HIGHLY CONFIDENTIAL
Head Curator Edward Trumpington National Museum Of Antiquities, Cromwell Row, London SW7 5BD RE: Charles Burroughs Lost Impossimals Dear Edward Trumpington,
Dr Joseph Bell Perplex Research, Kings Road, Edinburgh EH16 4SD
29th May 2013 THE NIGHTMARE
BEGINS
HERE
Hope you are well. We have now completed our initial analysis of the Lost Impossimal paintings and include our findings in the attached documents. Unfortunately ou our research raises more questions than matter further. answers and I’m sure you will want to meet to discuss the matte
1623 - - - 1649 - - - 1701 - - - 1733 - - -
390 - - - 1444 - - - 1450 - - - 1452 - - - 1471 - - - 1475 - - - 1483 - - - 1488 - - - 1497 - - - 1526 - - - 1571 - - - 1577 - - -
Initial ultraviolet fluorescence and infrared reflectography inve investigations reveal that all the paintings contain pigments from different historical periods whilst carbon dating places individual pieces as being BLOODLINES completed on a bewildering timeline starting from dates as earl early as 1325 and as late as 1989. This is where it gets more puzzling; according to our X-ray rad radiography report the paintings have been added to over a significant period of time. The Tuppenny Pennysaurus is a prime example; carbon dating the original painting gives us a start date of 1760-65 whilst X X-rays shows a single Lost Impossimal stood in a basic landscape that lay for many years untouched. The detailed background was a much around the Pennysaurus have pigment dates later addition around 1780-84 whilst the objects scattered arou spanning the early nineteenth century. We also noticed they carbon date in clusters, six appear to have been painted in 1499, twelve in 1541 and a further three in 1602. This pattern is repeated over and over again every century, it’s as though we are dealing with paintings that have not been merely ‘Lost’ but rather safeguarded for hundreds of years, steadily their numbers being added to, their complexity increas increased as if they are trying to shout through history. All this points to the glaring fact that Charles Burroughs, the great Victorian explorer, could not have possibly painted all the Lost Impossimals, the time frame is ju just too large to even contemplate although I do think at least twelve can be attributed to him. We have stumbled onto something very big indeed, more than one person is involved that is for sure, the Lost Imp Impossimals have their own bloodline, a physical presence through history, we even have a starting date but who painted the first and how and why they exist remains a mystery. One other thing, yesterday I was followed, nothing sinister but I was aware of a distinctly odd fellow watching from the shadow of a doorway. Maybe we should keep this under wraps until we find out just what and who we are dealing with. Yours Sincerely,
Dr Joseph Bell Forensic Consultant