Extraterrestrials Have Always Left Us Clues!

Extraterrestrial clues, they have been leaving them for us all along!

Giordano Bruno remained firmly convinced that the worlds are infinite and that we are not alone in the universe even while his body burned and the black smoke suffocated him. The abjuration of that grave certainty would have saved his life, but he chose fire. His ashes were thrown into the Tiber and today they have dissolved in the sea for a long time. However, someone has interpreted the philosopher’s thinking in a somewhat too radical manner, reaching the conclusion that in the Middle Ages and the Renaissance the sighting of UFOs and extraterrestrial presences was a recurring habit. The tests? The works of art of that era would be full of clues and alien traces. This line of pseudoscientific research is part of a macro-discipline called crypto-archeology or mysterious archeology, which interprets archaeological finds and more generally ancient works with non-scientific methods, relying on alternative associations and conclusions. So Raphael and others would have seen incomprehensible objects or would have known of disturbing mysteries, to then bring them back into their paintings. These controversial and apparently obscure representations are scattered in museums and churches throughout Europe and a small percentage can also be found in Italy. So this summer you can easily trace a journey through the following itineraries to make the first real tour of the paranormal in the Italian Renaissance.

What interests us in this painting appears a few kilometers behind the dark blue robe of the Virgin. On a steep and rocky cliff a shepherd and his dog look at something in the sky. The detail of the scene is suggestive; the man shields the light with his hand pointing his face upwards and the beast, rendered with a few simple strokes, is clearly excited and whining, with flattened ears and a panting mouth. Above them there is a luminous disk that floats in the sky. Those who are not used to interpreting the archaic symbolisms that were to be respected in Savonarola’s Florence may legitimately remain stone, in fact this work kept in the hall of Hercules of the Palazzo della Signoria is universally known as “Madonna of the UFO“, a point of reference for conspiracy theorists around the world. Going to consult the Gospel of Luke, however, we can get a more rational idea of ​​what is happening in the picture. The evangelist writes: “In that region there were some shepherds who kept watch at night keeping watch over their flock. An angel of the Lord appeared before them and the glory of the Lord shone around them. They were taken by great fear, but the angel said to them: “Fear not, behold, I bring to you a great joy, which will be of all the people” ». Jesus had just been born, evidently. That golden cloud appears in many other such representations, sometimes accompanied by the presence of an angel, at other times, as in this case, bare and isolated like a luminous globe. The strength of this painting is in its realistic and mysterious mood, with the sighting moved to the bottom, almost hidden at first glance, with the solitude of the shepherd and his dog with whom we immediately enter into empathy. The object suspended in the sky disturbs us because it is mute and apparently incomprehensible. To a man of six hundred years ago he would probably have transmitted the Mystery of the Faith; he comes to us filtered by centuries of pop culture, which immediately crown him as a hymn to the paranormal.

This altarpiece has alarmed ufologists around the world since the early 1970s for two very specific reasons. The first concerns the shape and arrangement of clouds in the sky. The stylization and the attempt to give a perspective to these objects is not exactly realistic and has led many observers to fantasize about an army of flying saucers ready to colonize the planet, guided by two figures who at this point lose all human characteristics. The other issue that causes the conspiracy to fire is the tradition to which the work refers, which tells of a surprising snowfall on August 5 352 AD, which would have drawn the outline of the Basilica of Santa Maria Maggiore, indicating to the faithful where lay the foundation. The conspiracy theory at this point unites the dots and explains this miracle as wanted by beings that do not belong to this world (understood as a planet). In the table we see Pope Liberius preparing to dig the furrow for the next construction of the basilica, while a crowd of onlookers observes him at work. All but a woman dressed in red staring at the sky without expression. Seen from this perspective, this work cannot fail to mention the Independence Day poster, with the huge spaceship approaching from the depths of the sky and a beam of light that descends on the unconscious city. In Emmerich’s film, however, the churches were not built but disintegrated.

I discovered that Renaissance painting is studied in depth by those who maintain the existence of chemtrails to understand what form the clouds had in antiquity. At a time when, according to those who believe in this theory, the world was still safe from attempts at psychological conditioning through psychoactive agents propagated in the atmosphere. The only painter to upset the minds a bit and to generate doubts is Piero della Francesca. The Tuscan artist did not represent the famous white stripes in the sky, but a very particular type of cloud, elongated at the sides and round in the central part, which technically could be categorized as a lenticular cloud. We can always see it the same in many of his famous works, as in the Flagellation of Christ or in the Resurrection. The shape of this cloud has always intrigued scholars and enthusiasts, but above all it brings the mouth water to ufologists, because in fact it resembles the classic UFO iconography. In this work preserved in Arezzo we find the maximum expression of this effect. While the cross where Christ died is taken back to Jerusalem to begin worship, a fleet of alien spaceships seems to be waiting in partial concealment above the trees and towers. The emperor Heraclius raises the symbol of the passion of the Messiah and with a little imagination he seems to want to drive out the invaders.

