MARS ANOMALY INTERVIEW Karen and Bret with Daniel on End Of Days Radio youtube

Karen Patrick and Bret Sheppard get interviewed by Daniel from End Of Days Radio about the Mars Anomaly Conference and lots of other things.

Karen Christine Patrick and Bret Colin Sheppard are here on End of Days Radio to talk about a slew of topics, mainly the upcoming Mars Anomaly Conference September 7th-9th held in the Historic Murray Hotel, Silver City, New Mexico.
Karen is an ET contactee and Psychic who was recruited for a special psychic program for children. Bret is an ET contactee and researcher into Mars and moon anomalies. Both however are experts in many paranormal topics which they discuss in this episode with Daniel.

Daniel asks them about their respective pasts, Aliens, Demons, Telepathy, Telekinesis, NASA lying, The Illuminati, Ingo Swan, The Annunaki and much more. We come to find that indeed just about everything NASA puts out is completely fake but that does not necessarily make the earth flat either.





Daniel comes back from break, discusses the social media ban of Alex Jones, fighting in the streets of Portland, reads a very heartfelt email from a listener, gives a movie review and then goes on to explain why Trump is not actually fighting the Deep state or Illuminati.



The Mars Anomaly Research Society Conference, 7th Annual, will be at the Historic Murray Hotel, Downtown Silver City, New Mexico, September 7-9th, 2018

List of Speakers:


Videos by:


Bret Colin Sheppard was born in Gary Indiana on September 17, 1966. He has been through an extraordinary amount of childhood trauma, and early ET abduction by benevolent ET’s helping him through his trauma. Bret went on to research Lunar and Mars anomalies, wrote the book "Digital Moon" about manipulations of NASA images.

At the Mars Conference, Bret's talk will be "LISTENING TO MARS." In 1924, scientists used the radio telescope developed by Nikola Tesla to listen to Mars as it passed closest to Earth in many years. What happened is little-known and remarkable because, apparently, humanity established contact with beings on another planet. Bret has studied this case of graphic communication and other examples as well.

BOOK: "Digital Moon"


Karen Christine Patrick is an experiencer, a researcher, a radio personality, video producer, and author. Ms. Patrick has been involved in projects covering the topics of exopolitics, the paranormal, and contact with non-human intelligence. In the late 1960's, Karen was in recruitment for a government program that was looking for psychic gifted children to use in Cold-War era programs in Remote Viewing and communications with non-human Intelligences.

Karen will be talking about "THE PSYCHIC SENTINELS" about clandestine operations that train individuals to use psychic powers for all kinds of tasks, such as guarding against other Remote Viewers at sensitive sites, observing unusual events and phenomena, communicating non-human intelligences, and to be used to track individuals who were traveling by exotic means and could become lost in time and space.

BOOKS: "The Anunnaki and the Moon" and "Weird Shouldn' Starve: A Basic Income to Support Free Speech on Fringe Topics."



MARS ANOMALY RESEARCH SOCIETY Conference to be held in the Historic Murray Hotel, Silver City, New Mexico

The event will be at the Historic Murray Hotel, Downtown Silver City, New Mexico, September 7-9th, 2018. Call Carla, an organizer, at 480-707-7893. A Discount Rate for Conference-goers is being arranged at the Murray, call right away, but please call Carla!

BOOK COMING SOON!! "Weird Shouldn't Starve" by Karen Christine Patrick

This book is for introducing the idea
of a Basic Income to people concerned
about the taboo of talking about
fringe topics resulting in the threat of
financial assassination.

Definition of a Basic Income

A basic income is a periodic cash payment unconditionally
delivered to all on an individual basis, without means-testing
or work requirement.

That is, basic income has the following five characeristics:

1Periodic - it is paid at regular intervals (for example, every
        month), not as a one-off grant.

2) Cash payment -  it is paid in an appropriate medium of
       exchange, allowing those who receive it to decide what
       they spend it on. It is not, therefore, paid either in kind
       (such as food or services) or in voucher dedicated to a
       specific use.

3) Individual - it is paid on an individual basis—and not, for
       instance, to households.

4Universal - it is paid to all, without means test.

5) Unconditional - it is paid without a requirement to work
        or to demonstrate willingness-to-work.

