The PTB History Fabrication Tools

First of all, our history is not a science, for there is no science involved in telling the truth, no matter how old that truth is. Unfortunately, we do have a whole bunch of diploma-wielding individuals with some professional parroting skills. Their full time job is to be blind to reality, and to spread fake facts by repeating them over and over again.


Most of our professionals are good people and have no idea that they were tricked into spreading the disinformation of this magnitude. Unfortunately, this doesn't change the outcome.


Victors write our history. Losers write nothing. Victors will never present themselves in a globally bad light. They can throw us a distorted bone now and then (e.g. Indian Massacres, the Boxer Rebellion, etc.), but that's about it. That lives us with the neverending puzzle of trying to figure out the rest. In the process of trying to solve this historical puzzle, certain distortion tools used by the PTB reveal themselves. Below are some of the most obvious ones.

Unsubstantiated Claims
Throughout time, the establishment had to deal with tons of inconvenient historical information. We have to give credit where credit is due. They did a great job making ends meet. Luckily for us, there were a few loose ones left. These loose ends are out there for everyone to see, and were not really concealable.
  • The PTB did the only thing they could with those.
  • They forced an altered understanding of such loose historical ends.
Below are some of the examples.

1. Ruin aka Capriccio Art
Official position: In painting, a capriccio is a work where part or all of the subject matter is invented and typically focuses on architecture. The word itself is derived from the Italian term used for the impulsive jumping of a baby goat. The capriccio was not meant to represent reality, but rather to provide the viewer with an interesting image based on reality.
Example #1
A View Of The Arch Of Constantine: The below example is a painting allegedly done by Apollonio Domenichini, alternatively referred to as the Maestro della Fondazione Langmatt, or Menichini or il Menichino.



Example #2
Veduta della Piazza del Popolo: Below is a painting allegedly done by Giovanni Battista Piranesi, famous for his etchings of Rome and of fictitious and atmospheric "prisons".

Veduta della Piazza del Popolo.jpg


The mechanism of deception: The PTB falsely accused multiple artists of painting imaginary landscapes. As far as I'm aware, none of these artists positioned themselves as fantasy painters. There are multiple real world confirmations of the so-called imaginary scenes.


View of Campo Vaccino in Rome_1_1.jpg

Conveniently, paintings of the surviving ruins are not being questioned, while paintings of the ruins we do not see today are mere "fantasies". Here is an example of an imaginary landscape by Giovanni Battista Piranesi.
An imaginary view showing examples of ancient Roman decorative styles.
imaginary view showing examples of ancient Roman decorative styles.jpg

KD: The PTB has no factual documented proof (other then their unsubstantiated claims) that ruin artists were making stuff up. In falsely accusing tens, and possibly hundreds of artists of the past, professional historians deliberately altered our understanding of certain historical events.

2. Maps and Map Makers
For me, this is one of the most egregious ones, simply because of how blatantly obvious the establishment lies are. Unfortunately, in our society, journalists like this Greg Miller are allowed to influence masses with statements like this:
  • Inventing cities, mountains, and monsters to fill the empty spaces on maps is a centuries-old tradition in cartography.
    • Says who?
  • Caspar Vopel, a German cartographer, left behind no explanation of why he added these things to his map, but he may have been motivated by what art historians call horror vacui (ngram), the artist’s fear of leaving unadorned spaces on their work. Chet Van Duzer, a historian of cartography, has found dozens of maps on which cartographers appear to have filled the empty spaces on their maps with non-existent mountains, monsters, cities, and other gratuitous illustrations.
  • Why Ancient Mapmakers Were Terrified of Blank Spaces - please red this pseudo-research.
In his article, Greg Miller refers to another lying tool of a researcher named Chet Van Duzer. And both of them bombard your brains with crap like this:
  • One reason mapmakers may have done this (KD: drew imaginary things) is to hide their ignorance, says Van Duzer.
  • Mapmakers may have also been motivated by the market for their work. Aristocrats and other wealthy patrons who commissioned the most expensive maps would have expected lavish decoration.
    • What a load of BS. If anything, they would have expected accurate maps, and not some made up crap.
  • The interior of Africa was not well mapped either at the time, but there were texts available that described it in detail - albeit speculative and unreliable detail - and van den Keere likely relied on these to fill in the interior of that continent, Van Duzer says. According to the map, for example, the Niger River flows underground for 60 miles and then re-emerges in a lake. In reality it does no such thing.
The mechanism of deception: The PTB (through the educational system in place) breed pseudo-researches like Van Duzer. Such pseudo-researchers ridicule professionals of the past through publications similar to the above example. In the process, the scientific community is rigged to dismiss the inconvenient evidence of the existence of the previous spin of our civilization (including other types of beings; e.g. centaurs, giants, etc.) as mere fantasies. In turn, this allows for teaching lies in our educational organizations, so that more pseudo-researchers could be produced.

