Atlantis in the Amazon Lost Technologies and the Secrets of the Crespi Treasure By Richard Wingate ISBN 978

-1-59143-120-6 • $16.00 Quality Paperback — June 2011 200 pages; 6 X 9 Includes 8-page color insert and 56 black-and-white photos Imprint: Bear & Company

Part O n e


evidence of an Ancient Civilization
Father Crespi’s Treasures

1 2 3 4 5 6 7

Bimini Boogie Atlantis in the Bahamas First Visit to Crespi’s Treasure Man, Whence, How, and Whither The Sting Farewell, My Friend Dinner Conversation A Boiled Fish Surprise
Part t wO

00 00 00 00 00 00 00 00

the Misuse of Ancient science and technology
The Voluntary Stone Age


The Mysterious Disappearance of Percy Faucet


by Warren Cook Bibliography Index 00 00 00 00 00 00 00 00 00 00 00 00 00 00 . Ecuador.9 10 11 12 13 14 15 16 Legends of Atlantis El Panecillo Laser Powerful Wooden UFOs Mahabharata Time and the Atomic Latté The Doomsday Device Rocket Attack Fimbul Winter Conclusion Appendix One. Timaeus Appendix Three. A Deeper Look at the Crespi Collection of Cuenca. Critias Appendix Two.

and discoverer of an extraordinary archaeological treasure. priest of the Maria Auxiliadora Church. The town we were in was Cuenca.3 First Visit to Crespi’s treAsure “I love that man. “When are you going to bring me a little one to baptize?” Cecelia blushed and introduced us with the affection due her family priest. holder of numerous doctorates.” my companion said with a beautiful smile. Crespi shook my hand vigorously. “enough flattery. eh?” he asked.” the priest said. explorer. filmmaker. “Cecelia!” he exclaimed. Father Crespi’s bent. Cecelia translated the wry greeting. let’s take a look.” “Ah. anthropologist.” Without 3 . and a person who. my translator and one of Father Crespi’s many devoted friends. a sly smile twinkling his pale-blue eyes. “So. has great respect for your work. “That man” was Carlo Crespi—jungle missionary. his eyes widening with pleasure. you’re the archaeologist.” We were on our way to a storehouse of marvels I had heard described by Manson Valentine in Miami. just two days before. eight thousand feet high in the Andes Mountains of Ecuador. aged figure strode quickly out to meet us with a lot of zip for an eighty-six-year-old man. knowing of your collection. My companion was travel agent Cecelia de Eguez. When we arrived at the church. an investigator and photographer. “Not an archaeologist. “the peoples [sic] around here think he is a saint.

rolls of golden sheet metal. 3.1. Piled haphazardly on the floor were rich-red copper shields. He touched two bare wires together and a watery yellow light glimmered. sheets and rolls of silvercolored metal. Father Crespi was smiling like a man with a remarkable secret. Stacked against one wall were seven-foot-tall golden mummy cases in the quasi-Egyptian style with a fire-blackened finish (see plate 1). Unidentified metal sheets and in center a roll of gold sheeting. There were a few sets of what appeared to be gleaming golden suits of Incan parade armor alongside golden Chaldean-style helmets and golden plaques inscribed with a linear alphabet (plate 2).4    EvidEncE of an anciEnt civilization ceremony. much pottery. Fig. . strange gears and wheels. I was astonished at his huge collection of artifacts. he forced a key into an ancient rusty padlock and opened the rickety door to his shed. later identified as protoPhoenician by professor Barry Fell.

Rolls of intricately repousséd sheet metal. The decorative animal figures on this ark—an elephant. were stacked against the walls. a llama. wheeled and geared.3).2. 3. a dinosaur. perhaps a Brontosaurus—were parading upward toward a metal cutout sun disc (see figure 3. obviously to accommodate poles that slipped in for carrying. Stone grinding mills. and peculiar brass pipes with no threading.first visit to crespi’s treasure   5 Fig. but in design unlike anything used by the Spanish. lay partly buried and covered in spider webs. Dinosaur with sperm cell decorations. The priest pointed to a gray metal ark piled on top of peculiar machines of unknown usage. Scattered among the gold were plaques depicting dinosaurs. and most puzzling.” I thought. “King Midas’s treasure in a rainforest junk pile. every inch decorated with cartoon figures. The rolls of sheet metal were seven. Shoved carelessly under piles of other artifacts in a dark corner of the shed were stone and copper mechanical devices with circular stone rollers. and it had a hinged door. The ark had golden rings fastened on the sides.and eight-feet tall and were made from .