The idea of a Basic Income has been
percolating into the mainstream as an idea to
change the discussion about economics from
“top-down” discussions that don’t seem to
resonate at the level where most of us live.
Also, we are now aware of threats to true
democracy from wealth inequality, threats to
free speech and civil discourse from social
media wedded to clandestine surveillance.

The “stick” in the “carrot and stick” social
engineering going on, so subtle most people
don’t realize it until they begin to question
the status-quo, is that financial assassination
is possible because we do not have a floor
to poverty. As long as people can fall
completely “down and out” financially, the
idea of free speech on any topic is under

This book gives an overview on how the idea
of a Basic Income would support those who
want to have open discussions about many
fringe topics, UFOs, Exopolitics, Psychic
Abilities, Conspiracies, Ancient Tech, Space
Anomalies, Ghosts, Whistleblower Testimony, etc.

The Basic Income can remove the threat of 
financial terrorism for speaking out or exploring 
these and other topics.


Karen Christine Patrick is a mixed-media artist whose work includes small-scale projects such as jewelry, reclaimed materials collage/assemblage, watercolor/acrylic with landscapes/marine/abstract subject matter, and positive affirmation inspiration.

Karen was a part of the Pacific Northwest art scene in Olympia and Seattle, Washington where she displayed work in restaurants and coffee shops. She was a frequent participant in the Southwest Washington Fair.

She currently lives in Silver City, New Mexico where she participates in the art scene with her work in mixed-media and found materials collage/assemblage. Patrick facilitates a creativity recovery group in town.

Patrick states, "I believe in the motto, 'Art Saves Lives.' I was a family caregiver for disabled and elderly family members over 30 years and found comfort and encouragement participating in the art scene wherever I have lived.

Art is my favorite self-help therapy, and I've enjoyed facilitating art recovery classes for children, women, the disabled, and for domestic violence recovery. To me, life without art just doesn't have any color to it."


Bret Colin Sheppard will be showing his work and talking about it at the new venue provided by the Tranquil Buzz Coffee Shop in downtown Silver City, New Mexico. Bret will be talking about his Cosmic Art, where he perceives entire themed scenes in images from space agency photos. The process he is identifying as "Hierophany."

From Wikipedia:

The word hierophany recurs frequently in the works of the religious historian Mircea Eliade, which he preferred to the more constrictive word theophany (an appearance of a god).

Eliade argues that religion is based on a sharp distinction between the sacred (God, gods, mythical ancestors, etc.) and the profane. According to Eliade, for traditional man, myths describe "breakthroughs of the sacred (or the 'supernatural') into the World"—that is, hierophanies.

In the hierophanies recorded in myth, the sacred appears in the form of ideal models (the actions and commandments of gods, heroes, etc.). By manifesting itself as an ideal model, the sacred gives the world value, direction, and purpose: "The manifestation of the sacred, ontologically founds the world".

According to this view, all things need to imitate or conform to the sacred models established by hierophanies, in order to have true reality: to traditional man, things "acquire their reality, their identity, only to the extent of their participation in a transcendent reality".

Bret's Bio....

Biography of Bret Colin Sheppard

Bret Colin Sheppard was born in Gary Indiana on September 17, 1966. He has been through an extraordinary amount of childhood trauma, and early ET abduction by benevolent ET’s helping him through his trauma. During his childhood he was taught esoteric knowledge from various books given to him by members of his mothers friends and cult members of various organizations. He was groomed as an artist by a beautiful Nordic woman named “INO” who worked at the time as a caricature artist for Playboy magazine. She taught him all about perception, and how to draw what he sees in nature.

Bret Colin Sheppard experienced a time anomaly where his anomaly finds from the future were shown to him in art class at his high school. Who ever did this time mission also knew that Bret has a photographic memory. Years later, he feels compelled to pursue looking for anomalies in NASA images of the moon and Mars. He is known in the anomaly community for some of his finds, the Lunar Acropolis, the "Jupiter 2 UFO on Mars" and the Lion of Cydonia. Bret is writing his book on his anomaly finds, plus what he found deconstructing the manipulation of photos from space by our space agencies. His current book is called "Flyover Tsiolkovsky Crater" about the base on the moon seen by Ken Johnston Sr, NASA Whistle blower. His new book is "Digital Moon" published in August of 2017, is about the processes of CGI and other methods used by NASA to obfuscate anomalies, plus Bret's extraordinary journey as an experiencer, shown the future at 15 years of age by an agency operative of the government. He went on to found the “Lunar Anomaly Research Society” to reveal what he has discovered in Lunar images. 


