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:*: 'The mystery of Table of Montalcino:*: '

El misterio del Cuadro de Montalcino



The mystery of Table of Montalcino

A small Italian church located in the prosperous town of Montalcino wine, a few forty kilometers from Siena, the church of San Pedro harbors still one of the most puzzling paintings that exist in the world.


In the mid-twentieth century, Pope Pius XII barred from an international team of researchers, coordinated by the Benedictine father Ernetti Pellegrino, to continue with the design of a machine capable of obtaining voices and images of the past. More than four decades after it was located at the head of that team.
Their statements supporting some form of evidence involving various vestiges exist throughout the world as a picture of the seventeenth century in which the artist immortalized a modern communications satellite, an astronomical computer from the first century or human footprints printed in geological strata hundreds of thousands of years, and allow us to intuit that the time is a dimension in which we can move.

A small Italian church located in the prosperous town of Montalcino wine, a few forty kilometers from Siena, the church of San Pedro harbors still one of the most puzzling paintings that exist in the world. Any object, painting or documentary legacy of those who have been able to examine in the search for phenomena that demonstrate the existence of disturbances
times-a-centuries in the space-time continuum. is as clear as the cloth which is kept in Montalcino. Originally designed in 1600 by the artist temples Ventura Salimbeni (1567-1613), the fabric contains a unique scene: nine personal, most dressed in costumes of the era church, appear around a shrine that contains a host of dedicated The departing several dazzling rays of light. On these prelates, and over a few gray clouds that separate into two halves table, are the images of the Trinity, flanked by two cherubim. The canvas does not happen to be one of many representations mannerist of celestial and terrestrial worlds, if not for the strange object that appears in the middle of the three divine and personal accounts that the prominence of all the work.

At first glance seem a simple blue object that could represent the globe. But examined more closely it is clear that such an interpretation is wrong.
The existence of at least three longitudinal lines along the curve in this strange area and a central band as a "belt", show the whole aspect of joints of several pieces of metallic appearance. No less surprising are the two extremities in the form of satellite dishes aside by the divine figures of God and Jesus, respectively, and that leaves no doubt to-eye, of course, a man accustomed to contemporary technology, that we are facing the first artistic representation of a modern satellite communications. Perhaps one of the first models placed in orbit, as the Soviet Sputnik Vanguard or American.

Roberto Cappelli, a professor of Montalcino which has been examining and terciando polemics on this fabric for many years, recalls in detail how they began to take an interest in this work:

"It is now more than three decades during the celebration of a religious ceremony in the church of San Pedro, I looked at the box Salimbeni, and particularly at the top. I drew the attention so much that we decided to climb up the object that appears in the center of the table, using a ladder. This is an area apparently similar to those found in other paintings from all periods, but it had also a pair of antennas that inhibit be interpreted as an image of the world or a figuration of the wafer. Moreover, just showing them 'antennas', looks closely, it seems that they are wound to the area. "

Cappelli spoke well observed. During these long years it has devoted many hours to observe the most minor details of the work. His belief that what is there can not be represented but one of the first satellites contemporaries, left breathless at his most staunch critics.
One of them, Professor Alberto Piazzi also argues that the area of Montalcino is an artistic representation of the Earth and that the two antennas are nothing but divine LARGE QUEEN stylized, giving the observer the impression of dominance of the Trinity on the designs of the planet .

Something More Than One Appearance
In the only point where the two converge teachers in their discussions is as strange bulge in the circular that appears at the bottom left of the area. The most elementary logic returns to give the reason to Cappelli, even though it might shock those who defend the existence of a time which runs only one way forward. Indeed, in the case of the satellite Vanguard U.S. (especially the Vanguard II, launched by NASA in February 1959) shows a protuberance identical to the one drawn in Montalcino, and that it was technically the target of a camera that was to collect and deliver images to Earth. The accuracy as to the status of this element in the work of Salimbeni, and as to the location of the two "antennae" that both the Sputnik I and in the four Vanguard-II, can not follow a simple chance.

