Check out Steve’s new analysis of the texts of the Jordan Codices. I’ve been working on the same patterns, but Steve was quicker on the draw (this isn’t over, Steve). The use of a number of stamps has been suggested in the past based on the frequent repetition of the menorah, the two different styles of trees, etc. See also the two different versions of the “Christ” face:
You can see the mold was manipulated somewhat after the stamp impression was made and before the casting was done. The images are not identical, but come from the same stamp. I cannot agree that this impression comes from a Mona Lisa image, though. This would require the forger created a three dimensional copy of the Mona Lisa image for the stamp. It would have been much easier to us an existing stamp image, and the helios coins are obviously the closest match (although I have not found an exact match). In the copper codex that was falsified by Peter Thonemann the stamps were just fake ancient coins. Earlier Robert Deutsch felt he identified the exact fake for the chariot scene:
But on the codex the head of the second horse from the right is longer and actually has a more vertical orientation compared to the other horse heads to its left and right. The horses’ knees are also not in line on the codex:
This is the fake used in the impression. The difference is pretty minute, but it is there:
The fake coin used to produce the profile of Alexander the Great with the lion’s skin has also been identified. Here’s an overlay of the copper codex image and the fake coin:
For those who want to go digging for a source, a page shared in Prof. Davies’ editorial reproduces a photo given him by David Elkington of a codex with the impression of a clearly modern coin/plaque of some kind. I know I have seen this face before before, but I cannot place it at the moment (it is presumably supposed to be Jesus). If anyone reading recognizes the man in the codex, please let us know:
Long ago I pointed to the very clear iconographic relationships shared by the copper codices and the lead codices. The exact tree image found on the copper codex is found on about a dozen different lead codices being promoted as genuine by Elkington, as well as the same lettering and ornamentation. More evidence for this has come forward, such as the Herodian symbol found on the codex Elkington himself is flaunting as a forgery. As Steve very perceptively notes in his new post, we have yet to see a photo of a codex that does not bear clear indications of forgery. If Elkington has genuine codices, he’s hiding them. Note also Steve’s comment about the hammering out of the images on the one codex from the Facebook page. This is especially important because Elkington claims on that page that there is no iconography on that side of the plate because it is the “back page.” This is rather transparent deception on the part of Mr. Elkington. There is more deception in his attribution of several texts on that page to “experts,” “third party journalists,” and “professors,” when the texts are very clearly written by Elkington himself (note phrases he uses repeatedly in his own writing, like “at the highest level,” “of ancient provenance,” and “meaning and/or interpretation”). He’s trying to build up some authority around his fraud, but it’s painfully transparent that he alone is responsible for all of it.
Finally, just today Elkington put a link on the Facebook page to a blog called Heavenly Ascents, by a friend of mine named David Larsen (PhD candidate at St. Andrews). I don’t think Elkington has read all David’s posts on the codices (he cites me and Peter Thonemann, for instance), but for now he recommends it as fair and balanced. That’s a step forward from deleting and barring all posters who challenge Elkington’s claims.