Occator Crater: Echoes in the Henu Barque fom the Papyrus of Ani version of the Egyptian Book of the Dead (circa 1250 BC)?

 

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The Occator crater lights on the Ceres planetoid

a)  Henu Barque from the Papyrus of Ani version of the Egyptian Book of the Dead: The Book of Going Forth by Day. (circa 1250 BC)

b) Occator Crater from PIA20350, image released on 2016-03-22

c) The Cerealia Facula becomes the crouching man's skirt

d) The slanting near horizontal arrangement of light forms of Vinalia Faculae become white blobs on the Henu Barque that seem to be piles of sand

e) Three ripples on the far right of the crater become the rudders although the rudders might be the vertical arrangement of forms on the right end based of Vinalia Facula which I can't even name 

 

f) However the presence of rudders as shapes might be based upon the vertical arrangement of forms on the right end based of Vinalia Facula which I can't even name

 

 

 

g) Back in September 21st, 2020, at first I hade decided that a shape along the lower right strip of light forms of Vinalia Faculae becomes the lower kestrel head and if so where would the upper Kestrel head be? There are a choice of features to consider and none of the possibilities might be that realistic, if we consider this no more than a loose symbolic representation of Occator crater merged with a solid device the Henu Barque that that someone with carpentry skills was building on planet Earth in those ancient times in Egypt. 

 

Later on 20th June, 2021, considering the relationship between these features, I had decided that a small face like feature at the upper end of the vertical strip became the lower falcon head and so another feature further up that loosely resembles a horse's head with flowing mane facing towards the left becomes the upper falcon head.

 

There doesn't much thought to any sort of representation of the vertical belt of lights of the Vinalia Faculae in in the Henu Barque, other than to consider them represented in the vertical frame, while originally I wanted to imagine the the lower kestrel head becomes at the bottom of this chain and the Oryx head being at the top end with the small fish in between. 

 

Perhaps the similarities or the way that ideally various features have been picked out from the crater bare no more resemblance than one of Picasso's paintings and his subjects. This would seem somewhat different from the Mycenaean lentoids where it looks to me as if the artist;s had actually really taken a good look at the various features of the crater one way or another and looked for shapes and forms that they could make into figures and forms relating to their belief system.

h) I might want to assume that the lower part of the face like area becomes the ox's horns.

If so, then we would have to start assembling the oryx head out of near formless craggy shapes.

The oryx horns I have already decided became the outline of the head of the Mary figure from the Nativity Icon from St Catherine's monastery, while also abstractly became the hairline of the Mona Lisa by Leonardo Da Vinci. 

 

Meanwhile in these example, the Ox horns there almost appeared to become the position of the nose, but in Occator, it's roughly the position of the lower part of what I think ot as the goddess' face.

On the left side of the goddess' mantel we might pick up the features of what looks like an upward looking human face, and but there is nothing on the right end that looks significantly like an oryx head. I might wonder if the face on the left led to the idea of an oryx head on the right.

i) Going back to the 'head and shoulders' feature in Occator, I might think that this is part of the reason why there is a man placed in the lower left corner rather than the right and of course there isn't anything significant in that area in the crater,

However I've already decided that the skirt connect with the Cerealia Facula as a feature to be played with, but the area of the head and shoulders with it's arrangement of fractures to the lower right independently become the crouching man

 

 

 

j) In relation to the "head & shoulders" feature becoming the crouching man's head, the face like form at the lower end of the vertical belt of lights in the left of Vinalia Faculae becomes the lower kestrel's head which was my much earlier assumption about the bird image

k) Detail of the feature at the lower end of the vertical belt that also becomes the kestrel head

Occator Crater: Echoes in plate featuring Heracles dragging Cerberus, the hound of Hades, from the underworld on a lead as one of his twelve labours. (ca. 525 - 520 B.C) by Paseas (aka the Painter of the Cerberus Plate)?

leading from
The Occator crater lights on the Ceres planetoid

a)) description: Heracles drags Cerberus, the hound of Hades, from the underworld on a lead as one of his twelve labours. (ca. 525 - 520 B.C) by Paseas (aka the Painter of the Cerberus Plate)

.

b) References Occator crater on the Ceres planetoid that wasn’t photographed until 2015, by the Dawn space probe?