To Digital Moon

Nancy du Tertre
Attorney, psychic detective, and author
“Psychic Intuition: Everything You Ever Wanted to Ask
 But Were Afraid to Know” and “How to Talk to an Alien”

There is a tendency among many people today to misunderstand or misinterpret the psychic methods used in remote viewing. I am a remote viewer, trained in several different types of remote viewing including Controlled Remote Viewing and Associative Remote Viewing. Unlike purely intuitive, psychic or artistic methods, remote viewing is highly structured and requires strict adherence to formalized steps and procedures.  Ingo created it this way deliberately so it could be turned into a kind of tool that could be analyzed and reviewed for accuracy. I have always defined remote viewing as “clairvoyance with protocols.” Since I am also a trained psychic detective, spiritual medium and medical intuitive, I also use a number of other more self-taught methods to access psychic information.

Ingo always told me that “they” (the CIA) were lucky to get him as one of their first major psychic guinea pigs because he was an artist. He understood that our rational brain is often incapable of accurately or completely “describing” what we “see” with our minds - particularly scenes or images that have no true corollary in reality. Words are effective but only up to a point. In fact, as I explain in my book “Psychic Intuition,” language is one of the biggest barriers to accessing psychic data. Non-verbal ways to communicate using such vehicles as movement, frequencies, shapes and colors (think: dance, music, art, theater) are often more effective at communicating certain realities than mere words.

Some of Bret’s most powerful and fascinating material comes from his drawings of what he “sees” in the lunar photographs. He suggests that what he sees is not mere “pareidolia” (defined in Wikipedia as “a psychological phenomenon in which the mind responds to a stimulus (an image or a sound) by perceiving a familiar pattern where none exists.”). Bret goes a bit further and suggests that what he sees is an actual communication of data. From the lunar photograph below, Bret “sees” what appear to be two satyrs, one seated, sprawled out, on what looks like a large chair or throne, and the other standing next to him, on the left, with outstretched arms.  While these images are clear to me, I saw something very different.
/home/bret/digital moon images/Picture4.pngPicture4

I sketched the profile I saw (shown below):

Squint your eyes and soften your vision to see the sketched images and they will suddenly pop into sight while looking at the lunar photo. It is interesting is that my sketched profile (which looks like some kind of exotic-looking man’s head with a beard and spiky hair) resembles the smaller images of satyrs sketched by Bret. It is as if we both see different things but they are born of the same “reality” of satyrs and mythological beings.

I learned many years ago that if you put ten psychics in the same room and ask them to do a psychic reading on something, you will likely get ten different answers. Does that mean that psychics are frauds? Or, does that mean that one got it right and the other nine were wrong? The answer is no on both counts. What I have learned is that in the murky and ambiguous realm of perception and multi-layered realities, we all have an ability to “see” it from our own particular angle or perspective. Generally speaking, the ten psychics who give ten different answers will all be somewhat accurate about a limited part of the reading. No human can deliver all facts about any given slice of reality. We are all like the various facets of the same crystal.

When you do psychic work – clairvoyance, prophecy, past lives, ESP, telepathy, psychometric, divination, medium-ship, etc. – you are, in effect, allowing yourself to “see” these different facets of reality. You begin to understand, as Bret clearly does, that not only do we not share identical versions of reality, but reality itself may manifest its richness only under certain conditions. Speaking as an attorney trained in securities litigation, I was always taught to rely exclusively upon evidence in order to prove a “reality.” However, as I have navigated psychic, paranormal and extraterrestrial waters over the last few decades, I have learned that “proof” – like Bret’s artistic interpretations of the lunar surface - is really nothing but a good legal argument that appeals most strongly to the greatest number of people. Unless and until more people open their eyes and their minds, our collective understanding of reality will remain limited and impoverished

. - Nancy du Tertre

The subject matter attained from embedded NASA Lunar Orbiter images are reflective of our true history and human mythologies. I am very happy to share what I have discovered in my lifetime pertaining to human origins and prehistoric events..  - Bret

Art by Bret C. Sheppard    Gallery 




Millions of people are experiencing interaction with non-human intelligences , overtly as contactees, abductees and experiencers, or more subtlely through dreams, visions, and "downloads." This conference is about Cosmic Communication and how to recognize it, experience it for yourself, or understand the underlying mechanism of how it works. The speakers will be covering a wide variety of examples of communications modalities used to access information and impressions from beings that share our morphogenic field of understanding. There will be a talk on using intuitive journaling to document the process of interpreting what messages are coming through and to make sense of it in a fast-paced world.

