Enrico Mattievich Kucich
Homer (c. 8th cent. BC) is generally accepted as the author of the Iliad and the Odyssey, regarded as the two greatest epic poems of ancient Greece. A recent study of the Greek used by Homer has enabled scientists from the University of Reading to confirm that the language used is compatible with that used in the 8th century BC, in fact dating it to around 762 BC(i).
It should also be noted that over 130 quotations from the Illiad and Odyssey have been identified in Plato’s writings(s). George Edwin Howes (1865-1942), an American classicist, produced a dissertation on Homeric quotations in Plato and Aristotle.
Almost nothing is known of his life. He has been variously described as mad, blind and even mythical. Andrew Dalby, the English linguist, has gone so far as to claim that the author of the two famed epics was in fact a woman! While in 1897 Samuel Butler, the novelist, was even more specific when he proposed that Homer was a Sicilian woman(j).
For centuries it was assumed that the content of these Homeric poems was the product of his imagination, just as the historical reality of Homer himself has been questioned. In 1795, F.A. Wolf, a German academic declared that ‘Homer’ was in fact a collective name applied to various poets whose works were finally combined into their present form in the 6th century BC. Wolf’s ideas sparked furious argument among Greek scholars that still resonates today. Now (2015), historian, Adam Nicholson has claimed that the author ‘Homer’ should not be thought of as a person but instead as a ‘culture’(o).
The identification of the site at Hissarlik in modern Turkey as Troy by Heinrich Schliemann led to a complete re-appraisal of Homer’s work and, of course, further controversy. Homer’s Iliad is the story of the Trojan War and it has been suggested that in fact he had compressed three or more Trojan wars into one narrative. What is not generally known is that there are also ancient non-Homeric accounts of the Trojan War(q).
Kenneth Wood and his wife Florence have built on the research of his mother-in-law, the late Edna Leigh, and produced, Homer’s Secret Iliad, a book that attempts to prove that the Iliad was written as an aide memoire for a wide range of astronomical data.
Allied to, but not directly comparable with, is the astronomical information identified in the Bible by the likes of E. W. Maunder (1851-1928).
Guy Gervis has adopted some of their work and specifies a date of around 2300 BC for the events described in the Iliad and Odyssey, based on an analysis of this astronomical data(n). Harald A.T. Reiche held similar views which followed some of the ideas expressed in Hamlet’s Mill by Santillana & Dechend who were colleagues of Reiche at M.I.T. They also claimed that “myths were vehicles for memorising and transmitting certain kinds of astronomical and cosmological information.”
A recent study of solar eclipses recorded in Odyssey using data from NASA has apparently confirmed that Odysseus returned to Ithaca on 25th of October 1207 BC(r).
Scholars have generally supported the idea that Homer’s works have a Mediterranean backdrop with regular attempts to reconcile his geography with modern locations, such as the claim in 2005 by Robert Brittlestone, a British investigator to have located the site of Ithaca, the homeland of Odysseus, on the Greek island of Cephalonia. This popular idea should be put alongside the views of Zlatko Mandzuka who maintains that all the locations mentioned in the Odyssey can be identified in the Adriatic.
Nevertheless, there has been a growing body of opinion that insists that this Mediterranean identification is impossible. A range of alternative regions has been proposed(f) as the setting for the epics, which extend from Portugal as far northward as the Baltic.
In his Odyssey (VII: 80), Homer wrote about the island of Scheria in the western sea. His description of the island has been compared with Plato’s description of Atlantis and has led to the theory that they refer to the same place. There is little doubt that both the detailed geography and climatic descriptions given by Homer cannot be reconciled with that of the Mediterranean. Consequently, the Odyssey has had many interpretations, ranging from Tim Severin’s conclusion that it refers entirely to the Eastern Mediterranean to Iman Wilkens’ book, Where Troy Once Stood, that has the voyage include the west coast of Africa, then across to the West Indies and following the Gulf Stream returns to Troy which he locates in Britain. Location is not a problem exclusive to the writings of Plato. Wilkins views are a reflection of similar ideas expressed by Théophile Cailleux in the 19th century. Gilbert Pillot has also argued for voyages of Ulysses having taken him into the North Atlantic. In 1973, Ernst Gideon (? – 1975) wrote in a similar vein in Homerus Zanger der Kelten, reprinted later as Troje Lag in Engelan.
An interesting overview of the various attempts to transfer the Odyssey from the Mediterranean to Northern Europe is available(w).
Another researcher who places all of Odysseus’ travels in the eastern Atlantic is Gerard. W.J. Janssen of Leiden University on the academia.edu website(v).
E.J. de Meester also argues for the British Isles as the location of many of Homer’s references. It struck me as quite remarkable that the level of debate regarding the date, source and geographical details of Homer’s works is rather similar to the controversy surrounding Plato’s Atlantis in Timaeus and Critias. The late Edo Nyland was another researcher who had also opted for a Scottish backdrop to the Odyssey and had recently published his views.
