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Astronomical Alignments of Ancient Structures


Unsolved mystery - I have grasped the stake... I take the measuring cord in the company of Seshat. I consider the progressive movements of the stars. My eye is fixed upon the Bull's Thigh [Ursa Major]. I count off time ..... and establish the corners of the Temple.

The above text is an inscription from the Temple of Horus at Edfu accompanying the relief showing "Stretching the Cord" Ceremony.
The Pharaoh and the Goddess Seshat, planting stakes linked by
a looped rope, participate in the 'Stretching the Cord' ceremony.
A Great Circle drawn through the celestial poles divides the sky, marking out a point on the celestial equator from which measurement can begin. This is what is meant by 'Stretching the Cord', creating the first path across the trackless waste.

The Mayan celebration of the establishment of creation is a description of the process of surveying the world:
'Great is the recital, the history of the time when all the corners of the sky and earth were completed, and the quadrangulation, its measure, the four points, the measuring of the corners, the measuring of the lines, in heaven, in earth, at the four corners'  (From the Mayan text of The Popul Vuh)
A more recent translation makes this even clearer; 'The fourfold siding, fourfold cornering, measuring, fourfold staking, halving the cord, stretching the cord in the sky, on the earth, / the four sides, the four corners as it is said '

The pillars which support the sky are to be regarded as benchmarks, boundary stones put down to enable an order to be imposed upon chaos, and a measure to be made of the earth. However, it should be apparent after all this discussion of the 'corners of the earth', that it is not the earth we walk about on that is of concern here. This particular 'earth' is not only square but flat. Exactly what this means will soon become clear. We should recall that it is the matter of Time that is being measured in this surveying process. This is the process that the prophet Enoch describes when, during his vision he asks his guide to explain the actions of the angels they see:

'Wherefore have they taken those long ropes and gone forth? He said 'They are gone forth to measure. These measures shall reveal all the secrets of the depths of the earth' (Book of Enoch ch. LX v. 2-6)

The process these Angels were going forth to conduct must have been similar to that ceremony which in Egypt was known as 'stretching the rope' and which accompanied the commencement of any building project, thus relating its construction to the original founding of the earth.

In the Old Testament Book of Job, God challenges Job to answer:

'Where wast thou when I laid the foundations of the earth? ..Who decided the dimensions of it... or who stretched the measuring line across it? What supports its pillars at their bases? (Jerusalem Bible tr.)'

This process of surveying the foundations of creation reappears in the verses of the Rig Veda which tell how Varuna made fast the earth and heaven, and here we are told specifically that he did so by using the sun as a measure, and as a commentary on these verses points out, 'we must take this measure as a measuring line'.
As if to emphasise the importance of this role of surveying, the Chinese deities responsible for creation come equipped with compass and plumbline.

What all this means is that the 'bindings' which hold heaven and earth together are to be taken also as plumblines which stretch out the measures of creation across the circle of the stars. It is a particular state of order that is being held fast.

Representations of the cosmos constructed in this way appear again and again, often in unlikely places.
An elemental one is the rectilinear cross which appears on the English flag ( the Royal Orb is a more complete image, including as it does the spherical universe bounded by the cross). Another more detailed example from China comes in the form of a series of mirrors known as the TVL mirrors, because of their decorative patterns, described as follows:

'The four T's that stand around the square earth are the four cardinal points. These lie at the extremities of the two cosmic lines or ropes which cross the universe and hold it together; the T's comprise a vertical prop which supports a horizontal beam; the four V's mark the four corners of heaven. The four L's represent devices used by carpenters to set a straight line...thus they symbolize the ends of the two cosmic lines as if they had been drawn with the help of such an instrument.'
[Related link: 
http://www2.uiuc.edu/unit/ATAM/archaeometallurgy/chimir.html ]
Bronze Mirror, 7th Century
 
For the Maya people today this kind of creation is still repeated as part of ceremonies to restore the correct balance of the world. David Freidel describes a ceremony he witnessed to bring to an end a prolonged drought. The officiant (referred to as h-men, 'a do-er') constructed an altar known as a 'sky-tree'. A table is overarched by four saplings bent to intersect above its centre. From this intersection is hung a circular platform referred to as the 'the sky-platform' .

'Sturdy vines of a kind called xtab ka'anil, 'the 'cords of the sky', completed the arches to form the 'sky tree'. In the Yukatek language, the words for 'sky' and the number 'four' are near homophones and frequently substitute for each other in the ancient writing system'.
Source: http://www.mythofcreation.co.uk/CreationText/Creation4_1text.htm

Mysterious Alignment of Ancient Sites of the World




The sites: Giza, Siwa, Tassili n'Ajjer, Paratoari, Ollantaytambo, Machupicchu, Nazca, Easter Island, Aneityum Island, Preah Vihear, Sukhothai, Pyay, Khajuraho, Mohenjo Daro, Persepolis, Ur, Petra  are shown clockwise from Giza on the equal azimuthal projection. below. The projection is centered on the axis point in southeastern Alaska. Distances to any location from the center of an equal azimuthal projection are equally scaled. Since all of the sites on the great circle alignment are equally distant from the axis point at one quarter of the circumference of the earth, the alignment forms a perfect circle halfway between the center and the outer edge of the projection.
The locations of world's ancient sites on a global scale is puzzling on its own. However, our discussion is focused on astronomical alignments of these sites and their monuments.

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Mystery of The Voynich Manuscript


Unsolved mystery - Based on the evidence of the calligraphy, the drawings, the vellum, and the pigments, Wilfrid Voynich estimated that the Manuscript was created in the late 13th century. The manuscript is small, seven by ten inches, but thick, nearly 235 pages. It is written in an unknown script of which there is no known other instance in the world. 

The Voynich Manuscript is considered to be 'The Most Mysterious Manuscript in the World'. To this day this medieval artifact resists all efforts at translation. It is either an ingenious hoax or an unbreakable cipher. The manuscript is named after its discoverer, the American antique book dealer and collector, Wilfrid M. Voynich, who discovered it in 1912, amongst a collection of ancient manuscripts kept in villa Mondragone in Frascati, near Rome, which had been by then turned into a Jesuit College (closed in 1953).
 