This conference is free to the public. Donations at the event would be greatly appreciated.

WHEN/WHERE: Saturday, October 28, 2017, in Silver City, NM - 10am-4pm

CONTACT FOR INFORMATION: Carla @ 480-707-7893 or email at


REV. CARLA FRIEDRICH- “The Infinity & Diversity of Lifeforms in the Universe- Contemplating What It Means to be Truly Human” by Rev. Carla Friedrich, Reverend in the Swedenborg Tradition - Friedrich will give a description of life on other planets, their physiology, communication, sociology, and spirituality, as described in “Earths in the Universe and Their Inhabitants; From Things Heard and Seen” by Emanuel Swedenborg, 18th century exo-philosopher (RE: Karen Christine Patrick) scientist, Engineer, and theologian. Swedenborg’s holographic cosmology and economy of dimensional worlds was the initial inspiration for the historic founding of the field of exo-politics as described by Alfred Lambremont Webre.

BARBARA BESSER - "Visionary Artist" by Barbara Besser,  Visionary Artist. Experiencer - Creator Analeia will share personal experiences with unseen, multidimensional energy...and how she created extraordinary artwork through this challenging, yet exciting process. Analeia has exhibited throughout the country and is best known for Spiritual Portraits. Analeia will be showing artwork, some available for sale.

KAREN CHRISTINE PATRICK - "COSMIC COMMUNICATION: Intuitive Journaling" by Karen Christine Patrick, Experiencer, Trans-communicator, Radio Personality, Author - Patrick will be speaking about Ideomaterial Physics as the basis for Trans-Communication in the first part of her talk. Ideomaterial Physics was a working model theory developed by a clandestine group of physicists gathered together as a research group in the 1990s, called the Life Physics Group. This group was led by AR Bordon, and their wholistic theory has its basis in Quantum Hologram Theory. These rogue physicists, who mostly used pseudonyms, worked with powerful intuitives using remote viewing/sensing to map out the energetic levels-of-manifestation that creates what we perceive as our material reality.Ms. Patrick was involved in a second grouping of intuitives gathered by AR Bordon between 2008-2013, to be given the writings of AR Bordon and the Life Physics Group, to be taught about Ideomaterial Physics, and to participate in group thought experiments.Patrick will then share various methods of Intuitive Journaling that aids in helping to tap into the morphogenic field, or informational thoughtscape that underlies our reality construct.

BRET COLIN SHEPPARD - "COSMIC COMMUNICATION: Graphic Communication" by Bret Colin Sheppard, Graphics Consultant, Anomalist, Experiencer - "When I think of Graphic Communication and ET's, I am thinking of Nature and space imagery. There are frequencies in graphics, sound, and digitization that adhere to the normal human ranges similar to a dog whistle, that allows us to see the deeper graphic communication within these images that we have collected all of our lives. Some see Ghosts some see ET's and I see many things like a storyboard of different ideas that pass through the Morphogenic field, some with the themes of nature, some more specific. These are frequencies we understand, and it is exactly how ET's from other worlds prefer to communicate with Earthlings. It is the Universal Language with a myriad of archetypes and symbols. It is how our ancient ancestors preferred to communicate, and it is how our languages developed here on Earth through a series of symbols with our collective meaning. I think of graphics and mental imagery as a tool to transfer ideas through telepathic resonance. Our minds perceive these ideas with past experiences, and it's really as simple as being aware of these types of communication and developing the tools to receive the information from the space we live in." - Bret C. Sheppard


10:00 am - 10:30 am - Rev. Carla Friedrich -  “The Infinity & Diversity of Lifeforms in the Universe"

