Description of the painting by Raphael Santi Transfiguration. UFOs in medieval paintings and icons

Raphael Santi - Transfiguration of Christ 1519-1520. Pinacoteca Vatican, Rome.

The painting was originally created as an altarpiece for the Cathedral of Narbonne, commissioned by Cardinal Giulio Medici, Bishop of Narbonne. To the greatest extent, the contradictions of the last years of Raphael’s work were reflected in the huge altar composition “The Transfiguration of Christ” - it was completed after Raphael’s death by Giulio Romano.
Having started working on the painting, the artist simultaneously painted a canvas for the cardinal personally. For his painting, the artist used a well-known biblical story described in the gospels, which tells that Christ decided to show his disciples his true appearance. As the scriptures say, Jesus took with him the three apostles Peter, James and Jacob, and led them to a high mountain, where he was transformed before them, appearing in a bright image, surrounded by a divine aura. After this, the voice of God was heard, who confirmed to the apostles that Jesus was his true and only son.
Descending from the mountain, the apostles and Jesus meet a crowd of people who accompany a father and his son, possessed by the devil, to turn to Christ with a request for his cure.

And here begins the plot of Raphael’s painting, which tells about this moment.
In the foreground are the apostles, who recline in various positions awaiting the descent of Christ. Jesus himself floats in a circle of light above the rest of the people, he is weightless and beautiful. People stretch out their hands to him, and the old man and the boy froze in anticipation of healing. The artist also depicted a kneeling woman who, together with everyone else, is waiting for a miracle. All these people point to Christ, their faces full of trembling excitement. He comes and heals the child, driving away the evil spirit.

This picture is divided into two parts. The upper part shows the actual transformation - this more harmonious part of the picture was done by Raphael himself. Below are depicted the apostles trying to heal a possessed boy - there is a lot of artificial pathos here, an unpleasant blackness has appeared in the painting. It is symptomatic that it was Raphael Santi’s altar painting “The Transfiguration of Christ” that became an indisputable model for academic painters for centuries.

History of the painting.

In 1797, Napoleon transported the Transfiguration to France, and the painting returned to the Vatican only after the overthrow of the emperor in 1815. As a result of transportation, it was severely damaged, and the first restoration only worsened its condition. The next restoration, carried out in the seventies of the 20th century, brought the painting as close as possible to the one it had four centuries ago.
Traditionally, artists depicted Christ standing on a mountain (more often just on a hill) between Moses and Elijah, while the apostles reclined at His feet, shielding their eyes from the bright light. Raphael chooses a different compositional move for his painting.

On it the Savior is depicted floating in the air, as during the Ascension. The radiance enveloping his figure - that very “light cloud” - illuminates the rest of the characters. The lower part of the picture, according to the iconographic tradition, represents the episode that immediately followed the descent of Christ from the mountain: Raphael depicts the miracle of healing of a boy with epilepsy.
Fear, confusion, surprise, vanity in this part of the picture contrast with the majestic calm emanating from the figure of Christ. The variety of poses and gestures expresses the different feelings of the characters and emphasizes the individuality of each of them. The expressiveness of the figures is emphasized by the light falling from the left. Perhaps this is a technique not previously found in his painting; Raphael invented it while working on theatrical scenery. Later, this special method of lighting was borrowed from Raphael by Caravaggio (1573-1610).

A VERY INTERESTING STORY ABOUT THE COMBINATION OF TWO PAINTINGS BY RAFAEL. (Int. version)

Painting by Raphael Care.

Here are two almost identical paintings, the author of which is the great Italian artist Rafael Sancho (Raphael Sanzio/Santi)... One gets the impression that someone deliberately “moved” the second picture down in order to cut off the top with a “dangerous” object - a superbly depicted “flying saucer”... Which in reality was absolutely true.

Raphael was a very unusual person, often going against the Holy Church. As the famous Vassari called him in his writings, he was “an atheist with a rich imagination”... The first painting (on the left) was painted in the last year of the artist’s life (1520) and was called “Departure”.