Don’t ask me how , but it seems to have got into the human consciousness a little over the centuries one way or another. I don’t expect Martians in rocket ships to have stopped by and constantly flashed maps of the place to passing artists and craftsmen. We might have a suitable answer one day from PIA20350, image released on 22nd March 2016 

Occator Crater from PIA20350, image released on 2016-03-22

c). The Cerealia Facula becomes the three heads of Cerberus and the bearded man's kilt/ skirt

d) The main stretch of Vinalia Faculae becomes Hercule's upper torso. The bearded man's raised lower arm and hand becomes the area associated with what NASA refer to as the "Stars" which is the near vertical chain of lit  forms on the left Vinalia Faculae

e).  Area that becomes the bearded man's neck , face and hat

f) Upper left area of Cerealia facula becomes the three heads of Cerberus while the row of finger like forms become the strip of hair sloping down to the right going across the neck at the base of the skull

g) The row of dark areas around the tholus here become the lead that Cerberus is being dragged by

h) Triangular area with a face like form looking upwards for Pareidoliacs to get excited about becomes the bearded mans bent arm on the right

 

I) The crater with areas features com[arab;e to the plate outlined in red next to the plate.

j) The red outlines against a white background

Greg Orme on Prometheus

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Echoes of Prometheus

 

 

 

 

Author Greg Orme briefly talked about Prometheus on Coast To Coast, writes about Martian anomalies (See: ultor.org) 

George Noory: Where do you think the creators went. See I think, I think they came to Earth

Greg Orme: Well, I think, I think it's likely that Earth was terraformed at the same time (as a time when an ancient civilisation tried to terraform Mars) but I, I really don't think that there's any signs they've been here in billions of years and, and whether they're still out there, whatever civilisation could survive that length of time somewhere in the galaxy. I mean there's a lot of science fiction that's been written about these kinds of concepts about this done. People will have seen the movie Prometheus for example which we're talking about, this ancient race of Engineers, you know, 

George Noory: Yuh

Greg Orme: And and they basically might have disappeared or erm, I don't know, it's erm, it's a very very interesting thing because there's a slim possibility that we might get an insight into that and go there and look at these things, you know. (Coast To Coast , February 29th, 2016, hour 3) 

(This article is possibly to be expanded with other elements from that Coast To Coast episode)

Dr Zecharia Sitchin

1. Ancient Sumerian engineer star map
2. Space Rocket from an Egyptian tomb ?

Alien 5: Sigourney's dream of continuation

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Alien 5
and

Vincenzo Natali

STILL COLLATING

a) The film Alien Resurrection left the Ripley character in a strange situation, floating in space orbiting the planet in spacecraft. 

 

However an extended edition on blu-ray and DVD had Ripley an the android Analee Call playing out their end scene that was on the ship on the planet Earth instead by a post-apocalyptic Paris. 

 

Indeed another sequel couldn't exactly take place on Earth with the Alien popping out of a haystack somewhere in the French countryside.

b) September 1998
It was made known that Canadian director Vincenzo Natali was interested in directing Alien 5. 

 

An immediate question might have been what would he would have brought along to the project from his own interests as a film maker. 

 

Jokingly one might have wondered if that meant he was turn the derelict ship interior into something that starts shifting around inside like a a Rubik's cube

c) October 2003
Ridley spoke about his interest in going back to make another Alien movie and it would be a tighter movie, a one on one film. 

 

He wasn't too happy about the idea of making an action movie with multiple aliens because it diminished the terror, but it had not even advanced to a stage where it was a serious discussion

d) March 2004
Ridley talked about how discussions about an Alien 5 was progressing, how the discussion had been going on for years. 

 

He didn't think about himself as a director but he had an idea that he wanted the movie to follow and so hoped that he would have some involvement.

 

Then again he knew that it was the luck of the draw really in that sense. 

 

In the most broadest terms , it was something for the audience who wanted to see Ripley's Journey come full circle. 

