Seven Wonders of the World

Thought I’d share this.

I have no idea about the veracity but, in this day and age of discovery, anything could be true. Lie upon lie upon lie.

I’d love to believe this! In fact – it’s easy to believe this :o)

Always wondered about the Pharos at Alexandria!

BTW – I have looked into where that Famous Alexandrian Library could be :o)


From New Chronology:


The famous seven wonders of the world are often recalled. We are persuaded that they, with the exception of the Egyptian
pyramids, were destroyed in the Middle Ages. ‘The seven wonders’ are [572], p.135:

1) The PYRAMIDS OF Egypt: survive. 2) Hanging Gardens of Semiramida, i.e. Hanging Gardens of Babylon: destroyed. 3) Temple of Artemis at Ephesus: destroyed. 4) Statue of Zeus at Olympia: destroyed. 5) Mausoleum at Halicarnassus: destroyed.6) Colossus of Rhodes: destroyed. 7) Colossus of Rhodes in Pharos: destroyed.

What wonders of the world did the ‘ancient classical’ authors speak of? They wrote, as we understand it, in the XVI-XVII cc. We managed to identify the ‘seven wonders’ with the constructions of the Middle Ages. For example, the ‘Hanging Gardens of Semiramida, created in Moscow in the XVI century, already existed in the XVII-XVIII cc [6v2], ch.2:4.14. It appears that the rest of the ‘wonders of the world’ either exist until today, or were destroyed quite recently. So.



In regards to the Egyptian pyramids we do not have any differences with the Scaligerian version. Except for the dating, of course. These gigantic constructions rightfully head the list of the ‘Seven Wonders of the Ancient World’.


We spoke about the ‘gardens of Semiramida’, or about the Hanging Gardens of Babylon, in [6v2], ch.10:4.14. They are – THE FAMOUS ROYAL GARDENS ARRANGED ON THE ROOF OF THE KREMLIN PALACE IN MOSCOW (XVI-XVIII cc.). The historians and archaeologists cannot present us today with any remnants of the ‘hanging gardens of Semiramida’ in Asia, where Biblical Babylon was erroneously placed. They were searched for long and hard. But in vain. Having come to a standstill they declared several semi-covered earth trenches near a small town in modern Iraq to be the remains of the ‘gardens of Semiramida [572], p.41. By the way, what do the hanging gardens have to do with it? Given that the gardens of Semiramida were ‘hanging in the air’, but did not grow in the ground.


It is considered that this enormous temple, whose glory echoed throughout the ancient world, was built in Ephesus, a city in Asia Minor. But this hypothesis is erroneous. It’s no coincidence that the historians and archaeologists cannot point out any distinguishable traces of the famous temple close to a place in the south of Turkey, which was precariously declared in the XIX century to be ‘the great ancient Ephesus’ -572], p.58. In the end, having found no remnants of the temple of Artemis projected above the surface of the ground the archaeologists began excavating.

Frankly, in seven years they haven’t found much. They write this: ‘THE REMAINS OF THE BEST OF THE EPHESUS BUILDINGS – ARTEMISIONA – APPEARED TO BE INSIGNIFICANTLY SMALL … The statue of the goddess did not survive either, its appearance is being reconstructed based on the image on a coin and using a copy found in 1956. The archaeologists and architects recreated only the plan of the famous temple with any certainty’ [572], p.59.

The idea occurs to look for the famous temple of Artemis in a different place. Could it still exist? As well as the great trading city of Ephesus itself. It is likely that THE TEMPLE OF ARTEMIS AT EPHESUS IS THE FAMOUS GIGANTIC TEMPLE OF HAGIA SOPHIA IN ISTANBUL. This magnificent construction, as we have explained above, was the first experiment in massive temple building. The huge Sophia built, most likely in the XV-XVI cc. made a strong impression on contemporaries [6v]. Even today the magnificence of the temple is striking. It is possible that in the name EPHESUS there might be the sound of the name SOPHIA if read backwards: EPHESUS – SOPHIA.

There is one other possibility to determine the place of the Temple of Artemis at Ephesus, which was also called the Temple of DIANA. It is Cape Fiolent near Sevastopol. Legends circulated about the Temple of Diana in Crimea. In the beginning of the XIX century A.S.Pushkin was searching for its traces and found them near Saint George Monastery in Cape Fiolent. As we have found out, the genuine Grotto of the Nativity is located there [XP]. In 1152 Christ was born there. Pushkin, naturally, did not know anything about it. But it was near Saint George Monastery where he found the remains of a large ‘pagan’ temple and suggested that it was the Temple of Diana. In light of our discovery, the Pushkin hypothesis is even more plausible. It is precisely here, in the birth place of Christ where the majestic temple of the Blessed Virgin Mary should have stood. It is highly unlikely that the Czar-gods of the Great Empire, Christ’s relatives, wouldn’t have erected an appropriate temple to Diana-Mother of God near the Grotto of the Nativity. To remind you, Diana was one of the names of the Mother of God in the times of the ‘Royal’ Christianity.

