Forgotten Ages Research

The Incredible Stones of Ica—A Hall of Records From the Age of Dinosaurs? Part Two—Subject Matter and Controversies

Report Topics:

• The prehistoric stone collection is based on a psychic language that can speak across millions of years to those who are attempting to read the artifacts
• Indications are that there at least 100,000 more stones yet to be discovered in a hidden cavern deep in the Ocucaje Desert

Full Report:

Early on in his collecting, Dr. Cabrera began making an attempt at classifying the Ica stones into major categories. What he found were whole minor libraries embedded in the larger library dealing with six areas: cosmology, esoterica, history, geography, zoology-botany, and medicine-surgery.

Concerning how the doctor proceeded with such a tremendous project of classifying the myriads of artifacts in his possession, he had much to say. He wrote these words in 1975:

“My research revealed this massive collection to be a library in stone, revealing an as yet unknown human history, a hidden history outside the established human knowledge and official written record. Here was evidence that we were not the first humanity on earth.

“With scientific rigor and professional honesty I endeavored to decode the message of these stones, finding clear evidence of a highly evolved remote humanity that lived concurrent with the dinosaur. A humanity that cultivated a technical civilization during the Mesozoic period when reptiles roamed the earth.

“Time and again I have invited scientific authorities to study the engraved stones, but neither their curiosity nor interest could free them from their prejudices. I am now more convinced than ever that man is not perfect and can make mistakes, but the library of stone books is a human fact, one of such magnitude and transcendence that, as a scientist, I consider it a quantum discovery that will one day make the human experience much richer.

“I observed that certain apparently enigmatic figures which in some cases gave the impression of being decorative, were symbols used in a system of expression. Thus the engraved stones of Ica were revealed not as evidence of an art form carved in stone, but as testimonials to the deeds and actions of human beings. After nearly ten years of patient and systematic study of the over 11,000 specimens which fill up my museum, I have been able to derive much valuable information.

“Since the medium of choice of this ancient people to leave their record was that almost eternal material, the stone, I have decided to call the engraved stones ‘glyptoliths’ and the people that left them ’glyptolithic humanity.’

“The information conveyed in the stones of Ica contains invaluable messages left by an ancient humanity to the humanity of the future. Under strange and difficult to explain circumstances, they have been deciphered in our time.

“My belief in this has compelled me, willingly, to open my museum to the disposition not only of students and scientists, but to any person who wishes to see them. When I am asked to publish my opinion about them or to share the results of my investigations, or for permission to photograph them, I have acceded with great pleasure. The 11,000 stones wait for other foreign students and scientists and, especially, for the students of the Peruvian past to examine them and confirm the truth they tell.

“The library is organized in different sections or “series” of stone books for different subjects.

“After a systematic review of the first 6,000 samples that made up my collection, I realized that in many stones the designs seemed to repeat themselves. Comparative analysis revealed, however, that even when two figures were very similar, the presence of one or more new elements inserted in the design, or variations in the posture of figures, animal and vegetable, as well as changes in the placement of objects, made each design unique. I then began to separate into groups stones with superficial likeness to each other.

“It was at this point that I discovered something that meant a big step forward in my investigation. Each group of stones made up a series built around a theme and, within these series, the design of each stone presented a different aspect of the theme. Examining the themes, I found that they revolved around aspects of all human knowledge.

“But if the nature of the theme could be determined at a single glance, it was harder to know precisely the significance of each part of the design. It seemed that, in order to decipher the system of expression used, I would have to have at my disposal more stones so as to avoid inferences based on incomplete series. To this end I began increasing my collection, all the while continuing my study of the system of expression which would permit me to extract the information, the messages contained in the drawings.

“With the new acquisitions and the ordering of the stones in series, my collection began to present a more logical vision of the engravings, since each series had its own compartment on my shelves.

“I worried that continuing commerce in the stones would hopelessly disperse them and make reconstruction of these thematic series quite impossible. I had no choice but to expand my own collection. I would have liked to reunite all the stones in possession of collectors in Ica and Lima, as well as the many specimens that were being sold daily by the huaqueros of Ocucaje, but this was beyond my limited financial means.

“My concern that the information contained in the stones should not be lost translated into the near-doubling of the holdings of my museum to 11,000 specimens. I arranged them all into series, managing in the process not only to fill gaps in my first set of series, but also to discover entirely new themes.

“In short my museum came to house a testimonial in stone to man’s earliest presence on earth.

“In the course of examining thousands of these gliptoliths, I have come to the conclusion that they obey a system of communication in which certain figures and parts of figures are used as symbols to denote subjects, actions, objects, qualities and circumstances. These symbols permit us to decipher both simple and complex sequences.

