGE OF THE SEA.  Random House, USA 2001

PARCAK,S. SATELLITE REMOTE SENSING FOR ARCHAEOLOGY. Routledge UK 2009

POPE M. DECIPHERMENT (The Story of). Thames & Hudson. UK 1975                       

VEALL W.J. PORTRAITS OF THE GODS . Nascodex Publications. Catalunya. 2016

BLACK MUMMY OF THE SAHARA [Online] Available at: www.youtube.com/watch?v=J2942jGCy2s

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