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THE HUNGARIANS IN MIDDLE AGE WEST EUROPE

Rather see the book 05: Szekely Varese
HUNGARIAN MARKERS IN THE LONGOBARDIC AVARS’ ART
The German Longobards were acculturated in Hungary: in fact, nobody knows from where they came because they left no archaeological or
cultural trace along the route of their migration from Sweden or Northern Germany. They later came to Italy with some Avar tribes, who
brought with them their symbols of sacredness:

Vrap treasure, Albania

The Nagyszentmiklós treasure (gold images, Wien Historisches Museum) and the Holy Crown (Parliament, Budapest) are parallel steps of
the same transition of the Hungarian art into Indo-European art. Both mix Indo-European, figural, anthropomorphic divinities and kings
with Hungarian sacred symbols (See the abstract “Transitional Art”). Avar Mother Istens had arms longer than legs in Italy too.

Varese, Insubria, IT, 1950 Avar, Gemonio, IT Avar, Germignaga, IT HU, Shell Ferenc
How is it possible that the Insubrian Avars and the Szoreg, Szeged Hungarians, 1000 km away from each other, designed the same Baby
Isten 1500 years after their separation? Power of the shared cultural DNA!

Avar,
Sogdian/Avar Kalash, Arsia Cividale, IT

Sidak sanctuary, Yatsenko Sarmatia Avar

A 0
v 8
ar 9

T
a
m
g
a
Avar sword, HU
Tamga Avar, HU Avar, HU “Attila’s” Avar (!?) szablya

Tillia Tepe Avar sword, HU Gemonio, asymmetry Avar, IT, Metropolitan M.

Varese, V.Daverio

Gemonio,IT
The spoons are the typical ones that the Hungarians used for their gulyas since the
Bronze Age, wherever the Hungarians were and went! I guess that the Hungarians
started using forks and knives in Europe, because, as long as they ate gulyas, they
did not need them. Maybe they started using forks only at the time they started
eating spaghetti. The Heart Isten was another Avar tamga. The Vrap calices, in
the shape of drink rite cauldrons, are dressed as the Scythians, the Amazons and Paris of Troy were, as king László was, and as the Avars
of Varese still dress their buildings:
↑ Varese, via S. Pedrino. Lungolago di Varese, encircled crosses ↑. Viale Ippodromo, Avar Istens with arms longer than legs. ↑
MR. METROPOLITAN MUSEUM! THE VRAP TREASURE, ALBANIA, 650 A.D., IS AN AVAR TREASURE.

“Celtic”: the same vulva

Erdely, bronze as the Saint Denis Isten Parthian Avar, S. Rocco, Gemonio

Beneventum, IT, Avar Syncretic: Cross + Isten Budapest M.N.M. ↑→

gemonio

(1-3): (“tulips”, 3 circles, tree of life, Crosses of Istens, Baby Istens…) that they had brought from Central Asia.
(4-5): Honfoglalás time, Magyar Nemzeti Múzeum.
Those people, who believe that the Baby Isten was a “tulip” should be aware of the fact that sceptres, crowns, coins and... stamps, have
always been decorated with sacred symbols, until the time the Romans replaced the image of the Goddess with the one of the Emperor,
and only recently they have started being decorated with flowers and other amenities! Recently, an African stamp has been issued with
the image of… Berlusconi shaking hands with Obama! (“Il Giornale”, 02.01.10).
The following images are a small percentage of the Hungarian sacred symbols that I have collected from images of Avar churches in Italy:
1
5
2

V
Sarmatia Caucasus Avars Este, IT, Avar “Longobard Bizantium arese, Insubria, IT
The above Crosses of Istens are all transitional Crosses:
Sarmatia, J. D. Kimball; the offspring could be a square: this would be the only square offspring that I have found, in the 8.000 years of
Hungarian history.
Avar “Longobard”, Este National Museum, IT. The offspring is an 8 ray Sun and the cross is inside a square. The left side of the frame
is still a crown of spirals.
Caucasus Avars. The heads are lacking, the offspring is a 4 spiral ray Sun, similar to the one found on the Niya oinochoe.
Byzantine, Istanbul Museum, Exhibition of “Byzantine” art. A square instead of a circle surrounds the sacred symbol.
Varese, Insubria, IT, Via Cesare Paravicini, 1952 A.D.. Square instead of circle.
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v 5
ar 6

T
a
m 6
g 1: Vinča and Cucuteni (rare “Meroving.” ↑ Collezione
a curved signs). 2: Tamga Castellani,
Avar→,
3: “Ostrogothic”, Kerch, Villa Giulia M. Lituus, Delemont, Jura CH
Romans di
UA, 425 A.D.. Rome, IT, 9 Fiorano, MO, IT. (Female), Avar Graves in HU: the holes
Isonzo, IT, 9 are the Turul’s eyes
3 3
C 0
a 5
st 7
el
la
ni