“I have identified three types of symbols. One is very simple—a figure symbolized what it represents. For example, the figure of a bird is also the symbol for a bird.

“The second type of symbol consists of a figure whose significance is not precisely or solely what it appears to be, as in the first type, but something related and yet transcendent. To illustrate, the figure of a bird might in some contexts mean not ’bird,’ but apparatus for flight. The figure of a primitive camel, an animal ideally suited to withstand high temperatures, symbolized planetary overheating. A pyramid symbolizes a complicated technological system whereby energy is captured, accumulated and distributed. A leaf may signify biological energy, conversion of photosynthetic energy into electrical energy,or even cognitive energy, the reflexion power of man. A branch is the symbol for trees and also for a group of people. A star is the symbol for a central energy source.

“The third type is not an identifiable animate or inanimate object. As examples, a series of rectangles may signify human life or man’s capacity to reflex. The number of rectangles gives a given subject a numerical dimension. Parallel lines are the symbol for vegetable life or knowledge in general. A grouping of rhomboids means animal life. And two concentric circles are the symbol for the apparatus for space flight.

“Sometimes the symbol associated with a figure takes on a more complex meaning. For example, lines drawn through a figure of a table already identified as an operating table mean that there is a system of energy at work during the surgery. The angle of the lines serves to indicate the stage of the operation itself.

“As another example, a primate holding a leaf, the symbol of human life, means that the animal is on the verge of attaining the power of reason which will elevate him to the status of a human. If next to this primate we see two concentric circles—symbol of the apparatus for cosmic flight—this forms a complex grouping of symbols which, taken together, mean that the step from primate to human was brought about by the actions of intelligent men from outer space.

“A grouping of gliptoliths contains information around a certain theme, so that the grouping forms a series. The number of gliptoliths that make up a series varies according to the complexity of the theme. Thus I have one series of six gliptoliths that deals with the process of brain transplant, and each stone is about 3.25 feet in diameter. Another series, on the reproductive cycle of the agnata fish, is composed of more than two hundred stones of varying sizes. The smaller stones are used for the early stages of the cycle, and as the cycle progresses the stones increase in size.

“When more details are required, a second method was followed—the bas-relief. There are gliptoliths that combined both methods. Often, for example, the reproductive cycle of an animal is being shown, the grooved lines are used to convey the image of the animal in its very simple form early in the cycle, whereas later, when the animal was more developed, bas-relief was employed to show details and to convey a multiplicity of ideas that the artist wished to communicate.

“The engraved stones of Ica are thus a unique system of writing employed millions of years ago by a humanity who had achieved advanced levels of scientific and technological developments. Modern man can refuse to believe that what the gliptoliths convey on first impression is a form of writing, and can prefer to think of them as mere drawings whose purpose was decorative, sentimental, or to amuse and occupy the artist. But the presence of themes dealing with incredibly advanced scientific knowledge is enough to dispel this disbelief, especially in addition to the fact that the schematized figures and signs are not things of beauty. It seems clear from this that the engravings were intended to transmit messages in code to the men of the future.

“But to decipher the messages contained in each series of gliptoliths requires two things. First, one must have access to at least the majority of the gliptoliths that made up the series, and second, one must have a good, up-to-date background in the knowledge that modern man has acquired regarding the themes in the series. Without the first, one runs the risk that the messages are not complete, and without the second, the gliptolith loses its sense and becomes merely a stone.”

From these descriptive and revealing words by Dr. Cabrera, there are a number of observations which can be made.

First of all, the fact that there is a deeper and very complex system of organization hidden within the greater collective content of all the carved stones, completely negates the accusation that they were simply forgeries manufactured by a couple of local farmer. If the subject matter of the majority of engravings were not sophisticated enough, then the underlying symbolic matrix of an interconnected universal non-verbal language which speaks on several dimensions of meaning, once and for all rules out any possibility that these artifacts were the product of any one else except the long forgotten members of a very advanced civilization—one far outshining even today’s twenty-first technological achievements.

Dr. Cabrera should be recognized for being a true pioneer, the first person to organize this lost library, discover its true hidden language, and who made the initial attempts at understanding its fuller multi-dimensional nature.

But now must come the next step—to more deeply explore, to go far beyond where Dr. Cabrera penetrated, and to further bring into greater light the much wider spectrum of implications of what such a distant people left to us as an inheritance. With each new step we take, let us honor those from the remote past who once walked twenty paces ahead of us.

The underlying organization of the stone collection’s symbolism reminds us of something akin to ancient Egyptian hieroglyphs. A word once used to specifiy an object, for instance, was composed of various hieroglyphic signs which, separately, were symbolic pictures of everyday objects in the Egyptian culture. But only when placed in a certain understood predetermined order did these signs take on another level of meaning, each possessing their own alphabetic sound equivalent of either a vowel or consonant. In many cases, the signs had biliteral and triliteral designations, or two- and three-sound sequences, that combined the sounds of separate signs into a single multiple sound fragment.