Felice Vinci also supports a Northern European background to the Iliad and Odyssey. However, in Vinci’s case, Scandinavia, and in particular the Baltic Sea, is identified as the location for the adventures in Homer’s classics. An English language synopsis of his book is available on the Internet. The persuasiveness of Vinci’s argument has recently renewed interest in the idea of a Baltic Atlantis. The assumption being that if Troy could be located in the Baltic, so might Atlantis. Vinci’s views are comparable with those of J. Rendel Harris expressed in a lecture delivered in 1924(p) in which he claims that “we are entitled to take Homer and his Odysseus out of the Mediterranean or the Black Sea, and to allow them excursions into Northern latitudes.”
However, a scathing review of Vinci’s book can be found on the Internet(d) and in issue 216 (2006) of Fortean Times written by Marinus Anthony van der Sluijs.
Further support for a Northern European Troy has come from the historian Edward Furlong, a former naval navigation officer, who has advocated for over twenty years that the journey of Odysseus went as far north as Norway. His particular views are outlined on the Internet(c) .
Other writers, such as the late Henrietta Mertz [0396/7], , have suggested that Homer’s epic refers to a trip to North America. Professor Enrico Mattievich Kucich of Lima University is also certain that the ancient Greeks discovered America America. However revolutionary this idea may seem it shows how this particular subject is growing and would probably justify a reference book of its own.
*The idea of an Atlantic backdrop to the Homeric epics will not go away. The Dutch researcher, N.R. De Graaf, continues to write extensively on his Homeros Explorations website(x) regarding many of the specifics in Homer’s accounts.*
In 1973 James Bailey proposed in his well-received The God-Kings and the Titans that the Odysseus recorded a trans-Atlantic trip. Evidence exists for large-scale mining in the Americas as early of the 5th millennium BC. Bailey maintained that the Europeans imported enormous quantities of copper and tin from Central and South America to feed the demands of the Old World Bronze Age, an idea that was later heavily promoted by Frank Joseph*and in great, if overly speculative, detail by Reinoud de Jong(y).*
Finally, the Atlantis connection with this entry is that if, as now appears to be at least a possibility, Homer’s Odyssey was about a journey to the North Sea then the possibility of a North Sea setting for the Atlantis story is somewhat reinforced.
A recent book by Steven Sora has developed the Atlantic notion further with the suggestion that not only was Troy located outside the Strait of Gibraltar but that both Homer’s Trojan war and Plato’s Atlantean war are two versions of the same war with the understandable distortions and embellishments that can occur with a narrative, probably involving some degree of oral transmission and then written down hundreds of years after the events concerned.
Ukraine is soon to be added to the growing list of alternative locations for the setting of Homer’s epics with the publication of Homer, The Immanent Biography, a book by A.I. Zolotukhin(g). He claims that Homer was born in Alibant (Mykolayiv, Ukraine) on September 14, 657 BC(t). He follows the views of Karl Ernst von Baer (1792-1876) who believed that most of Odysseus’s travels took place in the Black Sea rather than the Mediterranean. Additionally, he locates Atlantis in the western Crimean area of Evpatoria(l). His 60-page book is available on his website(m).
An interesting paper(e) by the German historian, Armin Wolf, relates how his research over 40 years unearthed 80 theories on the geography of the Odyssey, of which around 30 were accompanied by maps. One of the earliest maps of the travels of Odysseus was produced by Abraham Ortelius in 1597(u) , in which the adventures of Odysseus all take place within the Central and Eastern Mediterranean, arguably reflecting the maritime limits of Greek experience at the time of Homer’s sources!
In 2009, Wolf published, Homers Reise: Auf den Spuren des Odysseus a German language book that expands on the subject, also locating all the travels of Odysseus within Central and Eastern Mediterranean.
Wolf’s ideas were enthusiastically adopted by Wolfgang Geisthövel in his Homer’s Mediterranean, who also concurs with the opinion of J.V. Luce , who proposed that Homer was “describing fictional events against authentic backgrounds.” This would be comparable to a James Bond movie, which has an invented storyline set in actual exotic locations around the world.
Perhaps the most radical suggestion has come from the Italian writer, Michele Manher, who has proposed(h) that Homer’s Iliad originated in India where elements of it can be identified in the Mahabharata!
In August 2015, a fifteen hour reading of the Iliad was performed in London.