3. Anachronisms and Prochronisms
This section requires a certain understanding of the entire chronology related issues we are facing. For an out of the loop person, the below will sound like an utter nonsense. Those who care will devote their time and research, those who don't will walk by. Such things are expected, but wouldn't it be interesting to find out true reasons for some crazy rumors like this one?
  • One of the earliest traditions associated with the Tower of London was that it was built by Julius Caesar; the story was a popular amongst writers and antiquaries.
  • Some writers, such as Shakespeare, in his play Richard III, have ascribed an earlier origin to the Tower of London and have stated that it was built by Julius Caesar.
  • The Salt Tower was originally known as the Tower of Julius Caesar. It is one of the 21 towers that make up the Tower of London complex.

Our historical chronology has been tempered with since at least Joseph Justus Scaliger who allegedly lived between 1540 and 1604. That is without factoring in our possible 185 year shift.

Influencing opinions is the name of the game here. Dumbing masses down is much easier when logical justifications are augmented by some convincing terminology. We have this wonderful TPTB invention called anachronism, with its subdivision called prochronism. This, ladies and gentlemen, presents us with an example of perfectly legitimate tools being used for fraudulent reasons:
  • Anachronism: An anachronism is a chronological inconsistency in some arrangement, especially a juxtaposition of persons, events, objects, language terms and customs from different time periods. The most common type of anachronism is an object misplaced in time, but it may be a verbal expression, a technology, a philosophical idea, a musical style, a material, a plant or animal, a custom, or anything else associated with a particular period that is placed outside its proper temporal domain.
  • Prochronism: A prochronism is an impossible anachronism which occurs when an object or idea has not yet been invented when the situation takes place, and therefore could not have possibly existed at the time. A prochronism may be an object not yet developed, a verbal expression that had not yet been coined, a philosophy not yet formulated, a breed of animal not yet evolved (or perhaps engineered), or use of a technology that had not yet been created.
In other words, the above is an attempt to present certain artists of the past as stupid and uneducated, or deliberately misleading due to some non-existent tendencies existing at the time.
  • If today's artist depicted Hernan Cortes attacking Azteca Indians with M-4/AR-15 Carbines and M1 Abrams tanks, that would be an example of some seriously grotesque prochronistic anachronism.
  • At the same time, the use of cannons and arquebus rifles was expected.
Based on our traditional education, we do not expect Nebuchadnezzar II and Julius Caesar to be using cannons, and in some instances rifles during their battles. We also do not expect to see Jesus Christ next to a rifle.
  • In case we do, we are trained to think that we are observing an instance of anachronism, and there is nothing.
52 BC: Battle of Alesia
The Battle of Alesia or Siege of Alesia was a military engagement in the Gallic Wars that took place in September, 52 BC, around the Gallic oppidum (fortified settlement) of Alesia, a major centre of the Mandubii tribe. It was fought by the army of Julius Caesar against a confederation of Gallic tribes united under the leadership of Vercingetorix of the Arverni. It was the last major engagement between Gauls and Romans, and is considered one of Caesar's greatest military achievements and a classic example of siege warfare and investment. The battle of Alesia marked the end of Gallic independence in France and Belgium.
Was the author of the below painting stupid to the point of not knowing that there were no cannons or long guns in 52 BC?

