 The Terracotta Army, undoubtedly the most astonishing collection of carvings whether mold-based or not, to be found anywhere on Earth. The artistic genius on display within this large Terracotta Army is hard to ignore when according to academia, they were merely the handiwork of untrained slaves. Not only does the army display an immense level of detail, and thus artistic talent, they are also all seemingly unique as if each soldier was an accurate recreation of an ancient individual in full armor. We have, in the past, covered this astonishing discovery, discussing how the temple in which this army is said to be protecting has supposedly never been opened, this even though upon excavating the original entranceways. Sophisticated crossbows tipped with poison arrows were found left each on a butterfly trigger like something straight out of an Indiana Jones movie. Whatever these elaborate defenses we're protecting has, according to Chinese authorities, never been explored. What's more, this same notoriously secret government have also made any future digs illegal, quashing all hopes for anyone who would like to know about this clearly intriguing section of history. However, these incredible features, along with the soldier's average giant sizes, are not the only area of study we have explored regarding the army. In our first video regarding the amazing sight, we explored the highly mysterious mono-atomic pigment that was found on many of the statues, popularly known as Han Purple. This astonishingly complex pigment, although apparently sourced and manufactured in enormous amounts by a far less capable, more primitive ancestor, was not fully understood until the 1990s. A pigment that, according to scientists who have studied it, exhibits characteristics of, quote, an element of a lower dimension, end quote, and as such, according to mainstream paradigm is an incredibly difficult artifact to explain. Yet, Han Purple is not the only incredible, highly enigmatic pigment dating from a now lost antiquity. There also exists another, no less impressive pigment which is highly likely to have originated within the now lost civilization we like to call the Pyramid Builders. Known as Egyptian Blue, this marvelous pigment was found during an investigation by the British Museum. The Parthenon Marbles, also known as the Elgin Marbles, are a collection of classic Greek marble statues whose history, although heavily documented, display upon their surface not only evidence of an advanced ancient knowledge, most probably a leftover still in circulation within top masons and sculptors around the time of the statue's creation. But this pigment, found during an in-depth investigation of the marbles to discover whether they were once painted or not, was found in varying quantities upon their varying features, not only subsequently proving beyond doubt that the statues were indeed once painted, but like that of Han Purple within China. Egyptian Blue also has a highly curious characteristic discovered by modern technology. It is not only the sole surviving pigment on the statues, but is only visible within the infrared spectrum, a band invisible to the human eye. Made under the supervision of the architect and sculptor, Phidias and his assistants, the origin of the pigment, however, just like that of Han Purple, is unknown. Where did the knowledge for creating this pigment come from? Why is it now lost? Why does it emit colors invisible to the modern man's eye? We find not only Egyptian blues infrared characteristics, but also Han Purple's intriguing dimensionally deficient resonance as highly compelling. When one explores the most fascinating and ancient structures resting all over our planet, you will inevitably be confronted by baffling feats on engineering and ingenuity, tasks that to modern man, escape understanding or indeed explanation. The main consensus regarding these ancient structures has always been a tricky thing to explain. To claim that these marvelous structures were built by primitive people with only primitive tools at their disposal, does not only seem absurd to most who have visited such sites, but ignorant of their true past grandeur and the specific characteristics of each of these places. Ancient sites, such as Giza, Machu Picchu among many others, still contain very confusing artifacts, anomalous evidence, which tells a very different story to that of mainstream history. Apart from the Baghdad battery, largely claimed to have been an ancient form of electroplating, there has been little in the way of physical evidence to suggest the use of electricity within the academically researched ancient times, yet there are many remnants left which suggest such activities. Not only are there countless clear examples of past machine work stone, but most importantly, there is evidence of errors made by these same tools, mistarts and discovered fault lines. These particular stones discarded, laid bare in the quarries, revealing all the hallmarks of the machine engineering