In addition, a whole other class of of symbols became determinatives, which identified the object being written about. For example, at the end of the hieroglyphic sequence for the word “man” appeared a determinative image of a kneeling male person. If the object being described was a “speaking man,” then the word sequence meaning “to speak” was followed by the determinative for “man” plus a second picture, this one of a man holding his finger to his mouth. Yet such symbols often also had their own alphabetic sound equivalents, and if placed within a different context and juxtapositioned with other vowel and consonant signs, this gave a whole other application of usage and meaning.

While Egyptian hieroglyphs were a form of complex two-dimensional script, Cabrera’s stones seem to contain a three-dimensional pictorial language not with sound equivalents but rather interconnected repetitions of ideas and concepts. These apparently have their own system of expression based on predetermined yet intuitively recognizable differing contexts and sequential orders.

More importantly, these multitude of pictures conveys something more than just a form of communications—it also teaches a way of thinking in alternative dimensions of the mind. And the more we utilize the stones to open these new avenues of thought, the more the stones in turn will have to show us.

Without a doubt the most controversial aspects about the Ica stone collection is its portrayal of long extinct life forms from practically every geological age, and their direct interaction with human-like intelligent beings. A survey of the almost encyclopedic art gallery of engravings reveals very accurate depictions of everything from Cambrian trilobites, Devonian early fish species, prehistoric nautiluses, brachiopods, and giant ferns and ginko tree species long vanished into the very distant past.

The Mesozoic era is well represented by stunning images of stegosaurs, plesiosaurs, pterodactyls, velociraptors, diplodocus, triceratops, tyrannosaurs, apatosaurs, iguanodons, pteranodons, hadrosaurs and archaeopteryx.

Yet other stones give a menagerie of creatures from the succeeding Cenozoic era up through the last Ice Age, including five-toed llamas and the early horse, mammoths, megatheriums, giant sloths, diatrymas, as well as extinct forms of camels and giant deer. There are even scenes showing many of the recognized extinct forms of early human primates and sapiens.

Still other stone portraits offer pictures of easily identifiable fauna from our present-day world—modern horses, bats, penguins, camels ostriches and kangaroos, the last several of these not being indigenous to South America, past or present.

Clearly, all these images did not come from prehistoric reconstructions of fossils or skeletons, but were fashioned by someone being in direct contact with living creatures. The complete life cycles of several extinct species, from fetus to young adult, are presented in great detail, which could only have been observed and recorded when such fauna were alive and growing up at closehand.

The sum total implication from this is staggering—for all these living types of creatures from all these different eras to have been so accurately portrayed, it means that some form of intelligent being, having a high degree of both scientific inquiry and artistic creativity, had to have been present in order to produce such an intimate record. If this radical concept is true, then 600 million years of planetary history will have to be re-written.

Of particular interest is the fascinating ways various saurian species from the Mesozoic age are shown on the Cabrera stones. They are most disturbing to conservative paleontologists because many of the portrayed dinosaurs are shown living contemporary with human-like beings—which, according to “accepted” history, is not supposed to have been possible, there supposedly having been a gap of some 65 million years between the two. Some of these extinct creatures are pictured as being hunted, while many others suggest they may have also been domesticated, used for transportation and food sources.

Some of the Ica stone images actually show humans riding on the backs of quadraped dinosaurs in Fred Flintstone fashion, or are being carried on the backs of winged pteronodons, shades of Dinotopia. Are such modern cartoons and fantasies only modern imaginative fiction, or are they really distant memories preserved in the planetary collective unconsciousness?

Noteworthy are hunting scenes depicting men attacking saurian prey using large axes, and striking the creatures precisely at what paleontologists have identified as the spinal pelvic ganglion. The larger dinosaurs had two major nerve centers in order to better coordinate the movements of so big a creature, one in the brain and one in a specific location along the spine. If someone wanted to quickly and permanently disable a living saurian, the best way would be to strike a lethal blow and cut into either one or the other. Since the one in the head was usually accompanied by a mouth with rather threatening teeth, the preferred location of attack would have been the pelvic spinal center, which was more easily accessible if the animal was actively being distracted. This is exactly the hunting tactic portrayed among the Cabrera stones.

What this means is that whoever carved such a hunting scene had a very good idea of living dinosaur anatomy and its most vulnerable areas. As one web site commentator put it:

“Either these dinosaurs were contemporaries with these prehistoric men, and these prehistoric men knew very well how to kill dinosaurs, or the local townspeople who are said to have carved these stones took a class in dinosaur biology that does not exist in any Peruvian colleges!”

