The Peralta Stones

[FEMF]

Hi to All,
Well Beth, looks like the infinity symbol, analemma and the number 8 all have different meanings.
Infinity (symbolically represented by ∞) is a concept in many fields that refers to a quantity without bound or end. People have developed various ideas throughout history about the nature of infinity. The word comes from the Latin infinitas or "unboundedness."
The infinity symbol is sometimes called the lemniscate, from the Latin lemniscus, meaning "ribbon". John Wallis is credited with introducing the symbol in 1655 in his De sectionibus conicis. One conjecture about why he chose this symbol is that he derived it from a Roman numeral for 1000 that was in turn derived from the Etruscan numeral for 1000, which looked somewhat like CIƆ and was sometimes used to mean "many." Another conjecture is that he derived it from the Greek letter ω (omega), the last letter in the Greek alphabet. Also, before typesetting machines were invented, ∞ was easily made in printing by typesetting an 8 type on its side.
On Earth, the analemma appears as a figure eight. Again, the resulting curve resembles a figure of eight (8). This sign and its components can indicate where the sun is located in the sky any time of year.
Below is a description of some of the terms that I have become familiar with over the years;
SARA; sculptured, animated rock art
Viewing corridor; area/location pre-determined by the Author of the SARA where one must be standing to view the complete art form and recognize the features of said art form during 100% phase.
Phase; Percentage of art form, 0% phase, there are no recognizable features, up to (100% phase) to completely recognizing the features of the art form 100%.
Phase dependency; Location of the sun or moon in relationship to a SARA at a given time, date and year. We need to use an analemma to determine where the position of the sun is actually located in reference to each SARA.
Eight (8), equals rebirth according to the study of Pyramidology. It can be used to represent any of the above, trust me, I have learned the hard way.
When one is working with the stone maps a common rule must be applied; each symbol may imply three different definitions. Each one must be proven individually to determine if its meaning can be applied to the maps. The sign may have more than three (3) meanings, let us use the hearts found on the stone maps. How many are there all together? Three, six, eight or nine?
The Priest Map tells us to study the heart, singular, not plural. Which heart are we supposed to study? It is so obvious, the correct one, the right one, the only one that can enlighten us to indicate where the treasures are cached. We must eliminate all of the others (or do we) to determine which heart we must study, look for or find. Busca, another word with a number of meanings; search, quest; hunt; v. search for, seek, look for; scout for; forage; call for, ask for, etc. BUSCA EL CORAZON = looking for the heart. You must find the heart, you must study this heart that you have found and you must know its meaning (hint; Padre Kino knew). This will be explained at a later date, for he had a great amount of knowledge relating to the area in question.
Lamar,
The symbol for the heart has been around since the 1190s. Pic attached

Joe,

No public info as of yet.

Ellie B

Hello Ellie Baba
If the author of the SARA where nature? would it be called NARA? Natural Anamated Rock Art! We've all seen them!
Thanks.
FEMF

 

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[cactusjumper]

Ellie,

There may be some debate as to those being hearts originally:

From Wikipedia:

[Coat of arms of Denmark

Details
Adopted First documented in the 1190s. Modified 1819
Crest Crown of Christian V
Escutcheon Or, three lions passant in pale Azure crowned and armed Or langued Gules, nine hearts Gules
The National Coat of Arms of Denmark consists of three crowned blue lions accompanied by nine red hearts, all in a golden shield. The oldest known depiction of the insignia dates from a seal used by King Canute VI c. 1194. The oldest documentation for the colours dates from c. 1270.[1] Historically, the lions faced the viewer and the number of hearts was not regulated and could be much higher. Historians believe that the hearts originally were søblade (literally: sea-leaves) but that this meaning was lost early due to worn and crudely made signets used during the Middle Ages. A royal decree of 1972 specifies these figures as søblade but Danes normally refer to them as hearts. The current version was adopted in 1819 during the reign of King Frederick VI who fixed the number of hearts to nine and decreed that the heraldic beasts were lions, consequently facing forward. A rare version exists from the reign of king Eric of Pomerania in which the three lions jointly hold the Danish banner, in a similar fashion as in the coat of arms of the former South Jutland County. Until c. 1960, Denmark used both a "small" and a "large" coat of arms, similar to the system still used in Sweden. The latter symbol held wide use within the government administration, e.g. by the Foreign Ministry. Since this time, the latter symbol has been classified as the coat of arms of the royal family, leaving Denmark with only one national coat of arms, used for all official purposes.]

Perhaps it is not really the earliest "heart" depiction after all.

Take care,

Joe

 

[Ellie Baba]

Hi Joe,

Here is a little more info to take a look at.