The Voynich Manuscript is a cipher manuscript, sometimes attributed to Roger Bacon.
Scientific text in an unidentified language, in cipher, possibly written in central Europe in the 15th century.
It is abundantly illustrated with awkward coloured drawings of::
  • unidentified plants; 
  • what seems to be herbal recipes; 
  • tiny naked women frolicking in bathtubs connected by intricate plumbing looking more like anatomical parts than hydraulic contraptions; 
  • mysterious charts in which some have seem astronomical objects seen through a telescope, some live cells seen through a microscope; 
  • charts into which you may see a strange calendar of zodiacal signs, populated by tiny naked people in rubbish bins.
Detail from page 78r of Voynich Manuscript depicting the "biological" section
"Tiny naked women frolicking in bathtubs" - a fragment of page 70
Copyright: Beinecke Rare Book and Manuscript Library, Yale University
Page 70r  Image Source >>
No one really knows the origins of the manuscript. The experts believe it is European  They believe it was written between the 15th and 17th centuries.
From a piece of paper which was once attached to the Voynich manuscript, and which is now stored in one of the boxes belonging with the Voynich manuscript holdings of the Beinecke library, it is known that the manuscript once formed part of the private library of Petrus Beckx S.J., 22nd general of the Society of Jesus.
A sample of untranslatable text from the Voynich manuscript
There is no other example of the language in which the manual is written.
It is an alphabetic script, but of an alphabet variously reckoned to have from nineteen to twenty-eight letters, none of which bear any relationship to any English or European letter system. The text has no apparent corrections. There is evidence for two different "languages" (investigated by Currier and D'Imperio) and more than one scribe, probably indicating an ambiguous coding scheme.
The VM is written in a language of which no other example is known to exist. It is an alphabetic script, but of an alphabet variously reckoned to have from nineteen to twenty-eight letters, none of which bear any relationship to any English or European letter system. 
Apparently, Voynich wanted to have the mysterious manuscript deciphered and provided photographic copies to a number of experts. However, despite the efforts of many well known cryptologists and scholars, the book remains unread. There are some claims of decipherment, but to date, none of these can be substantiated with a complete translation. 
View Voynich photos
curtesy of the Beinecke Rare Book & Manuscript Library, Yale University.
To see all images go to
http://beinecke.library.yale.edu/digitallibrary/
and search for "Voynich Manuscript"
Few Examples:

Click on image to enlarge. Page 70r  Image Source >>
Copyright: Beinecke Rare Book and Manuscript Library, Yale University
Page 85v.
Copyright: Beinecke Rare Book and Manuscript Library, Yale University

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Mysteries of Phaistos Disk

Unsolved mystery - In a century which has seen the cracking of Linear B, Ugaritic, and other orthographic systems, the Phaistos Disk has eluded decipherment. The disk is thought to date from around 1700 BC. 

History

The disc of Phaistos is the most important example of hieroglyphic inscription from Crete and was discovered in 1903 in a small room near the depositories of the "archive chamber", in the north - east apartments of the palace, together with a Linear A tablet and pottery dated to the beginning of the Neo-palatial period (1700- 1600 B.C.).
The exact location of Phaistos was first determined in the middle of the 19th century by the British admiral Spratt, while the archaeological investigation of the palace started in 1884 by the Italians F. Halbherr and A. Taramelli. 
After the declaration of the independent Cretan State in 1898, excavations were carried out by F. Halbherr and L. Pernier in 1900-1904 and later, in 1950-1971, by Doro Levi, under the auspices of the Italian Archaeological School at Athens.

The Phaistos Disk, today on display at the Iraklion Archaeological Museum,
was discovered in Crete in 1908.

Although many inscriptions were found by the archaeologists, they are all in Linear A code which is still undecipherd, and all we know about the site, even its name are based to the ancient writers and findings from Knossos.
According to mythology, Phaistos was the seat of king Radamanthis, brother of king Minos. It was also the city that gave birth to the great wise man and soothsayer Epimenidis, one of the seven wise men of the ancient world.
Excavations by archaeologists have unearthed ruins of the Neolithic times (3.000 B.C.).
During the Minoan times, Phaistos was a very important city-state. Its dominion, at its peak, stretched from Lithinon to Psychion and included the Paximadia islands. The city participated to the Trojan war and later became one of the most important cities-states of the Dorian period.
Phaistos continued to flourish during Archaic, Classical and Hellenistic times. It was destroyed by the Gortynians during the 3rd century B.C. In spite of that, Phaistos continued to exist during the Roman period.
Phaistos had two ports, Matala and Kommos.
Since 1900, continuous archaeological excavations from the Italian Archaeological School, have brought to light the magnificent Minoan palace of Phaistos with its great royal courts, the great staircases, the theatre, the storerooms and the famous disk of Phaistos.
The first palace was built at 2.000 B.C. This palace was destroyed at 1.700 B.C. by an earthquake. It was built again, more luxurious and magnificent and it was destroyed again, probably by another earthquake, at 1.400 B.C.
The location of the palace was carefully chosen, so as not only to absolutely control the valley of Messara, but to also offer a panoramic view of the surrounding area with the scattered villages, just like today, at the foot of the mountains Psiloritis and Asterousia.
The palace dominated and controlled the Messara valley and it was the center of the city. It was the administrational and economical center of the area.
Goods not only for consumption but mainly for trade were kept in its huge storerooms. The palace was surrounded by luxurious mansions and crowded urban communities. Along with the surrounding settlements covered an area of 18.000 sq. meters.
A paved road leads to the ruins of the Royal Minoan villa of Agia Triada, 3 km west of Phaistos.

Both surfaces of this clay disc are covered with hieroglyphs arranged in a spiral zone, impressed on the clay when it was damp. The signs make up groups divided from each other by vertical lines, and each of these groups should represent a word.