(k) https://web.archive.org/web/20180320072706/http://www.nwepexplore.com (see ‘n’)
Orichalcum is one of the many mysteries in Plato’s Atlantis narrative. It is mentioned five times in the Critias [114e, 116c-d, 119c] as a metal extensively used in Atlantis. I am not aware of any reference to it anywhere else in his writings, a fact that can be advanced as evidence of the veracity of his Atlantis story. Plato took the time to explain to his audience why the kings of Atlantis have Hellenised names. However, he introduces Orichalcum into the story without explanation suggesting that the metal was something known to the listeners. It is therefore natural to expect that metals might play an important part in determining the credibility of any proposed Atlantis location.
*Bronze was an alloy of copper and tin, while brass was a mixture of copper and zinc, their similarity is such that museums today refer to artefacts made of either refer to them as copper alloys.*
According to James Bramwell[195.91], Albert Rivaud demonstrated that the term ‘orichalcum’ was known before Plato and not just invented by him. Similarly, Zhirov notes that both Homer and Hesiod refer to the metal[0458.46], , as does Ibycus, the 6th century BC poet, who compares its appearance to gold suggesting a brasslike alloy. Thomas Taylor (1825) noted that in a fragment from a lost book of Proclus, he seems to refer to orichalcum under the name of migma(c). Wikipedia also adds that “Orichalcum is also mentioned in the Antiquities of the Jews – Book VIII, sect. 88 by Josephus, who stated that the vessels in the Temple of Solomon were made of orichalcum (or a bronze that was like gold in beauty). Pliny the Elder points out that the metal had lost currency due to the mines being exhausted. Pseudo-Aristotle in ‘De mirabilibus auscultationibus’ describes orichalcum as a shining metal obtained during the smelting of copper with the addition of ‘calmia’, a kind of earth formerly found on the shores of the Black Sea, which is attributed to be zinc oxide.”
Orichalcum, or its equivalent Latin Aurichalcum, is usually translated as ‘golden copper’ referring to either its colour or composition (80% copper and 20% zinc) or both. However, Webster’s Dictionary translates it as ‘mountain-copper’ from ‘oros’ meaning mountain and ‘chalchos’ meaning copper.
Sir Desmond Lee described the metal as ‘imaginary’ without explaining away the classical references or the fact that ”In numismatics, orichalcum is the name given to a brass-like alloy of copper and zinc used for the Roman sestertius and dupondius. Very similar in composition to modern brass, it had a golden-yellow color when freshly struck. In coinage, orichalcum’s value was nearly double reddish copper or bronze. Because production cost was similar to copper or bronze, orichalcum’s formulation and production were highly profitable government secrets.”(m)
Modern writers have offered a range of conflicting explanations for both the origin and nature of orichalcum. A sober overview of the subject is provided by the Coin and Bullion Pages website(d).
In 1926 Paul Borchardt recounted Berber traditions that recalled a lost City of Brass. Salah Salim Ali, the Iraqi scholar, points out that a number of medieval Arabic writers referred to an ancient ‘City of Brass’ echoing the Orichalcum covered walls of Plato’s Atlantis.
Ivan Tournier, a regular contributor to the French journal Atlantis proposed that orichalcum was composed of copper and beryllium. Tournier’s conclusion seems to have been influenced by the discovery in 1936 at Assuit in Egypt of a type of scalpel made from such an alloy(e).
An unusual suggestion was made by Michael Hübner who noted that “small pieces of a reddish lime plaster with an addition of mica were discovered close to a rampart” in his chosen Atlantis location of South Morocco. He links this with Plato’s orichalcum, but does so without any great enthusiasm.
Jim Allen, promoter of the Atlantis in Bolivia theory, claims that a natural alloy of gold and copper is unique to the Andes. Tumbaga is the name given by the Spaniards to a non-specific alloy of gold and copper found in South America. However, an alloy of the two that has 15-40% copper, melts at 200 Co degrees less than gold. Dr. Karen Olsen Bruhns, an archaeologist at San Francisco State University wrote in her book, Ancient South America, “Copper and copper alloy objects were routinely gilded or silvered, the original colour apparently not being much valued. The gilded copper objects were often made of an alloy, which came to be very important in all of South and Central American metallurgy: tumbaga. This is a gold-copper alloy which is significantly harder than copper, but which retains its flexibility when hammered. It is thus ideally suited to the formation of elaborate objects made of hammered sheet metal. In addition, it casts well and melts at a lower temperature than copper, always a consideration when fuel sources for a draught were the wind and men’s lungs. The alloy could be made to look like pure gold by treatment of the finished face with an acid solution to dissolve the copper, and then by hammering or polishing to join the gold, giving a uniformly gold surface”.
Enrico Mattievich also believed that orichalcum had been mined in the Peruvian Andes(b).
Jürgen Spanuth tried to equate Orichalch with amber. Paul Dunbavin links Orichalcum with Wales. Robert Ishoy implies a connection between obsidian and Orichalcum, an idea also promoted by Christian & Siegfried Schoppe, while Felice Vinci equates it with platinum.