Having caused a real storm of indignation on the part of the Holy Church, the magnificent work was sentenced to destruction. Then, deciding to play a harmless joke on the Pope, the artist painted a second picture, as if moving the entire composition down, and cutting off the upper (main) part of the picture, which depicted Christ, which, according to the strict canons of painting of that time, was in no way allowed. He called the second painting “Transfiguration” (Transfiguration)... Unfortunately, the artist died without finishing the second painting - it was completed by his best students and (at the request of the teacher) presented to the Vatican. Dad was delighted with the work and called it “one of the best” paintings by Raphael...

Sources

Original taken from winter_borealis in The Transfiguration of the Lord in art. Painting, altars and more

Original taken from winter_borealis in The Transfiguration of the Lord in art and painting

Pietro Perugino (Italian Pietro Perugino, literally “Perugian”, real name Pietro di Cristoforo Vannucci - Pietro di Cristoforo Vannucci; 1446-1524) - Italian Renaissance painter, representative of the Umbrian school - Transfiguration of the Lord

Since the establishment of the Christian Church, there has been a need to legitimize the story of the Transfiguration of the Lord, and therefore this Gospel story was included among the subjects of the very first Christian frescoes and book miniatures. And after the inclusion of the Transfiguration in a number of 12 Christian holidays, the depiction of this plot became mandatory in cathedrals.

Unknown author. Transfiguration. Mosaic from the apse of the church of Sant'Apollinare in Classe, Ravenna. 6th century

Unknown author. Transfiguration. Mosaic of the Basilica of the Transfiguration. Around 565-566 Monastery of St. Catherine (Sinai Monastery), Sinai

Unknown author. Transfiguration. Around 1200. Mosaic on stucco (artificial marble). Louvre, Paris

Iconographic innovations appear only from the XIII-XIV centuries, when the figures of students begin to be depicted emotionally, with outstretched arms and expressive faces, on which delight and amazement are written. Almost simultaneously, the practice of inscribing not only Jesus, but also the figures of the prophets into the halo arose. In Russian icons we notice a tradition inherited from Byzantium to draw, in addition to the halo, individual rays emanating from Jesus, often towards the disciples.

Circle of Theophanes the Greek. Transfiguration. Icon from the Transfiguration Cathedral in Pereyaslavl-Zalessky. Around 1403 State Tretyakov Gallery, Moscow.

Unknown author. Transfiguration. Icon from the Spassky Monastery in Yaroslavl. Yaroslavl Historical, Architectural and Art Museum Reserve, Yaroslavl

In painting, starting from the Renaissance, the main thing in the plot of the Transfiguration of the Lord is the human reaction to the Miracle and to the Mystery revealed to the chosen ones. In the famous painting by Giovanni Bellini, painted around 1487, there is no longer any hand made of clouds or other symbols of the Voice of God. And the clouds are very ordinary, quite natural in the autumn landscape. The prophets tell Jesus about his coming exodus; Jesus’ halo is small, completely conditional. The central character himself is not so much the Son of God as a man preparing himself for a mortal test. The students are surprised by what they see and hear, and even a little frightened; they try to distance themselves and isolate themselves from what is happening. And the action takes place not on a mountain, but on a hill, of which there are many in the North of Italy, and by no means in special conditions, but against the backdrop of everyday affairs with which the shepherd and other villagers are busy in the background. The ordinariness of the conditions in which the Miracle takes place is emphasized by the hedge, which the brilliant Bellini placed in the foreground. It is no coincidence that in circles of experts this painting is called “Transfiguration Behind the Hedge.”

At the same time, it is interesting to compare Bellini’s masterpiece with his own work, created a third of a century earlier. The Transfiguration, kept in the Correr Museum in Venice and painted around 1455, is quite traditional. This is exactly how many artists - Bellini's contemporaries - painted pictures on this subject.

Duccio di Buoninsegna (Italian: Duccio di Buoninsegna, 1255-1260 - 1319) - Italian artist, one of the most prominent representatives of the Siena school - Transfiguration of the Lord (1308-1311)

Raphael's painting, painted in 1519-1520, on the contrary, is full of drama. Jesus and the prophets soared above the mountain, and the tragic inspiration on the face of the central character is quite consistent with the bright light pouring from heaven. The light is located around the figure of Christ, and the outline of the light spot resembles a mandorla, and gray clouds scatter around this picturesque and by no means conventional halo, as in icons. Modern researchers note the correspondence of the divine phenomenon depicted by Raphael to the light explosion model, which describes the transformation of energy released when light passes through a mass of small drops of water with a reflective surface and receive energy like solar panels. The absorption of a large total amount of energy causes water droplets to move, leading to a sharp expansion of the cloud.

