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    Three veterans learning a new and complex mystery. Learning from a Russian none the less. Arsen A. Faradzhev, Ph.D., President of the Moscow Centre Of Rock Art and Bioindication Research (IFRAO member since 1995) Gary S. Yannone MS President of the Frankford Museum Society THE LOST VALLEY: A NEW MOBILE PALAEOART SITE IN NORTH AMERICA HAS BEEN DISCOVERED USING A SCIENTIFIC CONTEXTUAL APPROACH ON ROCK ART RESEARCH (Official Revision of the original document-12: 11-28-04) "The ability to create and perceive art work is a unique and distinguishing characteristic of Homo Sapiens. The problem in Palaeoart research is how the Stone Age mind used context to create the permanent and mobile Paleoart images. In the “idealized case” of contextual use, Paleoart uses the substance of natural material intertwined with man made artificial invariants. This Contextual Approach focuses on logic, fact and substance. It is impossible to understand the world without taking into account the context. Many times the obvious is ignored, but the obvious provides a scientific reference point, a baseline of understanding. Therefore the Contextual Approach used at The Lost Valley is to discover and describe the interconnection between the substance, the image and the evolutionary process used by humans to create the image. The research allows us to examine the evolution of the context in stages and to differentiate between natural surfaces of the rock and those that have been artificially created. We cannot definitively say what the images mean. Visual perception is always in the mind of the beholder or the one doing the perceiving and visualizing. The images may have represented a sacred “dream time,” or myths, legends, or other storytelling. A new mobile Paleoart site has been found in North America using a scientific Contextual Approach to Rock Art Research. This site is an ideal example of using the natural surfaces of rocks interconnected with an artificial evolution to create the rock art images. The site itself also provides a context physically being located at springs containing iron oxide, in an echo chamber and being south of a great bird migration route. The art at The Lost Valley was done in a caressing way with the eyes and mind of the artist merging with the spirit of the stone. The spirit of the artist and that of the stone became one, while still remaining a mystery to each other. A dreamtime."
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    This is artifact 0.003 nicknamed the wolf artifact from the Home Page. The red arrow points to a mark that was visually diagnosed as a human alteration my a PHD in Geology.
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    This is an alternate interpretation of this artifact than that shown on the Home Page.
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    Frankford Museum Society Members in front of the monument they built and plaques from State Museum and County Historical Society.
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    On the right a profile carving of a facial image seen on the Home page. The middle image is a copier print. On the left is the reverse of the artifact with its assigned number 0.011.
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    On the lower right another possible profile facing left, in original condition with no coating.
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    Using a Microsoft program we developed ELDT-Enhanced Line Delineation Technique. It randomly assigns lines and colors. It has worked as another tool to identify human alterations. The drawing on the left was done by Arsen. On the right is a placebo affect consistent with human alterations.
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    ELDT highlights the mark around the eye as consistent as a human alteration.
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    Artifacts marked, bagged, tagged and boxed.
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    Marking and storing artifacts according to the PA Museum Commission guidelines.
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    Tagging and bagging artifacts.
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    A piece of wood that appears to have human alterations. Possible images. Buried at a Palaeolithic stratum with two other artifacs.
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    36cu0190 hammer stone non-typical,multi purpose tool. It was also diagnosed as a prehistoric tool used to sharpen by a right handed human. Arsen A. Faradzhev, Ph.D., President of the Moscow Centre Of Rock Art and Bioindication Research (IFRAO member since 1995) "Another tool was found by Gary Yannone three years later and approximately 150 meters from the location of the first one with strong evidence of the antediluvian age of the tool."
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    A view of the historic and Native American display by Debbie and Roger Swartz.
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    The original artifact investigation area in the 1794 log home.
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    Another fascinating artifact from area one. Is that the Mammoth on the right and a Clovis hunter on the left?
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    Here is another side view. As with the stone they used, does the stone have natural images?
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    The same artifactg with sunlight hitting it differently.
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    Now turned 180 degrees.
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    We studied the site geology. The sites natural geology is clay and shale.
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    We studied the glaciation period. The Wisconsin Glacier occurred approximately 150 miles north.
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    We studied the Native American paths in the area with the assistance of Roger Swartz.
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    The large and heavy cone artifact. Was it used to point to an astronomical sign in the sky? Unknown. As a vision quest object? Unknown use. Unknown lithic material.
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    ECT Enhanced color technique on the left indicates where a substance may have been applied to the stone. Still unknown at this time. Uknown lithic material under the outside of this artifact.
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    Original tri-photos of a section of area three. Everything covered in heavy brush.