 

She might not see the alien's home planet but the audience might. 

 

At the time Fox were a lot more interested in doing an Alien vs Predator movie and if that did well, then they would do another Alien movie and then a Predator movie.

e) August 2004
Paul Anderson having released Alien Vs Predator talked about his own interests in making an Alien film,  how he talked about it every day but wouldn't expand on his own ideas about where it should go since if he did , they could suddenly use the idea without him. 

 

Then came rumours that he was actually connected with the next film but these rumours were not true and he hadn't been approached about it. 

 

There were some thoughts that his Alien Vs Predator movie was another Alien movie, but he didn't want it to be considered that way, although he saw it was a prequel to the series. 

 

He also felt that he was making a standalone film that wouldn't interfere with an Alien 5 or Predator 3, which were both movies that he would like to see.

f) April 2008
Sigourney was asking whether there was uncharted territory for Ripley to consider for an alien that had been debased by CGI. 

 

She still hadn't seen the "Alien vs Predator" film, but she was quite sure that Fox had killed it because of the movie, but if the creature was over exposed, then that was a mistake.

g) December 2008
Sigourney was talking about how both she and Ridley felt a commitment to Ripley. 

 

Ridley was as much responsible for who she was as Sigourney was. 

 

Sigourney thought that she would love to work for Ridley again.  

 

So there was the thought about going back to the drawing board on the creature, and this was the first thing Ridley talked about in their conversation about a fifth film.

h) It was interesting for Sigourney to play someone who was suddenly a couple of hundred years older.

 

They were interested in taking the character Ripley and seeing what other science fiction story they could tell about someone who has lives several lives. 

 

There was also the possibility of going back to where the alien creature came from. But she was prepared to let Ripley rest

i) 2011
Sigourney resurfaced on the subject of Alien 5 speaking of her doubt that there was a likelihood that she would be making another Alien movie because once one reached sixty, one was not going to be starring in an action movie. 

 

She had an urge to go back to the planet where Ripley's history would be resolved.  

 

To further her view,  Sigourney Weaver stated that she didn't want to manufacture a sequel for the sake of it and where it had been going she felt as if she was starting to do that. 

 

Furthering thoughts about Ripley's future, Sigourney didn't doubt that in a fifth episode her humanity would have prevailed. 

 

However if something more were to happen, it would be an idea that grew out of itself, would be very original and be because of that it would make her want to do it.