The wind from this “Raphaelian explosion” bends centuries-old trees and inflates their crowns.

John, Peter and James are not just shocked by what is happening - they are blinded by the bright light, which seems quite natural to the viewer, the extraordinary brightness of the light depicted by Raphael is so obvious.

The mountain is by no means high, and the Transfiguration has witnesses other than the three disciples who climbed it with Jesus. These are not only the apostles, but also other people, and it is clear that they see the Miracle, since two point their hands at Jesus, one is directed towards Him, and two more in the background on the left reverently look at what is happening on the mountain.

The most famous of the Russian paintings on the subject of the Transfiguration is the work of Andrei Ivanovich Ivanov, written by him in 1807 in the academic tradition.

Transfiguration. Mosaic of the Savior on Spilled Blood. 1890s. Church of the Resurrection of Christ (Savior on Spilled Blood), St. Petersburg.

We can say that the painting “Transfiguration of the Lord” was the last creation of the great Raphael. He died suddenly at the age of 37, and this painting stood at his head on the day of the funeral.

In his painting, Raphael twice violated generally accepted traditions. Firstly, he depicted Christ not standing on a mountain, but floating in the air. And, secondly, the artist seemed to combine two subjects on one canvas: the Transfiguration of the Lord itself and the moment when Christ, having descended from the mountain, heals a boy suffering from epilepsy.

The contrast between both stories is striking. In the upper part, where the Savior hovers, we see Divine light, peace and grandeur; there is harmony there. The lower part is dark: there is suffering, troubles, unrest, disputes.

It is known that the artist was commissioned by Cardinal Giulio Medici. He was appointed Archbishop of Narbonne, and he wanted to decorate the cathedral of the French city of Narbonne with a painting by Raphael. True, having received Raphael’s painting, Cardinal Medici decided not to take it to France, but to leave it in Italy. He ordered it to be placed in the altar of the Church of San Pietro in Montorio in Rome. In 1797, during the Italian Campaign, Napoleon took Raphael's masterpiece to France and placed it in the Louvre. The painting returned to Italy only after the overthrow of the emperor in 1815, and today it is in the Vatican Pinacoteca.

There were many rumors that Raphael did not have time to finish the painting “The Transfiguration of the Lord” before his death and the entire lower part was completed by his students Giulio Romano and Gianfracesco Penni. But special studies of the painting, carried out in 1972-1976, proved that Romano and Penny only slightly completed the two figures in the lower left part of the canvas, everything else was the work of the great Raphael.

Giovanni Bellini

Giovanni Bellini was an Italian Renaissance artist who lived in Venice about half a century before Raphael.

On the theme of the Transfiguration of the Lord, the artist painted two paintings, very different from each other. His early work, painted in 1455-60, can be seen in the Correr Museum in Venice. For a long time it was believed that this painting was not painted by Bellini, but by his relative Andrea Mantegna. The late masterpiece, created in the 1480s, is on display at the Galleria Nazionale Capodimonte in Naples.

In the painting of 1455-1460, Christ with Moses and Elijah seem to be torn off from the earth. They are closer to the sky than to the ground - it is not for nothing that the artist depicted so much air around the main figures. The apostles, amazed or blinded by what they saw, lie below, not trying to rise and look. Bellini seemed to want to show that the gospel events took place in parallel with the lives of other people. For the artist, Mount Tabor turned into a small hill, and additional everyday sketches appeared, such as a peasant with a bull. At the same time, for some reason, the artist placed a special emphasis on the wooden fence, which cuts diagonally through the bottom of the picture and separates the viewer from the scene on the canvas and the rocky abyss. Perhaps by this Bellini wanted to say that the path not only to Mount Tabor, but to God in general, is difficult and dangerous and not everyone will be able to climb this road.

Titian

In Venice, a five-minute walk from Piazza San Marco stands the snow-white Church of San Salvador. In it, above the altar, you can see another “Transfiguration of the Lord” - the creation of Titian Vecellio. The name of this artist stands among such great Italians as Leonardo da Vinci, Michelangelo, Raphael. He studied with the already mentioned Giovanni Bellini, but surpassed his teacher. He was commissioned for portraits by kings and popes, dukes and princes. Titian was not yet 30 years old when he was recognized as the best painter of Venice. In addition to portraits of famous people, he painted paintings on biblical themes. In the same church of San Salvador you can see another of his famous creations - “The Annunciation”.