← Sarmatian, Tomoikins Museum, UA. Avar, Gemonio, Insubria, IT →

Castellani was an art collector who bought here and there: all we know about the artefacts of the above
line (Museo di Villa Giulia, Rome) is that some of them could come from Barete, L’Aquila, IT. They are
supposed to be Gothic, because “THE GOTHS WOULD HAVE APPREHENDED THE STYLE FROM
BARBARIC POPULATIONS THAT HAD MIGRATED FROM THE EAST TO THE NORTHERN SHORES
OF THE BLACK SEA AND TO THE LOWER DANUBE AREA”! (A. M. Sgubini, Soprintendenza
Archeologica, Etruria). The Italians have been taught that the Goths came to Italy, not yet that the Avars
also did! No doubt, those “barbaric populations from the East” were Hungarians: cross of Istens, palmettes (very similar to an Ainu one),
dotted circles in the vacuum of the Cross, of the horse and of the hornid, a ring with spiral finials similar to the finials of the Honfoglalás
time bracelets, a Gold Idol, a transitional cross of “mushrooms” (Heart Istens!), and the four petal
rosette that have accompanied the Hungarians since the Trypillia time.
For accuracy sake, those artifacts are Avar, because they are congruent with the Avar art and with the
Hungarian cultural DNA, and because Avar S-shape tamgas have been found with them.
An artefact may have been in the legal (or illegal!) possession of a German speaker, may have been
brought to Italy during a migration or holiday by a carrier with a Ukrainian DNA, who may have
anthropologically resembled to an Iranian… and the artefact is Hungarian! I.e.: it belongs to the
Hungarian cultural DNA. Most archaeologists connect archaeological finds to the genes of the
carrier, or the language they suppose he spoke, or to the dating of a similar artifact… and they are unable
to imagine that an artefact must be connected to the culture that originated it. Moreover, if a “carrier” was
carrying as many Hungarian designs and sacred symbols (you bring an Idol with you only if you
believe in its power) as the above one did, the probability that also the “carrier” was
Hungarian (or culturally Hungarian) is very high. (See line RRRR).
I would not be surprised if the treasure of the Avars was scientifically looted by the Army of Charlemagne,
who later on would have gifted his allies, his generals and the western European Nobility with it: Avar
jewelry appears to be everywhere in Central Europe, but not much in Hungary. (I have not yet visited the
Gyor Museum, where, I have been told, there is quite much. If you live in Gyor, help me with the photos
you may take in the Museum!).

Honfoglalás time Hungary, 1837, Néprajzi Muzeum, Budapest

Four petal rosette: photos you may take in the Museum!).
Honfoglalás time Hungary, 1837, Néprajzi Muzeum, Budapest
Four petal rosette:
Crosses similar to the Hungarian one spread all over the Balkans (see the Slovenian 1 Euro coin), Czechoslovakia, Poland, Ukraine, and
several other Christian Countries, where the memory of the Bronze Age Mother Isten was
still alive.
HOWEVER, I AM SORRY TO INFORM THE HUNGARIANS THAT THE COPYRIGHT OF
THEIR CHRISTIAN CROSS DOES NOT BELONG TO THE MAGYARS. The Hungarian
Avar(-Longobard) prince Adelhis had already registered the copyright of the design of the
Hungarian cross in Beneventum, Italy, by stamping it on his coins (right, 867 – 871). The
obverse of the same coin shows the “tamga” of Ludovicus II Imperator: a “faded tulip”
tipped by 2 Hungarian sacred symbols: tree of life and 3 circles design. You do not
believe that Adelhis was Hungarian? In this case you should explain why Adelhis,
Ludovicus and Grimoaldus and other “Longobards” were using so many Hungarian sacred symbols on their churches and on their coins:

The same Cross that is on the fourth coin had been portrayed by the Byzantine emperor Leontius (695-698) on his
solidus (right). However, the one of Beneventum was correctly placed onto 3 steps instead of 4.
How is it possible that at a time distance of 1.5 centuries and at a space distance of 1,300 kilometres, when they
converted to Christianity, both the Avars and the Magyars adopted the same design for their Cross? It was possible,
because for both peoples, that symbol was the symbol of the Mother Isten. It was possible as it was possible that the
Hungarian Academy of Sciences adopted a composition of 3 Pannonico designs for the logo of their restaurant in
Budapest, instead of a Yugran one, as the linguists would have liked he to do. The cultural DNA never lies!
A 0
v 5
ar 9
,