Forty five different types of signs have been distinguished, of which a few can be identified with the hieroglyphs in use in the Proto- palatial period.
Some hieroglyphic sequences recur like refrains, suggesting a religious hymn, and Pernier regards the content of the text as ritual. Others have suggested that the text is a list of soldiers, and lately Davis has interpreted it as a document in the Hittic language in which a king discusses the erection of the Palace of Phaistos.
In a century which has seen the cracking of Linear B, Ugaritic, and other orthographic systems, the Phaistos Disk has eluded decipherment. The disk is thought to date from around 1700 BC. It is a roundish disk of clay, with symbols stamped into it. The text consists of 61 words, 16 of which are accompanied by a mysterious "slash" mark.
There are 45 different symbols occurring 241 times. The symbols portray recognizable objects like human figures and body parts, animals, weapons, and plants. Since the text of the disk is so short, decipherment by the statistical cryptographic techniques employed by Michael Ventris in cracking Linear B are impossible. 
Late last year, however, Dr. Keith A.J. Massey and his twin brother Rev. Kevin Massey-Gillespie discovered the secret they believe provides the key to cracking the Phaistos Disk.
Another ancient writing system provides the key to reading the Phaistos Disk.
At Byblos in modern day Lebanon, an advanced culture flourished for centuries. There are many signs of contact between Ancient Crete and Byblos, including signs of orthographic borrowing as pointed out by Victor Kenna in "The Stamp Seal, Byblos 6593" Kadmos 9 (1970) pp 93-96.
Further, examples of the yet undeciphered Linear A script have recently been found in Turkey, providing evidence of orthographic relationships between Crete and Asia Minor.
The Proto-Byblic script was used in the early part of the 2nd millenium BC, a time contemporary with the supposed date of the Phaistos Disk. The underlying language of the Proto-Byblic script was Semitic. It is a linear script which displays many identifiable objects, like weapons, human figures, and body parts. The Proto-Byblic script, catalogued by Maurice Dunand in the 1940's bears striking resemblance to the symbols of the Phaistos Disk. The similarity of one Proto-Byblic character to a Phaistos symbol was noted by Dunand in his book Byblia Grammata, Beyrouth, 1945 on p 90, "Il est presque identique a celui du disque de Phaestos qu-Evans avait identifie avec une colombe." [ It is almost identical to something from the disk of Phaistos which (Sir Arthur) Evans has identified with a dove.] Dunand did not pursue his observation of the similarities, yet it is this Proto-Byblic script which is demonstrated by the Massey twins as being a closely related orthographic system to the Phaistos Disk. Eduard Dhorme, one of the decipherers of Hittite, published the first consonantal values for the Proto-Byblic script in SYRIA XXV 1946 in an article, "Dechiffrement des Inscriptions Pseudo-Hieroglyphicques de Byblos." A comparison of these values with the symbols of the Phaistos Disk yielded consonantal assignments for a surprising amount of the writing on the disk.
It should be noted here that all previous attempts to decipher the Phaistos Disk have been subjective attempts, assigning phonetic values to the characters with no true objective criteria. This is therefore the first effort at cracking the disk by OBJECTIVE determinations. When these consonantal values are examined, elements of an Hellenic language emerge in the text of the disk. Scholars had never known what the significence of a mysterious "slash" on 16 of the words of the Phaistos Disk. We observed, based on our values, that each of these 16 words are numerals counting commodities on the disk, similar to the majority of Linear B texts.


Source : http://www.world-mysteries.com/sar_9.htm

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Butch Cassidy

Unsolved mystery - Some believe Butch Cassidy didn’t die in South America, but came back to the US with a new identity.

Robert LeRoy Parker, “Butch Cassidy”

Is William Phillips actually Butch Cassidy?

CASE DETAILS

Was Butch’s body falsely identified?
The names Robert LeRoy Parker and Harry Alonzo Longabaugh don’t often ring a bell. That’s because they’re better known as the legendary outlaws from the late 1800s, Butch Cassidy and the Sundance Kid. Paul Newman and Robert Redford starred in the celebrated film about their final days. The movie, like history, tells us that Butch and Sundance died in a shootout in South America. But some believe that Hollywood and history may be wrong. There is evidence that Butch Cassidy returned to the United States and died of natural causes.
Two years after Butch and Sundance were supposedly killed, a man named William Thadeus Phillips arrived in Spokane, Washington. He opened a successful machine shop and became a prominent businessman. According to writer James Dullenty, Phillips was a man without a past:
“The first definitive record of William Phillips was his marriage certificate dated May 14, 1908. There is no other previous record of William Phillips.  About 1922, the first reports began circulating in the West that Butch Cassidy had returned. And people began to say that Butch Cassidy was William Phillips.”

Phillips wrote the story of Butch Cassidy
Some see a resemblance between William Thadeus Phillips and George Butch Cassidy.  But if Phillips was Cassidy, then how did the outlaw escape from Bolivia? According to some historians, the account of how Butch and Sundance died can be credited to one man, Percy Seibert.
Seibert had worked with the outlaws at a tin mine in Bolivia and became friends with them. He was the one who identified the two men killed in the shoot out as Butch and Sundance. But writer Larry Pointer thinks that Seibert may have deliberately lied:
“I believe that Percy told the story of Butch Cassidy and the Sundance Kid’s death in Bolivia to pay back what he felt was a debt of loyalty and friendship, to allow these outlaws to begin a life under amnesty without a past.”
Larry Pointer is convinced that Butch Cassidy took on the identity of William Phillips.  As Phillips, he returned to the Wyoming mountains, where Butch and his outlaw gang had once cavorted. James Dullenty says he’s heard first hand reports about Phillips:
“We know the man who went with Phillips to Wyoming in 1933. This man died recently, but we have interviewed him. He was there all summer with Phillips and he met all the old timers that Philips met, and in almost every case, these old timers accepted Phillips as Cassidy.”

Cassidy’s brand was on Phillip’s gun

Author Dan Buck has researched the life and death of Butch Cassidy and is convinced that William Phillips was an imposter:
“Old timer stories are always the most interesting and the least reliable. The William Phillips story is chock full of old timer tales, people that claim they were good friends with Cassidy and knew Phillips was Cassidy. And usually it’s when asked by someone, when prompted by someone -- ‘Well, you were a good friend of Butch Cassidy’s weren’t you?’ -- and, of course. the answer is yes. Who wants to say no?”
In Wyoming, Phillips met a woman named Mary Boyd Rhodes. In 1934, Mary and her sixteen year old granddaughter, Ione, rode out to Phillips’ campsite:
“The man that my grandmother met that day was going by the name of William Phillips, and she knew him by the name of Leroy George Parker, who is known as Butch Cassidy. He recognized her immediately and she recognized him. I sensed that they had a relationship that I had never known much about. So my grandmother had finally told me that he was her childhood sweetheart.”
Three years later, Phillips mailed a ring to Mary. It was engraved: “George C. to Mary B.”  Phillips died soon afterwards. Dan Buck believes that Phillips pretended to be Cassidy for the fun of it:
“He traveled out to the west, he met some people, he probably got some free beers, he certainly got a lot of adventures out of it. But some people have recently done some photo comparisons of the two and established that they have different heads and different faces.   Cassidy basically had small features on a big head with a lantern jaw. And Phillips had more normal features with a more or less pointed chin, and his head was basically an inch or more lower than Butch Cassidy’s.”
But several other clues suggest that Butch and Phillips were one and the same. Phillips wrote a manuscript called “The Bandit Invincible: The Story of Butch Cassidy.” According to James Dullenty, it contained specific details about Butch’s adventures:
“There’s material in that manuscript that no one else knew and that had never been published, that either the man who wrote it had to have intimate knowledge of Cassidy, or he was Cassidy.”
Phillips owned this six-shot Colt revolver. Carved into the pistol grip was a unique brand.
Larry Pointer says it’s significant:
“That brand was the reverse E box E. That was Butch Cassidy’s brand in the 1890s.”
There seems to be at least some evidence that Butch Cassidy may have survived the shootout. But it was almost certainly the end of the road for the Sundance Kid.