But what of this intriguing object does not end here, because the "satellite''not only seems so, but pictorially behaves as an issuer of images. The detail is visible in the lower left side of the canvas. There, on the head prelate of a (presumably Pope Clement VIII, contemporary to the completion of this work, appears for the second time the Holy Spirit. The first place where we can see the dove is sacred between the two antennas of the satellite. "Well, a new Clement VIII on dove appears right in line with the "goal" of the camera station in the area. And what is more intriguing: the second pigeon, carefully observed, is semitransparent, be it through the contours of objects fund, highlighting the impression that this is a picture transmitted, and not the dove "original." Again the chance is not the most appropriate interpretation.

Low-or no-more light on the nature of the area that concerns us find the titles that are attributed to this work. There is a strong criterion to classify this box Salimbeni, with two titles, in a way that is similar-shuffled. For Marilena Bigi, The Argonauts of the cultural group of Montalcino, the work receives the title of "Dispute of the Blessed Sacrament," although no shortage of defenders of the second proposal: "Glorification of the Eucharist." For those who are tempted to see in the area representing the host, never will warn that the most sacred Christian takes is drawn just below the cloud layer that separates the scene of the divine ground, amid the impassive prelates. Therefore, our 'satellite' is not responsible for the title.

Dark Relations
Dome of the Basilica of San Pedro del Vaticano. In it we can see a sphere crowning the cupola. Could have been inspired Salimbeni in this area to paint your picture?.
The gentleman Bevilacqua, as also met Salimbeni in his time, presents a biography that hardly helps us to deduct their interest to leave a legacy as surprising as that of Montalcino. Son of the painter also Arcangelo Salimbeni, Ventura running too young to Rome to refine their artistic style. There they will remain until 1595, having previously worked in the decoration of the third floor of the Vatican palace. A return to his hometown-Siena-start a frenzied activity pictorial, which will take you to Montalcino on several occasions to comply with orders or concrete. Only a document dated in 1600 (the date on which designed the "satellite"), and which today is kept in the church of the patron saint of Montalcino, the Virgen del Socorro, attests to this kind of orders. Apparently, simultaneously to the completion of the work that now lies in San Pedro de Montalcino, Salimbeni conducted another that received by the sixty coats of gold and which today is at an undisclosed location. unclear, then, if at that canvas entered another uniqueness that would help us to interpret the mysterious object that we are talking.

Much has been speculated about what might have inspired the author to conduct similar representation. Since the possibility of having access to a "temporary failure" that would enable him to see an object in the future (and in any case, one might wonder why he saw a satellite and not any other object most common contemporary), or who had had a premonition about this specific device in particular. However, there is one detail to add to such speculation, and that puts the accent of this controversy about the knowledge they possess certain specific aspects, including a futuristic, the popes in Rome. Ie in 1592 Pope Clement VIII comes to Peter's chair. This pope, one of the most cultured of the period and that, among other things, launched the Clementine Bible (which is still officially recognized the biblical text), highlighted the mediocrity of their predecessors to ensure that the future king of France Henry IV reneged on the Protestant faith, returning to the ranks of Catholicism. It is assumed that due to have any meeting with Salimbeni, although it could have simply followed his career from afar. And is that the artist probably was not free to Clement VIII in his mysterious box.

In November 1595 the pope after his diplomatic triumph with the "affair" Henry IV, ordered off in commemoration of this historic event, the dome of the basilica of St. Peter Vatican with a singular purpose. Hipolito Aldobrandini-this was the real name of Pope Clement-ordered Sebastian Torrigiani that found a huge ball of metal, inside which there was room for sixteen people. She put on a huge metal cross, and ordered that the subject crowns the center of Christendom since the dome designed by Michelangelo. Is this inspired Salimbeni disproportionate subject commissioned by Pope Clement VIII? And if so, why gave details of his inspiration that today are found only in the first artificial satellite? ... The mystery remains.

******************

El misterio del Cuadro de Montalcino

Una pequeña iglesia italiana enclavada en la próspera ciudad, vinícola de Montalcino, a escasos cuarenta kilómetros de Siena, la iglesia de San Pedro alberga aún hoy una de las más desconcertante pinturas que existen en el mundo.


A mediados del siglo XX el papa Pío XII prohibió a un equipo internacional de investigadores, coordinados por el padre benedictino Pellegrino Ernetti, que continuaran con el diseño de una máquina capaz de obtener voces e imágenes del pasado. Más de cuatro décadas después fue localizado al jefe de aquel equipo.
Sus declaraciones apoyan de alguna forma la evidencia que ...


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