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    Beautiful natural stone in a vein at the site. Lithic unknown. Michelangelo: “I saw the angel in the marble and carved until I set him free. ”
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    Dr. Arsen Faradzhev doing photographic analysis. He also did microscopic and computer analysis. Arsen A. Faradzhev, Ph.D., is founder of the Moscow Centre of Rock Art and Bioindication Research (IFRAO member since 1995). He has a Ph.D. from Moscow State University, Department of Archeology-Doctor of Philosophy. He is a professional Moscow guide as well as in Cognitive Epistemology research of prehistory culture and Private Docent at the Department of History of Art. He has participated in site visits and explorations in Russia, across Europe, England, Portugal, Australia, and the United States. He has numerous presentations including the “History of discovery and research of the Prehistorically Cultural Sites all over the World,” and the “History of Moscow. “He is one of the primary authenticators of 36CU190. He has received the Medal for Rescue the lost from the President of the Russian Federation, the Medal for Emergency Humanitarian Response from the Ministry on Emergencies of the Russian Federation, and the UN Medal for a border monitoring mission from the International European Community.
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    The outstanding fish artifact with the 'big eye". Lithic material unknown. Arsen A. Faradzhev, Ph.D., President of the Moscow Centre Of Rock Art and Bioindication Research (IFRAO member since 1995) "Another artifact is so called ‘Big fish’ and this slate rock is 18 cm long, 2.5 cm tall and just 1 cm thin at the middle part. The natural color, form and relief of the rock match the image of a real fish. The challenge was to contextually examine and explain any evidence of human made details. To do this we used the scientific Contextual Approach designed by Dr. Faradzhev to research not image of the artifact, but the natural material of the image with the help of magnification to explore and photograph the way the artifact was created. "The surface of the slate rock is covered with deep natural patina. Nevertheless, after the long and careful analysis of the ‘big fish’ artifact, we discovered at least 25 main angles additional to the natural external and internal parts of the rock surface. Therefore, it is possible to say that sanding was used to grind away the surrounding parts of the rock to create the image of the ellipse like eye which is close to 1mm diameter and 0.5 mm from the natural rock surface."
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    Enhanced Line Delineation Technique (ELDT) not only confirms Dr. Faradzhevs analysis, but did the artist attempt to show two fish swimming together? Unknown.
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    Another one of the palaeolithic fish forms authenticated by Dr. Faradzhev.
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    Another human altered fish form authenticated by Dr. Faradzhev. Arsen A. Faradzhev, Ph.D., President of the Moscow Centre Of Rock Art and Bioindication Research (IFRAO member since 1995) "The few other slate rock art artifacts have examples of tool like work, taking into account the natural color and shape of the flakes of the stone with additional work to create the fishlike image. We would like to underline the strong evidence of the natural and artificial parts of each image. In comparing the two fish images the black fish (11 cm long, 5 cm wide and 0.4 cm thin) has at least five small artificial chips or flakes on the front part of the image of the black fish and only one striate flake on the front part of the yellow/green fish image (10.5 cm long, 3.8 cm wide and 0.5 cm thin)."
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    Another palaeolithic fish stone image authenticated by Arsen.
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    Here are another of the stone fish sculptures authenticated by Dr. Faradzhev as Palaeolithic art. He used microscopic, photographic and computer images to define human alterations from natural occurances in the stone. Or as he called them variants versus invariants. His PHD in Anthropology/Archaeology was earned at Moscow State University, one of the best universities in the world. He spent many long hours, days and months in the field studying prehistoric rock art. And he made many trips back to the United States to study petroglyphs in the West. He helped Jeff build our new artifact storage shed! I asked if he stood by his original findings and he said yes!Description
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    Here is a authenticated palaeolithic fish preform, or an artifact carving started, but not complete.
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    Dr. Faradzhev sits in front of at least 37 human altered stone palaeolithic fish forms.
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    Another view of the many authenticated stone fish images.
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    Dr. Harrod with his brillant analysis of the palaeolithic prehistoric horse stone sculpture. James Harrod, Ph.D. is a scholar specializing in the origins of art and religion in evolution and director of the Center for Research on the Origins of Art and Religion (Originsnet.org). He has participated in rock art explorations in Europe, India, Israel, Kenya and Australia. He has published articles on the successive waves of tool and symbol innovation that spread Out-of-Africa beginning two million years ago; East African Oldowan symbolism; the Acheulian markings at Bhimbetka, India; and deciphering European Upper Paleolithic geometric markings. He has a two part article in press on a transpecies definition of religion and chimpanzee religious behaviors. He has an M.A. in Depth Psychology/Counseling from Pacifica Graduate Institute, an M.A. in Religion (Philosophical Theology), and a Ph.D. in Religion (Comparative Mythology) from Syracuse University.
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    We deeply appreciated the brillant work from some of our professional members such as James Harrod. When I viewed this stone effigy I didn't know if it was a Caribou or some other animal. He hit the nail on the head with the prehistoric horse analysis. James Adovasio mentioned in one of his books that it looked like todays Grevys Zebra and it does. Remarkable, priceless pice of North American prehistory.
