Sava Savanovic

In Serbian folklore, Sava Savanović is one of the most famous vampires besides Peter Plogojowitz. Local legend said he was lived in an old watermill on the Rogačica river, at Zarožje village. He killed and drank the blood of the villagers when they came to mill their grains. The watermill was bought by the local Jagodic family and they were too scared to use it as a mill – but discovered it was a goldmine when they started advertising for tourists to come and visit it – always during the day. However on November 2012 local council issued a public health warning that a vampire was on the loose after an old ruined mill said to once have been the home of the country's most famous vampire collapsed.

The poster reads 'First Serbian vampire: Sava Savanović'.
Local mayor Miodrag Vujetic said 'People are worried, everybody knows the legend of this vampire and the thought that he is now homeless and looking for somewhere else and possibly other victims is terrifying people. We are all frightened.'

Vujetic said villagers "are all taking precautions by having holy crosses and icons placed above the entrance to the house, rubbing our hands with garlic, and having a hawthorn stake or thorn."

The idea of the vampire most probably has part of its origins in the ancient perceptions of the restless dead. These have been blended with stories of other night terrors to form the vampire motif with which we are all so familiar. Coupled with this are notions of how the dead conducted themselves and conduct how they interact with and react to the living.

"In the dark forested mountains of Serbia, Bosnia, Montenegro, Macedonia and Croatia, many people still believe in vampires and take them quite seriously," says Dr. James Lyon, Ph.D, a noted Balkan historian who has done extensive research on the folklore behind vampires.

Sava Savanovic has maintained his notoriety in modern Serbia. He was featured in a 19th century book "Ninety Years Later" written by Milovan Glisic, whose book inspired a 1972 horror film "Leptirica" (Butterfly), widely watched throughout all of former Yugoslavia. More recently, Savanovic appeared in an award winning book "Fear and Its Servant" written by Mirjana Novakovic.

Encyclopedia of the Undead by DR. Bob Curran;;;;

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Fulcanelli the Mysterious Alchemist

In the fall of 1925, publisher Jean Schémit received a visit from a small man dressed as a pre-war bohemian, with a long Asterix-the-Gaul-style mustache. The man wanted to talk about Gothic architecture, the “green argot” of its sculptural symbols, and how slang was a kind of punning code, which he called the “language of the birds.” A few weeks later, Schémit was introduced to him again as Jean-Julien Champagne, the illustrator of a proposed book by a mysterious alchemist called Fulcanelli. Schémit thought that all three, the visitor, the author, and the illustrator, were the same man, Fulcanelli himself. Perhaps they were. This, such as it is, amounts to our most credible Fulcanelli sighting. As such, it sums up the entire problem posed by the question: Who was Fulcanelli?

Beyond this ambiguous encounter, he exists as words on a page and, in some occult circles, as a mythic alchemical immortal with the status, or identity, of a St. Germain. There were two things that everyone agreed upon concerning Fulcanelli—he was definitely a mind to be reckoned with, and he was a true enigma.

In 1926, a mysterious volume issued in a luxury edition of three hundred copies by a small Paris publishing firm known mostly for artistic reprints rocked the Parisian occult underworld. Its title was Le Mystère des Cathédrales (The Mystery of the Cathedrals). Fulcanelli as the author, claimed that the great secret of alchemy, the queen of Western occult sciences, was plainly displayed on the walls of Paris’s own cathedral, Notre-Dame-de-Paris.

Fulcanelli was undoubtedly a French alchemist and esoteric author, whose identity is still debated, educated profoundly, and learned in the ways of alchemical lore, architecture, art, science, and languages. Fulcanelli wrote two books that were published after his disappearance during 1926. He is a man who does not seem to exist, and yet he is re-created constantly in the imagination of every seeker—a perfect foil for projection. When one turns to “Le Mystère”, one finds a witty intelligence that seems quite sure of the nature and importance of his information. This “Fulcanelli” knows something and is trying to communicate his knowledge; of this there can be no doubt.