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Mystery of Black hole

Unsolved Mystery - Observations with CSIRO's Australia Telescope Compact Array have confirmed that astronomers have found the first known "middleweight" black hole.
Outbursts of super-hot gas observed with a CSIRO radio telescope have clinched the identity of the first known "middleweight" black hole, Science Express reports.
Called HLX-1 ("hyper-luminous X-ray source 1"), the black hole lies in a galaxy called ESO 243-49, about 300 million light-years away.
Before it was found, astronomers had good evidence for only supermassive black holes -- ones a million to a billion times the mass of the Sun -- and "stellar mass" ones, three to thirty times the mass of the Sun.


Galaxy ESO 243-49, about 300 million light-years away, is home to the newly found black hole. An arrow shows the location of the black hole HLX-1 in the galaxy ESO 243-49. (Credit: NASA, ESA and S. Farrell (U. Sydney)


"This is the first object that we're really sure is an intermediate-mass black hole," said Dr Sean Farrell, an ARC Postdoctoral Fellow at the University of Sydney and a member of the research team, which included astronomers from France, Australia, the UK and the USA.
Since 2010 the researchers have been studying the black hole with CSIRO's Compact Array radio telescope near Narrabri, NSW.
CSIRO's Dr Ron Ekers, who studies supermassive black holes in the centres of galaxies, said "We don't know for sure how supermassive black holes form, but they might come from medium-size ones merging. So finding evidence of these intermediate-mass black holes is exciting."
HLX-1 was discovered by chance in 2009, because it stood out as a very bright X-ray source.
As gas from a star or gas cloud is being sucked into a black hole, it is heated to extreme temperatures and shines in X-rays.
"A number of other bright X-ray sources have been put forward as possibly being middleweight black holes. But all of those sources could be explained as resulting from lower mass black holes," Dr Farrell said. "Only this one can't. It is ten times brighter than any of those other candidates. We are sure this is an intermediate-mass black hole -- the very first."
Since 2010 the researchers have been studying the black hole with CSIRO's Compact Array radio telescope near Narrabri, NSW.
"From studying other black holes we know that sucking in the gas creates X-rays, but there's then a sort of reflux, with the region around the black hole shooting out jets of high-energy particles that hit gas around the black hole and generate radio waves," said Dr Farrell.
"So what we tend to see is the X-ray emission and then, a day or two or even a few days later, the source flaring up in radio waves."
By looking at the source's X-ray output, the researchers predicted two occasions when it should also be brightening in radio waves -- and they were right both times.
Dr Farrell speculates that a companion star traverses a very eccentric orbit around the black hole. When the companion comes close, the black hole strips gas from its partner, and it is this that gives rise to the X-ray flaring.
The brightness of the X-ray and radio flares have allowed the team to put an upper limit on the mass of the black hole of 90,000 times the mass of the Sun. However, Dr Farrell says that this is a conservative estimate, and for a variety of reasons a lower figure of around 20,000 solar masses is more likely.
Why have we found only this one confirmed intermediate-mass black hole? "There maybe lots of others out there that are not currently feeding, and so are not detectable, or are feeding at a very low rate, so they don't stand out as intermediate-mass black holes," Dr Ekers said.
HLX-1 may have been the central black hole of a low-mass "dwarf" galaxy, Dr Farrell speculates; a dwarf galaxy that was swallowed by the larger galaxy ESO 243-49, just as our own Milky Way Galaxy has swallowed dwarf galaxies. There is evidence of star-formation about HLX-1, which would be consistent with a "plunging dwarf." The research team is now looking for other signs of disturbance around the site of the black hole, such as gas streams, which would also support this idea.

Source : http://www.sciencedaily.com/releases/2012/07/120709102720.htm

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Early Human Ancestor, Australopithecus Sediba, Fossils Discovered in Rock

Unsolved mystery - Scientists from the Wits Institute for Human Evolution based at the University of the Witwatersrand in Johannesburg have just announced the discovery of a large rock containing significant parts of a skeleton of an early human ancestor. The skeleton is believed to be the remains of 'Karabo', the type skeleton of Australopithecus sediba, discovered at the Malapa Site in the Cradle of Humankind in 2009.


This is the tooth of a hominid embedded in a rock containing significant parts of a skeleton of an early human ancestor. The skeleton is believed to be the remains of "Karabo", the type skeleton of Australopithecus sediba, discovered at the Malapa Site in the Cradle of Humankind in 2009. (Credit: University of the Witwatersrand, Johannesburg)


Professor Lee Berger, a Reader in Palaeoanthropology and the Public Understanding of Science at the Wits Institute for Human Evolution, will make the announcement at the Shanghai Science and Technology Museum in Shanghai, China on 13 July 2012.
"We have discovered parts of a jaw and critical aspects of the body including what appear to be a complete femur (thigh bone), ribs, vertebrae and other important limb elements, some never before seen in such completeness in the human fossil record," says Berger. "This discovery will almost certainly make Karabo the most complete early human ancestor skeleton ever discovered. We are obviously quite excited as it appears that we now have some of the most critical and complete remains of the skeleton, albeit encased in solid rock. It's a big day for us as a team and for our field as a whole."
Professor Lee Berger, a Reader in Palaeoanthropology and the Public Understanding of Science at the Wits Institute for Human Evolution, will make the announcement at the Shanghai Science and Technology Museum in Shanghai, China on 13 July 2012.
"We have discovered parts of a jaw and critical aspects of the body including what appear to be a complete femur (thigh bone), ribs, vertebrae and other important limb elements, some never before seen in such completeness in the human fossil record," says Berger. "This discovery will almost certainly make Karabo the most complete early human ancestor skeleton ever discovered. We are obviously quite excited as it appears that we now have some of the most critical and complete remains of the skeleton, albeit encased in solid rock. It's a big day for us as a team and for our field as a whole."