10:30 am - 12:30 pm - Bret Colin Shepaard - "COSMIC COMMUNICATION: Graphic Communication"

12:30 pm Lunch

1:30 pm - 2:00 pm - Barbara Besser - "Visionary Artist"

2:00 pm - 4:00 pm - Karen Christine Patrick "COSMIC COMMUNICATION: Intuitive Journaling"

30-40,000-year-old sculptures made of Ivory from a Mammoth

In light of this and the 30,000-year-old Bosnia pyramid as well as the Earlier Steppe cultures in the Ukraine and Romania. I would say Northern Africa was invaded by Earlier Europeans not the other way around. For years, Egyptologists and archaeologists have thought the Great Sphinx of Giza to be about 4,500 years old, dating to around 2500 B.C. However, some recent studies have suggested that the Sphinx was built as long ago as 7000 B.C. When we do the math there is an obvious contradiction to what we think our history is.

The Lady of Brassempouy

Although now one of the most famous Paleolithic furniture works, the exotic aspect of this small mammoth ivory figurine brought its discoverer headlines.

30.08.13 - 01:21 - JULIO ARRIETA | @JulioArrietaSan
translated by Bret C. Sheppard |

It is one of the most famous archaeological pieces, has illustrated innumerable covers of prehistory books and for decades was considered the oldest known portrait of a human being. The Lady of Brassempouy, also known as Lady of the hood, is one of the most famous sculptures in history. This diminutive little head is so exceptional that its discoverer, Édouard Piette (1827-1906), came to consider the possibility that it might be a forgery. The thoroughness of his work and the modern studies of the figure have confirmed the authenticity of the piece, whose meaning remains an unknown.

The Lady of Brassempouy is a tiny sculpture carved on mammoth ivory, 3 inches high, 2.2 wide and 1.9 thick. It is the head of a woman depicted in a schematic rather than realistic manner, with a triangular face, nose, and eyebrows well shaped, but without mouth or eyes. It is touched by what some think is a very elaborate hairstyle and others believe it is some kind of cap or hood. The debate on this item remains open. Maybe it's just the mane reproduced in a very stylized way. Its antiquity has been estimated between 26,000 and 24,000 years, belongs therefore to the phase of the Upper Paleolithic known as gravetiense. Although it is unique, this figurine is not an isolated object. It is part of a set of small sculptures found at the end of the 19th century in the Grotte du Pape (Cave of the Pope), a cavity of the various that form the site of Brassempouy, 2 kilometers from the locality that gives it name, in the south of the Landes (France).

"The portable art of the Glacier Era includes thousands of engravings and sculptures of small objects in stone, bone, horn, and ivory," explains Colin Renfrew and Paul G. Bahn in his already classic handbook 'Archeology: Theories, Methods and practice '(edited by Akal). "The vast majority of the identifiable figures are animals, but perhaps the most famous pieces are the so-called 'Venus' figurines, such as the Venus limestone rock in Willendorf, Austria, with frequent emphasis on breasts and buttocks. the figurines possibly indicate a relation of the same with the fecundity ". When the first excavations at Brassempouy were carried out these statuettes were still a novel rarity. In fact, when Piette arrived at the place he was only aware of the existence of one, the so-called Venus impudence, found by the Marquis de Vibraye in Laugerie-Basse (Dordogne) in 1864. There was some other feminine representation, such as Femme au renne , engraved on a flagpole, found in the same field, and were the statuettes of Grimaldi, which remained unpublished for commercial reasons and of which Piette was not yet aware.

Randall White, of the University of New York, makes an exhaustive tour of history in 'The Women of Brassempouy: A Century of Research and Interpretation' (Journal of Archaeological Method and Theory, vol. of the excavations of the deposit. The Grotte du Pape was discovered during the reconditioning of a road through the properties of the Count de Poudenx in 1880. The aristocrat authorized the first excavation, which was commissioned by an amateur archaeologist and pharmacist by profession, Pierre-Eudoxe Dubalen, who published an article the following year, animated by Piette, in which he revealed the materials found, labeled "Magdalenians." The site remained intact until 1891. In this second excavation, the pickets were handled by Joseph de la Porterie, a relative of the owner, and Albert Léon-Dufour, who found several pieces of ivory and confirmed that it was a very promising field. The next to intervene was Édouard Piette.