Albert Slosman thought that there was a connection between Moroccan oricalcita, a copper derivative, and Plato’s orichalcum. Peter Daughtrey has offered [893.82] a solution from a little further north in Portugal where the ancient Kunii people of the region used ori or oro as the word for gold and at that period used calcos for copper.
Thorwald C. Franke has suggested[750.174] that two sulphur compounds, realgar and orpiment whose fiery and sometimes translucent appearance might have been Plato’s orichalcum. His chosen location for Atlantis, Sicily, is a leading source of sulphur and some of its compounds. I doubt this explanation as realgar disintegrates with prolonged exposure to sunlight while it and orpiment, a toxin, could not be described as metals comparable with gold and silver as stated by Plato.
Frank Joseph translates orichalcum as ‘gleaming or superior copper’ rather than the more correct ‘mountain copper’ and then links Plato’s metal with the ancient copper mines of the Upper Great Lakes. Joseph follows Egerton Sykes in associating ‘findrine’, a metal referred to in old Irish epics, with orichalcum. However, findrine was usually described as white bronze unlike the reddish hue of orichalcum.
Ulf Erlingsson suggested [319.61] that orichalcum was ochre, which is normally yellow, but red when burnt. He seems to have based this on his translation of the text Critias116b. In fact the passage describes the citadel flashing in a fiery manner, but it does not specify a colour!
Other writers have suggested that orichalcum was bronze, an idea that conflicts with a 9600 BC date for the destruction of Atlantis since the archaeological evidence indicates the earliest use of bronze was around 6000 years later.
Thérêse Ghembaza has kindly drawn my attention to two quotations from Pliny the Elder and Ovid that offer possible explanations for Plato’s orichalcum (see Document 091011). The former refers to a Cypriot copper mixed with gold which gave a fiery colour and called pyropus, while Ovid also refers to a cladding of pyropus. She also mentions auricupride(Cu3Au), an alloy that may be connected with orichalcum.
Zatoz Nondik, a German researcher, has written a book about Plato’s ‘orichalcum’, From 2012 to Oreichalkos, in which he describes, in detail, how the orichalcum may be related to Japanese lacquer and suitable for coating walls as described in the Atlantis(b) narrative!
The fact is that copper and gold mixtures, both natural and manmade, have been found in various parts of the world and have been eagerly seized upon as support for different Atlantis location theories. A third of all gold is produced as a by-product of copper, lead, and zinc production.
It is also recorded that on ancient Crete, in the Aegean, two types of gold were found, one of which was a deep red developed by the addition of copper. Don Ingram suggests that the reddish gold produced in ancient Ireland is what Plato was referring to.
Irrespective of what orichalcum actually was, I think it is obvious that it was more appropriate to the Bronze Age than 9,600 BC. Furthermore, it occurs to me that Plato, who was so careful to explain or Hellenise foreign words so as not to confuse his Athenian audience, appears to assume that orichalcum is not an alien term to his audience.
The result of all of this is that Orichalcum has been advanced to support the location of Atlantis in North and South America, Sundaland, Ireland, Britain and the Aegean. Once again an unintentional lack of clarity in Plato’s text hampers a clear-cut identification of the location of Atlantis.
A fascinating anecdote relating the use of a term similar to ‘orichalcum’ to describe a mixture of copper and gold was used by a metalsmith in Dubai as recently as 2007 and is recounted on the Internet(a) .
The Wikipedia entry(f) for ‘orichalcum’ adds further classical references to this mysterious metal.
2015 began with a report that 47 ingots of ‘orichalcum’ had been found in a shipwreck off the coast of Sicily and dated to around 600 BC(g). What I cannot understand is that since we never knew the exact composition of Plato’s alloy, how can anyone today determine that these recovered ingots are the same metal. Thorwald C. Franke has more scholarly comments on offer(h). Jason Colavito has also applied his debunking talents to the subject(i). In June of the same year, Christos Djonis, in an article(j) on the Ancient Origins website, wrote a sober review of the media coverage of the shipwreck. He also added some interesting background history on the origin of the word ‘orichalcum’.
An analysis revealed(k) that those ingots were composed of 75-80% copper, 15-20% zinc, and traces of nickel, lead and iron, but no proof that this particular alloy was orichalcum. The recovery of a further 39 ingots from the wreck were reported in February 2017 and the excavation of the sunken ship continues.
The most recent explanation for the term comes from Dhani Irwanto who has proposed that orichalcum refers to a form zircon(l) that is plentiful on the Indonesian island of Kilimantan, where he has hypothesised that the Plain of Atlantis was located [1093.110].
(e) Atlantis Research Vol 2. No.6, Feb/Mar 1950, p.86
*(g) http://news.discovery.com/history/archaeology/atlantis-legendary-metal-found-in-shipwreck-150106.htm (link broken Oct. 2018) See: Archive 2460*