1. Enligt spansk press så ska FOX vara intresserade i att få den Italienska reggisören Vincenzo Natali att vara med och göra Alien 5. Vincenzo är känd för sin numera kultfilm "Cube" som vunnit många priser på filmfestivaler de senaste åren.  (Translation The Spanish press then FOX be interested in getting the Italian director Vincenzo Natali to be with and make Alien 5. Vincenzo is known for his now cult film "Cube" which won many awards at film festivals in recent years) (http://www.tellusfilm.com 12 November 1998)
2. Vincenzo Natali is now rumoured to have been offered / asked about taking the directors chair for Alien 5, according to the Spanish press. He directed the acclaimed 'Cube' and also 'Elevated.' (http://www.planetavp.com, 12th November 12, 1998,) (original Spanish source was never found)
3. Ridley Scott: I will decide in the next 5 weeks, I'm looking at Alien 5 [for] sure. Why not? Maybe. There hasn't been a good Pirate Movie either, so I haven't decided yet. It's in the works. (Latino Review, retrieved from http://uk.ign.com/articles/2002/02/14/)
4. Ridley Scott dropped the following quote at a press conference in Sydney this morning – 'You know, I thought it'd be nice. I'd do it. It really is entirely dependent on the take on the material. It's all about material. I been asked about Alien 5 and I said 'of course.' We've started a script meeting. I mean, I've started it off so i may as well close the door – if in fact this is meant to be the last one.'"(Dark Horizons, 14th February 2002, retrieved from http://uk.ign.com/articles/2002/02/14/)
5. After being mauled, killed, resurrected and cloned, Sigourney Weaver is all set to battle those pesky Aliens all over again. The 53-year-old actress says she is considering taking up her most famous role as space-bug-buster Ellen Ripley one more time. Sigourney says: 'Ridley Scott and I have talked a couple of times because people are always coming up to me and saying 'What about Alien 5?' In the current atmosphere where there is so much going on on earth, I can understand people wanting to see an adventure that's far away and so I, myself, would love to go and see something happening on another planet. You know, out by Mars or something. But we don't have any definite plans.' ( Cinema Confidential retrieved from http://moviehole.net/ March 17, 2003)
6. Neil Marshall, writer/director of "Dog Soldiers", has penned an interesting "Alien" script, maybe they should take a look at that.(http://moviehole.net/ March 17, 2003)
7. Ridley Scott:I'd like to go back to do a tight movie, one-on-one, I think that's always scarier. When you get too many aliens, it diminishes the terror. It becomes an action movie, whereas ours was about flat-out terror. But there is nothing advanced, we are not even really at the stage of the serious discussions. ( near to Thursday 2nd October 2003)
8. Famitsu Wave spoke with Director Ridley Scott recently and answered several questions about those old rumours that he's keen on doing another "Alien" movie. Mediasharx managed to transcribe the key quotes:
   Famitsu Wave:What of the rumor of another Alien movie?
   Scott: We have been talking about doing another one for years. It's been a complex situation. At the end of the day, a studio has to be pleased, a core audience has to be pleased, and a director has to agree to all that. I am glad to say things are progressing...
   Famitsu Wave: With you as Director?
   Scott: I don't think I'll be directing, but I will have some involvement. It'll probably be based on an idea I have, so I hope I'm asked to be involved.
   Famitsu Wave: Can you talk about the idea?
   Scott: In broad terms, It's something for those folks that want to see Ridley's Journey come full circle and..
   Famitsu Wave:Does that take her to the home planet of the Aliens?
   Scott: She won't necessarily see the home planet, but you might...
   Famitsu Wave:Do you know when this will happen?
   Scott: Fox are waiting to see how Aliens vs Predator does, and then they'll do the Alien movie, and I believe a Predator film too. Again, if I'm involved in it, great, if not, then that's luck of the draw. (http://www.darkhorizons.com, Tuesday March 23rd 2004 12:15AM)
9. Sigourney Weaver: The last time [Ridley and I] saw each other we talked about it. The character is still interesting [and] I'd love to work with Ridley again, but Fox has effectively killed it because of ‘Alien vs. Predator.' What else can you do with the creature? You can take the situation, you can go back to where they came from. (moviesblog.mtv.com/18th April 2008)
10. Sigourney Weaver:To play someone who ages a couple hundred years was fascinating, [But] let [Ripley] rest. (moviesblog.mtv.com/18th April 2008)
11. Sigourney Weaver: There’s definitely uncharted territory for Ripley. (moviesblog.mtv.com/5th December2008/)
12. Sigourney Weaver: whether there’s unchartered territory for a creature who’s become somewhat debased by this computer generated thing. I haven’t seen ["Alien Vs. Predator"] but I just think if you overexpose the creature, that’s a mistake. (moviesblog.mtv.com/5th December2008/)
13. Sigourney Weaver: Both of us feel a kind of commitment to that woman. He’s as much responsible for who she is as I am. (moviesblog.mtv.com/5th December2008/)
14. Sigourney Weaver: We’d have to go back to the drawing board on [the alien], Ridley said that right away when we first talked about [a fifth film]. (moviesblog.mtv.com/5th December2008/)
15. Sigourney Weaver: What we’re interested in is taking the character of Ripley and seeing what other science fiction story we can tell about someone who has lived several lives.(moviesblog.mtv.com/5th December2008/)
16. Moviefone: Do you think audiences will ever see another adventure with Ripley on the big screen?
    Sigourney Weaver: I doubt it just because the way the industry is. While I can't speak for them, I think for Fox, once you're sixty, you're not going to be starring in an action movie. I think it's too bad that that's the case. I would have liked to do one last story where we go back to the planet, where Ripley's history is resolved. But I do feel like her story is unfinished.
    I love the way the story has evolved, that every few years there's another voyage into that universe with another wonderful young director. And certainly I'm blessed with lots of different wonderful jobs, so I'm not sitting at home ruminating about all of that. If I was really caught up in it, I would find a logical story and try to get them behind it, but she may just be left circling earth.
    I could definitely kick that alien's ass again. [Ripley]'s a smart hero, it's the way she thinks, but just looking at the way the business is... (news.moviefone.com/ 17th July 2011)
17. Sigourney Weaver: Had we done a fifth one, I don’t doubt that her humanity would have prevailed. … (http://herocomplex.latimes.com/ June 02, 2014) 
18. Sigourney Weaver: I do feel like there is more story to tell. (http://herocomplex.latimes.com/ 2nd June 2014)
19. The actress earned laughs when she said she didn’t think a new “Alien” sequel could take place on Earth, with the Alien “popping out of a haystack” somewhere in the “French countryside. (http://herocomplex.latimes.com/ 3rd June 2014)
20. ANDERSON NOT PART OF ALIEN 5!
    Dark Horizons reports:
    'With the success of 'Alien Vs. Predator', rumors have begun floating around regarding a continuation of the two franchises with most talk indicating another 'Alien' movie will be made.
    