Very significantly, there are a number of out-of-place accurate details concerning other saurian anatomical features that were only recently discovered by fossil finds, made after the Ica stones were first displayed beginning in 1961. These include the following:

*Carved stone depictions showing in detail the biological life cycles of several of the great saurians are being confirmed by modern discoveries of dinosaur eggs with fossilized fetal stages preserved inside.

*Ica stone artifact images of the species Diplodicus portray the beasts with a spiked backbone. This is what is now termed dermal frills, a feature reported in the fossil record only since 1992.

*A detailed stody of fossilized dinosuar tracks first conducted in the 1970’s and 1980’s revealed that long-tailed species did not drag such an appendage on the ground, because no ridges appear among the footprints. This meant that most museum skeletal exhibits and all artistic reproductions portraying the tails laying flat on the ground were wrong. A study of their computer-projected muscular structure demonstrated further that the dinosaurs had held their tails out straight, using them as a constantly shifting counteweight as they walked. Only when being attacked in combat were the saurian tails dropped to the ground to serve as anchors.

Noteworthy is the fact that the Ica stones show dinosaur tails not being on the ground like the mistaken museum models—which was what would have been inevitably portrayed had the stone images been copied from them as hoaxes. Rather they are depicted as being held straight out, as recent findings have more accurately determined. The one exception is when the stones depict the saurians under attack by human hunters, and the tails are shown firmly planted on the ground.

*In 1877, when the first brontosaur skeleton was found, the head was missing, so the early museum workers in rebuilding its bones decided to stick on a fossil head that was unearthed three miles away from the initial site. From that point on, all reconstructions of this saurian showed it with a short, snubbed-nose head. Even the special effects department for the movie Jurassic Park got it wrong. It was not until 1979 that two researchers from Carnegie Institute pointed to later more complete skeletal remains discovered in the intervening years that revealed this creature actually had a much longer cranium. As a result of this scientific faux pas, during the next decade four major museums had to correct their displays, and the name designation for Brontosaurus was changed to Apatosaurus to mark this alteration.

And yet this hundred-year-old error does not show up on any of the Ica stone images. All the portrayed examples of this species have prominent long skulls. How could local forgers have anticipated such a correction eighteen years before the fact, if they had been responsible for producing these stones?

Another curiosity seen on the Ica stone portraits show different dinosaurs with peculiar skin décor in the form of stripes, conical scales and donut-shaped or rosette patterns on their bodies. These stand out in direct contrast to standard fossil reconstructions of dinosaurs depicting them with smooth skin and no patterning. However, starting in the 1990’s, several fossilized hadrosaurian skin impressions were excavated in Utah and elsewhere. What completely surprised such dinosaur experts like Stephen Czerkas, Curator of Utah’s Blanding Museum, is that the impressions were of conical scales and rosette patterning.

Needless to say, the one person who was not the least surprised by these findings was Dr. Cabrera, because his stones had displayed such saurian skin decorations all along.

Some skeptics point to some of the carved dinosaur figures being far too small in size to correspond with their fossil remains, in proportion to other species and the humans shown—assuming they were the same basic dimensions as we are in our present era. Dr. Cabrera explained the size differentiations as being examples of much smaller juvenile saurians which the humans had captured and domesticated, or possibly even genetically bred on purpose—just the way we breed diminuitive dogs and horses today.

Another image critics have problems with pictures a tyrannosaur about the same size as one of the humans, that is shown with five-fingered hands and five-toed feet. This “pure fantasy” image is rationalized as an obvious example of something having been copied out of a comic book by forgers.

But, according to Dr. Cabera’s criteria of symbol intrepretation based on the collective stones’ interconnected visual language, the picture in question can either signify that a certain species of dinosaur was beginning to evolve into an intelligent, more cognitive creature, or that this was a genetic experiment being conducted in which saurian and human DNA materials were mixed to form hybrids.

While the wide spectrum of prehistoric fauna is readily identifiable, what Dr. Cabrera called Gliptolithic Man, whose repeated images are very numerous throughout the stone collection, are not so easy to classify. The profiles of this lost race are consistently the same, very human-like, yet they bear no resemblance to any modern human type, or to any representatives in the fossil record.

They are portrayed having large heads, large eyes, possessing an intense yet emotionless stare, small mouths, pointed yet hairless chins, long hooked almost beak-like noses that begin high on the forehead, wearing tight caps, feathered headdresses and generic-style loin cloths. They have short arms and legs, yet have hands and fingers that move with great dexterity. This unknown forgotten people are shown in a wide variety of poses and situations, both singly and in twos and threes.