Source : http://www.sciencedaily.com/releases/2012/07/120712162744.htm

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Inscriptions Found On Walls of a Maya Dwelling Reflect Calendar Reaching Well Beyond 2012

Unsolved mystery - A vast city built by the ancient Maya and discovered nearly a century ago is finally starting to yield its secrets.
Excavating for the first time in the sprawling complex of Xultún in Guatemala's Petén region, a team of archaeologists lead by Boston University Assistant Professor of Archaeology William Saturno has uncovered a structure that contains what appears to be a work space for the town's scribe, its walls adorned with unique paintings -- one depicting a lineup of men in black uniforms -- and hundreds of scrawled numbers. Many are calculations relating to the Maya calendar.
One wall of the structure, thought to be a house, is covered with tiny, millimeter-thick, red and black glyphs unlike any seen before at other Maya sites. Some appear to represent the various calendrical cycles charted by the Maya -- the 260-day ceremonial calendar, the 365-day solar calendar, the 584-day cycle of the planet Venus and the 780-day cycle of Mars, reports Saturno, who led the exploration and excavation.
"For the first time we get to see what may be actual records kept by a scribe, whose job was to be official record keeper of a Maya community," Saturno said. "It's like an episode of TV's 'Big Bang Theory,' a geek math problem and they're painting it on the wall. They seem to be using it like a blackboard."
The discovery is reported in the June issue of National Geographic magazine and in the May 11 issue of the journal Science.
The project scientists say that despite popular belief, there is no sign that the Maya calendar -- or the world -- was to end in the year 2012, just one of its calendar cycles. "It's like the odometer of a car, with the Maya calendar rolling over from the 120,000s to 130,000," said Anthony Aveni,, professor of astronomy and anthropology at Colgate University, a coauthor of the Science paper. "The car gets a step closer to the junkyard as the numbers turn over; the Maya just start over."
The mural represents the first Maya art to be found on the walls of a house. "There are tiny glyphs all over the wall, bars and dots representing columns of numbers. It's the kind of thing that only appears in one place -- the Dresden Codex, which the Maya wrote many centuries later. We've never seen anything like it," said David Stuart, Schele Professor of Mesoamerican Art and Writing at the University of Texas-Austin, who deciphered the glyphs.
The vegetation-covered structure was first spotted in 2010 by Saturno's student Max Chamberlain, who was following looters' trenches to explore the site of Xultún, hidden in the remote rain forest of the Petén. Then, supported by a series of grants from the National Geographic Society, Saturno and his team launched an organized exploration and excavation of the house, working urgently to beat the region's rainy seasons, which threatened to erase what time had so far preserved.
Xultún, a 12-square-mile site where tens of thousands once lived, was first discovered about 100 years ago by Guatemalan workers and roughly mapped in the 1920s by Sylvanus Morley, who named the site "Xultún" -- "end stone." Scientists from Harvard University mapped more of the site in the 1970s. The house discovered by Saturno's team was numbered 54 of 56 structures counted and mapped at that time. Thousands at Xultún remain uncounted.
The team's excavations reveal that monumental construction at Xultún began in the first centuries B.C. The site thrived until the end of the Classic Maya period; the site's last carved monument dates to around 890 A.D. Xultún stood only about five miles from San Bartolo, where in 2001 Saturno found rare, extensive murals painted on the walls of a ritual structure by the ancient Maya.
"It's weird that the Xultún finds exist at all," Saturno said. "Such writings and artwork on walls don't preserve well in the Maya lowlands, especially in a house buried only a meter below the surface."
The Writing on the Walls
The house contains three intact walls, each telling its own story to researchers -- and posing its own mysteries:
The north wall lies straight ahead as one enters the room. An off-center niche in the wall features a painting of a seated king, wearing blue feathers. A long rod made of bone mounted on the wall allowed a curtain to be pulled across the king's portrait, hiding it and revealing a well-preserved painting of a man whose image is wrapped around the wall; he is depicted in vibrant orange and holds a pen. Maya glyphs near his face call him "Younger Brother Obsidian," a curious title seldom seen in Maya text. Based on other Maya sites, Saturno theorizes he could be the son or younger brother of the king and possibly the artist-scribe who lived in the house. "The portrait of the king implies a relationship between whoever lived in this space and the royal family," Saturno said.
Four long numbers on the wall representing one-third of a million to 2.5 million days likely bring together all of the astronomical cycles -- such as those of Mars, Venus and the lunar eclipses -- the Maya thought important, dates that stretch some 7,000 years into the future. This is the first place Maya archaeologists have found that seems to tabulate all of these cycles in this way. Another number scratched into the plaster surface likely records the date -- 813 A.D., a time when the Maya world had begun to collapse.
The west wall: Three male figures loom on this wall, all of them seated and painted in black, wearing only white loincloths, medallions around their necks and identical single-feathered, miter-style head dresses. "We haven't seen uniform head dresses like that anywhere before," Saturno said. "It's clearly a costume of some kind." One of the figures is particularly burly, "like a sumo wrestler," and he is labeled "Older Brother Obsidian." Another is labeled as a youth.
The east wall: Although badly eroded, another black-painted human figure and remnants of others can be seen. But the wall is dominated by numerical figures, including columns of numbers representing counting and calendrical calculations. Some of the numbers track the phases of the moon; others try to reconcile lunar periods with the solar calendar. "Skywatching like this was a tool for predicting eclipses," Saturno said. One well-preserved section contains numerical notes painted in red that appear to be corrections to more formal calculations appearing alongside them.
"The most exciting point is that we now see that the Maya were making such computations hundreds of years -- and in places other than books -- before they recorded them in the Codices," Aveni said.
The scientists say the symbols reflect a certain world view. "The ancient Maya predicted the world would continue, that 7,000 years from now, things would be exactly like this," Saturno said. "We keep looking for endings. The Maya were looking for a guarantee that nothing would change. It's an entirely different mindset."


Source : http://www.sciencedaily.com/releases/2012/05/120510141905.htm

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Centuries-Old Maya Blue Mystery Finally Solved

Unsolved mystery - Anthropologists from Wheaton College (Illinois) and The Field Museum have discovered how the ancient Maya produced an unusual and widely studied blue pigment that was used in offerings, pottery, murals and other contexts across Mesoamerica from about A.D. 300 to 1500.


First identified in 1931, this blue pigment (known as Maya Blue) has puzzled archaeologists, chemists and material scientists for years because of its unusual chemical stability, composition and persistent color in one of the world's harshest climates.
The anthropologists solved another old mystery, namely the presence of a 14-foot layer of blue precipitate found at the bottom of the Sacred Cenote (a natural well) at Chichén Itzá. This remarkably thick blue layer was discovered at the beginning of the 20th century when the well was dredged.
Chichén Itzá, one of the Seven Wonders of the Ancient World, is an important pre-Columbian archeological site built by the Maya who lived on what is now the Yucatán Peninsula of Mexico.
The findings from this research will be published online Feb. 26, 2008, by the prestigious British journal Antiquity and will appear in the print version of the quarterly journal to be released in early March.
According to 16th Century textual accounts, blue was the color of sacrifice for the ancient Maya. They painted human beings blue before thrusting them backwards on an altar (see below for image) and cutting their beating heart from their bodies. Human sacrifices were also painted blue before they were thrown into the Sacred Cenote at Chichén Itzá. In addition, blue was used on murals, pottery, copal incense, rubber, wood and other items thrown into the well.
The new research concludes that the sacrificial blue paint found at this site was not just any pigment. Instead, it was the renowned Maya Blue -- an important, vivid, virtually indestructible pigment.
Maya Blue is resistant to age, acid, weathering, biodegradation and even modern chemical solvents. It has been called "one of the great technological and artistic achievements of Mesoamerica."