    Now, in an exclusive interview with Now Playing Magazine, AVP helmer Paul W.S. Anderson himself flatly denied the rumors that he's scripting another 'Alien' movie - 'That's not a reality. I've heard that. I've been doing press lately for AvP and a lot of people said that. I don't know where that came from. It's not something I've been approached about.'
    
    In fact he doesn't want AvP to be considered as a fifth 'Alien' or third 'Predator' movie - 'I would hope [it's not looked at that way], because it's a prequel anyway, so it doesn't even take place in the same timeline as the Sigourney Weaver film. You know, when I did AvP, it was very much that I felt like I was making a standalone film that wouldn't interfere with an Alien 5 or a Predator 3, which are both movies that I would like to see.' Courtesy of Dark Horizons (http://www.horror-asylum.com/news/article.asp?item=3477)
21. Question: Do you have any thoughts on where this franchise is going to go?
    Paul: Yes, we talk about it every day. Everyone is terribly interested.
    Question: Will it be kept on earth do you think or ---
    Paul: I can't give that away, because then Fox wouldn't need to employ me. They could just hire somebody else. (laughter).
    (http://www.darkhorizons.com/features/21/paul-w-s-anderson-for-alien-vs-predator)

Zecharia Sitchin's Space Rocketfrom an Egyptian Tomb

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'Pakal Votan' tomb lid 
and 
Dr Zecheria Sitchin

 

 

 

 

a) Zecheriah Sitchin
Another proponent in the Ancient Astronaut theory was Zecheria Sitchen. Amongst the many claims that he made centred around a civilisation of extra-terrestrials named the Annunaki having visited Earth and being responsible for the human race as we see it, he had the idea that a mural from the tomb of Huy circa 1300BCE depicted what appears according to Zecharia Sitchin in his book, The Stairway To Heaven, is a rocket in a silo.  And he was able to provide a lined drawing. Huy was known to be a viceroy in Nubia and in the Sinai peninsula during the reign of the Pharaoh Tutenkhamun. Decorated with scenes of people, places and objects from the two domains of which he was viceroy, his tomb was preserved with a depiction of a very curious looking scene that Zecharia perceived in his individual way as a rocket ship with its shaft contained in an underground silo, it's upper stage with the command module above the ground, The shaft, as he perceived, was subdivided like a multi-staged rocket. Inside the lower part, two people attended hoses and levers and there is a row of circular dials above them. The cutaway of what he perceived as the silo, he imagined were surrounded by tubular cells for heat-exchange or some other energy-related function. Above ground, the hemispherical shape beneath the pyramid, was the base of his imagined upper stage of the rocket and was painting as scorched, as though from  re-entry into Earth's atmosphere and there are "peep holes" all around it's bottom. The cabin is surrounded by worshippers, in a landscape of date palm trees and giraffes. The underground chamber is decorated with leopard skins, and this provided a direct link with certain phases in the Pharaoh's Journey to Immortality. The leopard skin was the distinctive garb symbolically worn by the Shem priests as he performed the Opening of the Mouth ceremony. It was the distinctive garb symbolically worn by the gods who towed the Pharaoh through "The Secret Path of the Hidden Place" of the Duat—a symbolism repeated to stress the affinity between the Pharaoh's journey and the rocketship in the underground silo.