I
T
a
L
y Note usual asymmetry

THE AVARS OF GEMONIO, INSUBRIA, IT

1
5
7

I
n
s
u ↓
b
The designs of the above line, all Hungarian, are from the
r
Mother Isten Temple of Gemonio and from churches in Cuveglio
ia
and Germignaga (a few km. away from each other, in Insubria,
IT); the design in the 4th box is part of a line of Istens that
It
al
y

loudly decorates the City Hall of Cuveglio, as lines of Istens decorated the Arsian yurts, the buildings in
Central Asia, and the façade of the Vigado concert Hall in Budapest ↑. (Crosses of Istens decorate the
columns of the Vigado).
An upper floor of the City Hall is decorated with a line of dotted rhombuses, formerly dotted circles, as a
line of Istens and a line of dotted rhombuses decorate the Duhany synagogue of Budapest.
The last design of the above line is not upside down: the ← Avar Mother Istens had arms longer than their
legs. Compare it with the Szőreg Mother Isten →, whose head still has the same shape as the Çatalhöyük
and Pannonico Bronze Age Mother Istens. (line WWW)
If the first 4 designs on the left had been found in Bayern and in West China, an Indo- 1
C Germanist would have “inferred” (and later on, made his fans believe it) that the Chinese 5
o spoke an Indo-German language (somebody has tried it already! See “Honfoglalás…”). 8
m The fact that those designs are not linked to an Indo-German language makes their similarity
p be a “mere coincidence”.
o The first upper design is Etruscan (Amphora, Louvre); the second design is in the flag of
s Kazakhstan, 6000 km away, 2000 years distant; the third design is from the Avar Mother
i Isten temple in Gemonio, Insubria, IT. From Etruria to Arsia and back to Italy, via Hungary!
te As I am not an Indo-Germanist, I “infer” that the first design was the archetype stored in the
memory of the cultural DNA of 2 Avars, a Kazakh Avar and an Italian Avar, who had come
L from West Arsia back to Hungary and had reached Italy with the Longobards. When they
in drew those designs, one of them was speaking Latin (as it appears from the inscriptions on
e the temple), the other one was maybe Turkophone: so what? One of them speaks Italian now
s and the other one has spoken Russian for some time, so they cannot be Hungarians? Other
Hungarians now speak Romanian or Uyghur, so what?
O Isten save the world from the linguists! The monks of the Mother Isten temple had came from Pavia, the Capital of the Avar/Longbard
f Kingdom. The Saints depicted in the church (16th century) were all red haired.
I Important: the black and white Cross of Heart Istens of the Isten Temple of Gemonio (above, 3rd box) shows the usual asymmetry of the
st Hungarian Crosses of Isten! … and, do not forget that the Hearth Isten was an Avar tamga (the one in the Isten
e temple decoration is transitional: it has become a hearth, as many other ones did, but there are also right ones!).
n I forgot! The last 2 images on the left are, believe it or not, in the Muslim mosque of Saint Sofia in Istambul, and on
s the Vigado Concert Hall of Budapest.
DIONIGI TETTAMANZI, ARCIVESCOVO DELLA DIOCESI INSUBRICA, WHY YOU HAVE A
HUNGARO-AVAR AND A GREEK CROSS IN YOUR PALLIUM? WHY YOU USE A HUNGARIAN
LITUUS? WHY YOUR ←TONACAS ARE DECORATED WITH REPRESENTATIONS OF A PAGAN
DIVINE COITUS AND EVEN WITH AN ETRUSCAN PAGAN RELIGIOUS SYMBOL?
LINES OF ISTENS
1
7
0
Begram, ivory, Afganistan.

Pazyryk carpets Sarmatian BG, Bizantium Tarim, Nagyszent, Cividale Mosuo, Yunnan, CN Avar, Insubria, IT, today
If you enter an Iranian shop they tell you that the Pazyryk carpets were Iranian carpets and they show you books where it is written so.
Actually, the Pazyryk knotted carpet (the oldest in the world) was not 100% Hungarian because, maybe for the first time in the history of
the Hungarians, they depicted knights in anthropomorphic style on that carpet: the Huns had already arrived there.
However, the carpet of Pazyryk had a frame made of lines of a symbol that stayed with the Hungarians for the next 2.5 millennia.
0
8
9

CAMUNI
Alexandropol, Scythia, UA Parthian plate and details: Pregnant Mother Isten and 2 double Crowns of Spirals
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0

Etruria Plovdiv Museum Avar Nagyszentmiklós, found in RO, kept in AT.