The Origins of the Heart Symbol

Cardiology's Emblem
Summary: The ivy leaf portrayed by prehistoric potters of long-forgotten cultures evolved into the red playing-card heart. This botanic symbol found in ancient Greek and Roman art - primarily in vase painting - represented both physical and, above all, eternal love, withstanding death.
The final transformation of the green heart-shaped leaf into the red playing-card heart took place in medieval writings, predominantly in the central-european literature of courtly love.
During the Middle Ages and early modern times, when medicine had a scholastic character, this symbol was used even by anatomists to portray the heart.
The worldwide circulation of the heart symbol through art, playing-cards and above all, however, through religious worship, has made the heart, besides the cross, to the probably most popular non-geometric symbol and to cardiology's emblem.

Contents:

The pre-Christian times
Metamorphosis from heart-shaped leaf to heart
The close of the Middle Ages till the baroque period
The medical portrayal of the heart symbol
The expansion of the heart symbol across the world
Over the centuries, the red playing-card heart has become familiar to us through art, architecture, advertising and kitsch; it is cardiology's emblem across the world.

The pre-Christian times
There is a bulbous, baked-clay goblet in the Museum of Kabul in Afghanistan which dates from the first half of the 3rd millenium B.C., depicting stylized fig leaves with broad stems. This decoration can be found on later ceramics of neighbouring cultures. As well as other vegetal decorations there appear these same fig leaves - and later ivy leaves - which anticipate the modern heart shape.

Approximately 1000 years later these botanic patterns appeared on Cretian clay vessels; fresco painters decorated scenes of figures in Minoan palaces with naturalistically painted tendrils of ivy, heart-shaped leaves and flowers.
The Acheans, heirs of the Minoan culture and bearers of the Mycean culture group, adopted the stylized ivy leaf in their ornamentations, and in the later 8th century B.C. Corinthian vase painters depicted these ornaments on cymations, the decorative borders of vase pictures and on the handles of vessels.

In many cases even grapes are portrayed heart-shaped.
This decoration is a foretaste of the metamorphosis into the heart, as it is described in Christian teachings, portraying Jesus as a vine with a divine, unselfish heart.
Heart-shaped ivy and vine tendrils can be found on vase paintings of Dionysos, the god of wine, frequently in erotic scenes.
On Grecian stelae and later on Roman gravestones and early Christian graves in catacombes, the ivy leaf symbolizes eternal love, i.e. love beyond the grave.

Metamorphosis from heart-shaped leaf to heart
The final transformation of the ivy leaf into the red playing-card heart of spiritual and physical love took place parallel to the secularization of the religious heart metaphor into the wordly, courtly heart found in the literature of the middle ages.
The monastic illustrators, inspired by art and ornamentation of the latter years of antiquity and Roman times, painted Trees of Life with heart-shaped leaves; in paintings of the 12th and 13th centuries, ivy leaves appeared in love scenes, before long in red - the colour of warm blood, which had signified good luck, health and love since prehistoric times.

From then on, the red heart spread quickly across Europe, especially in the area of the Catholic Church. Several facts are responsible for this:

The profanation of the heart-shaped leaf to a symbol of physical love, but also to a symbol of compassion and devotion in secular and religious art.
The adoption of the heart image in the Sacred Heart cult of the Catholic Church.
The use of the symbol in heraldry, as a watermark in paper production, and as a company stamp in art printing, which was at the same time an anticipation of modern commercial art.
The inclusion of the heart in the deck of cards: at the end of the 15th century cards began to be standardized, especially the symbols. The red heart replaced the goblets found on Italian tarot cards.

The close of the Middle Ages till the baroque period
Heart-shaped leaves and hearts can be found on gothic grave stones relatively often. They indicate the origins of families whose fiefs usually lay next to larger stretches of water or where rivers ran through.
Later, in the Renaissance and especially in the baroque age, the heart on a coat of arms stood for eternal faithfulness and courage.

Painters and sculptors portrayed the human heart in the form of the playing-card heart more and more often, especially when they wanted to depict erotic and religious subjects.
European spiritual and secular sovereigns chose a separate grave for their heart in a place that they were fond of during their lives.
The urn was often heart-shaped, or the grave or cardiotaph was marked by the heart symbol.

The heart symbol in medical illustrations
The first medical illustrations of the heart were shaped like pine cones or pyramids, and were probably influenced by the description of the organ by the hippocratic school, by Galen and later by Arabian doctors. Later, from the 13th to the 16th centuries, the organ is depicted in the form derived from the ivy leaf.