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    The reverse of the artifact with the artifact number 0.040. A unique art style and technique.
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    Comparing the prehistoric horse sculpture with a similar stone preform.
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    ELDT confirms James Harrods' observations.
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    The incredible canoe artifact described by Dr. Faradzhev. Arsen A. Faradzhev, Ph.D., President of the Moscow Centre Of Rock Art and Bioindication Research (IFRAO member since 1995) "The canoe artifact-the material is slate, is 20cm long , 1 cm wide at the bottom, 2 cm wide at the top, 5 cm deep pocket. This metrology is corresponding with the middle part of the canoe artifact. The inside bottom space has three artificial lines on the left and on the right sides. One-on the left side is 12 cm long, the other one on the right side is 6 cm long and the third line, along the whole inside longitude of canoe, is 17 cm long was driven by some very sharp stone instrument, could be quartzite. The largest part of this longest line is located along the right side, but by chance, ‘jumps over’ from the right side to the left side to be finished at the end of this left side. Three lines of the Stone Age human craftsmanship are the strong and obvious evidence of the artificial art work. At the same time, we have the examples of the natural ‘wild’ slate rocks which could be preforms of the same kind of artifacts. This artifact is covered in a deep black patina."
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    When we discovered the canoe artifact there was a disconnect for me between the image and the reality. I still could not believe the incredible treasures we were discovering. Jeff Kottmyer agreed with the canoe interpretation, but it wasn't until Ed Owens a Molecular Biologist and football coach marvelled at it that it really sunk in that it was real! Arsens' (Dr. Faradzhev) comments are on the pic. Dr. Stanford at the Smithsonian believed some type of watercaraft may go back 50,000 or so years. And somehow people found a way to inhabit Austrailia. Roger Swartz made the discovery of a possible River Otter image on the side. The deep patina was proved natural.Description
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    The site is close to two main waterways. The Conodoguinet Creek and the great Susquehanna river. About 40 miles from 36cu0190 is 36DA020, the Shoop palaeolithic site.
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    A dinner and briefing by Dr. Faradzhev. He also briefed at HACC and Dickinson College. He gave another briefing about the churches of Moscow.
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    A unique art style and technique. The front image is not continued to the reverse.
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    Microscopic and photograhic examination reveals the Palaeolithic Artists detailing of the eyes.
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    Ancient artifact 0.017 bird carving next to a similar preform.
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    A closer view of the preform and its multi-layers of carving.
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    The first bird form discovered. Covered in deep black patina.
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    A stone bird image from area one. Not clay/shale of the sites natural geology.
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    One of several books published by our friend Dick Eschenmann. We miss him.
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    any thanks to two of our kind connections, Jennie Anderson and Virag Pabeschitz. Jennie brought to our attention a new discovery in Cairo https://lnkd.in/didarvG I asked if the images in the stone were natural or not and Virag was kind enough to infom me that they are. Almost all of the stone art work from 36cu0190 has images in the natural stone. Here is a pic of a river otter and the narrative by James Harrod originsnet.org Our theory is that36cu0190 is a sacred site linked to 36DA20 a late Clovis Culture hunting site about 30 miles away. We are are approximating the age as 12-13,000 years before present. More can be seen www.vallis.infoDescription
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    Debbie Swartz next to the beautiful stone river otter sculpture. Authenticated by Dr. Harrod. You can se the beautiful images in the natural stone. "Gary, I totally agree on the 'river otter' interpretation. The artist did a stunning job representing the features of the head and even the rough fur on the neck of a river otter (I did a quick image search on Google and found this image which shows the distinct neck fur.) The Face appears to be an animal head--the ears are represented, maybe a bear, but I wonder if the the animal muzzle had a flaw in the stone that broke off a piece later in time. It doesn't make sense to me that it was flaked off to represent something? But who knows. Jim"
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    Thick incredible brush originally in area two. Thousands of vines. This is the palaeolithic portal stone area. Surface finds.
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    Original position on left. The reverse on the right. Not of the sites geology, but specific lithic unknown, as well as the source.
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    Looking down on the artifact.
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    A Frankford Museum Society art style and technique comparison.
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    One interpretation of the symbolism.
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    John standing in front of the site monument.