Etruscan decoration of figural scenes (“The Etruscans”, A. Magagnini): Heart Isten and Delivering Mother Isten - a double design: very
Hungarian! In the Etruscan Isten design the offspring is still in the right place.
Plovdiv Museum, Sarmatian (Ivaylovgrad), or Avar/Magyar (Veliki Preslav); double design.
A millennium after the Etruscan design, the Nagyszentmiklós Mother Isten has lost the offspring: the process of patriarchal shifting was
already in progress or the hemisphere on the belly indicates that the Mother Isten was pregnant, ready for delivery, but not delivering yet.
The Heart Isten has become a heart.

Gemonio, Insubria, IT, an iron gate. The Avars of Insubria depict their iron gates and fences the colour the like, but they often stress the
sacred symbols in white or gold so that a linguist who passes by may recognize them.
Note that the Hungarian sacred symbols that make the Parthian, Etruscan, Sarmatian, and Avar lines of Istens are two and they are
shown in the above line (Typical Hungarian double design).
← Bottom of the kaftan of an Altaian (Benkő Mihai, left). 0
Bottom of the kaftan of King Arpad, Nemzeti Történeti Emlékpark 9
(National Historical Memorial Park), Ópusztaszer, HU. → 2
Up until the day Trefort Ágoston, pushed by linguists, sold out the
Hungarian identity, the Hungarians knew exactly who they were, where they had come from, who
was their Mother Isten: at least the designers of the Saint Stephen Cathedral and of the Emlékpark did know. At that time
the Magyars still behaved as Magyars, the Turul was not yet a bird of prey.
Was Arpad Etruscan, Avar, Turkish or Hunnish? The people of Arpad was a Hungarian population, who descended from
Pannonici (not Yugrans), who had spread their civilization to Europe (Old Europe, Magna Pannonia) and to Central Asia
(Pazyrykia and Arsia). That people came back to Europe in the first Millennium A.D. in 3.2 waves. Not all the Hungarians
could come back home with him; the descendants of some of them and their Hungarian cultural DNA
still survive in Japan (Ainu), Altai, Tuva, Kirgizstan, west Kazakhstan and Uzbekistan, Afghanistan,
Kashmir, Korea, China (Xin Jiang, Gan Su, Yunnan), west Siberia (Xanty Mansy), Middle East, Italy
(Friuli, Insubria, Sannio, Puglie, Sicily…)… I forgot: … Finland, Estonia, Russia (Carelia, Mordva,
Mari El, Kalinin, Perm… and the Volga/Kama region), Romania, Moldova, Ukraine…!
← Bottom of the kaftan of Salomon in the cathedral of Strasbourg, FR, stained glass.
Bottom of the robe of the Mother Isten, tympanum of the Szent Istvan Basilika in Budapest. →
1
7
1

Tarim Basin yurt Avar Bizant bible, Venezia Kalash, Dodo Kot, Kashmir, Arsia Avar, Varese Detail→

Kalash, carved door frame, Shakanande, Rombur Valley Avar “Longobardic” church, Cividale del Friuli, IT
1
7
2

↑Duhany Synagog. HU ↑ Avar, Varese, Via Sanvito S., Insubria, IT. 1

Avar, Gavirate, Viale Verbano, Insubria, IT ↑ 7
Notre Dame, Paris, FR (Compare with the Avar circle of Istens of Bitonto). Florence, IT 3

1
7
4

Avar, Cuveglio City Hall, Insubria, IT

1
7
6

Vigado concert Hall Budapest, HU: line of Baby Istens (“tulips”)

We already know that the Longobardic art makers of Italy were Avars: the church of San Rocco
is in Gemonio, the same town where the Avar Middle Age church is located. I spent half an hour
strolling in the city centre: I have come home with 70 photoes showing Hungarian markers in
the church and in the town, that I added to the file that already contained the 50 photoes I had
taken of the Middle Age Avar church! On top of the timpanon of San Rocco you can see a line
of Istens: an Avar Cross of Istens guarded by 2 Pregnant Mother Istens! (The sphere is the big
belly and the hands and head are the “tulip”, if you prefer so). If you insist, you can even call it
“Hunnish tulip”! That symbobl also appear in one of the Kanishka coins! I just add a few more
images here:

The above artefacts are all in the Metropolitan Museum and four of them are used to show the best of Italian art in the period 500-1000
A.D.
Hungarian columns (see Art “Designs” and further lines): left, South Italy, 800 A.D; right, Notre Dame de la Daurade, Toulouse, 400-600
A.D., “Merovingian”.