Titian's "Transfiguration of the Lord" is very different from works on this topic by other artists. We see not the calm light enveloping Christ, not the peaceful conversation of Jesus with Moses and Elijah - the “Transfiguration”, written by Titian, is permeated through and through with rapid movement, unprecedented energy. The Light of Favor is like a powerful explosion, a flash of white flame. Christ appears in a whirlwind of white light. And with this whirlwind, the Savior not only throws His disciples to the ground - He pushes aside the darkness and literally brings people the light of a new teaching.

Paolo Veronese

The work of another famous Italian painter, Paolo Veronese, is closely connected with the Church of San Salvador, where Titian’s work is located. He created many of his masterpieces for this church. It is known that the artist loved the Church of San Salvador so much that he bequeathed to be buried in it. The grateful Venetians fulfilled his last wish, and with his death the era of the late Renaissance ended.

At birth he was given the name Paolo Cagliari. He was the fifth child in the family of the sculptor Gabriele Cagliari, but he decided to take his name after the place where he was born - the city of Verona. True, later he would again take his family name, and his later works would be signed “Cagliari”. Veronese is a master of light, of very subtle, breathing colors. And this is especially noticeable in many of the artist’s masterpieces on the themes of the Old and New Testaments.

In northern Italy, in the province of Padua, there is a small fortified city called Montagnana. It has a cathedral dedicated to the Virgin Mary. In the cathedral, above the altar, there is Veronese’s famous creation “The Transfiguration of the Lord,” executed in Veronese’s characteristic soft, almost lyrical manner. Christ is separated from the apostles by a fluffy cloud and has a leisurely conversation with Moses and Elijah. His pose is filled with humility, as if He is taking the first step on the path to Calvary.

Lorenzo Lotto

Another Italian, another Venetian - Lorenzo Lotto. This famous painter was considered by his contemporaries to be too independent. They said about him that he was incapable of compromise either in creativity or in spiritual matters. That is why the artist had such a hard time in life. Venice ridiculed Lorenzo Lotto, rejected him and tried to forget. He set out on the road, trying to find customers who could appreciate and accept him for who he was; visited Marche, Bergamo, Treviso, Rome, Recanati.

Features of Lorenzo Lotto's painting are enchanting colors, bright light and very accurate, extremely realistic drawing of all details. As the famous art critic Bernard Berenson once noted, “to understand the sixteenth century, knowing Lotto is as important as knowing Titian.”

In the small Italian town of Recanati there is the Church of St. Mary and above the altar there is Lorenzo Lotto’s masterpiece “The Transfiguration of the Lord.” Following his usual style of painting, the artist clearly describes each participant in the event. Moreover, so that no one would have any doubts, the artist signed each figure. According to Lotto, in the Transfiguration of the Lord on Mount Tabor, it is important not only that Christ showed His Divine nature before the chosen disciples, but also what kind of conversation He had with Moses and Elijah. The artist conveyed the difficult decision that the Son of God has to make by depicting their hands and bows of their heads in a special way.

Karl Heinrich Bloch

This time we will talk about a Danish artist. This is the amazing artist Karl Heinrich Bloch (he undoubtedly deserves a separate story!). His parents wanted him to choose a respectable profession as a naval officer... And he became an artist. And what!

Karl studied painting in Italy, and was greatly influenced by the work of Rembrandt. But Bloch’s works so shocked his contemporaries that in 1888 the artist was given a high honor - he was offered to place his self-portrait in the Uffizi Gallery in Florence.

Carl Bloch devoted most of his work to works based on biblical themes. When the Danish philanthropist, owner of the Carlsberg company Jacob Jacobsen, saw his paintings, he asked Bloch to paint 23 canvases for the chapel in Frederiksborg Castle, which was damaged by fire. The Danish artist devoted 14 years of his life to this project. They embodied scenes from the life of Christ: “The Sermon on the Mount”, “The Healing of the Blind Man”, “The Temptation of Christ”, “The Raising of Lazarus”... Among these amazing masterpieces there is also the stunning painting “The Transfiguration of the Lord”. What is striking here is the light emanating from Christ, and the blueness inherent in many of Bloch’s creations, which seems to bring hope to people.