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    Here is another brillant assesment from James Harrod, PHD. We never tried to force image definitions on anyone. We appreciated feedback from everyone no matter what their education or status in life was. As a matter of fact James did not see the snake draped over a face in the left hand photo. That is how we had it displayed in the museum. But, just by chance turning it 45 degrees left produced the right hand photo. James saw things that initially passed by our recognition like the Mammoth image. We know the precise context of this discovery. Its placement seemed to indicate the artist was coming back to it, which fits our theory. www.vallis.infoDescription
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    Another incredible artifact in the portal stones. The image changes when rotated 90 degrees. "Gary, Thanks for the update and website link. I find you 'snakeman piece polymorphic. In the photo with the face on the left side, the right side looks to me like a 'feline head' facing right. It has a 'nose' like a big cat. Then in the middle between the R 'feline head' and the L 'human profile head' could be two or more species. I see possible 'horsehead' facing toward the R, with 'eye' chip, full muzzle hanging down. Following the lighter stone surface downward from it, suggests it can also be read as a 'mammoth head and trunk' facing R. Next there is an indeterminate zoomorph facing L, with its nose as the top of the 'human head.' In your second photo (20150726) rotating the artifact counterclockwise, the lighter cortex area (distinguished from darker flaked 'human profile') looks to me like possible 'bird head' facing R, with a big 'eye' and 'beak'. I am not yet seeing a 'snake', but could be what I see as possible 'mammoth trunk'. Thanks again for the update, Best regards," James www.Originsnet.org
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    Another view.
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    The reverse of the artifact.
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    James Harrod was correct in terming it the 'footstool.'​ We originally pulled it from the clay to investigate the hole at the top that was protruding. It is very heavy. But, what we saw with the naked eye did not let us decipher the artifact images. Seeing the images depended on light and shadows. And the best way to get a hint was through the camera lense. This heavy artifact rocks into three different positions. And yes I used it as a footstool until the correct light and contrast caused the images to appear through a camera. The amazing thing about this artifact is that it is etched/engraved in relief all the way around its'​ surface. Lithic unknown.Description
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    Another view. Again, not of the sites natural clay and shale. Lithic unknown. Images meanings unknown. Insights by Dr. Harrod: From: James Harrod Subject: Re: footstool To: "Gary Yannone" Date: Wednesday, August 4, 2010, 10:36 PM Gary, I looked over the 'footstool' which does also to me look like multiple kinds of images: two or more animal heads, but not clear enough for me to attempt to identify the species, and then human-like face/mask and then that smaller animal. The large size reminds me of some large pieces at Allan Day's site, which, my totally rough guess is that they may be at his site Hopewell/Adena that made them. I've attached a large stone that a collector Dirk Morgan found at a site not far from Allan's, and which was verified by local college geologist as evidencing tool work on it, a 'turtle head'. Whenever that wolf head was made that artist was highly skilled. Jim -- James B. Harrod 301 Spring Street Portland, ME 04102 (Voice) (207) 553-2048
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    Looking down on the right hand side at all the white, green, pink and red crystals.
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    We attempted to compare or understand the various stone images. This heavy (lithic unknown) stone sculpture provide a lot of possibilities. Viewed straight on ( the lower images) it provided possible fauna images merging and with a mask and facial similarites. Flipped (top images) it looked 'somewhat' similar to an Olmec sculpture. But, instead of a helmet, the image appears to be wearing a turtle! So, could these be the great ancestors of the Olmec? Unknown. Does this then propose a South to North migration? No. A migration from Altai Siberia about 23,000 years ago to Beringia. After a 'standstill' to North America and 12-13,000 years ago to 36cu0190. Description
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    Arrow points to head of an unidentified animal image. Human alterations undetermined. One expert identified it as a portal stone.
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    Arrows pointing to a substance on the artifact and two pieces removed from the reverse. A hammering mark and possible drill mark on the back. Is the substance a human alteration? Unknown.
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    Another shamanistic artifact from area one? Unknown lithic material.
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    Jeff looking out from our storage building. On the right, the original condition of an area three artifact getting a little attention after 16 years.
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    A possible bird form with a dual meaning. Deep black patina.
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    Two more artifacts, one without black patina on the left. Possible bird form on the right. Neither numbered yet.
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    John in front of a box layered in artifacts.
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    An interesting artifact in the box next to John. A curve and red color. None of these have been numbered. There may also be images in the natural stone.
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    Another one in the box. Unknown lithic and symbolism, but very interesting. Someone thought it was metal, but it is stone and may have been coated with a substance. Unknown meaning.
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    Gorgeous image. Great for meditating, i.e. Suiseki. Unknown as far as human alterations or lithic material. Unknown meaning. Thanks to Jim and Mary Kay Doyle for teaching us about suieseki.
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    Area three artifact that appears to have significant symbolism. Lithic unknown. Symbolism meaning unknown.
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    Their sacred art displays a compplexidty and humor. Cover the first eye and another appears. Cover the second one and it happens again. This not a natural occurence. Oops. What evil lurks in that hole? Do you see the Mammoth and baby Mammoth?
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    You don't see it? That is ok. It has to do with training. Sort of like learning what animals make which tracks.
