On the Mystery of the Frenchman's Tower (original) (raw)
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A Geoglyphic Study of the Newport Tower Mystery
The Newport Tower has been the subject of discussion and controversy since the Colonists first arrived in the new world and discovered the structure on the island of Newport, RI USA. Early explorers noted that the tower existed during their early explorations of North America. However, that did not deter skeptics from claiming that the tower was constructed in Colonial times. Documented research shows that the tower not only was made before the 16th Century AD, but was constructed on a site that is part of a worldwide geoglyphic network that documents the travels and land claims of civilizations dating back to 5000 BC and earlier. (See below) The Newport Tower has been carbon dated as being over 500 years old. The mathematics associated with the Tower, as referred to below, were found to point to five places. One is a place in Western Minnesota named Inspiration Peak, another is the burial place of the Kensington Runestone, one is an island in the Saint Lawrence Seaway, the fourth is Cat Island in the Bahamas, and the fifth is a point where the Equator crosses the West coast of South America. As you will see, Inspiration Peak, the reason why the Newport Tower exists, was identified not only by the Newport Tower but also by the 5000 year old monolith Stonehenge, located in England. Although the stone tower itself was most likely constructed around 1472, it was built as a cornerstone to mark a land claim that was conceived thousands of years ago.
1636 and 1641 Henricus Hondius Maps – Cartographic Evidence of the Pre-Columbian Newport Tower
The Hondius family, beginning with Jodocus Hondius in 1587, had long illustrated the baptistery (Newport Tower) within Narragansett Bay. Henricus Hondius, the son of Jodocus, illustrated the same baptistery on two maps produced in 136 and 1641. Both baptistery illustrations were added to the map post-printing. The 1636 illustration depicted a cylindrical tower. The 1641 illustration depicted a rectangular tower icon with an attached cross and pole. This presentation contains 28 slides. Google Drive PowerPoint “1636 and 1641Henricus Hondius” (22.4 MB): https://docs.google.com/presentation/d/1BoXda5caAP7TrHYZfz3gRRJQcm50Rsdb/edit?usp=sharing&ouid=108078659971084354140&rtpof=true&sd=true Google Drive PDF “1636 and 1641Henricus Hondius” (2.7 MB): https://drive.google.com/file/d/1dxqAIbBGH3PkML5KROSpu19wnHost1bp/view?usp=sharing
The Construction of Notre-Dame in Paris
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The 1439 chart of Gabriel de Vallseca, a cartographer from Palma de Majorca, is a holding of the Biblioteca de Catalunya in Barcelona, Spain. The chart was considered to be the first cartographic work to illustrate the Azores chain of islands. In 1953, this distinction was rescinded when Portuguese cartographic historian Armando Cortesão demonstrated that the 1424 chart of Zuane Pizzigano contained the first illustration of the Azores. Vallseca illustrated tower icons representing the Newport Tower on the [YLLA] [DE] CORP MARIM and adjacent to the offset-longitude positioned landform – which represented the Narragansett Bay section of what became understood as the continent of North America. Vallseca’s tower icon placements were not original, his use of white pigment replicated the illustration style from the 1426 chart of Battista Beccari (Beccario), a Genoan-based cartographer who used style elements associated with cartographers operating out of Palma de Majorca. Beccari’s tower icons on this northernmost island of the [YLLA] [DE] CORP MARIM // LICO NIGI “false Azores” traces back to the 1375 Catalan Atlas of Abraham Cresques, he being the first to illustrate the double-island configuration. Slides 1 through 37 address, and correct, the inaccuracies of the Wikipedia article on Gabriel de Vallseca. Slides 43 to 65 lays out overlooked features on the Vallseca chart. Slides 66 through 79 cover the tower icons representing the Newport Tower on, and in the area of, [YLLA] [DE] CORP MARIM. This presentation contains 79 slides. PowerPoint presentation available on my Google Drive: https://docs.google.com/presentation/d/1BHRa7hROVZfTCc7EZXIdno1khb\_S-PnJ/edit?usp=sharing&ouid=108078659971084354140&rtpof=true&sd=true
Antiquity
The earliest monumentality in Western Europe is associated with megalithic structures, but where did the builders of these monuments live? Here, the authors focus on west-central France, one of the earliest centres of megalithic building in Atlantic Europe, commencing in the mid fifth millennium BC. They report on an enclosure at Le Peu (Charente), dated to the Middle Neolithic (c. 4400 BC), and defined by a ditch with two ‘crab claw’ entrances and a double timber palisade flanked by two timber structures—possibly defensive bastions. Inside, timber buildings—currently the earliest known in the region—were possibly home to the builders of the nearby Tusson long mounds.
The pillar of metropolitan greatness: The long making of archeological objects in Paris (1711-2001)
History of science; an annual review of literature, research and teaching, 2017
Over three centuries after the 1711 discovery in the choir of Notre-Dame in Paris of a square-section stone bas-relief (the Pillar of the Boatmen) with depictions of several deities, both Gaulish and Roman, the blocks comprising it were analyzed as a symbol of Parisian power, if not autonomy, vis-à-vis the Roman Empire. Variously considered as local, national, or imperial representations, the blocks were a constant object of admiration, interrogation, and speculation among antiquarians of the Republic of Letters. They were also boundary objects - products of the emergence of a Parisian archeology dated from 1711. If this science reflected the tensions and ambiguities of a local regime of knowledge situated in a national context, it also helped to coordinate archeological work between different institutions and actors. This paper would like to assess the specific role played by the Pillar of the Boatmen as a fetish object in this process. To what extent could an archeological artifac...
The Displacement Of The Grande Arche: The Story of a Surreal Monument
In 1982, the Grande Arche was built in newly erected La Defense in western Paris at the extension of the Champs Elysee - the historical axis that serves as a guarantor of urban stability by means of symmetry and continuity. However, in order to prevent the new structure's foundations from colliding with previously built infrastructure underground, the whole building had to be rotated clockwise by an angle of 6.33 degree. There it stands until today, gently and genuinely breaking the strict symmetry of its urban context, as absurd and unseizable as the buildings in Giorgo de Chiricos paintings. --- Published in San Rocco #3 MISTAKES (Winter 2011)