Piette (1827-1906) was not an archaeologist. He was a lawyer, never left the laws and became a judge, although archeology was for him much more than a hobby. He was interested in the prehistory of the Pyrenees during a stay for health reasons in a resort of Bagnères-de-Luchon, in 1871, and when it arrived at Brassempouy already had excavated in several caves, works that had paid of his pocket. The most important of these deposits was Mas d'Azil, in which he had begun to excavate in 1887 and where, in addition to identifying the Epipaleolithic culture he christened Aziliense, he discovered a beautiful horse head carved in ivory, one of the works most notable of Palaeolithic furniture art. Piette ended up forming a superb collection of this type of art that would dominee in 1902 to the Museum of National Archeology of Saint Germain en Laye.

"Archaeological Razzia"

The first steps of Piette in Brassempouy were unfortunate, not to say catastrophic. The organizers of the Congress of the French Association for the Advancement of Science (AFAS), which was to be held in Pau, asked him for a deposit to which the participants could go for 'archaeological excursion'. That is, to spend a joyful day of excavation. Piette advised them to go to Brassempouy, considering it to be one of the "most interesting sites in the Pyrenean region". The idea was that, after the passage of the congressmen, the formal excavation was resumed by Piette and De la Porterie. As an advance, on September 10, 1892, De la Porterie, Piette and an AFAS member spent the afternoon excavating at the entrance of the cave in the company of Emile Cartailhac, an omnipresent personality - and overwhelming - in the French archeology of the time.

Two days before the tour, the cave was 'prepared' to welcome the expeditionaries. The preparation consisted of the emergence of a group of peons who cleared and raided part of the entrance of the cavity without any supervision, to the horror of Piette, who discovered the mess when there was no remedy. The workers deposited the archaeological remains that they considered of interest in a nearby house. Among them was the first statuette found in Brassempouy, broken into several pieces by a blow of tool given by one of the workers. But the worst was yet to come.

The visit of the congressmen, on September 19, 1892, can only be described as a ferocious plunder and in fact Henri Delporte, who would resume the excavation of the site in 1981, defines it as an authentic "archaeological razzia" ('Brassempouy, histoire of a gisement ', in' Pyrénées préhistoriques, arts et societes', 1996). A small horde composed of forty feverish scientists threw themselves into the entrance area of the cave with spikes, pallets or whatever they had at hand, each in its corner and without losing sight of the advances of the neighbor until they filled their bags with everything they found interesting. At least three pieces of ivory came to light in this 'excavation', one of them an anthropomorphic figure baptized by Piette as l'Ebauche (The thinned). To make matters worse, the next day the site was attacked by furtive excavators.

Piette discovered that a statuette had disappeared to reappear shortly after in the possession of Cartailhac, in Toulouse. The story of this figure is anything but clear because there are at least three versions of what happened, which were also aired with rejoicing by the press giving rise to a phenomenal polemic, with its inevitable cross-accusations. In a letter, Piette explains that the workers who prepared the site for the visit of the congressmen had found the statuette and had broken it into several pieces, which they left in the house with the rest of objects. The day before the arrival of the hikers, and always according to Piette, "Mr. Trutat, accompanied by Mr. X, arrived at the site, where he met with Mr. Dubalen." The three went to the house and distributed the loot, "they took everything, both fauna and artifacts" (...) "Mr. Trutat is guilty of robbery and Mr. Dubalen of complicity and abuse of trust."

The version of Cartailhac is different: the finds were made available to the hikers at tables, as a kind of 'serve yourself' archaeological courtesy. In fact, Cartailhac uses the word 'buffet' to describe it. According to Dubalen, the figure was discovered during the 'excavation' on the 19th, he left it and sent it by mail to Emile Magitot, who sent it to Trutat, who entrusted it to Cartailhac. In any case, the prehistorian of Toulouse hurried to reconstruct the statuette, well-known like La Poire (the pear), and to present it in public. In addition, it began to maneuver so that they granted the permission to him to excavate in Brassempouy and to leave to Piette without field. Perhaps thanks to his ability of lawman, Piette won the battle and forced Cartailhac to return the figure and publish it in an anonymous article, edited in 'L'Anthopologie' in 1894. This statuette, La Poire, was baptized by Piette as the Venus de Brassempouy, a name with which, through a confusion, is often called the Lady of the hood.

