 We have, in the past, explored the incredible discovery of the mythological animal sculptures of Persepolis, now known as the Lamisu. We detailed the difficulty involved in transporting just a single example of one to London, a mere century ago. Yet, it would seem a similar situation seemingly also occurred at the ancient side of Amethas, and in which the French quietly endured and restrictively documented. Located east of Agio Tyconus, next to Limassol in southern Cyprus, strategically commanding a stunning view of the surrounding Mediterranean landscape. The main acropolis of Amethas, sitting just out of reach of the tourist track, atop the hill above. This location served also as an additional natural fortification for the site and its ancient observatory. Impressive discoveries have been made at the ruin, including ancient basins, vases, and various other utensils used by past inhabitants of varying eras. Atop the hill were two giant vases decorating the entrance to the main temple, one once dedicated to the god of love Aphrodite, each of which being 1.85 meters tall and weighing an immense 14 tons each, one of which being stolen by the French, specifically architect Edmund de Thoit during the Ottoman occupation of Cyprus, supposedly given permission to take it away to his country. It now rests in the Louvre Museum in Paris. His documentation of this ordeal, we feel, is a revealing insight into the clear prohibition from exposing the astonishing capabilities of ancient civilizational capability. He reservately wrote of the ordeal of getting it back to Paris in his diary. Quote, Our last day was dedicated to Amethas, the only sanctuary of Aphrodite that we visited. There we found two huge stone vases, 3.4 meters in diameter. I could not figure out the amount that was buried in the ground, and only a measure of the artifact which was sticking out. I thought if I managed to get it out of there and to convey it into the sea, it will be my biggest achievement. I will begin to study the ways and mechanisms needed to achieve this and to have it transferred. This will create a big impression in the Louvre." Who made these vases, or indeed the Acropolis itself? They were clearly astonishing vases, having existed to this day and beyond, and along with their sheer weight, we undoubtedly find them highly compelling. We recently covered the astonishing discovery made deep within a coal mine under Rostov in Russia. Fortunately photographed by Mr. Kasatkin, an experienced safety engineer who discovered the prints of what clearly appears to have been left by chariots' wheels, these seemingly impossible prints are, thankfully, not the only unexplained artifacts to have been found deep within the mines of Earth. In 1912, workers shoveling coal in the municipal electric plant in Thomas, Oklahoma would make an equally important discovery. As they were breaking up the large lumps of coal in preparation for the furnaces, to their surprise, a small iron pot would be ejected from one of the chunks. Several experts would examine the iron pot over the following few days, all declaring it to be genuine. Apparently, the imprint of the pot could also still be clearly seen in the broken chunks of coal that had encased it for, in all possibility, millions of years. According to Robert O'Faye of the Oklahoma Geological Survey, the Wilburton Mines Coal, in which the pot was found, is an incredible 312 million years old. The cup is now displayed at a private museum in southern Missouri. It was fortunately photographed by Robert Nordling, who sent a copy to Frank Louis Marsh, emeritus professor of biology at Andrews University in Berrien Springs, on 10 January 1949. He forwarded the images to Wilburton H. Rush in 1971. Rush was a professor of biology at Concordia College. This means that we now have several artifacts we know to be in existence, which, according to modern understanding as to the age of coal, are over 300 million years old. The pot is still within a private collection of an unknown collector. Within a place called Laos, a landlocked country in the heart of the Indo-Chinese peninsula is probably one of the most confusing archaeological sites on Earth. We have often covered possible evidence left within countless newspaper archives, log witness testimonies, and indeed many stolen bodies of a type of ancient human far larger than we are today. Additionally, there have been many intriguing ancient giant artifacts which have been found at many sites around the world, tools, utensils, and structures. Created in such scales, they would be virtually useless in the hands of modern sized people. And our archaeological site within Laos could perhaps be seen as one of the more compelling remnants, possibly left by this gigantic race of humans. However, what is seemingly the most perplexing mystery regarding this site is the aptly named Frogman, discovered at the center of this entire historical puzzle. Known as the Plain of Jars, it is an enormous ancient site, littered with countless giant stone jars manufactured to such a scale, they are clearly too large for any practical use by humans of today. Numbering over 400 at just one site, the original purpose for these stone jars high up in these locations, if indeed they were manufactured by our ancient ancestors, is a question which has evaded modern explanation and may remain impossible to answer. Out of the many hundreds of jars, it would seem none were ever decorated, all remained completely blank, except one single jar. A single giant jar adorned with the image of a frogman. According to academia, the jars date from the Iron Age around 500 BC, although any compelling reasoning for this remains elusive. It is undoubtedly one of the most important prehistoric sites in Southeast Asia, and it undoubtedly deserves more attention. Who carved these enormous jars? Why make them to such enormous and thus impractical sizes? Where did the stone come from, or indeed how were they carried to their final resting places high up on these plateaus? Were they possibly made by a race of giants? Who is our frogman character? Was this single image a signature left by the original makers of these giant jars? Unfortunately, we may never know. In Dorchester, Massachusetts, USA, in 1852, at Meeting House Quarry, workers were using dynamite to break up the bedrock, when an explosion threw an artifact into the light of day, after spending many thousands of years under the earth. According to geologists, the Roxbury Rock, in which this mysterious artifact was embedded, has been dated as having accumulated between 570 and 593 million years ago, during the Ediocannon period. And their surprise, when workers spotted a metallic object amongst the debris of the explosion, still partially embedded in a chunk of rock, and now sheared into two pieces from the forces of the blast. A zinc vase covered in flower decorations painted in solid silver. The bell-shaped pot is around 4.5 inches tall and about 6.5 inches long, and was noted as being exquisitely made. The age of the vase has been heavily debated amongst specialists, with many struggling to produce ages smaller than 100,000 years. Additionally, the species of flowers and plants that are illustrated upon the vase, also went extinct over 100,000 years ago. Not surprisingly, but rather predictably, the pot along with all authenticative documentation regarding its discovery, mysteriously vanished without trace shortly before a full investigation into its amazing history could take place. The initial discovery was covered on June the 5th in 1852, from the publication of the magazine Scientific American, which confirms its authenticity, as indeed being found embedded in the solid ancient stone, 15 feet below the surface. But shortly after this coverage, like so many other amazing objects found around the world vanished without trace. Who made this amazing artifact, when was it made? If we go by the age of the rock in which it was discovered, it is amazingly over 500 million years old, but we may never know.