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    This another of the Palaeolithic portable stone artifacts from 36cu0190. It was released by nature from the orange oxides and clay approximately 24 inches from the surface. As with many of the artifacts from 36cu0190, it poses numerous scientific issues. One technical issue was where to put the artifact identification number? Whoever the artist was didn't give much thought to that I guess. It sort of reminds me of automobile engineering. Do they ever think, "let's make it easy for the mechanic?" Another issue is the symbolism. What does it mean? What is it portraying? We have a few guesses, but we really don't know. It is all consistent with our theory at www.vallis.info But, it also remains a real head shaker! And we still have not got a specific lithic diagnosis. We sprayed distilled water on it and the sun lit it up for the top left photo. Still with all the issues that it presents, it remains one of our favorite mystery artifacts.Description
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    This bone has had some type of substance applied to it on the left side. Possibly some type of sacred oxide mix. And on the right end possible symbolsim. Meaning unknown.
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    Gorgeous artifact from area three at 36cu0190. It is thin and both sides are shown as the sun hits it. Unknown lithic material and unknopwn meaning.
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    Literally tons of red and orange oxides in area three mixed with clay and millions of possible artifact pieces left over from the carving process .
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    Two other artifacts that eroded out next to the wolf three years later.
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    Artifact in brown patina like the sitting birds. Unknown lithic or symbolism; possible turtle image.
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    The Palaeolithic art and tools on display at our lost museum.
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    Giving a museum tour. The feedback was always amazing no matter who the audience was.
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    At srrow A there appears to be the head of an animal with a round eye and with something in its' mouth. At arrow B it appears to be a dual image with another animal with something in its' mouth. Are these images simulating swiming side by side? Unknown. What about the rest of the artifact? And the lithic material? Unknown. The reverse is labeled Other Side.
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    DesA is an incredible artifact from 36cu0190 that many of our followers viewed and liked. We give the full view on the left, followed by a close up on the right hand side. The image appears to be two animal heads in relief sculpture next to each other, and possibly swimming side by side. Each has something in its' mouth and the lower one is so detailed it looks similar to a larvae of some sort. We do not know the lithic material, but feel free to take a guess. It is unknown if all the coloring is the natural stone.. B is the reverse side and C a bone specimen. On the right we compare the two end images/symbols which are very similiar, one in stone and one in bone.cription
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    As we began this journey, this artifact is one of hundreds from area one. We had no clue as to what these were as far as culture and timeframe. But, we had a decision to make as far as a Phase One. Leave them where they were or pick them up and store them. We went over scenarios where there could be flooding, or fire, or a new shopping mall built on this very spot. We agreed that it was better to collect and store all the stones, bone, etc. than risk their destruction. And in general and at times specificaly we knew where we discovered each one. But, in no way did I ever believe that stones like this were for the historical purpose of the log home. It did not make sense from someone who had owned and worked agriculture in similiar Clay/Shale homesteads. After years of research we believe it fits our theory at www.vallis.info We believe that the image on the right is some type of twisted animal/human form, a unique and sacred symbolism quite possibly related to myth or vision quest. The image on the left is the reverse and also has a story. But, what are the meanings? We don't know. We don't know the lithic material either. But, at least our Phase One decision saved thousands of these over a 300X100 foot area. Does anyone see a possible Mammoth image?Description
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    Using Enhanced Color Technique to decipher the artifacts human alterations. Symbolism unknown. Lithic material unknown.
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    We have no idea natural versus human alterations on artifacts like this from the site. But, it is consistent with profile images peering through some type of mask.