THE VISIGOTHIC AVARS

The Goths arrived from somewhere in the North (possibly the Gothland Isle, or the Baltic Sea coast) without leaving any trace of their
original settlement, or of the route they travelled. The Ostrogoths (Eastern Goths) were acculturated in Sarmatia, where they stayed 2
centuries: their art was Sarmatian Art. In fact, the Visigoths (Western Goths), who had spent little time at the borders of Sarmatia, did
not have any art at all. When the Visigoths arrived in Central Iberia and settled there for 2 centuries, they did not bring anything new. If
they had had an art there would be traces of before and after they were acculturated by the Hungarians!
What had the Longobards, the Visigoths and the Merovingians in common?
We know already that they shared the same Parthian, Sasanian, Avar… Hungarian Lines of Istens! Now we find out that they also shared
the same decoration and that decoration had come from the Tarim Basin!
(Why the French do not call Her by Her name – Maria - or Madonna, but “Notre Dame”? Why the Hungarians call Her “Happy Lady” and
not Maria, or Madonna? Because, , when the Hungarians went to church, they looked at Maria, but they saw the Mother Isten, Notre
Dame, “their” own Lady, the Mother Isten! …and the Pope was happy, because they went to church!). The Afro-Americans of Cuba do go
to the Madonna del Cobre, but when they go back home in front of an image of the Madonna they mak an Africn rite and they see in the
Image of the Madonna “their” African divinity… and the Pope is happy! Similarly, Japanese Christian women marry with Christian rite and
are buried with Buddhist rite.
On the book “Atlas zur Baukunst”, page 274, Werner Müller und Gunter Vogel explain that the Middle Age Barbars, unable to understand
the laws of classical monumental architecture, were only able to bring new ornamental designs. In order to prove their theory they show
the 2 greenish images of this line (7-9 th c., Santa Maria de Lara, Quintanilla, Burgos, Spain. The images are the contribution of István
Szász to the book.) The decoration of Quintanilla, they say, is similar to decorations found in Spain, Italy and France. They respectively
link that decoration to: the VISIGOTHS in
Spain, the LONGOBARDS of Cividale in Italy,
and the MEROVINGIANS of Jouarre, Île-de-
France, in France.
Let us see whether those designs belonged to
the barbaric Germanic tradition or to someone
else’s.

Quintanilla Spain and two details of 2 lines that decorated buildings in the Tarim
Basin. ( ) with the same peacock and the same trees of life of the Honfoglalás time that the Hungarian Intelligentsia has named
“palmettes”, with “tulips” and benches of grapes.

carved wood
decoration of buildings in the Tarim Basin, M.A. Stein. The Arsians of the Tarim Basin exported wine to China. Decoration of an Avar
pluteus in the Musei Civici of Pavia. Avar Church of San Rocco, in Gemomio, Insubria, IT - a church of Tarim Basin Avars.
Quintanilla, Spain.
You may not be happy with the above images, so, look at the following ones.
The image on the left shows a Sasanian plate, but both the subject and the decoration
are Hungarian: In fact, the same design arrived in Europe with the Avars (right,
Nagyszentmiklos treasure). The Avar design is more Hungarian than the Sasanian one
because the lady holds 2 Isten Symbols in her hands (It is commented on line MMMM).
Instead. in Sasanian art only the tree of life → survived; the Mother Isten was
replaced by griffins, as usual.
You can see on the next line how the decoration of the Sasanian plate evolved
in Europe.
0
9
1

Sasanian Plate, with Turul and Lady. Sasanian tree of life: bunches of grapes, “tulip”, peacock.
The Avar Nagyszentmiklós design of the Heart Isten is on the way to become a vine and grape design (The Avar Nagyszentmiklós
Treasure was a transitional Hungaro-Iranian treasure. What had happened in Etruscan and Scythian Art, also happened in the
Nagyszentmiklós Treasure, and shall happen again in the Holy Crown. In fact, every time the Hungarian art came under the influence of
Indo-European art, it became transitional art: the subjects became figural, but the Hungarian sacred symbols survived as decoration. (See
the “Transitional Art” abstract).
Avar church, Cividale del Friuli, IT, the first capital city of the Longobards in Italy.
The 3 leaves motif on the Holy Crown is made of vine leaves; the Pope did not allow the complete design with the bench of grapes,
because it would have reminded wine and drunkness.
The Visigothic decoration, similar to Longobard and Merovingian decorations was a Hungarian decoration.