To the occult savants of Paris in the late 1920s, Fulcanelli’s book was almost intoxicating. His student, Eugène Canseliet, informs us in the preface to the first edition of Le Mystère that Fulcanelli had accomplished the Great Work and then disappeared from the world. “For a long time now the author of this book has not been among us,” Canseliet wrote, and he was lamented by a group of “unknown brothers who hoped to obtain from him the solution to the mysterious Verbum dimissum (missing word).

Mystification about the true identity of the alchemist obscured the fact that credible people had seen his visiting card, emblazoned with an aristocratic signature. It was possible to encounter people at the Chat Noir nightclub in Paris who claimed to have met Fulcanelli right through World War II. Between 1926 and 1929, his legend grew, fueled by café gossip and a few articles and reviews in obscure Parisian occult journals.

According to Canseliet, his last encounter with Fulcanelli happened during 1953 (years after his disappearance), when he went to Spain and there was taken to a castle high in the mountains for a rendezvous with his former master. Canseliet had known Fulcanelli as an old man in his 80s but now the Master had grown younger: he was a man in his 50s. The reunion was brief and Fulcanelli once again disappeared not leaving any trace of his whereabouts.

Atlantis Rising Magazine vol. 42: “Fulcanelli and the Mystery of the Cathedrals” written by Vincent Bridges;

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UFO Painting of Carlo Crivelli

In the National Gallery, London hang a strange painting by Carlo Crivelli (1430-1495) called "The Annunciation with Saint Emidius" (1486). It showed a disk shaped object is shining a pencil beam of light down onto the crown of Mary's head. The word "annunciation" means to announce. When it is used in reference to a saint or a man of God, annunciation means that this special person has been announced by God to be the embodiement of a spirit or devine being in human form. In his book titled ”The Bible And Flying Saucers”, Rev. Barry Downing states that: "When Jesus was baptized, he saw the 'Spirit of God descending like a dove, and alighting on him.' (Matt 3:16)." All of those elements have been incorporated into this work by Crivelli.

Crivelli was born around 1430–35 in Venice to a family of painters, and received his artistic formation there and in Padua. He is said to have studied under Jacobello del Fiore, who was painting as late as 1436; at that time Crivelli was probably only a boy. He also studied at the school of Vivarini in Venice, then left Venice, initially, it is generally believed, for Padua, where he is believed to have worked in the workshop of Francesco Squarcione and then for Zadar in Dalmatia (now part of Croatia, but then a Venetian territory) in 1459.

Unlike the naturalistic trends arising from Florence at the same time, Crivelli's style still echoes the courtly International Gothic sensibility. The urban settings are jewel-like, and full of elaborate allegorical detail. He favored verdant landscape backgrounds, and his works can be identified by his characteristic use of fruits and flowers as decorative motifs, often depicted in pendant festoons, which are a hallmark of the Paduan studio of Francesco Squarcione, where Crivelli may have worked. The National Gallery, London is well supplied with examples of Crivelli; the Annunciation with St Emidius, possibly his most famous painting.

 Annunciation with St. Emidius (1486)

A disk shaped object
In the case of this painting entitled “The Annunciation with Saint Emidius”, Crivelli is making a historical statement that St. Emidius is the embodiement of the Holy Spirit, as represented by both the beam of light from the UFO which passes through the dove, the Holy Scripture's symbol of the Holy Spirit, third person in the Holy Trinity.

In the Bible and other writings, chroniclers have often described a striking phenomenon which greatly resembles the UFO phenomenon seen today. From these records, it is evident how these celestial beings continuously bring technical and logistic support to the Patriarchs, to the tribal chiefs and to the prophets. These celestial beings are often referred to as angels (from the Greek word angelos meaning "messenger"), or sometimes called the chief of the celestial armies or even the Master of the celestial kingdom himself.