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    DescriJeff Kottmyer who first named the primary image in the artifact a bear representation liked our last post. So here is two different views. What I can say is that their sacred stone art was all dependent on light and shadows. And one can only imagine what it looked like in the moonlight or in camp fire light. We had it positioned in the museum so that when someone turned a corner there it was!ption
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    Our learning curve at 36cu0190 was slow because of the unique prehistoric art style and symbolism of the culture, as well as the many different lithic materials. The natural geology of the site was clay and shale. The Wisconsin Glacier had reached its limit approximately 150 miles NorthEast. And I had to balance what we were discovering with my youth summers spent in farming at similiar locations not too far away. The lithics of both of these artifacts are unknown, but they are not the natural clay or shale. Additionally, I had to readjust my vision since intially because the stones like the one the left looked like it had some type of mortar on it. But, we were to learn that a stone etched with thousands of years of weathering developed similar types of patina or it could be a natural substance. And to make it more difficult, the symbolic images would not be ones we were familiar with. The artifact to the left was part of the very large early surface collection(which did not make sense from an agricultural perspective), while the one to the right was buried approximately 24 inches from the surface. The arrows are pointing to possible images. Near the bottom and top of the hand you can see some of the stones gorgeous colors after sprayed with distilled water .escription
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    Two more artifacts from our cold and windy artifact inventory day. The top one has a deep brown patina. Both are from 36cu0190 and we are not sure of the meanings or lithics.Description
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    Here is another artifact from our cold and blustery day. This one again is fascinating. We did not spray distilled water on it to bring out the colors. I did Enhanced Color Technique and wow!!! I think the lithic material and its' origin may be significant for this one. Like many of the other ones the symbolism probably tells a cool story! But, what it all means we don't know.Description
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    I was glad to see this artifact the other day. The two pics are the same artifact with different sides. Could it have been used as a tool? Unknown. There is a piece that appears removed from the middle bottom on the right hand photo. It was found amidst the portal stone artifacts in Area 2. Again, we do not know the lithic.Description
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    Here is another artifact from the other day that illustrates two points. The first artifact with the deep black patina is exactly as it was found in Area 3. It almost looks like it has gone through a fire. Near the middle you can see an orange tint. The patina is broke there and the orange most probably is from the artifact itself as demonstrated in the artifact below it with no black patina. The difference may have been that the artifact with the black patina was exposed to the elements and/or the spring water. It is a natural and very deep patina. It also may mean that the bottom artifact remained untouched since its release from the clay and oxides might have happened more recently. We don't know for sure, nor do we know if any of the coloring was human alteration or it is all natural stone on the bottom artifact. This type of patina was also a camouflage that protected thousands of these artifacts under the thick brush from sight of humans. The amount of artifacts with this deep patina suggests this process had been going on for millennia. A second point is a cultural one. These Palaeolithic artists put something into the mouth of their creations. Incredible. The wolf, the sitting bird, etc. all have something in their mouth too.Description
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    Here is another artifact from our cold, windy and short artifact inventory day. Again, I reiterate we are not the Archaeologists, Anthropologists, Geologists, or Palaeontologists the project neeeds. This artifact was discovered with literally hundreds to thousands exposed. These were noticed since the natural snake like path of the spring flow had been altered. I did Enhanced Color Technique with Microsoft software on the right and it appears that it may have been buried in the orange and red oxides and then naturally released through erosion. Typically, artifacts (i.e. the wolf www.vallis.info) were buried 20-24 inches down in the orange/red oxides and clay below the layer of topsoil. We don't know which position is correct, but there are what appear to be images either way. That is somewhat complicated by the fact that the artists appeared to have excellent eyesight for small details. So, we do not know which images are natural versus human alterations. Although they may have selected stone with natural images. We also do not know the meaning, or the use. We still do not know what the lithic material is, but we do not think it is 'pencil' shale from the natural geology of clay/shale site.Description
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    A very large stone artifact from area two.
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    Using Enhanced Color Technique to bring out the ancient colors applied to the stone. It uses Microsoft Software.
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    View of original position of a stone embeded in hole on the left side. On the top right a medium size dog passes.
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    Using ECT and ELDT to attempt to decipher the ancient colors and shapes/symbols on the stone. Unknown. They use Microsoft Software.
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    First tool discovered. In area one. Autenticated by Dr. Faradzhev and others. Quartzite? Not of the sites natural clay or shale. Arsen A. Faradzhev, Ph.D., President of the Moscow Centre Of Rock Art and Bioindication Research (IFRAO member since 1995) "This tool is a classical example of stone triangular tools with usual ‘back’ and stomach.’ The only difference is the size. It is 9 cm tall, 10 cm wide and 3.5 cm thin."
  112. Managing Director
    Typical prehistoric hammer stones.
  113. Managing Director
    Nothing was simple at 36cu0190 in the begining. Sure this kinda looks like a prehistoric hammerstone. Yes there was a large creek and river nearby so it was probably a creek or river cobble. It had the diagonal mark that a Pennsylvania archaeologist said was a sharpening mark used by a right handed human. The top in the left picture may have been formed for digging purposes. Eventually what matched was amazing. It was used to create incredible Palaeolithic stone art. By a culture that had originated in Altai Siberia and about 23,000 years ago migrated to an Oasis in Beringia. Eventually migrating to North America. With that context now it makes sense.escription
  114. Managing Director
    A view of the two marks on the right photo. A creek or river pebble.
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    Enhanced Line Delineation Technique (ELDT) shows possible human alterations.
  116. Managing Director
    Was there a simple face added to the tool. Unknown.
  117. Managing Director
    36cu0190 is an open air site with little or no context at certain locations. Of course that can spark a lot of discussion in the scientific community. The sanding tool o.181 was discovered with other prehistoric stone tools and spectacular Palaeolithic portable stone art. But, I had never recognized it as a prehistoric tool. Dr. Faradzhev made that brillant assessment and I agree. With artifact 0.011 we ran a copy from the printer(photo copy) and later took photos. We also did Enhanced Line Deliniation Technique. Through a random Microsoft algorithm it appears to show a human alteration at the eye as well as many other smaller ones which could be sanding.Description
  118. Managing Director
    Another smaller stone hammer stone from area three. Most probably a slope wash pebble from North Mountain 4 miles away.