battle at alesia-11.jpg

587 BC: Siege of Jerusalem
In 589 BC, Nebuchadnezzar II laid siege to Jerusalem, culminating in the destruction of the city and its temple in the summer of 587 or 586 BC. After the fall of Jerusalem, the Babylonian general Nebuzaraddan was sent to complete its destruction. Jerusalem was plundered, and Solomon's Temple was destroyed. Most of the elite were taken into captivity in Babylon. The city was razed to the ground.
Was the author of the below image stupid to the point of not knowing that there were no cannons in 587 BC?


33 AD: Resurrection of Jesus
Recent astronomical research uses the contrast between the synoptic date of Jesus' last Passover on the one hand with John's date of the subsequent "Jewish Passover" on the other hand, to propose Jesus' Last Supper to have been on Wednesday, 1 April AD 33 and the crucifixion on Friday 3 April AD 33 and the Resurrection on the third day.
Those inconvenient little things.... help us Jesus... oops, help us Prochronism...


There are hundreds of similar inconvenient instances of the so-called anachronisms. None of the artists in question made it publicly known that they were a little too creative and irresponsibly passionate. Well, their lack of transparency was fully compensated by our pseudo-historians.

4. Dating and Identification
- Busts & Statues -
What we have here, is one of the most blatant "in your face" lies. It's one of those, where I have nothing but questions. I will start with a few simple ones, but they form interesting patterns. The PTB would prefer to answer such questions on a case by case (individual busts, or statues) basis. It's much easier to lie about each statue or bust individually, for it allows our narrative compilers to avoid the pattern exposure related issues.
  • What the heck happened for statues and busts to end in various rivers or creeks, or being buried under ground?
  • How many statues or busts were not "discovered" after 1400? Meaning they were always located in some room, or garden, etc.
  • What is the "first mentioned ever" date for each individual statue, or bus?
Here are several (out of hundreds, and possibly thousands) examples of the discovered busts, or statues. I wan to emphasize the dates of their discovery.
Essentially, we have the following patterns:
  • close to 99% of all discovered ancient Roman busts were located in the 19th century or later
  • close to 100% of all discovered ancient statues were located after 1500 AD

Important patterns:
  • Museums are reluctant to list the date of the actual statue, or bust discovery
  • Museums (predominantly) only list the "dated" age of statues
  • It's increasingly hard to find the discovery date of the ancient roman busts
  • ...a Roman copy of a Greek original
We normally do not think about simple things like this, but may be we should. I think that our civilization has no idea who most of the ancient busts displayed in various museums, and private collections belong to. Have you ever though of what magic sources are being used by the historians to put "a name to a face"? I suggest you do. Don't just blindly accept "this is the bust of Plato". Verify why it is Plato, and not some mannequin head.
While putting this article together, I ran into the below alleged bust of Herodotus. Herodotus's busts are known to have his name inscribed on them.
  • A Roman copy (2nd century AD) of a Greek bust of Herodotus from the first half of the 4th century BC

Several questions pertaining to the above bust:
  • Who vandalized this work of art with the ugly inscription?
  • I do not believe for a second that the creator of this alleged "carving", suddenly lost all his skills and disrespected his own creation with this crooked child's scribble.
  • When was this bust discovered?
  • How do we know that it's a Roman copy of a Greek original?

Official: Antiquities were high stakes and high profit in 16th-century Rome, and no one was above breaking the law for loot. During the 16th century, the Roman market for antiquities became highly competitive.
  • Are we to believe, that for over 1000 years, people just walked by various statues or busts without ever creating an instance of those being mentioned?
  • If this is the PTB narrative... how come ancient Roman busts started getting discovered in 1800s, with virtually none prior?
The mechanism of deception: The PTB "dated" various statues and busts to desired dates. They named statues and busts with desired names. They prevented having dates of discovery, or "first time mentioned" dates from being widely advertised - to suppress the pattern.