Photo of Sitchin's drawing? (http://www.mars-earth.com/stairway.htm)

 

 

 

b) Sitchin Is Wrong
Those needing to debunk the claim that the image is based on anything as it is seen, such as  Dr. Michael S. Heiser, have come to assume that this drawing was loosely inspired by something else, a wall painting from the tomb of a High Egyptian elsewhere official since there was to be found no image of this painting in anything online about the tomb of Huy. However, while he attempted to look at comparative imagery from a nearby tomb that gave perhaps an general clue as to what the picture was about in conventional terms showing baskets, leopard skins, giraffes and indeed a stool with a monkey sitting on top placed approximately where the rocket capsule would have been in the mural that interested Zecharia that seemed quite interesting, Dr Heiser's attempt to claim that Dr Sitchin was a fraud for creating this drawing was a complete waste of time

 

 

 

 

 

c) Lepsius' drawing
The image by Carl Richard Lepsius in the book Monuments from Egypt and Ethiopia: Vol III: published in 1900. It isn't entirely Zecharia's fault if he really can't see anything in the picture beyond his easily criticised science fictional outlook. The shapes are strange enough to ask what they are for a moment before just considering them to be odd buildings. Around the side of the so-called capsule are heads of nubian people with the vertical feather sticking out of their caps rather than peep-holes. The spike leading down from the capsule has become the tail of a leopard skin draped down the side. The scorch marks become the black and white hide of oxen. Are these simply decorative ornaments spread across a table top?

New Kingdom, 18th dynasty, a wall image: representation of Panther fur in a private grave TT40 of Huy,

detail from mural featuring additional buildings

The whole mural as redrawn by Lepsius in the 1900s , stitched together from separate images from
  116b, 117 und 118 from the Lepsius-Projekts at the Universitäts- und Landesbibliothek Sachsen-Anhalt in Halle.
 
»Der Vizekönig von Nubien Huj führt dem Könige Tut-anchamun die Tribute der Neger vor« (Steindorff I, 67)

Farbige Reproduktion (Lepsius III, 116b-118) einer Wandmalerei aus dem Grab des Vizekönigs von Kusch, Amenhotep, genannt  Huy in 
Theben (Qurnet murrai, TT40).). Bildquelle: Digitalisate von Lepsius III,  116b, 117 und 118 des Lepsius-Projekts der Universitäts- 
und Landesbibliothek Sachsen-Anhalt in Halle.

 

 

d) Mural Facsimile at the Metropolitan museum of Art 
However the mural exists and images representing the actual mural have been shown in the internet. A facsimile is shown at the Metropolitan museum of Art done in Tempera on paper back in 1923-1927 by Charles K Wilkinson. The photo found at the bibliotecapleyades is slightly different and one might ask if it is of the actual mural.. The details really are not clear and it might be hard for me to say anything about how correct it was for anyone to draw one thing or another of the details in any  certain way.  

 

Facsimile of Nubian Tribute Presented to the King, Tomb of Huy: 
Source: Source http://metmuseum.org/

Detail from Facsimile of Nubian Tribute Presented to the King, Tomb of Huy: 
Source http://www2.metmuseum.org

 closer view of detail from Facsimile of Nubian Tribute Presented to the 
King, Tomb of Huy:  Source http://www2.metmuseum.org

 

 

 

e) Comparable images in other murals
However if you look at these sorts of murals you will find some sort of smallish structure of similar size placed before the Pharaoh, often it seems to be a table of offerings with a central pillar.

depiction of part of the mural from Huy's tomb showing "Rocket Silo"