THE MATRIARCHAL MEROVINGIAN AVARS OF THE JOUARRE ABBEY

Let us now see who was making the art of the Merovingians.
The Abbey of Jouarre is supposed to have been erected in about 630 A.D. A “community of monks as well as nuns, but all of them under
the rule of the abbess” lived in the abbey - a matriarchal Abbey, not Indo-German! The Abbess did not report to the local male archbishop
but was under the direct authority of the Pope. “The abbess's submission to the bishop of Meaux did not come about until Bossuet held
the post in 1690” (text and images from the website of the Abbey). Let us look at the art of the Abbey and of the city of Jouarre:

The same “animal style” Tetramorph Christ (Apocalipse, chapter 4), (680 A.D.), as in Avar Germignaga, Insubria, IT. The same buidings
dressed in Scythian style, as in Avar Varese. Christ is framed by a Pannoniberico Mother Isten. The Madonna of Jouarre holds in her right
hand not a Christian Cross, but a Mother Isten as the “Longobard” Theodolind does, with her Crown of Istens and her crown of 6 spirals
(Nurnberg, DE). Let’s now look at images of Merovingian art, taken from the book oooooo :
n
gi
a
n

Zamosc poland ermitage

Six ray Suns, Sarmatian and Avar Turuls as in “Ostrogothic” Domagnano, San Marino. The Avar signature: the same tamga (6 inlays) as
the one unearthed in Avar Romans d’Isonzo, IT (9 inlays).
When I first time visited the Treasure Museum in Kiev, I was hit by two astonishing artefacts that I saw there: some people in the Net used
the image of the astronaut and of his robot horse as evidence of an alien landing. I know now that it was the landing of an Avar tribe in
Ukraine, at the end of their return trip to the Pleiades.
From Ukraine, the tribe moved to the Île-de-France and they became the goldsmiths of the Merovingians.
The Merovingian

king asked them to make a robot in the same style of the Horse robot that the Pleiadians had brought from
Ukraine. However, as he was an Indo-German, he wanted the robot to be a lion and dictated that the male sex
be well visible.
The Avar goldsmith made it according to the request, but he left a message for posterity: he filled the vacuum
with a contradicting dotted rhombus (formerly a dotted circle, a symbol of femininity!) so to make everybody
clear that he was against, but he was forced by the king to apply a male sex to the lion.
You know what? I’m afraid I have read too many Hungarian Intelligentsia’s books and I am now starting telling

fairy tales myself, as they usually do! I’d rather stop reading Hungarian books!

THE OSTROGOTHIC AVARS OF EUROPE

See also Early Middle Ages Hungarian Alanian archaeology in Europe
The “Most Serene Republic of San Marino” (Venice had the same attribute) is the oldest recorded 0
sovereign [city] state (from 301 A.D.) and constitutional republic in the world (from 1600).” The head of 1
state is a committee (council) of two captains-regent. It was founded by an Illirian monk, from the island 3
of Rab, HR,… or was he a Sarmatian? The Domagnano treasure was found in San Marino, it is dated 500
A.D., and has been labelled “Ostrogothic”. If the Domagnano lady (above right) was not Sarmatian, then
G her Ostrogothic husband had raided a Sarmatian territory, or rather, her goldsmith
ol was Sarmatian and he was obliged to put 8 rays, instead of 6, around the uterus of the
d Gold Idols. Her breast decoration is made of 2 Turuls and 9 correctly upside down Gold
Idols. In her grave, other Sarmatian jewels were found, and other Turuls decorated her
I fibulae. The “Ostrogothic” lady may have been Christian and could have spoken Ostrogothic or Latin, or Esperanto, but
d her treasure still loudly and clearly speaks Hungarian!).
ol Similarly, the Turul (left) kept in the M.A.N. of Madrid is Sarmato-Alanian and not Visigothic: a king of the Alans was
killed by the Visigoths in Aquitania, another one by the Vandals in Africa and finally the Vandalorum et
Alanorum Regnum changed its name to Vandalorum Regnum! The Alanians
brought the Alan dog to Spain: Alan dogs can be seen in several paintings of
Spanish royal families.
The treasure of Gourdon (right) is another Alanian treasure in Saone et Loire, FR. “The decor is
“barbarian”, in both iconography and technique, typically light and portable, and employing the
cloisonné technique. Comparable bird motifs may be traced in Visigothic, Lombard and
Merovingian metalwork”, (Again!)