From their body proportions, Dr. Cabrera considered these beings had larger brains than we do, and therefore had a larger capacity of intelligence, including pronounced psychic abilities. The fact that among the stones there is no evidence of script signs or any written language, only pictures, suggests that their primary communications consisted exclusively of visionary thinking, by which they shared and projected clear and concise images to one another as part of a collective mind. Complex concepts or procedures were conveyed by deliberately designed sequential pictorial series, and symbols were used sparingly to direct psychic viewers to other related or parallel thought streams.

Even the choice of transforming mental images and “freezing” them on natural rock into a physical artistic expression, was their attempt to preserve and communicate their accumulation of wisdom to a non-psychic civilization in the distant future.

Yet we also witness among the stones the evidence this forgotten prehistoric people dealt directly with the physical world in a harmonious manner. They appear to have tamed the saurian population of the planet, riding on the backs of domesticated animals, rounding up the wilder species and herding them into dinosaur ranches. Dr, Cabrera further discovered they controlled the atmospheric, electromagnetic, gravitational, tectonic and volcanic aspects of the globe. And they were likewise cognizant of the multitude of energy forces of life, the mind, the Earth and the cosmos, learning how to harness these as unlimited power sources, and utilizing them in ways far beyond our present understanding.

As to the central question of what human-like intelligent beings were doing in the Mesozoic era, Dr. Cabrera elaborated on two possibilities:

“One explanation is that man, after he evolved into a thinking being, endured over millions of years without becoming extinct as a species, but for various reasons at least, once his scientific and technological knowledge was destroyed, and he was forced to begin all over again.

“A second explanation is that the destruction of man’s scientific achievements occurred because of the extinction of the human species, so that the advancement of knowledge required a new process of evolution from anthropoids or hominids. According to this reasoning, across the millennia a series of human phylums would have emerged, only then to disappear, and the last one would be the phylum of which modern man is a part.”

Cabrera’s personal opinion was that some form of humankind has always been present. He made this argument:

“But this second explanation does not seem to me to be particularly convincing. If the human species has become extinct several times and has then re-evolved, how can we explain the common reference points shared by peoples the world over—the shared reference in legends, myths and histories to fabulous animals (dragons, monsters, flying serpents, gargoyles, etc.) that are so like paleontological reconstructions of prehistoric animals that shared references to the existence of advanced civilizations, and shared references to a cataclysm that buried entire continents, leaving only a handful of survivors to repopulate the earth?”

However, those who practice the deeper meditative and shamanic disciplines are very much aware that there exists a planetary collective realm of unconsciousness where the memories of all past inhabitants of the Earth, extending all the way back to the beginnings of life on this world, are preserved with great clarity and can be tapped into and re-experienced by those who know how. Here is the reason why dinosaurs keep appearing in cultural and religious art all over the globe as dragons and other fabulous animals—and do so with very accurate renditions as to their actual anatomies that we can recognize from the fossil record.

Being a psycic civilization, Cabrera’s gliptolithic beings probably had the same meditative-shamanic abilities we have, only on a mass population level, to penetrate the collective visionary memories of the planet. For this reason, even thought they lived during the Mesozoic age, they also took in the vision recalls of past soul influxes who had existed in yet older eras, such as the Cambrian and Devonian, in order to story and record the life forms in these periods.

Even more amazing, since the unconscious realm is without any limits in time and space, this lost race also had the psychic ability to project themselves into the future, and captured in their art the potential life patterns and forms that were yet to evolve during the succeeding Cenozoic era and into our modern day.

So has humanity always been here, or has there been a cyclic series of intelligent beings who entered and exited our planetary history throughout the vast span of its duration, with Gliptolithic Man constituting one such cycle of existence in the far past, and we ourselves evolving as a different soul group who are experiencing a present sojourn experience?

The answer can be found in looking at the carved stones themselves. Among those images picturing intelligent beings examining fossils inside rocks using round magnifying lenses, one of the embedded specimens is of another very different human form encased within the mineral matrix, with hand upraised as if offering a greetings to the viewer.

The message here is clear—other human-like beings, representing independent and unique soul groups, have repeatedly occupied and experienced the life lessons this planet has to offer. They subsequently periodically left and either traveled or transcended to a place far beyond this world to somewhere else in order to physically or spiritually continue their “higher” education.

Dr. Cabrera, in his in-depth study of the stone record, was convinced gliptlithic humanity had originally come from the region of the Pleiades, and when they departed en masse at the end of the Mesozoic age, before the planet was struck by a giant comet they pictured in their art, they returned once again to the Pleiades. Their exodus made way for the next geologic age, with its own evolving animal expressions and succeeding soul influxes, which eventually included our own.

