Whites blew off the Africoid nose of the Sphinx! ­and destroyed much ancient Africoid art and archives

. Carved from solid rock, the Sphinx portrays an Afrikan Pharaoh. The nose is missing because Europeans (Napoleon's soldiers), in an effort to obscure powerful, blatant, undeniable evidence of Black Afrikan achievement, blew off the broad Africoid nose and part of the generous lips with cannon fire! The Los Angeles Times (June 4, 1990) actually reported that "When Napoleon visited the Sphinx in 1798, everything but the head was buried in sand...his soldiers reputedly used the Sphinx for target practice." While the Sphinx had already suffered nose damage prior to Napoleon, the greatest destruction took place during Napoleon's occupation of Egypt, as documented by Tony Browder, and testified by the collection of Sphinx portraits he has assembled on page 225 of his book Nile Valley Contributions to Civilization. These six portraits, drawn over a period of 100 years from 1698 to 1798, are the only current evidence available which shows the progression of the nose destruction. Besides the Sphinx, a large percentage of Africoid Kamite statues are missing their noses, whereas European-looking figures are intact. Faces of Africoid sculptures were also altered to appear Caucasoid by Kamit's European conquerors. A Sphinx statue on display in the British Museum actually admits that the "face of the stature was reworked" during the Roman occupation of Egypt. Reporting on the "riddle" of the racial identity of the ancient Egyptians, Count C. Volney, a distinguished French scholar who visited Egypt in the late 1700s, wrote with astonishment "...when I visited the Sphinx, its appearance gave me the key to the riddle. Beholding that head typically Negro in all its features..." He later added "...the Egyptians were true Negroes of the same type as all native-born Africans." The Sphinx's broad nose, full lips, and prognathism are evident in an early drawing of the Sphinx as it was found by the French in the late 1700s. . .

The Sphinx, currently. Early drawing of the Sphinx shows its Africoid features.

One of the best photos of the Sphinx. Its Africoid features are undeniable. HER FEMININE character is also evident. From Egypt Pyramid History.com .

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. MORE: Bab-El the so-called Sphinx (Ark-Ur) . .

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Their white plaster fell off centuries later, exposing the blacked-out truth Tired from the hard work of defacing inumerable Afrikan monuments, whites covered them with plaster which fell off centuries later...exposing the stone evidence. Solid stone endures, but plaster and stucco are impermanent and will crack off in time ­to expose what they have been hiding and, to the chagrin of the guilty, perfectly preserving for future generations to witness. The Afrikans of the Nile Valley had built their temples so well, even carving many out of solid rock, that it was often impossible to destroy them. Whites hadn't developed the use of dynamite yet, so they attempted destruction through manually chiseling away at the stone evidence in their campaigns of cultural destruction. This work proved not only ineffective, but too hard and exhausting, particularly under the desert sun, so they resorted to other methods. On pages 165-166 of The Historical Jesus, and the Mythical Christ, historian Gerald Massey reports the coverups perpetrated by European cultural criminals: "In some of the ancient Egyptian temples the Christian iconoclasts, when tired with hacking and hewing at the symbolic figures incised in the chambers of imagery, and defacing the most prominent features OF THE MONUMENTS, FOUND THEY COULD NOT DIG OUT THE HIEROGLYPHICS, AND TOOK TO COVERING them over with plaster; and this plaster, intended to hide the meaning and stop the mouth of the stone word, has served to preserved the ancient writings as fresh in hue and sharp in outline as when they were first cut and colored." Similarly, he continues, the temples were invaded and taken over "by connivance of Roman power." But these temples were enduring, "not built but quarried out the solid rock." The Europeans covered the front of these temples with white stucco and later reopened them as Christian churches. "And all the time each nook and corner was darkly alive with the presence and proofs of the earlier gods, even though the hieroglyphics remained unread. But stucco is not for lasting wear ; it cracks and crumbles, sloughs off, and slinks away into its natal insignificance; the rock is the sole true foundation, the rock is the record in which we reach reality at last." The stone indeed was the truth, and like the truth, it endured; but the plaster was a lie, and lies never have permanence. All the lies and layers of lies perpetrated and refined by successive generations of dishonest Europeans are fated for the same destiny as the stucco plaster.

The willful, systematic destruction of Africoid art has also occurred in the Americas, Asia and India Inscriptions and hieroglyphics are defaced or bleached, Africoid noses are shot off or chiseled down, confusing nomenclatures are pasted over the evidence, photos are taken from misleading angles or filters, and often, Africoid evidence is outright destroyed. In temples and monuments of great beauty and durability where destruction was less desirable than claiming the achievements as their own, Europeans replaced the Afrikan inscriptions with new ones which credited themselves for the achievement. .

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"Hand in hand with the enslavement of African people came the destruction of African civilization and the loss of a culture, which the European would later say never existed." 1 Dr. John Henrik Clarke states, "There has been a deliberate destruction of African culture and the records relating to that culture. This destruction started with the first invaders of Africa. It continued through the period of slavery and the colonial system. It continues today on a much higher and more dangerous level. There are now attempts on the highest academic level to divide African history and culture within Africa in such a manner that the best of it can be claimed for Europeans, or at the very least, Asians. That is the main purpose of the Hamitic and the Semitic hypothesis in relationship to African history.'" 2

The Rosetta Stone unlocked Kamit's ancient lost suppressed language Europeans tried with all their might to destroy the evidence of Black Egypt's legacy and its originating role in world civilization and religion. They almost succeeded. They burned major libraries of Afrikan archives, destroyed countless temples, killed countless people. They turned Egypt the Land of Light, into the Land of Darkness. Had it not been for the discovery of the Rosetta Stone in 1799, Kamit's early history and astounding legacy would have remained buried in the ruins of its demolished temples. The Rosetta Stone was a slab of black basalt stone was found by accident (nothing really happens "by accident") in 1799 by French troops digging trenches near Rosetta, Egypt. Carved on it was an inscription duplicated in three languages: Egyptian sacred hieroglyphics, demotic Egyptian characters, and Greek. By comparing the Greek translation with the Egyptian, the French linguist, Jean Champollion in 1822, discovered the vital clue to translating the Metu Neter (Writing of the Gods), the mysterious sacred hieroglyphics of Kamit (ancient Egypt). For the first time in modern history, it became possible to decipher the mysterious, unknown, sacred language of Egypt. "And so the lost history of old Egypt began to unfold before the eyes of an astonished world...Until the discovery of the Rosetta Stone, the history of the Land of Ham had remained buried in the ruins of the Nile Valley produced there by the Roman Army...The fanatical Romanists that buried that now famous Rosetta Stone never dreamed that the day would come when it would rise up from its grave and become the Nemesis of their beloved institution, which so greatly fears the purging effect of the Light of Knowledge." 3

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UPPER RIGHT: Rosetta Stone in color LEFT: clear huge image of Rosetta Stone .

. 1) Browder, NV, 36. 2) Ibid., 36. 3) Hotema, GC, 27, 28. . .