I have hard time believing that individuals representing our history related scientific community have never tried to ask two simple questions:
  • How do we know all this? What and how old are the sources of the information?
  • Am I simply repeating after my teachers, without bothering to verify for myself?
6. Textual Sources
This is the easiest point to discuss with any PhD in Ancient History. Just ask them what the sources of their knowledge are. You will get names of texts, works and authors like this, this, or this. Essentially it will come down to this:
  • All sources are dated with whatever, but discovered after 1400 AD.
Individual texts: Question the original sources of any specific author or text. You will get one of two answers:
  1. The original did not survive, but some caring individuals were kind enough to produces a copy or two.
  2. We discovered an original after 1400 AD, dated it with whatever and this is how we know.
Continue with your line of questioning, and ask your PhD in parroting, why nothing was discovered prior to 1400 AD? This is where answers may vary, for this is not something the PTB likes to attract anyone's attention to. They do not like these patterns being exposed. The most likely version of the answer you get, will sound something like this:
  • Prior to 1400 AD people did not care about antiquities due to the hardships of the Dark Ages.
Ask your PhD this:
  • What is the source of your knowledge, that people did not care for antiquities during the Dark Ages?
The answer will, most likely, come down to your PhD naming a few fairly recent experts.

The mechanism of deception: By fraudulently dating various texts, the PTB was able to successfully misrepresent events barely predating 1400s.
5. Cinema and Television
By pure volume, this is the most powerful narrative delivery mechanism employed by the PTB. Possessing such a powerful tool, greatly assisted the establishment in placing specific images and associations into the minds of mankind.
  • Of course, without the above bullets, nothing achieved by our movie making and television industries would have been possible.
Ancient Rome per TPTB

Ancient Rome aka HRE

For my example, I used Julius Caesar. I could have used Alexander the Great, Pontius Pilate, Hector, Cleopatra, etc.

The mechanism of deception: By misrepresenting the appearance of Julius Caesar and alike, the PTB was able to successfully create specific visual associations to fake thousands of years of separation between events.

KD: These are just several major history fabrication tools I see. We have other major ones, like geniuses and weird wonders, and many more minor ones. The above bullets should be enough for starters.

For myself, I see several distinct periods. 1400s and 1600s: those could be one and the same. The 19th century is a stand alone puzzle.

When presented with hard physicals evidence, pre-1400s appears to be a very significant date. Whatever event triggered the Age of Re-discovery, had to be significant enough to be compared to the Great Flood.

Who knows, may be our Renaissance, was not some cultural, artistic, or political "rebirth". May be it was an actual recovery/rebirth period after a major JESUS EVENT.

Outside the box...
An imaginary view showing examples of ancient Roman decorative styles.
imaginary view showing examples of ancient Roman decorative styles.jpg

I searched this painting. Its title is "Antiquus Circi Martial. Cum Monum. Adiacentia Prospectus Ad Viam Appiam".

Circi is obviously a Roman circus, which is an hippodrome. The central part of the picture represents the spina of the hippodrome, like in this picture of the Hippodrome of Constantinople.


The word "Martial" reminds me the Campus Martius, while the Appian Way is a famous landmark. The Campus Martius was located north of the Capitoline Hill, while the Appian Way began its course near Porta Capena, a gate in the Servian Wall which was near the Circus Maximus, the hippodrome of Rome, located south of the Palatine Hill. I think this last is the optimal position if Piranesi painted something really existing.


It seems that the Piranesi's point of view was near Porta Capena and therefore the palaces represented should have been those on the Palatine Hill.

imaginary view showing examples of ancient Roman decorative styles.jpg

It seems to me that the central palace in Piranesi's painting could be the Palace of Domitian composed by the Domus Flavia, the Domus Augustana and the garden or "stadium".



But if all of this is true, then the enormous palace behind the Palace of Domitian should have been the famous Domus Aurea built by the Emperor Nero and said to be a vast landscaped palace!!! It is placed exactly in the position where it should have been, where the Colosseum is located nowadays.

