Hundreds and Hundreds of objects in the once-secret collection of Professor Cabrera.

Professor Cabrera’s Cabinet of Horrors: Secret Chambers and Shocking Artifacts with Controversial Origins

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In Ica, Peru, I visited the most mysterious museum on our planet. It is the Museo de Piedras Grabadas de Ica , (Museum of the Engraved Stones of Ica). Professor Javier Cabrera Darquea (1924-2001) created it. The museum offers two archaeological collections—of which one was kept secret for years. Actually, neither of them should exist: they are far too fantastical. But reality is sometimes stranger than even the most impossible fiction.

The Secret Chambers and Shocking Sights

Cornelia Petratu and Bernard Roidinger write in the postscript of their work The Stones of Ica : “Punctual, lively, and full of enthusiasm, Professor Cabrera greeted us in his museum. […] There was nothing in his presentation that could still surprise us. Yet, on the last day, he completed his act. […] And so, Professor Cabrera revealed to us the locked rooms of a house, which he called his ‘secret chambers’. If visiting Cabrera’s private museum had already shocked us, then what we were about to see would exceed all of our imagination. Cabrera’s ‘secret chambers’ contain things that shatter all boundaries of rational logic. Even if we attempted to explain what we saw, we could not. It simply is beyond our grasp.”

What did Cornelia Petratu and Bernard Roidinger see, but were prevented from describing? What images were they not permitted to publish? Or: what did they see and dared not include in their book?

I became aware of the mysterious objects in the private museum of Professor Javier Cabrera Darquea as early as the 1970’s. There was the mention of a public section, as well as a secret part of the mysterious archaeological collection, but concrete information was unavailable. Statements of scientists did not exist. What were Professor Cabrera, and his finds that allegedly ought not exist, all about?

The Secret Collection

I first attempted to view and photograph the mysterious artifact collections of Professor Cabrera in the autumn of 1992. In that year, three friends and I travelled through South America for two months, from Ecuador to Easter Island. When we arrived in Ica and went to Professor Cabrera’s private museum, we were bitterly disappointed. The museum was closed, and there was no one to ask about it. Our ringing of the bell remained unanswered. At last, someone told us: Professor Cabrera was travelling—in Europe. What irony: four Europeans had undertaken the long journey to Ica in Peru, to visit Professor Cabrera, while the scientist was travelling in Europe.

But then, I found the opportunity to speak at length with one of Professor Cabrera’s brothers. He candidly confirmed the existence of a second, secret collection, which he was not permitted to show me without the express approval of his brother. Unfortunately, the latter was out of reach.

Years later it came to pass at last.

Prof. Cabrera (left) with Walter-Jörg Langbein (Photo by Ingeborg Diekmann)

Prof. Cabrera (left) with Walter-Jörg Langbein (Photo by Ingeborg Diekmann)

My eyes slowly became accustomed to the dim light. The air was full of dust. Ahead of me stretched a narrow corridor the other end of which I could only guess. To my right and left stood shelves that reached to the ceiling well above me. Hundreds, no, thousands of clay figurines lay side by side, tightly crowded, several rows deep. It was evident that, over time, new shelves had gradually been added, to create more room for the steadily accumulating mysterious items. The huge collection constantly grew.

Hundreds of eerie sculptures in the once-secret collection.

Hundreds of eerie sculptures in the once-secret collection. (© Walter Langbein)

Collection of Horrors

Several naked light bulbs were tied to wires und suspended from the ceiling. Their pale sheen cast an eerie light across the entire scene.

The air was dry and caused me to cough. I slowly walked past the shelves. The cone of light produced by my strong torch glided across the figurines on the shelves. Most consisted of two humanoid figures that presented a grotesque group: one figure lying on a kind of table, and a second one standing beside it, ‘treating’ the one in the prostrate position. The variation of this grouping consisted of the figure standing being in the process of cutting open, or into, the one lying down. In most cases, the ‘surgeon’ had already opened the ‘patient’.

Sculpture depicting heart transplant?

Sculpture depicting heart transplant? (© Walter Langbein)

The many scenes all differed, yet resembled each other very much. I felt as though I had been transported into a stone figure cabinet á la Madame Tussaud—into the horror section. The beings made from grey clay were not life-sized, as in Tussaud’s wax museum, but very much smaller. They stood at the most thirty centimetres (12 inches) tall—I’ve measured them. But unlike at Madame Tussaud’s, where famous individuals have been immortalized, Cabrera’s collection featured mask-like creatures.

Comments

"A primitive human sacrifice for gods would not look like this." Well, why ? It looks really like a sacrifice - anciens americans were used to sacrifice humans to the gods by opening their chest and removing thier heart. Exactly what it's seen.

It's possible it is an operation but I agree it is more likely to be a sacrifice.... it was my first thought....