THE SARMATO-AVAR “GERMANIC” SPANGENHELM

Now you know that the vine and grape design was a Hungarian marker.
If I want to prove that also the Ostrogoths had their art made by Hungarians, I need to find a grape and vine
design.
The Ostrogoths had lived for some 2 centuries in Ukraine, the Sarmatian homeland and the place where the Avars
had landed with their spaceship. From there, they migrated to Italy and established their kingdom in Ravenna,
some 80 km from San Marino. The marker of the Ostrogothic art is considered to be the Spangenhelm. 27
Spangenhelms, all dated 6th century A.D., have been found in an area that stretches from Gothland to the
Pyrenees, to Sabratha (Libia!), and to Amlasch, Iran. An empire even larger than the fabulous empire of Attila, as
described in the fairy tale of Obrusansky! As the Metropolitan correctly assesses that the Goths would have not
been able to make them, they suppose that these helms were made by a court workshops of the Byzantine Empire. These helms have the
same conical shape that the Hungarian helms had since the Bronze Age, with the same support on the top for the totemic animal or the
tamga. “The earliest evidence for the manufacture of the Spangenhelm comes in the form of SASANIAN examples of the 4th
S
century, (one found in Ninive, National Museum, Bagdad, Iraq, and 2 in Amlasch, south-west coast of the Caspian Sea, Iran, British
p Museum, London,” (Peter Finer, on MyArmoury.com).
a
Furthermore, “the decoration [of the helms] typically consists of patterns punched into the radiating straps and of BIRDS AMID AN
n UNDULATING GRAPEVINE embossed on the brow band” (Metropolitan Museum), similar to Visigothic, Lombardic and Merovingian
g
designs. (Again!).
e The Avars made those helms for the Ostrogoths.
n
Note that the Sasanian Empire had approximately the same
h borders that the Parthian Empire had, only the ruling elite had
e
changed.
l The old Partian elite could have migrated to Europe, where they
m
would be called AVARS.
The Partian Avars could have migrated in coincidence to the withdrawal of the Chinese from the Tarim Basin (330 A.D., A. Hermann). The
Silk Road business for the Avars was no longer safe and profitable. In fact, the Partian Juwels were made of gold, the Sasanian ones of
silver.
MR. METROPOLITAN MUSEUM, THOSE PATTERNS WERE NOT DECORATION,
BUT THEY WERE THE SIGNATURE OF THE HUNGARIAN SMITHS
THE “GOTHIC” ART

Statue and herm of Saint Louis XV. Tree of life design similar to Line of Crosses of Istens, 6 petals rosette,(6=devil!).
How can the crowns be so similar to Arpadian ones? a Sasanian one (right). Sarmato-Avar Cross of I., Triangles fill the vacuum
The second one is even similarly disassemblable as (In S. Denis it is figural as Line of Istens, alike those as in Tillia Tepe and Arsia
Arpadian and nomadic ones were. No fleur de lys! in Rus they will be) in Varese, IT lines sotto box 4
1
1
3

Door and spirals on roof as

in Etruria + HU Parlament Evolutions of the below HU capital and arch,
Stag and Alan dogs? Hungarian capital Isten blue opposing Heart Istens

Saint-Denis Abbey, the Strasbourg cathedral, Strasbourg cathedral, Saint-Denis Abbey, Strasbourg,
hand of God shows the Salomon with lines of Arsian double spiral capitals Hungarian “vegetal” Isten Rhine palace, a female Turul
őshaza of the Hungarians: Istens and Heart Istens see “capital” in “Art with red dotted double delivers a long armed (Avar)
the Pleyades on his robe as in Altai Designs” circle vulva Baby Isten

Arsian/Uyghur/Gemonio/
” Budapest Spiral petal
Bizantine” tree of Istens, flower + Cross of Istens ”G
Heart Isten, Avar Isten Early “Germanic” ↑→ othic” ↑→
Source of the colour images: websites of churches and cities; of the black and white images: Speltz
Alexander, “Styles of ornament”. The delivering female Turul of Strasbourg, Who is delivering a
Baby Isten (or rather an Avar Isten), strengthens my hypothesis that the Turul was a Goddess. In
Italy, children are still told that babies are brought home by a bird, a “cicogna” (stork).
Left: trees of life before the Hungarian standardization (3, 6, or 9 branches + bud or “tulip”). Right:
Hungarian tree of life (6 + “tulip), Varese, IT.
The influence of the Sarmatians (who also revived the Scythian culture in Ukraine and Byzantium), of the Avars, and of the Magyars, in the
disastered Middle Age European culture and art, is much deeper than it could have ever been imagined. The Scytho-Sarmatian influence
is still touchable East of the Danube/Oder line. The Avars did not disappear after they were raided by Charlemagne, but they spread
Westward to France and Italy were other Avars had arrived earlier. Both the Avars and the Sarmatians disappeared from the History of the
Empires but would have a great place in the History of Peoples. The Magyars were the only Central Asians, who did not disappear in
Europe, because they were the only ones that were able to create a competitive centralized state in Europe, and they have survived as a
Nation, …so far, even lacking a commonly shared identity!
Gothic style was born around Paris, after a competition of 3 Bishops (12 th-13th c.); each of them wanted have the most spectacular
cathedral in the region: Saint Denis was the first, then Notre Dame, Chartres and other thousands followed. At that time, Paris was a city
ruled by a war faring Frankish elite. The city was growing and Hungarian Armoricans had moved there from the North West and Celto-
Pannonici from South East. Furthermore, the Île de la Cité (where Notre Dame was built) had been inhabited by Parisii, who were not
Celts, but Armoricans. The Armorican coins of the time of Caesar, are very clear on the subject!