Regarding the annunciation of Jesus Christ, Downing goes on to ponder the deeper meaning of this particular annunciation of the Son of God;

"Where did this UFO come from, according to the Biblical account? After Jesus was baptized, "the heavens were opened' and the Spirit seems to have descended from this 'opening.' This idea of an 'opening' represents an example of the 'mythological' expression...The 'opening' represents an example of the Bible cosmology...The 'opening' suggests that in our 'three-decker universe' a 'door' leads from our world below to the world above where the angels live in heaven.

When these celestial beings contact the prophets, that is to say when they meet their chosen ambassadors on Earth, they travel through the sky on metallic clouds, or pillars of fire, or chariots of fire or other strange vehicles.

Ancient UFO Artworks in a Religious Context by Anonymous;;

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Ancient UFO Artworks in a Religious Context by Anonymous page 8
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Keris Taming Sari the Legendary Weapon of Hang Tuah

Keris Taming Sari was a prize from the Javanese kingdom of Majapahit to Hang Tuah after he fought and killed their supposedly invincible warrior named Taming Sari from Majapahit. The keris derives its name from the original owner. It is classified as a keris gabus or keris terapang which posses magical powers. Legend has it that Taming Sari could do Hang Tuah's fighting for him - if Hang Tuah was menaced or in any danger, the keris would leap out of its sheath, fly through the air and attack the assailant. The whole of the sampir and batang are covered in gold leaf and the sculptures of keris dating back more than 400 years, where its known as Kujang, can be found in Central Java’s Borobudur Temple. It is told that that it is made of twenty-one different types of metal- supposedly metal leftover from the forging of the bolts of the holy Ka'aba.

The legend of Keris Taming Sari cannot be separated from the story of Hang Tuah. Hang Tuah is a legendary Malay warrior and the father of Malay silat. He symbolizes the prominence of Malacca and projects the bravery of the Malays. Hang Tuah was a humble man and a great warrior. His diplomatic, linguistic, and fighting skills earned him the highest position in the Sultan’s palace. Legend has it that one day during the marriage ceremony of Sultan Mansur Shah of the Malacca Empire and the daughter of the Majapahit Emperor, Hang Tuah was insulted. A warrior from the Majapahit named Taming Sari, saw that Hang Tuah could dance but that he could not defend himself. With permission from the Sultan, they engaged in a battle. During the fight, Hang Tuah was able to snatch his opponent’s weapon, the legendary Keris Taming Sari. Ultimately Hang Tuah overpowered his challenger and killed him. After the duel, Sultan gave the keris to Hang Tuah as a prize. Keris Taming Sari was believed to have magical powers, any person in possession of this weapon became impenetrable and able to impose lethal wounds upon enemies.

A bronze mural of Hang Tuah exhibited at the National History Museum, Kuala Lumpur, Malaysia

Hang Tuah later appointed as laksamana (admiral) and defended effectively countless attack against Malacca sovereignity from Siamese and Acehnese fleets. His outstanding performance as a military officer made him a legend that has refined the history of Malacca. However, many highly ambitious officials of the palace wanted to see him exiled. Hang Tuah was slandered by his enemies, who accused him of having an affair with the favorite concubine of the Sultan. The Sultan ordered him to be put to death. His closest friend, Hang Jebat pleaded for his life, but to no avail. He was executed. And then Keris Taming Sari was handed over to Hang Jebat as the new appointed admiral. After hearing that his dearest friend was dead, Hang Jebat became so furious and started killing the palace’s protectors. He stormed the Sultan’s palace, driving everyone into hiding including the Sultan himself. With the Taming Sari in his hand, no one could defeat him as he was strong and invincible. What Hang Jebat and the Sultan didn’t know was that the Dato Bendahara (prime minister), who believed that Hang Tuah was innocent, had secretly spared Hang Tuah’s life and hide him from the Sultan. Then the prime minister told the Sultan where he can find Hang Tuah in order to stop Hang Jebat. The Sultan was thrilled to hear the news and fully pardoned Hang Tuah and sent him to meet his friend, Hang Jebat.

