 There is a literal smorgasbord of smoking-gun, ancient architectural anomalies which dot the Peruvian hillsides literally thousands of miles of ruins. With ancient trails stretching far into South America and much farther afield, the largest known ancient artifact ever found is, in fact, a trail just like this. Yet the structures they build still stand as a testament to their Creator's abilities, which were indicative of an ancient civilization with abilities and knowledge that mainstream academia seems hellbent in its reluctance to even consider the possibility of their existence. It refuses to even discuss the topic, regardless of the fact that these buildings were made by people who were members of advanced ancient civilizations that somehow became lost within history, possibly during a near-extinction level event. Yet I digress. Our reason for the digression is an intriguing, if limited, post we came across recently, discussing one of the most remarkable, if little-mentioned additions to the most miraculous factors of the ancient Peruvian architecture, most notably its polygonal masonry, which has allowed it to be earthquake-proof for untold ages. Its keying stones, featured in the article, allowing these ruins to just brush off earthquakes, such as the 7.7 on the Richter scale quake that hit Peru in 1950. As mentioned, it was a curious article, and the reason for our fascination and surprise in its existence was the institution responsible for its printing. It would seem, in a brazen move just casually covered advanced technology, i.e. keying stones, the institution in question was Cambridge University. And as mechanical keying, the article does indeed begin with explaining the stone's miraculous placement and thus their ability to brush off natural disasters, yet predictably just drifts off into another subject without ever attempting to answer the obvious. That being, if these locations were built by the civilizations in which academia, and we should say especially Cambridge agrees, were a primitive people with a primitive knowledge of stone architecture and primitive tools, how did they not only create these keying stones, but the seemingly perfectly cut stones which make up the famous polygonal stonework of ancient Peru? Not to mention the multi-layered megalithic fortress of Saxe Huaman, clearly created by those who built Machu Picchu, but the enormity of the stones they used, and the possible reason for this, seems too deliberate for it to not have been indicative of some warning, yet regardless of each side in particular, their keying stones are a remarkable legacy of a lost civilization, one which we find incredibly compelling. When it comes to the particular ancient uparts that we share, which have a simply impossible age, this in regard to the modern chronological paradigm of man's historical origins, in which man evolved from the sea to the cave and then into modern civilization, in a supposedly already mapped out and fully understood linear fashion with no gaps whatsoever. A position made to attain undeserved authority over historical teachings. Thus, when an object turns up, which contests these so-called already established factual ideologies, it is either simply dismissed or those who oppose such possibilities of its existence go to great length to discredit its authenticity in any way. Furthermore, it must be mentioned that many more than could be contributed to coincidence have mysteriously disappeared over the years, scenarios, and events, which simply strengthened the original claims of the object's authenticity. Our next artifact of interest being no exception. Known as the Meister Print, it is an artifact that many have attempted to discredit as an authentic human footprint for good reason, and when one recites the academic opposed theory regarding the dismissal of said hypothesis of human origin, it exposes how miserably said attempt was. It is simply written off as a portion of Jurassic strata, at which at some point in the distant past, naturally fractured coincidentally into the form of a human-shaped shoe print. However, this explanation or attempted dismissal avoids any attempt to explain away the main feature within the print, which not only proves it was indeed a print once made by induced pressure onto this ancient earth, but why it's claimed as an u-part in the first place within the print there exists a crushed trilobite, which proves this was indeed a pressed print, but also confirms an age of hundreds of millions of years. Thus, whatever made this print had a human-shaped foot, was seemingly wearing shoes or boots, and was heavy enough to crush an ancient arthropod. These facts, along with academia's miserable attempt to dismiss said u-part, we therefore find highly compelling. We have in the past covered the astonishing ancient high technology still present within the gas-filled lens of Nineveh. Along with this proof of an ancient civilization's knowledge of glassblowing and convex lensmaking, there is seemingly many more examples that have quietly been found, studied, and pushed into the archives of museums worldwide. In particular, those found within the ancient sites upon Crete. Although many a sleuth has discovered this fact and have subsequently investigated these claims and indeed proofs of an ancient civilization's astute awareness and past ability at creating these perplexing reading lenses, lenses of a surprisingly high quality, the first exposure of this truth came from a most unlikely of sources, that being the July issue of the British Journal of Physiological Optics in 1930, which contained a communication from a Mr. H. L. Taylor in quote, the origin and development of lenses in ancient times, which describes the development of the lenses to the Cretans of 1800 BC. His examination of the museums of the Eastern Mediterranean has led him to the conclusion that ivory and steatite, the materials used for beads prior to 2000 BC, later replaced with rock crystals, onyx, agate, and cornelian. The discovery of the magnification produced by a bead of rock crystal, he believes, led to the production of lens-shaped beads, and eventually of lenses, such as those of the Royal Gaming Board found in the palace at Nossus, the best of which now rest within the archives of the museum Candia within Crete. Their magnification ability has been recorded at between five and eight diopters and are planoconvex in shape. These quality lenses were then transported out of the area to the mainland, including Troy, Tyre, Nineveh, and the United Kingdom, end quote. However, any explanation as to how these ancient artifacts were indeed created remains unknown, or indeed untold, the closest anyone dare tread is claiming they are of natural rock crystal origins and developed accidentally. Regardless, their existence is undeniably highly compelling. When it comes to the work that we do, and the vast selection in which there is, regarding historical mysteries, we will often seek out the more obscure, the easily missed, often overlooked items, which to this day remain enigmas. We hope that by categorizing the many bizarre, and if not for our republishing of said curiosities, we feel lost history, like so many areas of antiquity which have inevitably been forgotten, one of which is known as plumageery. It is a practice so rarely discussed, it does not even appear in many English dictionaries. Yet possesses such an interesting historical connection, with an equally compelling accompanying explanation for said connection, makes its obscurity not of a surprise, yet they are indeed undeniable. History is the practice of weaving bird feathers into many different forms of tribal attire. Firstly, I will quote academia's explanation for the similarly found within this rare practice found upon artifacts discovered or excavated all over the Pacific Rim. This is to display the level of contortion academia must undergo to allow such area of history to fit in with their timeline of events. Just in particular, the separation of the continents themselves, evolution history, and chronology in regards to human migration, to make all aforementioned hypothesis match up and ties up with a neat bow, never to be questioned again. On page 49 of Archaeological Anomalies, Small Artifacts, Bone Stole, Metal Artifacts, by Technology, Corliss makes a general observation which we feel conceals a truth unchallengeable. Quote, The art of weaving wild bird feathers into gaudy garments and adornments was practiced widely in pre-Columbian Asia, Oceania, and South and Mesoamerica. He continues with this phrase, Quote, Plumagery techniques were so much alike all around the Pacific Rim that diffusion is a distinct possibility. In quote, Distinct of a word descriptive used to describe a method of identifying something or someone. For example, if plumagery of the exact same artistic construction were to be found on a continent it simply should not be upon, regardless, its characteristics making distinctly identifiable as the work of the same, thus made by people in contact with each other. This scenario to the befuddlement of those who study mainstream opinion is a real-world reality. Therefore, their own method, if identifying whether the people who made these garments in a specific way had been in contact with each other, has simply compromised their own dating methods and turns history they thought they had learnt so true could maybe have a few gaps used against themselves, with the word diffusion meaning contact and sharing of knowledge and commodities. Plumagery, one more piece of a puzzle we find highly compelling.