A meticulous excavation

Piette managed to remove from the middle his easy rival and keep the permits of excavation, work that would be carried out in collaboration with Joseph de la Porterie between 1894 and 1897, in a very methodical and, by the standards of the very meticulous, since it gave an exceptional importance to the stratigraphy. The two archaeologists worked on the part of the entrance that had remained intact, but also inside the cave. During these excavations, the archaeologist lawyer found eight other statuettes, none of them complete. Among them is the Lady of the hood, whose exotic aspect left him baffled and plunged into uncertainty. In a letter he wrote after the campaign of 1894 (July 31), addressed to the director of the Saint Germain museum, he explained that "our excavation has been productive, M. de la Porterie and I have recovered more than 40 rhinoceros teeth, some mammoth teeth, some hyena jaws, numerous punches, and five fragments of human statuettes. " Among these is "the head of a woman adorned with an Egyptian wig." It is not the only 'strange' piece, because there is also a 'fragment of a figurine similar to the Egyptian dolls' and a third piece 'of statuette with a cape or a kind of hooded shawl', perhaps also Egyptian.

Piette cannot help but think of the possibility of a forgery. At worst someone has 'planted' these flashy pieces. The others do not pose any problem, they are figures of the "steatopic race", "obviously authentic.2 If the 'Egyptians' are also' the coexistence of two different races is confirmed." But what if they are not? a matter of La Poire, the statuette that comes and goes mysteriously, has won several enemies, some especially furious, and perhaps there are those who want to discredit him.But the looting of the congressmen had made him very cautious in his excavation to detect possible intrusions "I have no doubt that we do not see any removal on the surface, and I have so much experience excavating that I'm sure I would have seen it if it existed," he says in the same letter. "It is only for prudence that I express some doubts, since I noticed that there was no removal of sediments related to the introduction of objects in the reservoir. This discovery has been so unpredictable and so unusual that we have to confirm it. "

In a more detailed letter, signed on August 21, 1894, he reflects on the question again to conclude that the 'exotic' statuettes, one of them the "mongoloid woman's head with an Egyptian wig", are authentic. "The fraud hypothesis seems highly improbable." After describing the layer of earth in which the Lady appeared, he ruled that the figure was introduced from above and even from the trench opened by the congressmen. The piece showed traces of being buried long, and in fact the ivory "has acquired a yellow hue of the surrounding sediment". Piette would have liked to know that the most recent studies, such as those made by the aforementioned Randall White in the twenty-first century and with the current technical resources, confirm that indeed the Lady and the other figures of Brassempouy who troubled him so much authentic, but certainly not Egyptian.

The Lady of Brassempouy

Reproduction of the Lady in an exhibition of paleolithic furniture art.
"They are not works of the imagination"

When Piette wrote his first formal publication on Brassempouy ('The station of Brassempouy et les statuettes humaines de la période glyptique', published in 'L'Anthropologie', 1895) no one had yet formulated an interpretation of the anthropomorphic Paleolithic figures. They had not been given any meaning, nor had they been associated with deities or any cult connected with fertility. Piette did not care about this kind of analysis. As Randall White Piette explains, "it seems almost obsessed by two issues: racial differences in the collection of figurines and the resemblance of some of them to African populations." Indeed influenced by racial studies, in vogue at the time, Piette wanted to identify the 'races' that populated the region in prehistory. In his opinion, these races could be recognized through works of art, which he understood as realistic representations. "They are not works of the imagination, but copies of reality," he said in his article. Through the statues he concluded that in the region two types of populations lived during the Upper Paleolithic, a race related "with the Bushman race," which was characterized by steatopigia - the accumulation of fat in some parts of the body -, and another flat-belly and "thin thighs", "more civilized", to which would belong the woman represented by the Lady of the hood.

This racial approach quickly fell into disuse and was replaced by others who, in general, have seen a symbolic meaning in these pieces of furniture art. The meaning of the Lady of the hood and her sisters continues to be discussed. At the same time, the figurine is preserved in the Museum of National Archeology, in Saint-Germain-en-Laye, to which Piette bequeathed its magnificent collection.