There are more than 20 Hungarian sacred symbols in the 2 Armorican coins! The horses and the faces are compositions of Hungarian
sacred symbols, including the Pleiades, the őshaza of the Hungarians! No sacred symbol in the Celtic coin, only the figural portrait of the
“emperor”, and its sacred name, Vercingetorix! (Vercingetorix was still quite Hungarian anyway, because he offered his life to Caesar for a
better treatment of his people (see “suicide” and “Mandate of Heaven” in “Honfoglalas…”). The pre-Indo-Europeans actually preferred
dying instead of losing their freedom: the Hungarians of Numantia, Pannoniberia, and the people of Masada committed mass suicide just
before the Romans entered their towns, after long sieges. “Never Masada again!” is the oath Israeli soldiers swear. Jan Palach and
Budapest 1956 were in line with the Old European cultural DNA. Did Indo-European kings ever commit suicide? No! they were usually
killed or poisoned (51 out of 64 Roman Emperors were killed and most of the Russian Czars were).
(Linguistic note: the Indo-Germanists were so happy when they found out that -Rix in Celtic (e.g.: VercingetoRix) was similar to Rex (King)
in Latin! Nowadays, If you ask an Indo-Germanist about Rix, he tells you stories and amenities about the Arya (noble) kings, but nothing
about the etymology of the word! You know why? Because one of them, smarter than the others, realized that Rix would have been a
postposition, a typical agglutinative feature! (…and of course, in Hungarian, the title does follow the surname!).
I have more Armorican coins to show you. I could never end it because every day I find new evidence to be added. I promise: this one
was the last addition!
↓ Armorican coin, 1st c. B.C.. “Gothic” stained glass and… the Notre Dame! ↓ ↓
WOULD AN ARMORICAN HAVE EVER BET THAT HIS ISTEN (NOT THE FLEUR DE LYS!)
WOULD HAVE NOT CHANGED AND NOT MOVED FROM HER POSITION AFTER 1400
YEARS?
The temples of the Hungarians had always been in the open air (Celts and Kalash performed
their rites around a stone circle or an altar near a wood). They needed see their God - the Sun
or the sky. They needed light to be enlightened. The need for light was the reason why Gothic
churches were built: the greatest efforts (and the larger structural risks!) were made in order
to have the largest possible windows to allow light in. Notre Dame de Paris is the most Hungarian of the 3 churches:
it is the only one where I have not found swords or battle scenes in the stained glass windows. In Notre Dame, you
can see the Armorican, maybe Avar, and the Magyar influence.
The Hungarian migrations and the Magyar kingdom were the fuel that allowed in the late Middle Age a revival of the
pre-Indo-European culture in Europe, in places where that culture was still the substratum of the Roman culture (from
Ukraine and Byzantium to Britannia, and down to Insubria, Etruria and Puglia). In the late Middle Age Europe, it was
not an empire to restart the engine of economy, civilization, and science, but a large number of tiny city states from
Etruria to the Baltic Sea.
In Rome, Gothic art has never been fashionable: there is only one Gothic style church in Rome and it was built in the
19th century! (…and a chapel in S. Maria sopra Minerva). The Popes may have feared that the
spires would one day reach God in the Sky and the Rome Church would be bypassed… and it did
happen, with Martin Luther!). If you want to see Gothic Art in Italy you have to go to Etruria
(Arnolfo di Cambio) or to Insubria (Milan Duomo), or you can see Sasanid arches where the
Avars had settled.
← The Cross on top of the highest spire of Notre Dame is similar to the Crosses of Insubria→,
with the same asymmetry of the Hungarian Crosses of Istens! (Shared cultural DNA).

THE EUROPEAN MIDDLE AGE WAS RULED BY GERMANIC SWORDS AND

IMPREGNATED WITH HUNGARIAN SPIRITUALITY AND SYMBOLISM.

SEE “THE 10,000 YEAR HUNGARIAN CONTINUITAS” FOR:

- Sarmati in Lituania e Scandinavia

- Sarmato Avars in the Rhein valley
- Avars in Molise, IT