that went into building these wonderful places, these artifacts, once rubbish, now historical treasures. They can tell you the shape and movements of the tools that were being used, showing just how these machines cut into the stones, core drillings also discarded during manufacture, and cut stones discarded due to faults and cracks, revealing the complete preliminary cut marks left by the ancient stone cutters. These fragments of past activities are clearly some of the most important in unraveling these sites' ultimate secrets, yet it is rarely shared in the public arena and even less frequently researched by official bodies. Along with this vast and perplexing array of remnants, mercilessly left where they fell, strewn amongst the debris of disruption, lay countless extremely hardy machine stone jars, vessels made from some of the hardest rocks on Earth. Some of these jars were made with a round bottom, perfectly machined, balanced on a base no bigger than the tip of a chicken's egg. Sir William Flinders Petrie ultimately realized that only lathe turning could have produced the symmetry and balance found on thousands of these bowls and vases. And Petrie was no fool. In 1894 he founded his own archaeological body, the Egyptian research account, which later became the British School of Archaeology in Egypt. He stated, for example, a bowl maker attained curves of exact circularity by rotating the bowl around a fixed blade and formed a lip by shifting the centering of the bowl. Another round bottom vase had walls of such uniform thickness that it balanced perfectly on a curved base. To have a very well respected researcher and specialist of the ancient Egyptians to admit to a conviction of the use of power tools in these pots construction seems like quite a stunning position to take, especially when one considers that while metal chisels could have been used to shape soft limestone within ancient Egyptian times, the metals that were available to them, copper, bronze, and during the first millennium BCE, wrought iron, were far too soft to work such rock into such exquisite designs. It seems Petrie would like to remain honest regarding his conclusions, yet also incomplete with his explanations, preferring to let the receiver of said information make their own realizations, preferring to avoid complication by a, by this time, rather visible enemy. One could only conclude that these relics and ancient monuments thereof were not the work of the Egyptians, but further evidence to suggest that these baffling structures were built far before the ancient Egyptians, before academic understandings by a highly technologically advanced pre-catechalism civilization. We find it difficult to see how such work was undertaken, or an explanation for our finding can be made without the use of power tools. Thankfully, the more we learn regarding these enigmatic places, the more we become aware of regarding their true history, and the closer it seems we become to finding those who built them. The unfinished steppe pyramid, also known as the Buried Pyramid, was found by Zakaria Fagonium, an Egyptian archaeologist in 1951. Goniom noticed its odd rectangular shape in the desert, while excavating the nearby Euneus complex. A three-part rubble-courced enclosure was initially discovered, and by digging to its bottom, it was found to be 5 meters tall and 18 meters thick. However, he later discovered that the wall further extended on both sides to dimensions of 520 meters on its north-south axis, and 180 meters to the east-west. Predictably, the site is full of false doors and niches. Yet, what no one predicted was the unique sarcophagi which was soon discovered thereafter. Built with a sliding door and largely believed to predate the Egyptian civilization, indeed the construction of the Great Pyramids themselves, due to the current condition of the site, Zakaria purportedly opened the sarcophagus in front of the world press. Yet unfortunately, or rather predictably, like the many other sites discovered in the modern day in this most mysterious of areas, was completely empty. Presumably looted, though it is indeed possible that a cover-up of its contents had occurred just prior to the announcement of its discovery. Regardless of this absence of contents, it is thought to have been the burial chamber of Sikkemket. This pharaoh, known as the second of the Third Dynasty of Ancient Egypt, has been claimed as having reigned over Egypt circa 2686 to 2613 BC, and is placed at the beginning of the Old Kingdom of Egypt. What makes the find all the more intriguing, however, along with its claimed predating of the height of the Egyptian Empire, is the unique style of the tomb itself. Clearly, an out-of-place artifact, or possibly a sarcophagi of the original builders of the pyramids themselves, with the embalming technique later adopted and continued by later inhabitants of the Giza Plateau. A clear strategic power move by those who have claimed to have built the pyramids. But also, completely absent