The priest wouldn’t buy artifacts unless they appealed to his whimsy. Animals marching up to a sun disc suggest this genuine artifact is pre-Hebrew. Hidden from sight are genuine gold rings to insert carrying poles. yet his gen- . that is—such as the metal statue with modern false teeth. 3. delicate rivets to make rolls that were ten to fifteen feet long. However. for the sheet metal body of the statue was the real wallpaper “and the teeth were made in a local dental lab. the old priest would spend two or three hours studying books on anthropology and archaeology. a laughable real-fake.” Crespi was a shrewd psychologist. Archaeologists just shake their heads when they discover that he knowingly bought fakes.6    EvidEncE of an anciEnt civilization Detail of marching animals Fig. three-foot-wide pieces artfully riveted together with tiny. His native suppliers cut up rolls of metallic “wallpaper” ripped from the walls of buildings in the rain forest to forge more saleable artifacts—saleable only to the priest. The Ark. There were woven copper rectangles suggesting heat-exchange devices. his whimsy was sharp-eyed and Father Flores-Haro. but decorated with brass air pipes. told anthropologist Warren Cook that after an exhausting day.3. his devoted pupil.

his attitude and sharp eye brought him one of the finest collections of Ecuadorian pottery and artifacts in the country. In fact. “That is the most beautiful Nizroch figure I have ever seen. His jungle diggers once brought him fifty-two bronze plaques of such great beauty and superb workmanship that a scientist at Baltimore’s Walters Art Gallery. Linear script? A quill pen? Fig. letting out a little cry of joy when he smilingly displayed them. and one of the plaques bore the image of a Caucasian man writing linear script with a quill pen. 3. .” Then Carlo Crespi showed me his favorite pieces. whom I visited later in 1978. This attitude kept the artifacts flowing.4.first visit to crespi’s treasure   7 erous and open attitude endeared him to his beloved Indian friends. a Nizroch. Assyrian Nisroch copper-based plaque. exclaimed. It seems he had a keen eye for beauty. as noted by the archaeologists who supervised the looting of his rickety storage sheds. There was an unmistakable royal Egyptian woman. an Assyrian sacred five-legged bull. and much in his collection is obviously real and fantastic.

The priest himself brought the artifacts into the sun. Wayne N. Assyrian.5. Lack of space inside forced me to set up my tripod and camera in the outer courtyard. . Crespi holding the gold plaque of the figure of a royal woman.6. so his open generosity won me over. but after a fire destroyed his best artifacts. “As many as you like. New York City. 3. Compare to Neo-Assyrian human-headed winged bull (lamassu) dated 883–859 BCE in the Metropolitan Museum of Art. Crespi had once had everything stored in an orderly fashion in a museum in his nearby school. Fig. 3. (Photo courtesy Ancient American magazine. The genial priest let me take photographs. five-legged bull-man.” he said.8    EvidEncE of an anciEnt civilization Fig. Most museums guard their treasures from casual photographers. what survived was brought to his church and jammed casually into the shed and a few empty rooms. May) The archaeology was tumbled about in two sheds off the courtyard and also stacked in side rooms of the church.

Plate 2. May. Look for the bull.Plate 1. . symbol of Taurus. second from the right. Golden plaque of Semite and 56-letter astronomical/astrological tablet. Photo courtesy of Ancient American magazine. Courtesy of Wayne N. in the fourth row from the bottom. Heavy gold plaque.

The tablet on right is an algebra text.Plate 3. Anthropology student Kurt Lowenstein holding a golden sheet metal column. the left one identified by Barry Fell as ProtoPhoenician. Carlo Crespi with bronze-colored crescent moon. Plate 4. . Plate 5. Copper alphabet tablets.

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