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Fossils debunk evolution theory, support belief that God created life on Earth

Advocates of the theory of evolution oftentimes use archaeological evidence such as fossils to prove that human beings came from apes. Little do they know that these same artefacts can be used to disprove their theory, and to all the more proclaim the Gospel Truth that God created life on Earth.
The Creation Evidence Museum in Glen Rose, Texas showcases several fossils that will be impossible to explain using the evolutionary theory, and which can be counted as scientific support for Creationism.
For instance, the Museum puts on display a handprint in limestone unearthed in the 1970s near Weatherford in Texas.
The fossil is believed to be from the Cretaceous Era, some 110 million years ago. If the artefact is dated correctly, this would mean that human-like creatures already existed on Earth much earlier than scientists who believe in evolution predicted.
Evolutionists could question the dating methods employed in estimating the age of the handprint, raising the possibility that it could be flawed.
However, another possible explanation is that the Earth is much younger than most scientists will admit.
Another object that will be difficult for evolution believers to explain is the specimen of a fossilised human finger, also showcased at the Creation Evidence Museum.
The archaeological evidence, found also in the 1970s in the Commanche Peak Limestone formation in Texas, is likewise believed to be from the Cretaceous Era.
This is puzzling because of the fact that flesh has been fossilised, when only bones usually undergo this process and survive for millenia as fossils.
One possible explanation is that the human finger was fossilised as a result of instant entombment in mud from a huge flood—similar to the Great Flood told in the Book of Genesis in the Holy Bible.
The so-called Alvis Delk Cretaceous Footprint, believed to have been left by an Acrocanthosaurus dinosaur, also poses a challenge to proponents of the Theory of Evolution.
The footprint suggests that human beings and dinosaurs co-existed on Earth, something that is very unlikely, according to some academics.
"Human footprints in geologically ancient strata would indeed call into doubt many conventional geological concepts," said James Stewart Monroe, a professor emeritus of Geology at Central Michigan University, as quoted by the God Reports blog.

Stunning Photos Capture Native Americans in Early 1900s

An Oasis in the Badlands, Great Plains, 1905 (Photo by Edward S. Curtis, courtesy Christopher Cardozo Fine Art/DelMonico Books • Prestel)

Fortunately for future generations, Edward S. Curtis was a multi-media expert more than a century ago, well before anyone knew what that was, or thought to coin the phrase.

Self-Portrait of Edward S. Curtis, 1899 (Public Domain)

Using photographs, film, sound recordings and text, the Wisconsin native created a massive body of work documenting Native American culture in the early 20th century. The North American Indian project provides rare ethnographic information about more than 80 American Indian tribes from 1900 until 1930.
Curtis recorded tribal mythology and oral histories, documenting their way of life, encompassing everything from their food, clothing, dwellings, ceremonies and burial customs. However, it is perhaps the intense photographs, thousands of them, that are at the heart of the collection.
“The essence of the photographs is beauty, heart and spirit,” said Christopher Cardozo, one of the world’s leading experts on Curtis’ work and editor of nine books relating to the photographer, including Edward S. Curtis: One Hundred Masterworks. “Fundamentally, the work is a healing narrative.”
Curtis captured the images of numerous prominent Native Americans, including Geronimo, Chief Joseph and Red Cloud. His mammoth project includes thousands of photographs and written information bound in 20 volumes complimented by 20 portfolios of additional photographs.
Curtis initially secured $75,000 in financing from prominent American banker J.P. Morgan — an estimated $1.5 million in today’s dollars — that allowed him to tell the story of what Curtis believed might be a vanishing race.

Nez Perce Babe, 1900, Great Plains (Photo by Edward S. Curtis, courtesy Christopher Cardozo Fine Art/DelMonico Books • Prestel)

At the time, Native Americans were being forced onto reservations while their children were taken away to boarding schools to better assimilate into American society. Many Native American parents saw these schools as a tool designed to destroy Indian culture.
Some critics have argued that Curtis’ body of work romanticizes Native Americans from a white man’s point of view. However, Cardozo believes the work has endured for 100 years because it was collaboration between Curtis and about 10,000 native people.
“If you look at all his photographs, you see this incredible vulnerability, intimacy, presence, connection and it’s so obvious when you look at these photographs that the native people were actively participating, actively collaborating, in creating these images,” he said. “This was the imagery they wanted preserved, as much as Curtis did.”
Now, Cardozo is interested in preserving Curtis’ work.
Just 214 complete sets of The North American Indian were initially published. In order to dramatically increase access to Curtis’ work, Cardozo is spearheading what is believed to be the largest republication in North American history; his team is reproducing high-quality recreations of Curtis’ entire North American Indian work, the thousands of photographs while completely re-typesetting all of his 2.5 million words.
He is continuing a quest started by Curtis himself 100 years ago, to document a central part of American history for future generations.

Canyon de Chelly, Navaho, 1904, Southwest (Photo by Edward S. Curtis, courtesy Christopher Cardozo Fine Art/DelMonico Books • Prestel)

Geronimo – Apache, 1905, Southwest (Photo by Edward S. Curtis, courtesy Christopher Cardozo Fine Art/DelMonico Books • Prestel)

Piegan Encampment, 1900, Great Plains (Photo by Edward S. Curtis, courtesy Christopher Cardozo Fine Art/DelMonico Books • Prestel)

Sioux Mother and Child, 1905, Great Plains (Photo by Edward S. Curtis, courtesy Christopher Cardozo Fine Art/DelMonico Books • Prestel)

On the Housetop – Hopi, 1906, Southwest (Photo by Edward S. Curtis, courtesy Christopher Cardozo Fine Art/DelMonico Books • Prestel)

Kwakiutl House Frame, 1914, Northwest (Photo by Edward S. Curtis, courtesy Christopher Cardozo Fine Art/DelMonico Books • Prestel)