The altar on the Temple of the Warriors at Chichén Itzá upon which human sacrifices were made. The altar was painted blue. After human victims were stripped, painted blue, and thrust back down on the altar, their beating hearts were removed. (Credit: Photo by Dean E. Arnold, Courtesy of Dean E. Arnold)

Scientists have long known that the remarkably stable Maya Blue results from a unique chemical bond between indigo and palygorskite, an unusual clay mineral that, unlike most clay minerals, has long interior channels. Several studies have found that Maya Blue can be created by heating a mixture of palygorskite with a small amount of indigo, but they have not been able to discover how the ancient Maya themselves actually produced the pigment.
The new research shows that at Chichén Itzá the creation of Maya Blue was actually a part of the performance of rituals that took place alongside the Sacred Cenote. Specifically, the indigo and palygorskite were fused together with heat by burning a mixture of copal incense, palygorskite and probably the leaves of the indigo plant. Then the sacrifices were painted blue and thrown into the Sacred Cenote.
"These sacrifices were aimed at placating the rain god Chaak," said Dean E. Arnold, Professor of Anthropology at Wheaton College, Research Associate at The Field Museum and lead author of the study. "The ritual combination of these three materials, each of which was used for healing, had great symbolic value and ritualistic significance.
"The Maya used indigo, copal incense and palygorskite for medicinal purposes," Arnold continued. "So, what we have here are three healing elements that were combined with fire during the ritual at the edge of the Sacred Cenote. The result created Maya Blue, symbolic of the healing power of water in an agricultural community."
Rain was critical to the ancient Maya of northern Yucatan. From January through mid-May there is little rain -- so little that the dry season could be described as a seasonal drought. "The offering of three healing elements thus fed Chaak and symbolically brought him into the ritual in the form a bright blue color that hopefully would bring rainfall and allow the corn to grow again," Arnold said.
Museum collections play key role
One of the keys to solving the mystery of Maya Blue production was a three-footed pottery bowl (Field Museum catalog number 1969.189262; see below for reference to image) containing rarely preserved copal dredged from the Sacred Cenote at Chichén Itzá in 1904 and traded to The Field Museum in the 1930s. Preserved in the copal were fragments of a white substance and blue pigment. Using The Field Museum's scanning electron microscope, the authors studied these inclusions and found signatures for palygorskite and indigo. From this they concluded that the Maya produced Maya Blue as part of their sacrificial ceremonies.
"This study documents the analytical value of museum collections for resolving long-standing research questions," said Gary Feinman, Curator of Anthropology at The Field Museum and co-author of the study.
But other knowledge was necessary to understand the significance of the bowl and the hardened copal it contains.
"This study required documentary, ethnographic and experimental research to establish the full context and use of the artifacts," Feinman said. "Our work emphasizes the potential rewards of scientific work on old museum collections. It also shows that scientific analysis is necessary but not sufficient for understanding museum objects."
It is this broad knowledge coupled with the scientific analysis that has enabled the scientists to finally -- after more than 100 years -- explain the thick layer of blue precipitate at the bottom of the Sacred Cenote at Chichén Itzá.
Already knowing that Maya Blue was central to Maya ritualistic sacrifices together with discovering that the pigment was produced right beside the Cenote solved the mystery of the 14-foot layer of blue precipitate: So many sacrifices -- from pots to more than 100 human beings -- were thrown into the Sacred Cenote that ultimately a layer of the pigment washed off the sacrifices and settled at the bottom of the well. (Although fully formed Maya Blue is extremely durable, it can be washed off with water, especially if there is no binder to help it adhere to the object on which it is placed.)
Other objects in The Field Museum's collections may reveal more information about Maya Blue, the scientists said. For example, identification of the plant materials on the bottom of the copal incense in other bowls dredged from the Sacred Cenote at Chichén Itzá could reveal which portions of the indigo plant were used to make Maya Blue.
"The Field Museum's collection was critical in solving this mystery," Arnold concluded. "This bowl has been in the collection for 75 years yet only now have we been able to use it in discovering the ancient Maya technology of making Maya Blue."
The other co-authors of this research are Jason Branden from Northwestern University, and Patrick Ryan Williams and J.P. Brown, both from The Field Museum.


Source : http://www.sciencedaily.com/releases/2008/02/080226162953.htm

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Maya Archaeologists Unearth New 2012 Monument With 'End Date' of Dec. 21, 2012

Unsolved mystery - Archaeologists working at the site of La Corona in Guatemala have discovered a 1,300-year-old-year Maya text that provides only the second known reference to the so-called "end date" of the Maya calendar, December 21, 2012. The discovery, one of the most significant hieroglyphic finds in decades, was announced June 28 at the National Palace in Guatemala.


Marcello A. Canuto, director of Tulane’s Middle American Research Institute, excavating significant hieroglyphic panels in La Corona in Guatemala. (Credit: Image courtesy of Tulane University)


"This text talks about ancient political history rather than prophecy," says Marcello A. Canuto, director of Tulane's Middle American Research Institute and co-director of the excavations at La Corona.
Since 2008, Canuto and Tomás Barrientos of the Universidad del Valle de Guatemala have directed excavations at La Corona, a site previously ravaged by looters.
"Last year, we realized that looters of a particular building had discarded some carved stones because they were too eroded to sell on the antiquities black market," said Barrientos, "so we knew they found something important, but we also thought they might have missed something."

What Canuto and Barrientos found was the longest text ever discovered in Guatemala. Carved on staircase steps, it records 200 years of La Corona history, states David Stuart, director of the Mesoamerica Center at The University of Texas at Austin, who was part of a 1997 expedition that first explored the site.
While deciphering these new finds in May, Stuart recognized the 2012 reference on a stairway block bearing 56 delicately carved hieroglyphs. It commemorated a royal visit to La Corona in AD 696 by the most powerful Maya ruler of that time, Yuknoom Yich'aak K'ahk' of Calakmul, only a few months after his defeat by long-standing rival Tikal in AD 695. Thought by scholars to have been killed in this battle, this ruler was visiting allies and allaying their fears after his defeat.
"This was a time of great political turmoil in the Maya region and this king felt compelled to allude to a larger cycle of time that happens to end in 2012," says Stuart.
So, rather than prophesy, the 2012 reference places this king's troubled reign and accomplishments into a larger cosmological framework.
"In times of crisis, the ancient Maya used their calendar to promote continuity and stability rather than predict apocalypse," says Canuto.


