 An upart, or out-of-place artifact, comes in many shapes and sizes, some clearly being or containing an anomalous object, which no matter how desperately some attempt to discredit, the evidence is clear for all to see. This category of upart, unsurprisingly, often falls victim to theft. However, the other category actually litters the display cases of museums all over the world. These artifacts are being more easily explained away, and as such, they are often attached to a less impressive historical tale than that which was actually experienced. Stonehenge is probably the most iconic ancient site within Western Europe, an ancient site that, for many years, was to blame for many heated arguments between different individuals, all convinced of its past purpose. Now, largely accepted to be a celestial calendar and a meeting place for many ancient people, who came together at solstices to hold elaborate and purportedly promiscuous festivals. However, the true age of Stonehenge, or indeed how the stones were once balanced atop of one another, or the precise knowledge of celestial activities displayed, is still unknown. Although to those who study the many other seemingly impossible ancient feats found all over Earth, Stonehenge is clearly a relic of a far more ancient civilization than any which artifactual evidence have been found for. In 1808, William Cunnington, one of Britain's earliest professional archaeologists, discovered what has become known as the crown jewels of Stonehenge. They were found within a large Bronze Age burial mound, today known as Bush Barrow. Within the Barrow, Cunnington found ornate jewelry, including an intricately decorated dagger. Quote, The very finest goldwork involved in the making and positioning of literally tens of thousands of tiny, individually made components, each around a millimeter long and around a fifth of a millimeter wide, said David Dawson, director of the Wiltshire Museum in Devises, where the micro gold working achievements are on permanent display. The amazing process involved in creating the handle of just one dagger included up to 140,000 tiny gold studs, each just a third of a millimeter wide. The first stage involved manufacturing extremely fine gold wire, just a little thicker than a human hair. The end of the wire flattened to create a stud head, then cut with a very sharp razor no more than a millimeter below the head. This delicate procedure was then repeated literally tens of thousands of times. An incredible ancient artifact found near one of the most enigmatic ancient sites in the world. Yet amazingly, academia continues to deny the existence of out-of-place artifacts. Instead, opting to explain the construction of such marvelous work, by claiming it was somehow the work of children, due to their more acute sight, this regardless of the clearly controversial evidence at hand. Who created such astonishing microscopic jewelry? Were these amazing artifacts once the possession of the actual builders of Stonehenge? Sometimes an artifact will be discovered which challenges our entire understandings of the world around us. We are confronted with things that, according to our worldview, shouldn't exist. And in 1991, researchers performing geomineralogical studies along several Russian rivers would make such a discovery. Soon as the Ural Mountains, it is a notoriously strange, cold and incredibly lonely slice of the Russian landscape. Accounts of snow yetis and terrifying creatures have plagued the mountain ranges for decades, even including a reported attack by such a creature within Dyatlov Pass. The Ural Mountains is clearly one of the weirdest and most isolated places on Earth. And it seems, it has also been the resting place for a series of several thousand tiny coil-shaped artifacts, ancient nanotechnology of an unknown and quite possibly alien origin. The larger artifacts made from copper, while the smaller ones from tungsten. What is clearly the most astonishing thing regarding these tiny ancient relics is their size, some of the exhibits being only 2.4 macrons long or around one tenth of an inch. Seeing as though the average human hair is about 100 microns, it is safe to assume that these microscopic objects were not constructed by our primitive ancestors, for to create such intriguing objects would have required a knowledge and an application of sophisticated nanotechnologies. Not only do they exhibit characteristics reminiscent of components used within our own modern nano-technologies, the nano-coils also exhibit golden ratio proportions, a trait which could only be present if intelligently designed by mathematically wise beings. Some skeptics to their true history have predictably attempted to speculate that the apparently alien objects were simply fragments of debris from the nearby rocket test facility. But a report from the Moscow Institute of Technology concluded that their vast age was enough to dismiss this as a possibility. The conclusive figure acquired from this official dating put their initial creation to around 300,000 years ago. Studies performed by facilities in Helsinki, Moscow and St. Petersburg also backed up the claims that the coil-shaped objects were manufactured in the very distant past, stating that they predate modern history by some orders of magnitude. Unfortunately, as with so many items we cover, since the nano-spiral's principal investigator Dr. Johannes Feeback died in 1999, the research has been halted. What's more, predictably, the current whereabouts of all of these ancient nano-artifacts is unfortunately unknown. It's fair to say, however, that the Ural Mountains still possess some of these curious and very ancient objects, but judging by their size, they won't be very easy to find. The Lycurgis Cup is a fourth-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 nano-portions of gold and silver dispersed in colloidal 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 controlled the process, adding that it was probably discovered by accident, by contamination, of minutely ground gold and silver dust. The glass makers 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. Most Roman silver contains small proportions of gold, or from traces of gold or gold leaf left by accident in the workshop from other work. 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. Dionysus 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, their staunch denial of any unusual interference surrounding its manufacture is something we always find highly compelling.