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

Contents
Introduction
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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

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the Misuse of Ancient science and technology
The Voluntary Stone Age

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The Mysterious Disappearance of Percy Faucet

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Timaeus Appendix Three.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. Ecuador. by Warren Cook Bibliography Index 00 00 00 00 00 00 00 00 00 00 00 00 00 00 . A Deeper Look at the Crespi Collection of Cuenca. Critias Appendix Two.

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

much pottery. . He touched two bare wires together and a watery yellow light glimmered. 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).1. 3. later identified as protoPhoenician by professor Barry Fell. Stacked against one wall were seven-foot-tall golden mummy cases in the quasi-Egyptian style with a fire-blackened finish (see plate 1). Father Crespi was smiling like a man with a remarkable secret. he forced a key into an ancient rusty padlock and opened the rickety door to his shed. sheets and rolls of silvercolored metal. Fig. strange gears and wheels. Unidentified metal sheets and in center a roll of gold sheeting. Piled haphazardly on the floor were rich-red copper shields. I was astonished at his huge collection of artifacts. rolls of golden sheet metal.4    EvidEncE of an anciEnt civilization ceremony.

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

delicate rivets to make rolls that were ten to fifteen feet long. but decorated with brass air pipes. Hidden from sight are genuine gold rings to insert carrying poles. However. told anthropologist Warren Cook that after an exhausting day. his whimsy was sharp-eyed and Father Flores-Haro. a laughable real-fake. 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. Archaeologists just shake their heads when they discover that he knowingly bought fakes. that is—such as the metal statue with modern false teeth. 3.3.6    EvidEncE of an anciEnt civilization Detail of marching animals Fig. for the sheet metal body of the statue was the real wallpaper “and the teeth were made in a local dental lab. three-foot-wide pieces artfully riveted together with tiny. his devoted pupil. yet his gen- . There were woven copper rectangles suggesting heat-exchange devices. Animals marching up to a sun disc suggest this genuine artifact is pre-Hebrew. The priest wouldn’t buy artifacts unless they appealed to his whimsy. The Ark.” Crespi was a shrewd psychologist. the old priest would spend two or three hours studying books on anthropology and archaeology.

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

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

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

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