Fingerprints of the Gods: The Evidence of Earth's Lost Civilization

by Graham Hancock

At Monte Alban, however, there seemed to be carved in stone a record of the downfall of these masterful men. It did not look as if this could have been the work of the same people who made the La Venta sculptures. The standard of craftsmanship was far too low for that. But what was certain – whoever they were, and however inferior their work – was that these artists had attempted to portray the same negroid subjects and the same goatee-bearded Caucasians as I had seen at La Venta. There the sculptures had reflected strength, power and vitality. Here at Monte Alban the remarkable strangers were corpses. All were naked, most were castrated, some were curled up in foetal positions as though to avoid showers of blows, others lay sprawled slackly. Archaeologists said the sculptures showed ‘the corpses of prisoners captured in battle’.33 What prisoners? From where? The location, after all, was Central America, the New World, thousands of years before Columbus, so wasn’t it odd that these images of battlefield casualties showed not a single native American but only and exclusively Old World racial types?