In case we do, we are trained to think that we are observing an instance of anachronism, and there is nothing.
Spot on.
There are hundreds of similar inconvenient instances of the so-called anachronisms. None of the artists in question made it publicly known that they were a little too creative and irresponsibly passionate. Well, their lack of transparency was fully compensated by our pseudo-historians.
We are told there were no guns or cannons that far back but maybe there was. Everything else is a lie so how do we not know that was not the case as well ?

So happy SH org is back up thanks KD for having another go. Lets hope your privacy is respected this time round.
Kd your research is outstanding. How do you find the time to do all this research its amazing ? You were offline for only a few months and then come back harder than before. Not complaining just saying thanks and good to see you back.
Did i already say that ?
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I've right now realised something even more incredible, in my mind. On a website that you know :) @Bogdan brought to my attention the existence of an illustration representing a structure called "Palace of Theodoric" located in Terracina, Italy, and inserted in a book published in 1835 by Alexis-François Artaud de Montor.


I commented that, even though historians want us to believe that the palace was the constuction on the top-left of the picture, now called temple of Giove Anxur (Tempio di Giove Anxur - Wikipedia), it is fairly clear to me that the author of the picture had in mind the huge cliff in the centre of the llustration as the authentic palace.

But now also the cliff behind the palace takes on a new meaning, because its relative disposition in relation to the palace is exactly the same between the Palace of Domitian and the Domus Aurea.

imaginary view showing examples of ancient Roman decorative styles - Copia.jpg

Or maybe I'm just crazy :ROFLMAO:

P.S. The Appian Way passed right there!!! We have to find a Roman circus now!
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I was fantasizing about the possibility that circuses can be always found near Palaces and Domuses. If someone could prove that those structures always come in pairs, then there could also be a circus in Terracina. Maybe a little bit wild though...

If we assume that Piranesi was representing Rome, then there are a lot of things to add. In that painting we can clearly see how the Appian way and the Circus Maximus are the same. The road doesn't end or begin near the circus but it continues in the distance with other palaces and also two pyramids on the right (if we imagine to walk in that direction). I have prolonged the hypothetical Appian Way on the map of Rome and the result is quite interesting.


As you can see the road hits perfectly the Vatican! But this is not all. This road overlaps with the course of the Tiber River and in particular it entirely encomprises Tiber Island.


The red circle is Pons Cestius (Pons Cestius - Wikipedia), an "ancient" Roman bridge, in blue is the Great Synagogue of Rome (Great Synagogue of Rome - Wikipedia). Now isn't it strange that more or less on the blue spot in Piranesi's painting we see a pyramid? Isn't it strange that the bridge is named after the guy to whom the Pyramid of Cestius (Pyramid of Cestius - Wikipedia) is dedicated? And on top of all instead of the pyramid we have nowadays a Jewish temple...



Last thing. On the Hereford map Rome is represented in a particular way. I see a similarity with the Palace of Domitian.

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@Silveryou, what makes you think that we are looking NW vs. SE? While I share your opinion, this squared pillar on the left could belong to no small building either.

imaginary view showing examples of ancient Roman decorative styles2.jpg

Though the ruins suggest that you are most likely correct. That is if we have the correct hippodrome circus.


We would need some very special maps to get those pyramids figured out.
this squared pillar on the left could belong to no small building either.
It would be interesting to read the inscription on that jar. The title of the painting is written on the stone bottom-right, so even this "inscription" maybe contains valuable information. I didn't find high resolution images to read it though.

I think NW fits the most. I also tried SE but it's not convincing to me. I'll search for more connections anyway.
I will give it a try after work and look for a better resolution image.

We also need to remember that Piranesi inc. images often complement each other, so may be there is a different projection.

I looked at some of his aerial maps last night, but the one I found did not go beyond the island in the direction we are interested in.
I was thinking the exact thing and while looking for other images I saw that the writings are always unreadable. If I find a good website with clear images I will post it.

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