Today there are no remains of the Temple of Diana found near the Saint George Monastery. There are only the legends left that here once upon a time there used to be the Temple of Diana and also her grotto. Notably Diana’s Grotto really exists. It is the Grotto of the Nativity, where she gave birth to Christ. Today there is the Church of the Nativity situated in the grotto. It’s altar, according to the legend, was set by Apostle Andrew the First-called (St. Andrew the Apostle). I.e. by Christ himself. [TsRS].


What is Olympus and what kind of gods dwelled there, we discuss in [4v2], ch.2:22. ‘The Olympic gods’ are the Czars of the ‘Mongol’ Empire = Biblical Assyria = Israel. In the distant provinces people made up legends about their distant and mysterious rulers. Thus emerged the ‘Ancient’ Greek myths about the Olympian gods.

The ‘Ancient’ Greek Olympia is Velikii Novgorod = Yaroslavl of the XIV-XVI cc. Therefore the ‘statue of Zeus’ in Olympia is some holy object situated in Yaroslavl or nearby. The legends about this ‘statue’ most likely originated from the stories of the Western merchants and travellers, who visited the trade-fairs of Velikii Novgorod.

It is thought, that the ‘main relic of Olympia was the legendary Temple of Zeus with the statue of the supreme god, created by one of the most genius Greek sculptors – Phidias (i.e. a certain Feodor, Fedya – Author)’ [572], p.62. We would like to draw your attention to the fact, that the ‘statue’ was situated inside the temple. This simplifies the answer to the puzzle. The interior decoration of the Russian churches indeed contained an object which was known only in Russia and made the Russian cathedrals different from all the other ones. It is the iconostasis. In a large cathedral it is a huge construction. It rises in height to the cathedral vaults. Iconostasis separates the altar – approximately one third of cathedral’s length – from the rest of a cathedral. Some of the Russian iconostases were exuberant. The iconostasis surface, free of the icons, was covered with golden engraving – leaf-gold on wood. In the main Russian cathedrals the lower rows of the icons had the golden icon plating with the precious stones, wrought silver, filigree work, gold seeded into enamel.

In the other countries the chancel screens were either not made at all, or, like in Greece, for example, it was the iconostasis which served as a chancel screen, but a rather low rising wall or a simple SCREEN (ZAVESA in Russian). There are Holy doors made in an iconostasis furnished with a SCREEN (ZAVESA). Hence the entire iconostasis could have been perceived as a STANDING SCREEN (ZAVESA) OR STATUE-ZAVESA. Which could have easily in the telling the legends turned into the STATUE OF ZEVESA, i.e. STATUE OF ZEUS.

The historians put forward a hypothesis, that the ‘Ancient Olympia was located in Greece’. However, ‘there were no remnants of the legendary statue of Zeus discovered among the numerous architectural and sculptural pieces in Olympia. And nor indeed could they have been found, as it is well-known that the statue of Zeus was completely destroyed in the fire’ [572], p.64.

But if the statue was completely destroyed in the fire, then, most likely, it was wooden. It is all correct. The iconostases were made of wood and adorned with gold over the wooden carving. During the fire the iconostasis could have been completely incinerated.


It is thought that this enormous temple-mausoleum was built in the city of Halicarnassus on the coast of Asia Minor as the family burial chamber for the King Mausolus and his wife Artemisia. ‘Mausolus accumulated great wealth. This overabundance allowed him to build a tomb-temple for himself, it was so magnificent that it survived in the people’s memory until the present day as THE UNSURPASSED EXAMPLE OF FUNERARY ARCHITECTURE. Its reputation was so great, that the Ancient Romans called all the grand monumental constructions – mausoleums… As envisioned by the architects the burial tomb of the King Mausolus WAS THE MOST LUXURIANT AND REMARKABLE STRUCTURE IN HALICARNASSUS HAD TO BE SITUATED IN THE CENTRE OF THE CITY AND BE ITS MAIN ADORNMENT’ [572], P.78-79.

It is thought that the Mausoleum at Halicarnassus was destroyed. And the ‘most wealthy and beautiful city’ itself indeed turned into wasteland [572], p.77. Later ‘in place of the ancient Halicarnassus and the mediaeval fortress-castle of St. Peter – there emerged the Turkish fortress of Bodrum’ [572], p.85.

So, in the XVIII century the historians suggested that ‘ancient Halicarnassus’ was located somewhere in Asia Minor. They began their search. There are a lot of ‘ancient classical’ ruins. They declared one of such places, namely Turkish Bodrum to be ‘the ruins of ancient Halicarnassus’. They began to ‘dig up proof’. However without much luck.