  119. Managing Director
    Typical prehistoric sharpening stone marks.
  120. Managing Director
    An incrdible sharpening stone from area three.
  121. Managing Director
    The reverse of this stone.
  122. Managing Director
    Enhanced LIne Delineation Technique highlights the human alteratons.
  123. Managing Director
    Another stone authenticated from area three. Use may have been sharpening.
  124. Managing Director
    A closer look at this engraving type of tool. Possibly quartzite not of the sites natural clay and shale.
  125. Managing Director
    Another hammer stone found in area one. No black patina.
  126. Managing Director
    Is this the worlds' largest hammerstone? A= is a view of the stone with a tape measure in front and a brick behind it. It is not the natural clay or shale geology of site 36cu0190. No specific lithic has been determined, but it appears hard and heavy enough to be used as a hammering tool. B=We tested the stone as far as practicality and it fit into your hand like a glove. At the thumb intersection it is a tight and comfortable fit for a right handed human. C=We did research to see what type of marks the pounding surface should be consistent with. D=Examinng that contact point through magnification and photography the marks appear consistent with hammering.
  127. Managing Director
    Pieces of bone from area one with a possible Obsidian tool.
  128. Managing Director
    Good editorial about our mission.
  129. Managing Director
    The hypothesis becomes part of the Smithsonian archives. The books became part of the collections at Cornell University, HACC, Dickinson, Troy University, CCHS, and Bosler Library.
  130. Managing Director
    Official recognition from the PA Museum Commission as site 36cu0190/36cu190.
  131. Managing Director
    The Cumberland County Historical Society recognized the site with historic landmark number 041-020-51.
  132. Managing Director
    A note on the sites great spiritual significance from Roger Swartz.
  133. Managing Director
    Description from Paul Wallace of the first Indian inhabitants of Pennsylvania dating back from 12 to 18,000 years before present.
  134. Managing Director
    Arsen takes several artifacts to Dr. Stanford at the Smithsonian and he is not against them being Palaeolithic portable art. http://www.schafftwissen.de/20.html The next day, Monday, April 14th, Ed Owens, Dennis Hurley, and myself visited Dr. Dennis Stanford at the Natural History Museum of the Smithsonian Institute. We brought the collection artifacts and tools to his laboratory, and I appreciate very much his attention to the Lost Valley story. He was very attentive when looking through the artifacts and tools, and as in the previous discussion of Gault, asked about context. Dr. Stanford was not against the possibly of recognition of the Lost Valley site. At the same time he asked to be kept informed of news about Lost Valley. We were very pleased to be shown the Smithsonian artifacts. After showing us the artifacts, which include the oldest known paleo artifact in the United States, he decided to show us power point presentations (3) pertaining to Clovis similarities of Europe and the United States. There are now evidences of many paleo sites in the territory of United States with dates greater than 20,000 yrs bp with strong contextual evidence. Let me use this opportunity to express my gratitude to Ed Owens for providing the transportation to Washington and back. Dr. Arsen Faradzhev ________________________________________________ January 25, 2011 Dear Maggie Dittemore, Smithsonian Institution: The FMS Board of Directors expresses our deep appreciation for kind and professional support of the Smithsonian and Dr. Dennis Stanford’s assistance concerning the review of the artifacts from site 36CU190. We believe it to be a wonderful legacy for all the people that sacrificed so much and for the incredible Palaeolithic Artists. The end result has been well worth it for all of us, and an excellent avenue for education on prehistoric art and the amazing cultures and environments of that timeframe. Enclosed is a final copy of the Archeological Site Hypothesis-Vallis Ante Artis for your review and collection. Kind Regards, Gary Yannone President, Frankford Museum Society
  135. Managing Director
    The project was never about us, it was about the artists and incredible stone art at 36cu0190. We attempted every avenue possible to get the assistance we needed, but we remained in a scientific limbo. When Arsen first answered a package we had sent out, he mentioned something to the affect of falling in love with the psychology of the Palaeolithic artist. I didn't know what he meant, but I joined him in admiring not only their artwork, but their status as some of the worlds greatest explorers and hunters. Our proof had to be overwhelming since it was a first discovery . But, as Baun had mentioned, the context at an open air site was virtually non existent!Description
  136. Managing Director
    Excavated bone from area 1.
  137. Managing Director
    Opposite side of bone with possible human cut marks or symbolism. Unknown.
  138. Managing Director
    Previous bone sprayed with distilled water. Very interesting black, red, and yellow colloring. Human alterations? Unknown.
  139. Managing Director
    Bone turned 180 degrees.
  140. Managing Director
  141. Managing Director
    On the left as the specimen looks in the 'bone box.' On the right sprayed with distilled water. There may be alterations on the inside of the bone.