Well, Prof. Cabrera showed me several figurines in scenes, where the heart is put back into the chest and the chest ist closed again. And several engravings depict some kind of infusions. Those critics, who say, that those artifacts are fakes, claim, that hearttransplantations were known to the forgers. I was not allwoed to take as many pictures as I wanted.

There are several "drawings" and sculptures of the "sacrifide", some loook like as if some kind of infusion is applied. On others you see two tables. A heart is taken out of the breast of "patient" Nr. 1 and put into the chest or patient Nr. 2. Sacrifice? Peole staring through telescopes or a magnifying glass. Sacrifices? Then there are the sinousaurs with humans, again carved into stones and in form of little statuettes..

There are several "drawings" and sculptures of the "primitive sacrifice", some look like as if some kind of infusion is applied. On others you see two tables. A heart is taken out of the breast of "patient" Nr. 1 and put into the chest or patient Nr. 2. Sacrifice? People staring through telescopes or a magnifying glass. Sacrifices? Then there are the dinousaurs with humans, again carved into stones and in form of little figurines..

It occurs to me Professor Cabrera had good reason to keep certain discoveries secret. Both Science and The Church have long histories of suppressing parts of history. Both for the same reason; orthodoxy and the fear what they believe and teach isn't true.

The professors artifacts will probably disappear the same way Father Crespi’s did.  Some “BANK” will buy them up and they’ll disappear from existence. 

@Osiris: I am affraid you are right. The figurines from the once secret collection - I was the very first writer, who was allowed to publish fotos in the 1990s - did disappear after Prof. Cabrera's death, just in time. The forces of an earthquake damaged the rest of the collection, broke stones with engraved pictures. I was told, that the figurines had not been damaged, but was not told, which place they were taken to.

"Prof. Cabrera (left) with Walter-Jörg Langbein (Photo by Ingeborg Diekmann)": The foto taken by Ingeborg Diekmann (Bremen, Germany) shows Prof. Cabrera and me, presenting him one of my books with fotos from the "secret" collection of figurines.

I visited Dr Cabreras in summer 94' as a undergrad. My impression was not sacrifice, but more of a scientific or medical purpose of the sculptures. With so many "stored" in a cave, my thoughts were they placed there as a knowledge library/archive ....they appear to me as instructional aids for learning, remembering and teaching.
I will not discount the idea that knowledge was more advanced than we ASSUME from today. Ethnocentricity or Techno-egotistical should be put aside in learning from out past.
I stand on the shoulders of giants, as Sir Newton once said of his contributions in science.
Love this site btw, I learn more here than I did in college...lmao.

@Dimarco: Thank you very much for your very interesting remarks and comments! Library/ archive in stone - fascinating idea!

I have a deep suspicion that this 'collection', just like a lot of the Crespi stuff, are fakes created because the locals knew that many Europeans have an intense interest in Archaeology & History & would buy anything they could present as an 'artifact'. But I would be prepared to be wrong if shown  proof of authenticity. It is just so weird that no 'real' Historians or Archaeologists seem to be interested at all !  These particular sculptures seem very crude & seem to perpetuate the heart-removal of some of the ancient groups in that area - Aztec, Inca ?   If you wanted to create something you could get cash for in that area, I would think a strange thing like these would be just the job ! However I would love to be proven wrong - it's all so fascinating !!!

Veronica

Tsurugi's picture

To decide they are fake, you have to ignore the oxidation and patina age studies which arrived at an approximate age of 12,000 BP as the minimum age, as well as take into consideration when these stones and statues began to come into the Doctor's possession. If I remember correctly, there are medical procedures as well as specific extinct animal types depicted on some of the stones which, at the time, had not yet been discovered.

Very interesting to ponder. Stone and clay survive for thousands of years, unmolested. I'm thinking there
is a 'tie-in' between these artifacts, and the ancient records regarding the DNA obsessions committed by the serpent culture that was instigated throughout the ancient world.

Tsurugi's picture

As an archive of information, the stones and sculptures are brilliant. No lost, obscure, ancient faded or worn inscriptions to bang our heads against for decades. It is true that some of the sculptures have seemingly obscure meanings, but I think it will take far less work understanding them than it would to try and decode a twelve thousand year old dead language.

As most people realize all this stuff is of course FAKE !

The only reason the opinion they are fake came from a court case. He lent out some stones for testing, The GVT charged him with Antiquities export. The only way to avoid the 100 year prisoon sentence was to say he had them made. These criminal charges stemmed from the stones showing Humans riding Dinosaurs, and the Smithsonian put pressure on the GVT to charge him with the crimes. In the end they got what they wanted, an elimination of evidence against the Darwin evolutionary model. These works suggest, if looked at in entirety , Humans were developed from or manipulated with Frogs. Or one species of Hominoid that is gone. The Cone Heads and Giants are also show in the works. They numbered in the 100,000 's + the metal plates which were not in this article. Also , many things are made of Lydite ,Which is flint, and is impossible to carve with the finest machine today in the same manner as these finds were. See "Klaus Dona" lectures on youtube for more info .

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