Source :  http://www.sciencedaily.com/releases/2012/06/120628181735.htm

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mystery of Fertility Statues

From Unsolved mystery - African statues seems to have an effect on the fertility of women who touch them.

Fertility Statues


Women who touched them got pregnant




Anyone could come and touch the statues
They came from a small village on the Ivory Coast, north of the Gulf of Guinea. They stand five feet tall, male and female, carved from solid ebony.  To a local tribe called the Baule, the rare statues possess an amazing and awe-inspiring force: it is the power of fertility.
In 1994, Edward Muier was searching the world for artifacts bizarre enough to add to the Ripley's Believe It or Not Museum.  He found the statues in a small curio shop. According to the owner, once the village shaman blesses the statues, they’re placed in a doorway facing each other. When a woman walks through and touches them, she’ll become pregnant.
Muier brought the statues back to the United States and, as a joke, put them in a doorway where they could do their best work.  But what began as a joke quickly took on a life of its own. According to Muier:
“Within a few weeks, our receptionist was pregnant. And she is the person closest to them, and basically had to pass them more than anybody else. And she got teased unmercifully. I mean, ‘Oh, Lucy touched the statues.’  You know, ‘It must work. It must work.’  And then along came Kimberli.”
Kimberli Martin was the Ripley’s accounting clerk:
“I had just recently gotten married, so my husband and I had made the decision that we didn't want to start a family for about three or four years. Once I was told the history of the statues, I had made the decision myself that I wanted to stay as far away from them as possible.”
But for Kimberli, there was no escaping the statues' seductive powers:
“I was walking down the hall and I tripped along the base of the female statue, looked down and my hand was resting on it. Thought at the time that the damage had been done. Couldn't do anything about it then, so I just went on about my business. A month and a half later, I found out I was pregnant. I should not have gotten pregnant. Definitely, I was practicing birth control at the time. That was definitely a surprise, but it was a wonderful surprise.”
In 13 months, 13 women who came in contact with the statues became pregnant, including three of the 10 women who worked in the office. Edward Muier said that
as the word spread, strangers came in off the street to touch the statues:
“We just weren't prepared for people phoning at all hours of the day, wanting to come and touch a statue. We decided to put them in our local museum in Orlando and let people come for free.”
Nancy McCaffrey gave it a try:
“It was just funny. I got a little nervous. Didn't know exactly where to touch the statue or how to touch the statue. So we giggled our way through it, but I was really hoping it would work.”
Two weeks later, Nancy was pregnant:
“I really think it did have something to do with it. I don't know how. I don't know why. But it's just a little too ironic for me.”
According to Edward Muier, Ripley’s has received postcards confirming nearly a thousand pregnancies:
“I think you'll find if you talk to any one of those people, you'll find that they believe these statues had something to do with their pregnancy. Maybe that's the power of suggestion, but it's their power. They believe it.”

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mystery of Alcatraz prisoners escape from "The Rock".

Three Alcatraz prisoners escape from "The Rock". still in mystery


Alcatraz: “The Rock”

Frank Morris


CASE DETAILS

An air duct was used in escape

Alcatraz was among the most dreaded prisons in America, a fortress  perched on a rocky Island in San Francisco Bay.  The ice-cold, treacherous water of the bay was the best guarantee that nobody would successfully escape.  And nobody did…until June 11, 1962.

That night, three men broke out of their cell house and vanished into the bay in a homemade raft.  Frank Morris, the brilliant mastermind of the escape, as well as John Anglin and his brother Clarence were never seen again. 

Authorities later discovered pieces of the raft.  It had broken up at sea.  The three convicts appeared to have swum for it.  Did they make it?  The debate continues.  

Philip Bergen, Captain of the Guards at Alcatraz from 1946 to 1955, believes survival was impossible: 

“If they went into the water they were drowned within thirty minutes.  They succumbed to hypothermia and drowned.” 


The prisoners were never found

But Patrick Mahoney, who ran the launch that traveled between Alcatraz and the mainland, has some doubts:

“I felt that they didn’t make it, but I thought we’d find a body. We didn’t find a body.”

In the many years that have passed since that June night in 1962, no one has reported seeing Frank Morris, John Anglin, or Clarence Anglin.  They may have beaten the odds, and survived their escape from Alcatraz. 

Don DeNevi, a Professor at Merritt College in Oakland, co-wrote a manuscript about the escape with Clarence Carnes, an Alcatraz inmate.  Carnes arrived on the Rock when he was just eighteen years old and spent close to 20 years there.  He was a close confidante of the three convicts who escaped.  Don DeNevi put it this way:

“Carnes was the most important inmate on Alcatraz.  He had gained the respect of virtually all the other inmates, because he knew how to keep his mouth shut.  He was, in a sense, the godfather of Alcatraz.”


Carnes told DeNevi that the plot to escape began with an inmate named Allen West, who was assigned to paint the top tier and ceiling of the cellblock. 


A dummy was used to fool guards

While working there, West discovered that with some hard work, he could probably get to the prison roof through the ceiling ventilation shaft. 

The ventilation duct was constructed with crossbars inside. It was impossible to cut the bars or to squeeze past them.  But West saw that if he cut the entire duct from its surrounding support and shoved the whole thing out, he could easily get to the roof.

West enlisted the help of John and Clarence Anglin, both convicted bank robbers, who had a history of escapes from other institutions. According to DeNevi, the Anglin brothers had some other useful skills:

“The Anglins were expert raftsmen because they’ve grown up in the Florida swamps. They knew how to construct rafts, they knew how to negotiate currents, and they were expert swimmers as well.” 

The central figure in the plot was an inmate named Frank Morris. The former Captain of the Guards at Alcatraz, Philip Bergen, described him with some respect: 

“He was the thinker.  Anything connected with this escape, that had any real brains behind it, can be credited to Morris.” 

Carnes had told Morris about a utility corridor that ran the length and the height of the cellblock. Heating and water pipes inside the corridor formed a makeshift ladder to the ventilation shaft. Morris believed that he and the others could dig through their cell walls to this hidden corridor during “music hour.”  Bergen recalls this part of the daily routine on Alcatraz and explains how the escapees exploited it:

“In the early part of the evening, there was what they called a “music hour.”  And anybody who had a string instrument could play.  When that music is playing, it has an effect of deafening the officer who is making his inspections.  The inmates that were digging were uh, just digging away.”

The Anglins, West, and Morris each carved a hole in the rear wall of their respective cells. West also used the time to craft false ventilation fronts to hide their work.