The knowledge of anatomy which Hellenic physicians had gained through autopsies had sunk into oblivion during the Middle Ages, which were characterised by religion. The anatomists were inspired by artists and book illustrators, and portrayed the heart as an inverted leaf, with the tip bent to the left and the stem symbolizing the arterial tree.

Even the universal genius Leonardo da Vinci used this analogy between the leaf symbol and the realistic shape in his early anatomic sketches.

Perhaps the Norman stonemason, who made a porphyrite coffin for the Hohenstaufen emperor Heinrich VI, had the heart in mind when, following the Roman example, he created the mysterious leaf symbol with 4 grooves (= 4 ventricles?), the tip pointing to the left, and the stem (vessel stalk?).

If we compare this depiction with the early drawings of Leonardo da Vinci, then the picture becomes more and more fascinating.

The ring with the heart-shaped ivy leaf held by the divine hand, is an ornament symbolizing eternal love, a so-called "corona vitae" - the crown of life - a symbol of love beyond death, and was taken over from the ancient Roman world by Christian symbolism.

The expansion of the heart symbol across the world
Whilst, since Vesal at the latest, the heart is depicted in medical illustrations in its anatomical form, the red card-game heart, as symbol of spiritual and physical love, but also of lesser feelings, started its triumphal march from the european culture area across the whole world.
A decisive contribution to this was made by the Sacred-Heart cult as a religious sign which the Jesuits spread across the world.
In sacral art angels and saints hold their hearts in their hands like playing cards and give them to God as a sign of their self-sacrificing, everlasting love.

Interestingly, in Buddhism the playing-card heart also developed - independently of the western metamorphosis - from the fig tree (the bodhi tree) into the symbol not of love, but of enlightenment.
It was under such a tree that the ascetic Gautama found liberating enlightenment through years of meditation and became the Buddha.

Today, the symbol with the two curves, running down to a tip, is a pictogram for a whole range of feelings and has become the emblem of cardiology.



The four suits now used in most of the world — spades, hearts, diamonds, and clubs — originated in France in approximately 1480. The trèfle (club) was probably copied from the acorn and the pique (spade) from the leaf of the German suits. The names "pique" and "spade", however, may have derived from the sword of the Italian suits. In England, the French suits were eventually used, although the earliest decks had the Italian suits.

FEMF,

There is a major difference in construction techniques used to create SARA's, for they are not natural, but are in fact created by the hands of men. Ever seen a BOOT this big before? How about the soldier standing next to the boot just right of the heel his sholder just touching the arch. He is just about 400 feet tall.


Ellie B

 

[Ellie Baba]

I have a question which may seem stupid but I'm only asking because I find this mystery so fascinating but lack enough knowledge on the subject to keep up. So I am curious to know, why does everyone believe that these stones lead to old mines? I mean, couldn't these stones just as easily be the record of a simple religious journey, say into the heart of the region? I'm just asking so I can catch up on the current conversation with a little better understanding of how these stones have been directly tied to Kino, Peralta, or lost mines, etc.? Not doubting that they are, just don't understand how they are tied to these things with so much certainty?

Hi Bigscoop,
You can only be certain if you dot your i’s and cross your tees. I do not yet have them all dotted and crossed as of yet. Just a little known fact: Father Kino had plenty of time to see the BOOT depicted in the earlier post. This whole thing originated in Egypt as far as my research goes as I have been able to re-engineer what I have found and spent a bunch of money to prove out my own theories. Plus I haven’t worked alone and have had some great people over the years who have assisted me including the archaeological community, and the astronomical community and others from the U of A, in Tucson, AZ
Almost twenty years now and I have some outstanding documentation to prove that the stone maps are one of the many maps to find the treasures. These treasures had to be re-located in the early 1900’s due to a problem that they would eventually be discovered and a new place had been prepared just for safe keeping. The stone maps were produced to entice everyone to look towards the north (which they have) and to confuse the hell out of everyone else. The maps were designed to fit a particular area, the same one that Kino visited a number of times while he was in Pimeria Alta! The location of the treasures can only be de-ciphered from the clues that were left in the area. These clues are hidden in the SARA.
I am on my way to dig up a purported treasure that’s seven feet deep, it’s an 1870-1890 variety with 5, 10 and 20 gold pieces along with a bunch of silver. We are using a new type of technology (I am sworn to secrecy) that may look promising. If we find this cache I will be surprised and elated. If not? Back to the drawing board. I have dug too many holes with zero results and it is hot as you know what right now.
You all have a great 4th, the photo is out of focus and we are about 60% phase. Check out the action.
Ellie B

 

[cactusjumper]

Ellie,

Can you explain what your boot formation has to do with the Stone Maps?