To access the mystery behind this masterpiece by Raphael, it is necessary to review the extraterrestrial families recognized by ufologists. The so-called “gray” aliens come from the binary star system Zeta Reticuli, they are small, hairless, have large heads and huge black eyes completely. The aliens called “reptilians” come from the constellation of the Dragon, they are a half-reptilian humanoid species and have mixed with the human race to dominate it in secret since the dawn of terrestrial civilizations. The latter are less famous and are called “Pleiadian” or “Nordic”, are tall and have angelic features and are indistinguishable from humans except for the fact that they have 6 fingers instead of 5. This last notion is what interests us, because going to look at Joseph’s foot, which is represented frontally in the work, we clearly see a forked little finger in two small ends. Giuseppe was represented with 6 fingers in the foot. Why? Going to see the Marriage of the Virgin by Perugino, which was of enormous inspiration for this painting, we see the same thing in the left foot of the barefoot woman next to Mary. The theme of esadattilia (6 fingers for the note) is not so rare in religious painting, we can even see it in Jesus’ foot in the Madonna di Casa Santi, also by Raffaello, in Urbino. For ufologists this kind of hidden characterization of the characters would indicate the awareness for the masters of the nonhumanity of those figures, since being born with 6 fingers cannot simply be a malformation (evolution would have eliminated them, according to them) , but it would be proof of an alien intervention in our genes. The other explanation is instead that hexadactyly, a not so rare congenital genetic anomaly, was considered a sign of uniqueness and nobility, and in some cases of closeness to the devil, as the Bible suggests in the Second Book of Samuel (21,20) . Hannibal Lecter is suffering from polydactyly so to speak.

A deafening roar pierces Folignos quiet and cool night. The noise is so powerful and unexpected that everyone comes out in the street pale and upset. Something struck the home of Sigismondo de ‘Conti, a very important man who at that time is the secretary of Pope Julius II. But what the hell was that? Some say the explosion of a bombard, that is essentially a cannonade, others will say a ball lightning or a meteor. Maybe a comet? Surely something has fallen from the sky. In any case, Sigismondo’s palace is miraculously intact, perhaps only touched by the flying object. The first thing that the secretary cares about, of course, is to thank the Madonna of Foligno, commissioning a work to this very capable twenty-eight year old who responds to the name of Raffaello Sanzio. As you can see, the painter composes the scene with the Madonna at the top and in the center, wrapped in clouds that rise up to take the form of angels. On the left he puts St. John the Baptist and St. Francis, while on the right St. Jerome and Sigismund, fully dressed and on his knees. If you look carefully, in the middle of the circle of characters and above the innocent face of the putto in the foreground, there is a small orange trace that comes out of the clouds directed on the roof of a building. It is the photograph of the episode, a fraction of a second before the explosion. Raphael represents the mysterious object as a sort of fiery sphere that swoops down from the clouds, below a large luminous arch that presumably represents the protective influence of the Virgin on the town. On the website of the Pinacoteca Vaticana there is written that it is a lightning, but to me it does not seem even remotely resembles us … Or maybe we want to say that Raphael didn’t know how to draw lightning?

On 4 January 1958 the first satellite ever sent into orbit around the Earth burns gloriously in the atmosphere, after 70 million kilometers traveled. Today a Sputnik replica can be seen at the National Museum of the United States Air Force in Dayton (ironic localization). This first Soviet satellite was a 58 cm aluminum sphere, containing two transmitters, two batteries and a thermometer. From this globe four antennas of 2 and a half meters departed. To be clear, it was more or less the same as the object between God and Jesus in this work over three centuries earlier. Understand with your own eyes the impression this image makes on a person who lived after the Cold War. The surface seems to be lashed by the typical opaque streaks of the metal, with vertical and horizontal lines that make one think of welds. At the bottom left there is a black part that seems to come out like a sort of closing capsule and finally, at the top, the two antennas, perfectly positioned. Here too, in order not to fall into the trap of the UFO, it is necessary to deepen the religious symbolism of the time. Almost all representations of the Trinity are flanked by the “Globe of Creation” or “Celestial Sphere” which represents divine power over all that exists. The Father and the Son hold respectively two scepters; the zodiacal bands that divide the sphere into three parts are shown on the globe and the sun (above) and the moon (bottom left) are represented inside. Now it’s up to you to judge how much I showed you, you are people who are aware that we could never really have been alone…