Hang Jebat was distressed to learn that Hang Tuah, whose death he had avenged, had been sent to take his life. In the beginning of duel, Hang Tuah tried to snatch the Taming Sari from Hang Jebat but failed. During the battle, Hang Jebat attempted to convince Hang Tuah to disregard the past and take over the empire. Hang Tuah ignored his best friend’s idea and then effectively snatched the Taming Sari from him. At the end of the fight, Hang Tuah successfully defeat Hang Jebat and killed him. Hang Tuah was regretted about what he has done and vowed never to show himself again. Until this day no one knows where he went and the whereabout of Keris Taming Sari has never been found.

Another version of the legend has it that Hang Tuah had thrown the keris into the river, saying that he would return when the keris re-appeared. This has led some to believe that the real Taming Sari has disappeared, like the legend of the sword Excalibur.

The Malay Art of Self-Defense: Silat Seni Gayong by Sheikh Shamsuddin;;

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Mysterious Mummy From Hindon

From time to time, strange skeletons and remains do turn up. We do know that African pygmies are under normal stature, but some of the most unusual newspaper accounts feature individuals who are well under four feet tall. The Macleod (Alberta) Gazette on July 4, 1888 published an article about miniscule mummy. It is headlined: “A STRANGE CREATURE”, Something Between a Mummy and Skeleton over 1,000 Years Old. It goes on to say: “Mr. F. Champness, collector of Customs at Lethbridge, (Alberta) has in his possession a most interesting relic of bygone days, in the shape of a mummy, or skeleton. He has this strange object enclosed in a glass case, in the exact position in which it was found.

The Mummy was discovered by Mr. Champness himself in 1864 at Hindon on the West Tairie River, near Dunedin, Otago, New Zealand, while prospecting for gold in mountains. It was found in a cave, eighty feet from the surface, surrounded by poisonous wood, and the leg bone of the extinct Moa bird, which stood thirty feet high, lying across the head. Around the neck is some plaited human hair, and between the knees, the skeleton of a Tois bird, a bird which is held in great veneration by the present Maories.

Mr. Champness took this specimen to England, and for some time it was on exhibition in the British Museum. Dr. Own pronounced it to be the remains of an adult woman, whose height when living was not more that three feet. It has been pronounced by several other well-known men to be a valuable specimen, owing to the rarity. Several specimens of this race have been found, but none of them, except this one, is perfect.

The present race of Maories, who took possession of New Zealand 800 or 900 years ago, know nothing of the existence of this race which inhabited the Island before them. Dr. Hector, the government geologist of New Zealand, said there was no doubt that the specimen was over 1,000 years old.

The Maories bury their dead in trees, while this and other specimens were found in caves, showing the existence of the latter before the former came on the scene. After Mr. Champness discovered the mummy, he was chased by the police for two days. They thought a murder had been committed, and wanted to hold an inquest.”

As usual, newspapers of this period raise more questions than we can answers today. If this mummy was originally in the British Museum, one wonders whether it was returned there upon the death of Mr. Champness and perhaps still exists today in some obscure corner or cupboard. This individual was obviously more than a case of stunted growth, as mention is made of other specimens of the same race. They must have been very fierce for their size if they decided to tackle killing a Moa, 10 times their size. Did this tribe reach Hawaii by canoe and start the legend of the menehunes, or were they strictly homebodies? The present-day native population of New Zealand has not taken kindly to suggestions that they were not the first to inhabit the islands, as judged by the political fuss that was made when a prehistoric wall was discovered.