  142. Managing Director
    Another interesting bone from area one.
  143. Managing Director
    A look at two of the bone views, both images of the same specimen. A specific historical or prehistoric fauna has not been determined. Nor has any c-14 dating been tested.
  144. Managing Director
    Area one bone unknown.
  145. Managing Director
    Bone fragment unknown.
  146. Managing Director
    Area one bone unknown.
  147. Managing Director
    Possible piece of sheep pelvis? Unknown.
  148. Managing Director
    Bone from area one. Unknown.
  149. Managing Director
    Small bone fragment from area one unknown.
  150. Managing Director
    Area one bone. Fauna species unknown. Use/meaning unknown.
  151. Managing Director
    Excavated bone specimens from area one. Were they used to detail some of the carvings? Unknown. Species of animal unknown. Age unknown.
  152. Managing Director
    Bone fragment from area one. Unknown.
  153. Managing Director
    Another piece of bone from area one-unknown.
  154. Managing Director
    Bone fragment from area one. Unknown.
  155. Managing Director
    Area one bone specimen. Species unknown. No c-14 date accomplished.
  156. Managing Director
    Area one bone. An image? Unknown.
  157. Managing Director
    Was this bone smeared with a substance? Unknown.
  158. Managing Director
    Bone from area one. Metacarpal from a cow? Unknown. Possible cut markngs. Animal or human? Unknown.
  159. Managing Director
    Bone excavated from area one. Human alterations unknown. Species unknown. No c-14 dating accomplished.
  160. Managing Director
    Nolan Chew supervising the excavation of quadrangles in area one near the 1794 log home.
  161. Managing Director
    Another artifact from Area One. Unknown fauna. Unknown lithic material.
  162. Managing Director
    A large cat sculpture. Lithic unknown. A Jaguar? A North American Lion? A Saber Tooth Cat image? Unknown.
  163. Managing Director
    Artifact turned 180 degrees which shows a different image. Not of the sites natural clay and shale.
  164. Managing Director
    The reverse with the artifact number.
  165. Managing Director
  166. Managing Director
    Artifact from area one. Mammoth or Mastodon facing left with unknown fauna facing right. Lithic material unknown.
  167. Managing Director
    Enhanced Line Delineation Technique. An enlightening of the ear in green.
  168. Managing Director
    Reverse of artifact. Unique art style and technique. It would be consistent with the Clovis Culture and hibernation period in Beringia.
  169. Managing Director
    Underside of artifact with modifications.
  170. Managing Director
    Beautiful view of area three in the winter.
  171. Managing Director
    A visit by the reknowned professor BK Swartz. He favored the sitting bird artifacts.
  172. Managing Director
    Unknown lithic material. Unknown symbolism meaning.
  173. Managing Director
    Reverse. Unknown lithic material. Unknown symbolism meaning.
  174. Managing Director
    Same artifact wih lower right in ELDT. A bird image? Unknown.
  175. Managing Director
    A stone artifact from the area two portal stone context. Unknown litic and unknown meaning. Not of the natural clay and shale geology of the site.
  176. Managing Director
    In Situ artifact. Unknown lithic or symbolism.
  177. Managing Director
    We say goodbye to Jeffs shaker/shifter he invented. .
  178. Managing Director
    In Situ artifact.
  179. Managing Director
    The last Frankford Museum Society Newsletter.
  180. Managing Director
    Another artifact that extended area three by one hundred feet; strething it 400 feet east. Symbolism unique.
  181. Managing Director
    The name of the book about the discovery was taken from a chapter in a 1960 Time/Life book, The Epic of Man.
  182. Managing Director
    Description of the Palaeolithic hunters and artists.
  183. Managing Director
    Sunfish carving image? Unknown.
  184. Managing Director
    The Theory
  185. Managing Director
    Artifact inventory day 7-23-2017. A sprinkle of distilled water.
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  187. Managing Director
    Jeff remarked to me that we had 22 quadrangles on site going at once. And besides recognized and numbered artifacts, there were thousands of pieces of small stone fragments, clay, bone, and charcoal. We had bags of clay and charcoal and other 'stuff'. Some of the bags are in the background and are all marked. And here in the foreground are just two specimens. The site provided plenty of clay, spring water and oxides. It seems like their image making included any and all forms of lithics. These two specimens in front may have some type of symbolic meaning. We read somewhere that Palaeolithic clay fauna figurines had been discovered. As a matter of fact I had one small clay effigy on display that to me looked like a Mammoth image. But, it never got much love so we took it down. It is their art. Their style. Their symbolism. Their meaning and we may never understand it. It took me time to understand what Arsen (Faradzhev) tried to teach me about Palaeolithic cultures: "It was a time when water was hard and stones soft." And so we live in an complete opposite, but exciting world today. Description
  188. Managing Director
    Or mascot Abby.