 The Lycurgis Cup is a 4th-century cage cup. It was indeed a style popular at the time. However, the Lycurgis Cup is unique in many ways. Made by a mysterious and as yet not entirely understood process, which resulted in a phenomenon known as dichroic glass, a form of glass which can change color depending on which angle light passes through its structure. The cup's glass appears red when lit from behind and green when lit from in front. An astonishing achievement within glassmaking, one which it seems was never replicated. The Lycurgis Cup is the only ancient manufactured artifact in existence which displays this unusual characteristic and upon scientific analysis being undertaken, it was realized that the dichroic feature of the glass achieved had been no accident. The effect was achieved by somehow adding nanoportions of gold and silver dispersed in collidal form throughout the molten glass. The exact process undertaken remains unclear, yet the perfection achieved within the process is clear for all to see. However, predictably, academia has attempted to claim that the cup's miraculous characteristics be but a mere accident, a freak result of experimentation, ignoring all of the cup's clear artistic qualities and claiming that the makers must not have properly understood or control the process, adding that it was probably discovered by accident, by contamination of minutely ground gold and silver dust. Quote, the glassmakers may not even have known that gold was involved as the quantities involved are so tiny, they may have come from a small proportion of gold in any silver added. This Roman silver contains small proportions of gold, or from traces of gold or gold leaf left by accident in the workshop from other work. End quote. The cup itself is a very rare example of a complete Roman cage cup, regardless of its extraordinary characteristics. The glass painstakingly cut and ground back to leave only a decorative cage at the original surface level is an astounding example of artistic capabilities. Many parts of the cage have been completely undercut. Most cage cuts have a cage with a geometric abstract design. But here there is a composition with figures, showing the mythical king Lycurgus, who, depending on the version, tried to kill Ambrosia, a follower of the god Dionysus, Bacchus to the Romans. She was transformed into a vine that twined around the enraged king and restrained him, eventually killing him. This and two followers are shown taunting the king. The cup is the only well-preserved figural example of a cage cup. Where did the Lycurgus cup come from? Who could have possibly made it? Who knew about this miraculous technique for creating this magnificent glass more than 1600 years ago? With academia clearly overwhelmed regarding a logical explanation, there staunch denial of any unusual interference surrounding its manufacturer is something we always find highly compelling. There are many ancient out-of-place artifacts that we feel, due to academia's domination of popular opinion, are easily hidden away beneath a veil of secrecy. Countless intriguing unexplained artifacts all condemned to a mundane modern conspiracy pertaining to their true origins. Objects that, ironically, cannot be explained by these same individuals so-called learned opinions, a fact that must clearly be known to them, yet seemingly overlooked by the majority of the general public. We have previously covered many artifacts that, thanks to their existence, contradict most of modern academic opinion regarding the chronological timelines for the development of man. Many metallic artifacts, for example, that either due to their purity, size, or elemental rarity, fly in the face of currently attested views regarding their possible age. Developed undeniably through far more advanced techniques than were available to our more modern descendants, we have even covered extraterrestrial gold once owned by Tutankhamen, now argued as having come to Earth via meteorites. These artifacts indicate a far more interesting, far older story for their origins and indeed their creators than academia would like you to believe. Beth-Sharim, an ancient gigantic glass slab we have previously covered, it was once found within Galilee. Just like our object of focus, the Beth-Sharim slab was unquestionably created within a refinery, far too enormous for our well-studied, more modern ancestors. Just like the Beth-Sharim slab, this enormous metal disc recently uncovered within Java simply cannot be explained with primitive ancient smelting techniques. Indeed the melting, casting, and hammering of this amount of iron into such an enormous iron dish, according to academic views on history, is currently unexplainable, making the iron disc of Java an out-of-place artifact. Predictably, after the successful excavation of the artifact and the careful, painstaking placement of it upon a transport lorry, it was mysteriously destroyed on the way to the museum, where it would have been on public display in full view of inquisitive minds. Clearly, once a pot of enormous proportions, and indeed once of a huge weight that, although most of these tons have rusted away, the movement of such required the utilization of a crane and transport lorry, a fact conveniently absent from any media explanations as to its ancient origins or usage. Who made the giant dish of Java? How did they make it? What did they use it for? Unfortunately, due to its destruction, it may slip away into the chasm of history, as with many other ancient oparts, missed by most and avoiding their deserved exposure within