Similarly, the message also given is that we too will one day depart this Earth to find our own destiny among the stars, either as physical or spiritual beings, and there will be new soul influxes who will follow after us upon the planetary scene.

On yet another level, the stone picture of a fossilized former inhabitant waving in greetings to a member of a future soul influx offers the very real promise that each cycle has left behind a permanent record in some form—a Hall of Records would be a better term—as a gift to all succeeding cycles which we today find and study. The Ica stones are the legacy left from the race of gliptolithic people to our civilization in the present cycle.

What will we in turn leave behind for the inhabitants of the cycle yet to come?

The second most controversial subject matter portrayed in Cabrera’s collection involves all those stones which show in tremendous detail very sophisticated medical and surgical procedures. The full array of the knowledge of human anatomy, and advanced healing techniques, is most impressive. Dr. Cabrera, being himself a physician and a surgeon was in his professional capacity able to recognize the deeper implications of what was being shown—but only to a point. There were certain aspects that even he was not able to clearly identify.

In his survey of all the stones, Dr. Cabrera found images of cesarean section, complicated operations on the lungs and kidneys, removal of cancerous tumors, blood transfusions, blood vessel reconnection via re-absorption tubes utilizing the natural regeneration of cells, the use of acupuncture as an anesthesia, heart surgery and heart transplants. The last procedure portrayed is most significant, since the first heart transplant was not successfully performed by our civilization until 1967—six years after the Ica surgery stones were found.

Dr. Edward Maxey, member of the American College of Surgeons, remarked about these pictures:

“I am tremendously impressed. In the stone carvings the detail is clear—the seven blood vessels from the heart are faithfully copied. The whole thing looks like a cardiac operation and the surgeons seem to be using techniques that fit with our modern knowledge.”

This is a disturbing revelation in itself—that someone in unknown antiquity had achieved a level of sophistication rivaling our own. But there are other pictures that are even more “out-of-place.” As Dr. Cabrera noted, and as has been verified by other medical physicians, there are stone etchings which show a brain transplant in progress, something that is still far beyond our abilities as these words are being written. The enigmatic prehistoric surgeons, it is evident, possessed knowledge and techniques several levels beyond what modern-day surgeons are only beginning to understand.

Two other findings made from the Ica stones which Dr. Cabrera hoped one day researchers would experiment with further have to do with very particular blood transfusions. When the images showed transplant surgery being performed, blood transfusions were being given to the patient from a pregnant woman. Dr. Cabrera suspected that there is an anti-rejection agent present in a pregnant woman’s blood, so that her body will not abort her child, and that this same agent could aid a patient in their body not rejecting a new organ.

Again, in scenes of cancerous tumor growths being removed, the patient is given blood from a woman who has just had a child, and whose afterbirth has been expelled. During this critical time, Dr. Cabrera believed, an agent is present in a mother’s blood that actively rejects all foreign bodies—and may help someone else in ridding their body of unwanted cancer.

Only recently have British scientists tried such techniques and with great success, using both types of transfusions.

What also amazed Dr. Cabrera was what the surgery stones did not show. How could such delicate operations be performed without the presence of machines for supplying air and pumping blood? Why was there no blood transfusions made directly through the veins? What about all those tubes shown entering the patient’s mouth? And then there were the revelations that some form of energy was being channeled through the operating table on which the surgery was taking place, and that the surgeons themselves transmitted some form of energy to the patients as they worked. There was likewise indications that the person’s genetic code was constantly being monitored during every pictured procedure. Why?

Some researchers firmly believe there is a lot more advanced medical knowledge still to be discovered among the Ica stones, knowledge that if applied today could save lives that are otherwise being needlessly lost.

Somewhat related to the medical-surgical stones is another classification which Dr. Cabrera simply called Esoterica. Not a few of these are replete with occult and magical symbols whose meanings are largely incomprehensible to us today. Author Robert Charroux believed that these special images carry secret teachings from the distant past, meant as a legacy to the Initiates of the Mysteries of the future, in our present age right now.

While some of the stone specimens described various kinds of power sources, other artifacts are power sources themselves. Being a psychic civilization, the gliptolithic beings knew how to exercise certain mental energies, especially for healing, illumination, the expansion of consciousness and for opening doorways into other dimensions. Today, such psychic frontiers are still very much latent in our own species—yet the Ica stones were designed to help to awaken this tremendous potentiality. For just this purpose, the lost race from ages ago appears to have included in their stone library very specific items they empowered, that in turn can empower certain members of our present-day humanity, to re-awaken long forgotten special abilities.