 

source: http://www.thewhitegoddess.co.uk

scene with offerings before a pharaoh from another Book of the Dead. source http://memphistours.files.wordpress.com/

 Tomb in El Khokha on the West Bank of Luxor. source: http://luxortimesmagazine.blogspot.co.uk/

 

 

f) Looking further at the pyramidal devices. 
What can be seen above the place where the Sitchin's rocket and silo is found are more of these pyramidal structures on a bowl covered in ox hide, and the upper parts of the branches of trees are seen to extend to the top of the structure. I might wonder if these are conical structures, and represent a sort of tents or teepees built on stilts each with a date palm growing through the centre rather than rocket ships, and perhaps they built these things raised off the ground. 

Black and white ox from the same mural

 

 

 

f) A photo of the actual mural itself?

A photo of the actual mural itself seems to exists on the internet from the bibliotecapleyades site and it offers us no further clues. It looks much like the facsimile at the Metropolitan museum of Art

Source: www.bibliotecapleyades.net

Source Quotes

1. Zecharia Sitchin: .... a drawing found in the tomb of an Egyptian governor of a far land shows a rocket-head above ground in a place where date trees grow. The shaft of the rocket is clearly stored underground, in a man-made silo constructed of tubular segments and decorated with leopard skins.
   Very much in the manner of modern draftsmen, the ancient artists showed a cross-section of the underground silo. We can see that the rocket contained a number of compartments. The lower one shows two men surrounded by curving tubes. Above them there are three circular panels. Comparing the size of the rockethead - the ben-ben - to the size of the two men inside the rocket, and the people above the ground, it is evident that the rockethead - equivalent to the Sumerian mu, the "celestial chamber" - could easily hold one or two operators or passengers.
   (The Twelfth Planet, 159-160)
2. Zecharia Sitchin: An even more startling depiction has been found in the tomb of Huy, who was viceroy in Nubia and in the Sinai peninsula during the reign of the renowned Pharaoh Tut-AnkhAmon. Decorated with scenes of people, places and objects from the two domains of which he was viceroy, his tomb preserved to this very day a depiction in vivid colors of a rocketship: its shaft is contained in an underground silo, its upper stage with the command module is above ground (Fig. 27). The shaft is subdivided, like a multi-stage rocket. Inside its lower part, two persons attend to hoses and levers; there is a row of circular dials above them. The silo cutaway shows that it is surrounded by tubular cells for heat-exchange or some other energy-related function. Above ground, the hemispherical base of the upper stage is clearly depicted in the color painting as scorched, as though from a re-entry into Earth's atmosphere. The command module—large enough to hold three to four persons—is conical in shape, and there are vertical "peep holes" all around its bottom. The cabin is surrounded by worshippers, in a landscape of date palm trees and giraffes. The underground chamber is decorated with leopard skins, and this provides a direct link with certain phases in the Pharaoh's Journey to Immortality. The leopard skin was the distinctive garb symbolically worn by the Shem priest as he performed the Opening of the Mouth ceremony. It was the distinctive garb symbolically worn by the gods who towed the Pharaoh through "The Secret Path of the Hidden Place" of the Duat—a symbolism repeated to stress the affinity between the Pharaoh's journey and the rocketship in the underground silo. ( Stairway to Heaven, Zecharia Sitchin, p70
3. Detail of a wall painting from the tomb of a high Egyptian official, showing an Egyptian scribe recording deliveries of Nubian products shortly after Egypt's conquest of Nubia. Visible are ebony logs, ivory tusks, baskets of ostrich eggs and gold ingots, ostrich feathers, leopard skins, resins, tamarind nuts, aromatic herbs - even a green monkey. Reign of King Thutmose III. About 1479-1425 BC (Source at Dig Nubia) 