Atlantis Rising Magazine Vol. 41: "Enigmas of the Little People" by W. Ritchie Benedict;

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Sleepy Hollow

Based on local legend, Sleepy Hollow is renowned for its ghosts and the haunting atmosphere that pervades the imaginations of its inhabitants and visitors. The most infamous spectre in the Hollow is the Headless Horseman, said to be the ghost of a Hessian trooper who had his head shot away by a stray cannonball during "some nameless battle" of the American Revolutionary War, and who "rides forth to the scene of battle in nightly quest of his head". However this isn't about the fictional story of Headless Horseman, near a town called Den Mar Gardens, there is a creepy place what seems to be a tunnel of trees also known as Sleepy Hollow rests in a wooded area behind the Kulpmont Cemetery located just outside of Kulpmont, Pennsylvania. The area is eerie, silent, and still considered to be part of the Kulpmont Cemetery. Numerous decapitated tombstones lie in a thick overgrown area of broken-down trees and weeds.

The story of Sleepy Hollow sounds like that of a local legend, but curiosity has taken over many individuals who have decided to venture to this location. Many years ago, three young men ventured into the cemetery, at that time it was not overgrown by trees. The three young men, for reasons unknown, decided to tear down a large, cement cross, which stood in the center of the cemetery on a cement platform. They destroyed the monument. After wrecking the cross, it is said that they mysteriously got into a deadly car accident, and all of them died.

Also there is rumors stating that in the 1980s and the early 90s, this location was used to perform Satanic rituals. It is believed that numerous Satanic symbols can be found carved on trees here.

Poltergeist activity and numerous unexplained accounts has been reported in the area as well as claims of strange chants and blood-curdling screams coming from the surrounding woods. One popular legend states that at exactly midnight, you can hear an old organ playing. There have been other reports of hearing strange noises here as well. There has even been one report of a girl being levitated several feet after lying down on one of the grave-sites.

Encyclopedia of Haunted Places: "Ghostly Locales From Around The World" by Jeff Belanger;;

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Uffington White Horse

The Uffington White Horse figure, located 1.5 miles south of the village of Uffington on the Berkshire Downs. This unique stylized representation of a horse consists of a long, sleek back, thin disjointed legs, a streaming tail, and a bird-like beaked head. The mysterious Uffington White Horse in Berkshire, recently redated and shown to be even older than its previously assigned ancient pre-Roman, Iron Age date. Best views of the figure are obtained from the air, or from directly across the Vale, particularly around the villages of Great Coxwell, Longcot and Fernham. The site is owned and managed by the National Trust. Written records date back to the 12th Century but do not give proof of its exact age or why it was created. It used to be thought that the figure was constructed by the Saxons to celebrate a victorious battle of King Alfred's. This view is now mainly discredited. Who carved them? And how have the oldest examples survived for perhaps thousands of years?

The elegant creature almost melts into a landscape rich in prehistoric sites. The horse is situated on a steep escarpment, close to the Late Bronze Age (c. seventh century B.C.) hillfort of Uffington Castle and below a long-distance Neolithic track called the Ridgeway. The Uffington Horse is also surrounded by Neolithic and Bronze Age burial mounds. It is only 1 mile from the Neolithic chambered long barrow of Wayland's Smithy, and not far from the Bronze Age cemetery of Lambourn Seven Barrows. The carving has been placed in such a way as to make it extremely difficult to see from close quarters, and, as with many geoglyphs, it is best appreciated from the air. Nevertheless, there are certain areas of the Vale of the White Horse, the valley containing and named after the enigmatic creature, from which an adequate impression may be gained. Indeed, on a clear day the carving can be seen from up to 18 miles away.

 Uffington White House Figure

The earliest documentary reference to a horse at Uffington is from the 1070s, when "White Horse Hill" is mentioned in the charters from the nearby Abingdon Abbey, and the first reference to the horse itself is soon after, in 1190. However, the carving is believed to date back much further than that. Due to the similarity of the Uffington White Horse to the stylized depictions of horses on first century B.C. Celtic coins, it had been thought that the creature must also date to that period. However, in 1995 Optically Stimulated Luminescence (OSL) testing was carried out by the Oxford Archaeological Unit on soil sediments from two of the lower layers of the horse's body, and from another cut near the base. The result was a date for the horse's construction somewhere between 1400 and 600 B.C. In other words, it had a Late Bronze Age or Early Iron Age origin. The latter end of this date range would tie the carving of the horse with occupation of the adjacent Uffington hillfort, and may perhaps represent a tribal emblem or symbol marking the land of the inhabitants of the hillfort.