Could it be that the Mausoleum at Halicarnassus is the gigantic temple-reliquary of the Magi, Cologne Cathedral in the German city of Cologne [6v1], ch.3.? It was built as a mausoleum for Balthazar, Melchior and Caspar. The first two were the Magi-Kings and Caspar was inferior in rank so to speak. Could it be that Balthazar and Melchior were Mausolus and Artemisia of the ‘ancient classical’ writers? Incidentally the name HALICARNASSUS or HALICARNASSUS (as R and L converted into each other) is close to HALI-COLOGNE. It could have meant HOLY COLOGNE = COLONY or LIGHT COLOGNE = COLONY, as in German ‘Heilig’ means Holy, and ‘Hell’- light, clear, bright. Alternatively HALI-COLOGNE meant GALLIC COLOGNE, or GALLIC COLONY.

It is also quite possible, that the mausoleum in Hali-CARNASSUS is a colossal Ancient Egyptian temple at KARNAK [6v3], ch.1. The temple comprises three parts, the middle of which occupies an area of approximately 30 hectares! It is possibly the largest temple in the world. According to our findings, the Temple at Karnak was the MAIN FUNERARY TEMPLE OF THE GREAT EMPIRE [6v3]. That is why it fully deserved to be called a wonder of the world. The name HALICARNASSUS or HALI-CARNASSUS itself might mean ‘Sunny Karnak’. To clarify, HALI = HELIOS is the name of the God of Sun. The name of CARNASSUS can convert into KARNAK on account of the ambiguity in pronunciation of the letter ‘C’, which could be pronounced as [S], [K] or [Ts].


According to the descriptions of the ‘ancients’ the Colossus of Rhodes is a gigantic structure cast in bronze. The word COLOSSAL, i.e. very big, originated from the word COLOSSUS.

The Colossus was made like this. At first a large mould of clay was prepared in an EARTHEN PIT. ‘Creating cast bronze statues was a very labour intensive process requiring great mastery and technical skills. At first the sculptor moulded in clay… an exact copy of his bronze statue. The clay figure was a kind of nucleus, the basis of which was covered by a layer of wax, the thickness of which the sculptor wished his bronze to be… When the wax surface was ready it was again covered over with clay in such a way that the upper layer closely adhered to the wax and matched the inner nucleus exactly … After which the mould would be heated up, causing the wax to flow out through the outlets which were left open… Bronze flowed inside the clay filling the space freed by the wax and evenly enveloping the clay nucleus… It took 500 talents of bronze and 300 talents of iron, i.e. approximately 13 tonnes of bronze and 7,8 tonnes of iron to make the Colossus’ [572], p.94-95, 101.

Our thought is simple. ‘The Colossus of Rhodes’ is RADNY (RADA) BELL, i.e. VECHE BELL. The word RADA = assembly is the same as VECHE = assembly. The ‘ancient classics’ turned the word Rada in to Rhodes. All the details of casting the Colossus perfectly correspond with bell casting technology. And indeed the word ‘COLOSSUS’ itself is probably a slightly distorted Russian word KOLOKOL (OR COLOCOL) (meaning BELL in Russian – Translator’s note). As the Latin C was pronounced both as K and as Ts, C.

The fact, that an enormous veche bell (watch bell, radny bell) Russian bell amazed the foreigners, is understandable. It was in Russia, in the metropoly of the Empire where the cast the largest bells in the world. It is clear why ‘ancient’ Philo of Byzantium, who probably wrote his works in the XVI-XVII cc., pays main attention to the installation of a bronze giant. It is very difficult to remove a large bell from a pit and raise it high. For example, they failed to fit the gigantic Czar-bell on display in the Moscow Kremlin, though the casting itself was successful. But the other huge bells were successfully lifted and smoothly installed.


The seventh wonder of the world is a lighthouse on the island of Pharos, allegedly not far from Alexandria in Egypt. It is thought that it was built under the Ptolemaic Kings and was later destroyed. ‘The lighthouse was simultaneously a fortress, where a large military garrison was located. An enormous cistern with drinking water was housed in the underground part of the tower in the event of a siege. The lighthouse was also an observation point, as the ingenious system of metallic mirrors allowed to keep the ocean space under surveillance from the tower’s apex and to detect enemy ships long before they appeared in close proximity to the city. The octagonal tower was adorned with the bronze statues (bells? – Author)… Allegedly there also was a statue which pointed with its hand or arm towards the sea in the event of the emerging hostile fleet and produced a warning signal when the enemy was approaching the harbour (a bronze bell or a cannon? – Author) … This incredible structure stood until the XIV century… This monument excited the admiration of the Arabic writers, who noted the beauty and grandeur of the ruins of this grandiose construction’ [572], p.111-112, 118.

As we have already said earlier, the famous ‘ancient classical’ Pharos (Etruscan) Lighthouse is the well-known Ivan The Great Bell Tower in Moscow [RI], ch.7. So this wonder of the world indeed exists in present day. The Moscow ‘Pillar of Ivan the Great’ was described by the ‘ancient classics’ as well as the ‘Ancient’ Roman Military Column and as the famous Tower of Babel.

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