These items in question are not the larger highly decorated stones, but rather consist of the smaller unassuming specimens that show only a very few esoteric symbols. As some people have already learned in working with them, these handheld nearly pebble-sized stones impart both energy and information. In some instances these stones are paired in male and female polarities, to either be utilized in both hands, of by men and women harmonized in concert together.

Symbols have power. A symbol is a two-dimensional expression of a three-dimensional energy field. A symbol can also be considered a frozen sound or vibration, and a sound-vibration is a symbol that has been actively released. Specific symbols and sounds thus resonate with each other, which is the basis for the new yet ancient science of cymatics.

Sensitive people who have held some of these stones have reported unexpected feelings of ecstasy, bliss, love, deep wisdom, fulfillment, empathy and transcendence. Others by merely touching the stones have experienced spontaneous healing and rejuvenation. Still others have found that, by grasping or carrying the stones over long periods, they have had clearer and increased revelatory dreams, sudden waking visions, and much deeper and more powerful meditations.

These energy effects are not imagined, for just being in the presence of these stones has triggered a variety of physical phenomena as well. Visitors to Cabrera’s museum have reported quartz digital watches stopping, tape recorder batteries just replaced or recharged going dead, flash bulbs exploding and camcorders malfunctioning. The resulting photographs and slides include phantom lights, bright fog and dark clouds surrounding the stones, while videotapes have strange series of ghostly shapes, colors and bright blobs moving about.

When I returned home after visiting Ica in 1985, at least half the tour participants who accompanied me on that trip later contacted me with stories about the continuing residual effects of their encounter with the stones, both upon their personal spiritual experiences and on their electronic devices they had brought with them.

In addition, some researchers who are focusing their attention on the esoterica stones firmly believe that certain specific samples are meant to serve as psychic holograms of the entire library, that if one can learn how to tap into these, the full spectrum of gliptolithic images can be made available to the seeker and studied in detail, even without the physical stones needing to be present.

Dr. Cabrera himself was very much aware of these special stone features that dispersed healing, inspiration and wisdom, and he knew that only certain people could potentially open up and utilize these powers. On several occasions, when groups came to visit his museum, he would quite unexpectedly gift a few of the participants with small selected samples to take home with them. What has been accomplished using these objects sofar, and what information has been gleaned from them to date, is not generally publicized, because the time is not yet right for their revelations to be released.

Another grouping of stones appears to show the geographies of lands which no longer exist. Dr. Cabrera thought some of these portray the breakup of the prehistoric super-continent Pangaea into the modern continental masses, which was supposed to have happened no less than 220 million years ago. Some of the carved maps also trace out the now lost coastlines of Lemuria and Atlantis, complete with locations of territories, cities, trade routes and images of early inhabitants. Could some of these maps likewise show us where hidden Halls of Records from forgotten civilizations may yet be found?

Other stones that dealt with Earth’s distant past suggested to the doctor that planetary conditions were very different ages ago, that a global runaway greenhouse effect once threatened all life, and that gliptolithic humanity attempted to manipulate the natural atmsopheric and biological cycles to shift the imbalance in the opposite direction. Their efforts seem to have worked for a certain period, but the imposed changes finally triggered a planet-wide backlash, resulting in major tectonic movements and great floods.

Much like present humanity dating back eight to ten millennia ago portrayed in Megalithic-Neolithic art the shamans of the time working with earth energies they symbolized as serpent and dragon currents, so Cabrera’s lost gliptolithic race are likewise shown projecting serpentine energies into the planet and even up into the cosmos. And parallel to the early portion of our history in which several different civilizations built together a system of interconnected pyramids all over the world, so millions of years ago pyramid structures made out of crystal likewise served the purpose of capturing, accumulating and distributing planetary energies.

The Ica stones also tell the story of how the nearby plains of Nazca had the function of what Cabrera called a “spaceport.” This had nothing to do with the von Daniken extraterrestrial fantasy of the Nazca lines being “runways” for “spaceships.” The doctor’s concept was that, ver long ago when the area was geologically different than it is today, the gliptlithic people were aware of an underlying pattern of metallic minerals holding tremendous electromagnetic potentials that could be tapped into and utilized for powering both flying vehicles in the atmosphere and ships for traveling through space. Dr. Cabrera described the crafts being “suspended in an electromagnetic cushion.”

The more recent Nazca people retained a memory of this ability they had gleaned from the planetary collective unconsciousness, and honored the concept of flight using their own limited abilities, even though the landscape and its powers had been wiped clean several times by geological cataclysms in the past.

Still other stones depict astronomers using tubular telescopes to gaze up at planets, stars, nebulae and galaxies. A chart showing thirteen constellations plus the Horsehead Nebula is also portrayed, with indicators pointing out that some of these contain the seeds of life, flora, fauna and other intelligent beings like themselves. Some engravings show maps of distant planets, and that gliptolithic spacefarers had charted these extra solar spheres utilizing forms of craft that traveled through the heavens without consuming fuel. They even regarded themselves as having come to Earth from an inhabited home world somewhere in the Pleiades, and when our planet suffered catastrophic disaster, they departed and returned to their source.

