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Cloak & Silence

Information on La Marche, and Magdalenian engravings is, in general, 
meagre. What little literature there is, it is almost all untranslated from
French. But, should there not be more public awareness of Magdalenian

The engravings are being stored away in secure vaults, I understand.
The shabby excuse for not displaying them publicly is that they are too
difficult to prop up for display. <!!!>  Naturally, it seems non-essential
that the tablets be propped up at all.
One could lay the tablets down gently in low display boxes, of course.
All the fifteen hundred La Marche engravings should be published. Since
it is hard to distinguish the often finely engraved lines from a photograph,
scale tracings of all engraved lines would be preferable. 

I myself have had a taste of such puzzling reclusiveness, when I took my 
report on La Marche to the French Cultural Attache at the local consulate.
That was long ago, when it seemed urgent to communicate my discovery
to others, thinking they would immediately pay it close attention, especially,
a representative of the lucky country in possession of the engravings.
The attache wanted details, listening patiently to me for an hour.

Finally, he said that he has never seen pictorial art with so much obvious
geometry in it  - obvious, once demonstrated. He would indeed find the
museum holding the precious stones at that time (I wasn't sure which one
it was), and ask that some attention be given to my report. 
A few days later, the attache called again. He had a reply already, and he 
was forwarding it to me. Here it is: 

Institut de Paleontologie Humaine Paris, le 7 Mai 1987

Monsieur l'Attache Culturel, Le manuscrit de Monsieur Jiri Mruzek
m'a bien ete transmis et je vous en remercie. Une de mes collaboratrices,
attachee au laboratoire de Prehistoire, specialiste de l'art prehistorique
va etudier ce document attentivement et vous tiendra au courant de ses

Veuillez croire, Monsier l'Attache Culturel,a l'expression
de mes sentiments devoues et les meilleurs.

Henry de Lumley, Professeur au Museum National d'Histoire Naturelle * 

In his letter Professeur Lumley says that he handed my report over to a
lady specialist on prehistorical art, who will study it attentively, and will
keep us apprised of her observations.
I was satisfied, but then three months went by with no news. So, I called
the attache and we agreed to wait some more, as it was possible that the
lady specialist wasn't finished yet.
As time went on, I had contemplated contacting the attache once again,
but then I decided against pressing the issue. It was obvious to me that
the museum wishes to avoid giving any answer whatsoever.

You can imagine my surprize when the attache called me on his own a
couple of years later! He said that since there still isn't any reply from
the museum, he was calling to apologize.
He also said that he's personally unhappy over the museum's conduct since
it was he -a French diplomat <!!!>, whom the museum actually promised
to inform. He was going to urge the matter with the museum's director, and
have the museum reply. 
In my mind, I doubted that the museum would allow its lips to be parted. 
Still, I suggested that the attache asks only for a simple Yes or No to 
the pivotal question of presence, or absence in their view, of a mathematical 
system in the Cinderella engraving. 

I had lived at the same address for another year - long enough to know for
sure that things didn't turn out the attache's way. Now, what can keep
a major French museum ignoring a senior French diplomat? Let's recall
the museum's prompt response in replying the first time around.
National interests - cloak and dagger? But such intelligence histrionics over
stuff three times older than the pyramids? 
Well, what is the first potential explanation that comes to your mind, when 
you encounter Stone Age Science ingeniously encoded into art? What else 
aside from the advanced civilisation of the legendary Atlantis - or even ancient
Alien Austronauts? I believe that the savants at the Paleontological Institute 
would think likewise.

From that moment, the matter would indeed turn serious. Unless of course,
the museum already knew. But then why was it so eager to please the first
time around?  What went on behind the scenes?
My secret hopes were that once the presence of mathematics was ascertained,
the French would say: Let's give this guy, who has such a knack for these
images, a lab at this museum and all the toys of the trade .. Since such a
turn of events didn't materialize, and the museum kept absolutely mum,
I seriously considered the possibility of having legitimate reasons to become
highly paranoid, but who wants to be paranoid. There is nowhere to run, anyway. 
C'est la vie :)

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