Thank you,

Joe

 

[Oroblanco]

Cactusjumper wrote

Springfield,

My own personal belief about the stones, is that they were created "after the fact". They do show the locations of mines, and possible treasure locations in the Superstition Mountains, to the exclusion of all other places, but those locations no longer hold anything of value. Harry LaFrance's cave of gold bars is the one story that really convinces me of that.

This is one of the key risks involved with virtually all treasure maps (as opposed to mines) the treasures may have been dug up, moved to a new location, or removed completely some time ago and we likely would not have even heard of it. So we could have a perfect solution of the stone maps (or any treasure map not referring to mines) and be unable to prove it, since the treasures are long-gone. How would we know, if the treasures have been removed? It is a small risk of course but something to consider.
Oroblanco

 

[cactusjumper]

Roy,

I did hear a story about what happened to the gold bars from the Superstitions. They had been removed from their location and buried just west of First Water Trailhead. It's a fine story with a classic double cross included.

Take care,

Joe

 

[Oroblanco]

Hola Joe,
Do you know if anyone ever followed up on that story?
Roy

 

[Ellie Baba]

Ellie,

Can you explain what your boot formation has to do with the Stone Maps?

Thank you,

Joe

Hi Joe,

This will take some time to explain, but for now a quick sinopsis. Horse on stone map depicts the clues neccessary to transfer to 1900 Florence Topo. Grab 1902 Florence Topo and look for change related to county lines. Horse must be moved to the right side of map and then drop him down to (proprietory info) the south. Note horse on earlier IR Interpretation posted yesterday and note that he is only half a horse (indicates how he lines up with county line changes on 1900 and 1902 Florence Topo maps) and his reins are dropped. The horse is now located next to the boot also known as "Priest Rock" and/or the "Finger of God", but is known historically as "El Nino de Atocha". Time to take off Joe and will explain the above events in greater detail later.

Have a restful night,

EB

 

[oddrock]

I Googled DUSA and all I got was page after page of sites for a lady really good at mathmatics. Is there a secret pertaining on how to access this site?

 

[Oroblanco]

I Googled DUSA and all I got was page after page of sites for a lady really good at mathmatics. Is there a secret pertaining on how to access this site?

Yes, it is TOP SECRET amigo (I am kidding) really DUSA is our short-hand way of saying DesertUSA, which has quite a few good articles that you might find interesting; the home page to start is at
http://www.desertusa.com/
the forums focused on treasure hunting, prospecting, lost mines etc are at;
http://www.desertusa.com/mb3/viewforum.php?f=9&sid=1dc3138114d719eafd4b006ffd5339b6

..the portion of the forums that is focused on the Lost Dutchman and Peralta Stones is 'members only' but membership is free, so even someone like ME can afford to join.

There are several other threads here on T-net which are on the Peralta stones, and a fair number of web sites and other forums where you can find a lot of info. If nothing else, the Peralta Stones are a fascinating mystery.
Oroblanco

 

[cactusjumper]

Ellie,

Many thanks for that explanation, even though you lost me early on.

"and his reins are dropped."

I didn't know the Stone Map horse had reins.

Have a good night, my friend.

Joe

 

[Ellie Baba]

Ellie,

Many thanks for that explanation, even though you lost me early on.

"and his reins are dropped."

I didn't know the Stone Map horse had reins.

Have a good night, my friend.

Joe

Hi Joe,

The reins are dropped belonging to the horse on the IR Interpretation lower right hand corner (the two horses are one and the same).

Goodnight Joe,

Ellie B

 

[Infosponge]

Bigscoop,

I have a question which may seem stupid but I'm only asking because I find this mystery so fascinating but lack enough knowledge on the subject to keep up. So I am curious to know, why does everyone believe that these stones lead to old mines? I mean, couldn't these stones just as easily be the record of a simple religious journey, say into the heart of the region? I'm just asking so I can catch up on the current conversation with a little better understanding of how these stones have been directly tied to Kino, Peralta, or lost mines, etc.? Not doubting that they are, just don't understand how they are tied to these things with so much certainty?

If the stones are real, they will indeed lead you on a journey to your hearts desire. I do believe (for reasons I will keep to myself at this time) the stones are real, but do not lead to anything in the Superstition mountains. (no offence Cactusjumper or anyone else for that matter) I do not believe the stones are the record of a simple religious journey into the heart of the region, nor connected to Father Kino in any way. But I do believe the following carved head monument, and Indian cave painting are connected to Father Kino. I went with some friends to El Pintor, Mexico, to check out the “strange carvings” mentioned on pages 249, and 309, in Eugene Bolton’s book titled “Rim of Christendom.” After examining the carvings I realized they weren’t just carvings in a cliff as mentioned in the book, but off to themselves on what is more than obviously a head monument!