of any explanation of how, with its seemingly impossibly-sized megalithic blocks found within the constructions. Furthermore, to support the accusation of a modern looting of this tomb, is the fact that nearby, Sikeriagonium also found 21 solid gold bracelets, small muscle shells, and Phaen's corals covered with gold leaf. It would seem these items, although priceless, were less important than hiding the contents of the tomb. The question is, if this was indeed a looted tomb of the past, why were these now-priceless relics seemingly left undiscovered, while the incredibly well-hidden sarcophagi was completely ransacked? It is a find which we find highly compelling. There are many ancient anomalies which can be found upon the Giza Plateau and indeed across much of ancient Egypt as a whole. Many areas which are clear evidence of a highly capable, highly intelligent past civilization who once called this land mass home. Not only are the ancient pyramids a clear feat of incredible ancient engineering, possibly the most astonishing found the world over, but many of the still existing ancient temples are testament to a now-lost, yet once incredibly advanced ancient civilization. And although many academics are funded to push the theory that the pyramids, having once been the burial places of Egyptian kings, the truth that we still do not actually know the original purpose for these ancient structures remains. Not only do these structures, along with many other areas such as the basalt floor found at their feet, still show clear evidence of lost technology, unquestionably left by high-speed, high-rotation stone-cutting technologies, and many of the tombs and other artifacts found throughout the ancient ruins, unarguably once machine-worked upon enormous, as yet unexplained lathes. But there also exist some astonishing features within the record books, documented anomalies within our own antiquity, regarding some of the biggest, yet still existing anomalies within ancient Egypt. Anomalies that, although are now all but lost to history, have been recorded and documented since our own records began, specifically Roman records. The Colossi or Colossus of Memnon are listed as containing some of the largest megalithic blocks that have currently been recorded and investigated across the world. And although these statues have virtually crumbled over the aeons, records of these statues stretches back many centuries, features now largely, and we believe, deliberately ignored by mainstream academics. These statues once possessed an astonishing characteristic, one many claimed as a divine experience, one which would draw countless individuals on a pilgrimage across the desert to witness at first light every morning. The Colossi of Memnon were built from a single piece of stone each. They are oriented towards the sunrise at Winter Solstice, and throughout modern study have had a number of fearless individuals expose their true past grandeur to the world. Estimates for the two statues, original weight, are most commonly noted to have been around the 1,000 tons mark, with the most famous report within R. T. Gould's A Book of Marvels, 1937, which contained an estimate of 1,200 tons. The statues are made from blocks of quartzite sandstone, which was quarried at El Gaba El Amar near modern-day Cairo, then transported 420 miles to Thebes, and although modern academia would like to attribute these feats to our more modern ancestors, namely the ancient Egyptians, any logical explanation of how this feat was achieved, or indeed how they were so precisely carved, remains absent from all explanations of these monumental statues, not only their transport and creation, but how these ancient monuments used to sing. Early Greek and Roman tourists who came to hear the sound gave the statue the name of Memnon. Memnon was a hero of the Trojan War, a king of Ethiopia, who led his armies to Troy's defense, but was ultimately slain by Achilles. Memnon was said to be the son of Eos, the goddess of Dawn, and after his death, his mother is said to have shed tears every morning. The singing of the statues was attributed to this mother mourning for her son. The earliest written reference to the singing statues comes from the Greek historian and geographer Strabo, who claimed to have heard their song during a visit in 20 BC. The 2nd century Greek traveler and geographer Pausanias compared it to the string of a lyre breaking. Others described it as the striking of brass, or a strange, ghostly, almost divine whistling. For more than two centuries, the singing statues brought tourists from all over the Empire, including several Roman emperors. Many left inscriptions on the base of the statue, reporting whether they had heard the sound or not. Nearly 90 inscriptions are still legible upon their base today. Who created these statues? How were they able to sing? They are clearly an astonishing ancient accomplishment, once achieved by a now-lost advanced civilization – monuments, which we find highly compelling.