4.  Dr. Michael S. Heiser: There are odd similarities in the style and content to Sitchin's drawing and this mural from a nearby tomb. Notice the cone at the top, Sitchin's command module. Is this just a monkey on top of a triangle table? Remember Sitchen said the silo cutaway shows it is surrounded by tubular cells for heat exchange or some other energy related function, we see these circular golden objects, baskets, could these be Sitchin's tubular cells. Notice the stack of leopard skins, remember what Sitchin says about them? He says the underground chamber is decorated with Leopard Skins, and this provides a direct link with certain phases in the Pharaoh's Journey, and while there are no giraffes or worshippers in this scene like there are in Sitchen's drawing, there are on other walls in the very same temple and of the same style too which is further evidence that this is where Sitchen based his drawing from, and if it is, he has added many self-servicing details like people pulling levers and hoses and charring on the command module from re-entry as well as people. Is Sitchin manipulating common tomb murals that he must know have nothing to do with space travel. Probably this evidence against Sitchen has gone unnoticed for so long is because Sitchin says the mural is from the tomb of Huy when it is actually from the tomb of "Rekmiyer", this would make his trail almost impossible to follow. After thirty years , no one can seem to find a photo of Sitchin's mural at the tomb of Huy despite the fact that photos of that tomb are common and widely available while someone might still produce a photo of this mural and can confirm it to be authentic and from the temple of Huy, I find it very unlikely but it is possible (Sitchin Is Wrong: Youtube)
5. Panther skin from Western Thebes (Qurnet Murrai), left posterior wall of the private tomb No. 110 (numbering according to Carl Richard Lepsius: Monuments from Egypt and Ethiopia: Vol III:. Thebes Hinrichs, Leipzig, 1900, pp. 301-302). The proper name of the king was scraped down to the beginning of "Amen" from the throne name no characters have been preserved; Lepsius reconstructed the cartridges entries in the assumption that it was to Tutankhamun due to the obtained character for "Amun" at the wall display in the private grave 110 . (source: http://de.wikipedia.org/wiki/Huy (Vizekönig_von_Kusch)
6. Masterpiece of Nubian gold work
   Ebenso überreichte man dem König einen vergoldeten Schrein und nicht unerwähnt bleiben darf eines der Meisterstücke der nubischen Werkstätten; eine Art Sockel mit einer darrüberliegenden langen Platte, auf der man in Goldarbeit eine ganze nubische Landschaft von Wawat dargestellt hatte.
   (Translation) Similarly, as you handed the King a gilded shrine and not go unmentioned may be one of the masterpieces of the Nubian workshops; a type of socket with an overlying long plate, where it had presented a Nubian landscape of Wawat in gold work.
   Diese Landschaft gruppierte sich um eine pyramidenförmige, von Trophäen umgebene Hütte. Darauf war ein Wald von Dattelnpalmen mit sehr hohen Wipfeln zu erkennen und zwei Giraffen erhoben ihre Häupter bis zu den Dattelntrauben. An der Platte selbst hingen Felle von Großkatzen und rechteckige Tafeln, die mit Goldscheiben geschmückt waren.
   (Translation) This landscape is clustered around a pyramid-shaped, surrounded by trophies hut. It was with very high tops to detect a forest of date palms and two giraffes raised their heads up to the dategrapes. On the Board itself hung skins from big cats and rectangular panels, which were decorated with gold discs.
   Nachdem die offizielle Präsentation der nubischen Produkte vor dem König beendet war, trat Amenophis-Huy am Ende der Zeremonie vor den König und erhielt seine hoch angemessene Belohnung. Huy verbeugte sich respektvoll vor dem König, um keinen Zweifel daran zu lassen, wem dieser ganze Aufwand gilt. Am Ende der Zeremonie trat Huy aus dem Palast, nachdem er seine angemessene Belohnung erhalten hatte: "Gold an Hals und Armen, immer wieder, außerordentlich viele Male."
   (Translation)After the official presentation of the Nubian products was terminated before the king, entered Amenhotep-Huy at the end of the ceremony before the king and received his high adequate reward. Huy bowed respectfully before the king to leave no doubt as to whom does this whole effort. At the end of the ceremony Huy came out of the palace after he had received his proper reward: "Gold on the neck and arms, again and again, very many times." (Bild: Ausschnitt des Gesamtbildes: Lepsius, Abt. III, Blatt 118 - bearbeitet von Nefershapiland)(http:///Huy%20Vizekoenig%20v.%20Kusch.htm)