Alternatively, the carving may have been created for ritual/religious purposes. Some see the horse as representing the Celtic horse goddess Epona, who was worshipped as a protector of horses, and also had associations with fertility. However, the cult of Epona was imported from Gaul (France) probably in the first century A.D., which is when we find the first depictions of the horse goddess. This date is at least six centuries after the Uffington Horse was carved. Nevertheless, the horse was of great ritual and economic importance during the Bronze and Iron Ages, as attested by its depictions on jewelry, coins, and other metal objects. Perhaps the carving represents a native British horsegoddess, such as Rhiannon, described in later Welsh mythology as a beautiful woman dressed in gold and riding a white horse. Others see the White Horse as connected with the worship of Belinos or Belinus, "the shining one," a Celtic Sun God often associated with horses. Bronze and Iron Age sun chariots (mythological representations of the sun in a chariot), were shown as being pulled by horses, as can be seen from the 14th century B.c. example from Trundholm in Denmark. If, as is now believed, Celtic culture had reached Britain by the very end of the Bronze Age, then the White Horse could still be interpreted as a Celtic horse-goddess symbol.

There are some who believe that the great carving does not represent a horse at all, but rather a dragon. A legend connected with Dragon Hill, a low natural flat-topped mound situated in the valley below the White Horse, suggests that the horse depicts the mythical dragon slain by St. George on that hill. The blood of the dying dragon was supposed to have been spilled on Dragon Hill, leaving a bare, white chalk scar where, to this day, no grass will grow. Perhaps the St. George connection with the White Horse is a confused memory of some strange prehistoric ritual performed on Dragon Hill by its creators, perhaps as long as 3,000 years ago. Up until the late 19th century the White horse was scoured every year, as part of a two day Midsummer country fair, which also included traditional games and merrymaking. Nowadays, the accompanying festival is gone, and the task of maintaining the horse is undertaken by English Heritage, the organization responsible for the site. The last scouring took place on June 24, 2000.

Hidden History: “Lost Civilizations, Secret Knowledge, and Ancient Mysteries” by Brian Haughton;;

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Lady Wonder the Psychic Horse

In the 1920s a horse named Lady Wonder became famous for supposedly being able to read minds, providing information about her “readings” via a special typewriter with oversized keys that she pushed with her nose. For a fee of one dollar per adult and fifty cents per child, people could visit Lady Wonder’s stall to see whether the horse could guess what they were thinking or to ask her questions about the future, which Lady Wonder was said to be able to predict. Indeed, the horse routinely made predictions about the outcome of various events, such as elections and horse races, and was often right.

Lady Wonder is said to have helped the Massachusetts police to find the body of a missing girl, to have predicted that Jack Dempsey would defeat Jack Sharkey in 1927, and to have helped discover oil.

 Lady Wonder

In 1927 parapsychologist J.B. Rhine tested Lady Wonder’s psychic gifts, and at first he was convinced that her ESP talents were genuine. Eventually, however, he suspected that the horse was actually exhibiting what is known as the Clever Hans phenomenon, whereby she was basing her answers on subtle, unintentional clues provided by her owner, Claudia Fonda. Another person who tested Lady Wonder, stage magician Milbourne Christopher, subsequently agreed with this assessment.

Moreover, Christopher noted that since Fonda was well versed in world events and trends, she would have been good at making predictions based on educated guesses. But despite public dismissals of her talents by Rhine, Christopher, and others, Lady Wonder continued to demonstrate her talents until shortly before her death, typing answers to questions for more than twenty-five years.

The Greenhaven Encyclopedia of Paranormal Phenomena by Patricia D. Netzley;

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