the modern age. We feel that the evidence to suggest a highly capable, technologically advanced, intercontinental possibly interstellar civilization once flourished here on our planet is now irrefutable. The questions we now feel need answering. Do not now regard whether they existed, but surround their true origins, actual age, and indeed final destination. We would, of course, be the descendants of this past civilization, yet the proof of global flooding, past cataclysm, and a technological reset occurring within human history, we would hope, is clear for all who peruse our channel to see. With such an event experienced by a civilization, once capable of lifting and building with unimaginably huge megaliths, one would presume that post-event one would encounter primitive dwellings, yet built partially with these now dwindling technologies, which would eventually become lost knowledge. We feel that indeed, many ancient dwellings that can't be found all over the planet, in particular the United Kingdom, currently claimed as Neolithic, are suitable candidates to support this supposition. Constructed with enormous, unexplained, mysteriously lifted megaliths, are these sites remnants of an advanced lost civilization? We hypothesize that the builders of such still retained limited knowledge and or technologies left from their now lost civilization, allowing them to create stable, immovable, yet primitively constructed dwellings, which we still cannot explain today. Furthermore, and the purpose for our video, the extremely ancient, little academically shared dwelling, tucked away among a remote region of Russia. Located within the Caucasus Mountains, hundreds of similarly aged megalithic monuments, which the Russians call dolmens, uncannily similar to the ancient trilathons found within the UK. However, it seems that these remaining remnants, possibly of the same lost civilization, still possess something which allowed them to carve perfectly spherical holes through enormous megalithic stones. Just what were these ancient people using to create these ancient structures? Or indeed, the perfectly cut spherical doorways within? Who built the ancient dolmens that can be found dotting Russia, the ancient trilathons found dotting the United Kingdom? With these structures, as we have suggested, remaining relics left by a civilization who had just experienced drastic cataclysm, if this is not the case, why did they possess characteristics indicative of lost knowledge, yet appear to be of such a primitive design? We find our hypothesis and the supporting evidence highly compelling. From the first wing of the Egyptian Museum in Cairo, close to the room of the mummies, one cannot help but be surprised by what you will discover. In a small, inconspicuous display cabinet, an object like no other can be found. Made from a brittle stone known as shisht, it is similar in shape to a wheel or discus. This mysterious and to this day unexplained item has become known among particular circles as the trilobed disc. It has perplexed all those who have examined it, especially the select Egyptologists that have had the opportunity to study it at great length. Its discoverer is known as one of the most important Egyptologists of the 20th century, author of a classic volume on Egyptology, Archaic Egypt, that continues to be an important bibliographic reference of study even to this day. While carrying out excavations in 1936, within the archaeological zone of Sakura, Emery discovered the tomb of Prince Sabu. Among several utensils of varying function, the trilobed disc would be found. Emery's attention was immediately drawn to the object, initially defining it in his reports on the first dynasty tombs as, quote, a container in the form of shisht bull. Years later, he again commented on the subject with a word that perfectly summarized the reality of the situation, indicating to the discomfort the object was causing, describing it as a kachibachi, a small hole that threatens to become bigger and bigger. It seems Emery, like many others within the same field, retained their success and notoriety by deliberately and publicly denying such artifacts any traction within the public domain, denying us all a true understanding of Egyptian history, or at least a questioning of the currently upheld teachings. He finished his quotation by stating that, a satisfactory explanation has not yet been obtained on the particular design of this object, or indeed its construction. The accepted and predictably rigid view regarding the introduction of the wheel into ancient Egypt coincided with the invasion of the Hiscos at the end of the medium empire in 1640 BC, this date being over a thousand years after the disc's construction. Egyptologist Cyril Alred reached the conclusion that the object was, without a doubt, a copy of a previously much older metallic object. A detail next to the orifice in the center also made him suspect that this object was only a small part of a more complex mechanism, and that it was saved thanks to a stone reproduction for unknown reasons made by an artist with unknown tools. And the fact that it demonstrates such a complex design at such a primitive time in ancient Egyptian history suggests its origins may have been far more unusual than modern tenants would have you believe. It is highly possible that this artifact is a fragment of one's highly advanced technologies which have subsequently been lost over the millennia. Regardless of a hypothesis, its true function, history, or indeed construction, its reason for existence remains a mystery to this day.