The convicts devised another brilliant ploy so that they wouldn’t be missed during head counts.  Don Eberle, who headed the FBI investigation into the escape, described the ingenious deception:

“They decided that they would have to make dummy heads to be in their bunks, in case one of them was not in there when the guard would go by.  This was at a time when the lights were turned low, and it would be difficult to recognize other than a face was in the bed.”   

Inmate Leon “Whitey” Thompson was one of the many prisoners who helped the escapees: 

“Morris asked me about how you mix flesh tone, ‘cause you see, I am an artist, I did, I did a lot of oil painting on Alcatraz. I begin to wonder, why is he so interested in flesh tone and then I begin to put it all together because uh, they needed a flesh tone color for the dummy heads.”


The dummies were made from soap, concrete powder, and stolen paint. One of the Anglins worked in the barbershop and swiped some hair to paste on the dummies’ heads for an extra touch of realism. 
For eight months, Morris and the Anglin brothers left their cells at night to drill out the ventilation shaft and collect the items they needed for their escape.  Clarence Carnes, who saw a lot during his 18 years on the Rock, was impressed by their effort: 

In his manuscript, Clarence Carnes wrote, “… many times through the years I‘d met men who had tried to escape.  But their flaw had been too little planning and being too hasty.  They had not been thorough in their thinking, and that’s what defeated them. But not this time.”


For the guards on patrol during the Spring of 1962, the countdowns, the routines, the boredom, were no different than any other time. But many inmates knew differently. During the days, right under the gaze of their keepers, they helped the four escapees in their preparations. One of their most important jobs was secretly passing them raincoats.
Working in their cells at night, the four prisoners used the raincoats to make life preservers, which they then stashed in the escape tunnels. In a secret workspace, hidden by blankets, the Anglins and Morris took turns assembling a raft, also out of the pilfered raincoats.
The time to escape finally arrived.

Quietly, the prisoners left their cells for the last time. Immediately, they encountered their first problem...Allen West was unable to slip through the hole in his cell wall. The others were unwilling to wait. Allen West, the original instigator of the plan, was left behind. 

Frank Morris and the Anglin brothers safely slipped their cells into the utility corridor. There, they climbed up the heating  pipes to the ceiling, popped out the ventilation ducts they’d cut from the ceiling during the past eight months and made their way to the roof. Still undetected, they ran across the roof, and climbed down outside the prison. They headed toward the water.

One of the many challenges the escapees faced was how to inflate their huge raft.  Frank Morris had come up with an ingenious idea.  He had received a small accordion known as a concertina, for use during the daily music hour.  Don Eberle, the FBI investigator, described how the instrument was used during the escape: 

“They had taken the keys out of the concertina, and therefore you could put your hand on one strap of the concertina and push it up and down, it would operate just like a bellows.”

Ever so slowly, the raft began to fill.  When it was ready, the three men pushed it into the water at the edge of Alcatraz and climbed on.  Frank Morris, John Anglin, and Clarence Anglin had made it off the Rock. 

Inside the prison, the dummy heads the prisoners had left behind in their cells fooled any guards that happened to look in.  When the breakout was finally discovered, it triggered an extensive search, one of the largest manhunts ever.  Patrick Mahoney, a former guard at Alcatraz, was among those who took part in the search:

“We were ordered to go out on the bay and of course, start looking around the island.  And then over at Angel Island, scanning the beaches to see if anything that pertained to them might have washed up.  It became evident that we weren’t going to find them.  Whether they had made it or not, no one knew for sure.” 


During the first 24 hours, the search teams came up empty-handed.  Then, they began to find remnants of the escapees’ raft.  In addition, a homemade oar was discovered floating between Alcatraz and Angel Island.  This paddle matched one that the convicts had left behind in the cellblock. 
Two days after the breakout, a rubber wrapped packet was also discovered floating near Angel Island.  It contained an address book, 80 family photographs, and a money order that belonged to one of the escapees.  Some, such as FBI investigator Don Eberle, began to doubt that the escapees had survived: 

“Probably the earliest they could have gotten into the water would be 10:30.  The outgoing tide started that night at ten o’clock.  And that outgoing tide is very strong.  And I firmly believe that they were taken by the currents into the Pacific Ocean.” 

In addition, a Norwegian ship spotted a body floating 20 miles past the Golden Gate bridge on the day of the escape.  Though unable to retrieve it, their description of it matched that of Frank Morris. 

However, there is also some compelling evidence to suggest that at least one of the men survived.  The day after the escape, a man claiming to be John Anglin called a San Francisco law firm known to represent Alcatraz inmates.   Eugenia MacGowan was an attorney at the law firm.  She took the call: 

“And he said, ‘I’m John Anglin.  And I want you to contact the U.S. Marshall’s office.’  I said, ‘Well I’m not going to do that unless I know why.’  And he said, ‘Do you know who I am?’  And I said, ‘No’.  He said, ‘Read the newspaper and he hung up.’”

Alcatraz inmate Clarence Carnes claimed that a few weeks after the break, he received a post card from the escapees.  In it, they gave the pre-arranged code words that confirmed their escape.  The card read, “Gone fishing.” 

Carnes believed that Morris and the Anglin brothers had help from the outside, arranged by a convict on the inside.  He claimed that Ellsworth “Bumpy” Johnson, the underworld king of Harlem, had arranged for a boat to pick up the escapees.  According to Carnes, the boat then took the convicts to Pier 13 in San Francisco’s Hunter’s Point district.  Philip Bergen, the former Alcatraz Captain of Guards, doubts the story:  

“My feeling is that’s just something that Carnes dreamed up and that there is not the slightest possibility there’s any truth in it.” 

Allen West was interrogated repeatedly about Bumpy Johnson.  He was also pressed to reveal any other contacts who might have helped the convicts.  He denied that any existed.  Fellow Alcatraz inmate Leon “Whitey” Thompson put it this way: 

“West wouldn’t have copped out. West was people.  He was solid people.  To this day I don’t believe he ever told ‘em nothing. 

The stories told by prisoners at Alcatraz did not impress the FBI investigators like Philip Bergen.  He  still believes that the men drowned within minutes of hitting the water:  

“Now, of course, we never are cocksure enough to say, well, we know they’re dead, but we’re pretty sure that they’re dead, because there was no trace of them whatsoever.  However, they’re still on the ‘missing’ list and not the ‘dead’ list.


Even though Alcatraz ceased prison operations many years ago, the infamous escape of June 1962, continues to puzzle investigators.  In fact, over the years, thousands of leads have been investigated, but to no avail. Will this legendary case ever be solved?  For now, the arrest warrants for the three fugitives remain active, and the search for answers goes on.   

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