Bolton was definitely right about them being strange carvings, but they appear to be connected to the church. The very first symbol carved is a cross on top of what looks like an anchor-M and a dot.

I had a hunch that there might be some caves with more carvings in the direction the head monument was looking, and when we asked a local rancher if there were any caves nearby, he pointed in the same direction the head monument was looking. Now these caves turned out to be clear across a fairly large canyon, and after we hiked to the caves we were not all that far from Kino’s mission ruins at Delores. What we found there mesmerized everybody, it was an Indian painting which ran continuously for forty feet!




I gave it a once over and immediately recognized it for what it was. It was the Indians recorded story of the five week long trip Juan Mateo Manje made with Father Kino, and Father Gil, in February, of 1699, to discover the Colorado and Gila rivers. It includes the story of the monster, and it was sworn to as being true by five Indians who put their hand prints by the image of the monster.


Now just what was that large stone corral doing there in 1699?

We took the time to visit the ruins of Delores, (not much there to see) and the ruins of the mission at Cucurpe.


Sincerely,

Infosponge

 

[mrs.oroblanco]

Springfield,

"It depends on your interpretation, try turning it sideways"

Maybe, but the real infinity sign LOOKS like an eight, on its side, but it is elongated, which I said before - number 1, and number 2 - then you would be turning the stone - and would then be having to re-interpret all the other markings that would now be in a different position, wouldn't it?

It's not an infinity mark, imo. If we are to "assume" that it is a map - having to turn it for ONE symbol, is .......... ridiculous.

B

 

[Oroblanco]

Hola amigos,
Infosponge, I LOVE your photos! Do you think those caverns might be the very cave in which father Kino hid the ornaments of the church (Delores) in the Pima uprising of 1695? Thank you in advance.

One other thing - I too have wondered if the Peralta Stones may not truly apply to a completely different area, an area with missions, mountains and river, and mines?
Oroblanco

 

[bigscoop]

It is all so intriguing and fascinating. I'll keep trying to absorb everything. Keep living the adventures. Wish I was with you all.

 

[Infosponge]

Good morning,

Infosponge, I LOVE your photos! Do you think those caverns might be the very cave in which father Kino hid the ornaments of the church (Delores) in the Pima uprising of 1695? Thank you in advance.

Good question, but there is no way of knowing that for sure. The distance from the mission was about right. We did come across obvious signs that someone had kept cattle in the area in the distant past, such as rock walls, and several old water troughs which were hand hewn out of solid stone.

One other thing - I too have wondered if the Peralta Stones may not truly apply to a completely different area, an area with missions, mountains and river, and mines?

Lets just say "I have more than wondered."

Sincerely,

Infosponge

 

[Ellie Baba]

Hi Infosponge,

The cross/anchor symbol on the rock represents Sagittarius; Sagittarius is one of the constellations of the zodiac. Its name is Latin for the archer, and its symbol is, http://en.wikipedia.org/wiki/Sagittarius_(constellation) a stylized arrow. Sagittarius is commonly represented as a centaur drawing a bow. It lies between Ophiuchus to the west and Capricornus to the east.

Kino introduced farming crops and raising cattle to the Native Americans living in this area called Pimeria Alta. The stone maps have to fit in an area where you can recognize most of the symbols.

Locate the state capitol building of Arizona on a map. If you can read a map you will actually be able to stand physically next to the Arizona State capitol building by following directions.

Ellie Baba.

 

[oddrock]

I Googled DUSA and all I got was page after page of sites for a lady really good at mathmatics. Is there a secret pertaining on how to access this site?

Yes, it is TOP SECRET amigo (I am kidding) really DUSA is our short-hand way of saying DesertUSA, which has quite a few good articles that you might find interesting; the home page to start is at
http://www.desertusa.com/
the forums focused on treasure hunting, prospecting, lost mines etc are at;
http://www.desertusa.com/mb3/viewforum.php?f=9&sid=1dc3138114d719eafd4b006ffd5339b6

..the portion of the forums that is focused on the Lost Dutchman and Peralta Stones is 'members only' but membership is free, so even someone like ME can afford to join.

There are several other threads here on T-net which are on the Peralta stones, and a fair number of web sites and other forums where you can find a lot of info. If nothing else, the Peralta Stones are a fascinating mystery.
Oroblanco

Oroblanco, Amigo Si.

Many thanks for sharing the key to great riches. (Knowledge) This has been an interesting read, even with all the bickering. I will quietly enjoy from the sidelines. Good Day.