That catastrophic disaster took the form of an impact by a large comet fragment. One stone in particular pictures a group of gliptolithic astronomers telescopically examining a monster-sized cometary body having a gigantic tail of debris following after it. The inbound comet was observed coming in between the stars Sirius and Regulus, with Venus and Jupiter conjunct with a solar eclipse. Only a piece of the comet plunged into the Earth’s surface—the rest passed by and continued on in the direction of the Pleiades. Some of those who fled our planet used this piece of the cometary body to guide them back to their old home.

These men of distant yesteryear appear to have had sufficient time to prepare beforehand and escape. Unfortunately, the saurian and other life populations of this world could not be saved, and for the most part perished by the millions.

The lost race was likewise aware that this planet had been devastated by other celestial destructions many times before their arrival. There are stones which show two Moons in the sky of the primordial Earth, and that billions of years before, one of these had plummeted into the planetary surface, temporarily liquefying its surface into molten rock in the process. Most significantly, it was only since 2001 that both geologists and astrophysicists have found physical evidence from just such a collision having taken place within the first two eons of the Earth’s existence.

These and other stones with somewhat more avant-garde subject matters Dr. Cabrera purposely kept separate in a side room, closed away from general public view. He felt such specimens were too difficult to explain for those who had not studied the deeper aspects of the collection.

One of the controversies about the Ica stones that still persists today is the possibility that a few of the specimens are of more recent origins. Toward the end of his life, when Dr. Cabrera was suffering from cancer and knew he did not have much time left, he was far less selective about the stones that were being brought to him and which he subsequently purchased. As he explained in his writings, his main concern was that genuine stones were still being sold to tourists, and so as not to miss acquiring any of these, he decided to indiscrimately buy as many as he could regardly of their true source.

He had gotten to the point in his studying and classifying his stones that many of the pictoral series still had important gaps to fill. The doctor’s intention was to “gather in the chaff with the grain,” and at a later time more methodically separate them out, based on the procedures already established through careful examination for determining which of the stones were definitely authentic and which were faked.

But Cabrera did not live long enough to complete this work.

Once the present museum has been restored from the recent earthquake damage it suffered, and particularly after plans to move the collection to a larger and safer facility are fulfilled, then one of the first proposed projects should be to thoroughly test all the stones by microscopic examination, in order to verify the real specimens and weed out any forgeries that have crept in.

The same questions also extend to another series of objects in Dr. Cabrera’s possession, a wide spectrum of clay figurines the doctor kept in a second separate room under lock and key. Only a very few people were allowed to see these when he was alive, and only a few pictures were taken and publicized.

What happened in his later years was that locals began bringing Dr. Cabrera not only more stones but a myriad of hand-shaped clay portraits that were as varied in subject matter as the images in his stone collection. These number approximately 2,500, and consist of small and large dinosaurs of various types, humans, humans with dinosaurs, and miscellaneous to nondescript objects.

The closest thing these figurines remind me of when I had a chance to see them up close more recently, was an attempt to mimick the Acambaro pottery collection unearthed in Mexico in the 1920’s. The one exception is that many of the sculptured themes in Cabrera’s collection were obviously three-dimensional imitations of some of the stone images, including the figure of a gliptolithic man holding a tubular telescope in his hand.

Another point of contrast to both the Acambaro pottery and the Ica stone pictures—wherein in both these cases no two samples are artistically alike— Cabrera’s clay figures are instead often repeated over and over, as if produced on an assembly line. If there is one model stegasaur, there are a dozen, and shown in the exact same posture. This is indicative not of a collection for study, but of being manufactured for sale to tourists.

The final blow came when tests performed at the carbon-dating facilities at the Universities of Zurich and Weimar proved the figurines to be of very recent origins. Unlike stone, clay contains organic matter that can be carbon-dated, and the younger the specimens are, the more likely they still retain water moisture from their ground material source. Based on this criteria, the clay figures were consistently found to be only about twenty years old.

Again, toward the end of his life, Dr. Cabrera began to accept this multitude of objects because he thought that if there was a chance they could be genuine, he had better acquire them before they were sold to tourists and private collectors, and would never get a chance to be studied more carefully later on. The doctor did not live long enough to thoroughly test this clay collection for himself.

When a new Cabrera museum is finally built, it has already been proposed that these bogus figurines be housed somewhere else.

[Copyright 2009. Joseph Robert Jochmans. All Rights Reserved.]