Alexander Ivanov

Hearing the name of Alexander Andreevich Ivanov, everyone instantly remembers the amazing and monumental painting “The Appearance of Christ to the People,” on which the artist worked for 20 years.

After Ivanov graduated from the Imperial Academy of Arts, the Society for the Encouragement of Artists decided to send him to Italy at its own expense to further improve his skills. There he spent a lot of time writing various sketches on biblical themes. It is known that Alexander Ivanov was a very religious person, he diligently studied the Holy Scriptures, especially the New Testament.

While working on the painting “The Appearance of Christ to the People,” Alexander Ivanov simultaneously worked on a series of sketches on biblical themes. In the future, according to art historians, he wanted to make wall paintings based on these sketches, recreating in them the history of the spiritual development of mankind.

Alexander Ivanov conceived 500 subjects, but managed to complete only 200. At the same time, he carefully hid his biblical sketches both from the public and from his fellow artists. In May 1858, having arrived in St. Petersburg, the artist brought the sketches with him, planning to go to Palestine that same year and continue working on biblical sketches... But a month later, Alexander Ivanov fell ill with cholera and died. Here is one of his famous biblical sketches. This is how the great Russian artist Alexander Andreevich Ivanov saw the Transfiguration of the Lord. (Transfiguration of the Lord through the eyes of artists.)

Belonging to the brush of the Florentine Early Renaissance artist Fra Angelico, this fresco, amazing in its artistic impact, is an example of fairly careful adherence to the iconographic scheme of the transfiguration plot that developed in medieval art, but at the same time it also contains a number of semantic nuances.

For example, the figure of Christ, surrounded by a bright radiance, is depicted with outstretched arms, which serves for the sophisticated viewer as an easily recognizable indication of the Passion of the Lord awaiting Jesus.

The connection with the theme of the crucifixion in this work by Fra Angelico is further strengthened by the fact that next to Christ the Virgin Mary and St. Dominic (patron of the monastery that belonged to the Dominican order) are shown reverently looking at the miracle, placed in the same place and in the same order, As usual, paintings on the theme of the crucifixion represent the Mother of God and St. John the Evangelist. (Transfiguration of the Lord in masterpieces of world painting.)

Gallery

Icons, paintings, altars

City of Rennes, Ille et Vilaine, France

Bad Urach, Baden-Württemberg, Germany

Cristofano Gherardi (1508-1556)

Interior of the Church of the Savior on Spilled Blood

Jordan Fedor. Transfiguration

Pavel Svedomsky (1849-1904). Transfiguration. Fresco. Vladimir Cathedral, Kyiv.

Mikhail Nesterov. Transfiguration of the Lord, 1898-1900

Basilique Notre-Dame de Marienthal de Haguenau, France

Andrea Previtali (Italian: Andrea Previtali, 1480-1528). Transfiguration of the Lord, 1513

Gerard David (Dutch Gerard David; ca. 1460-1523) - Dutch painter, representative of the early Northern Renaissance - Transfiguration of the Lord, 1520.

Orth an der Donau, Austria

Brazil

Giovanni Girolamo Savoldo (Italian: Giovanni Girolamo Savoldo ca. 1480, Brescia - 1548, Venice) - Italian Renaissance artist - Transfiguration of the Lord, 16th century. Uffizi Gallery, Florence

Transfiguration. Ivan Mikhailovich, 1636

St. Peter's Basilica, Rome

Rubens. Transfiguration of the Lord, 1605

Johann Georg Trautmann (German: Johann Georg Trautmann, 1713-1769). Transfiguration of the Lord, 1760

Church of Saint Jacques, Boistrudan, Brittany, France

James Tissot (English James Tissot, proper name Jacques-Joseph Tissot, 1836-1902) - French artist, worked in England. Christ goes to the mountain to pray.

Continuing the theme "GOD'S EYE OVER VOLOGDA"

Here are two almost identical paintings, the author of which is the great Italian artist Raphael Sanzio/Santi... One gets the impression that someone deliberately “moved” the first painting down in order to cut off the top with the “dangerous” object - beautifully depicted “flying saucer”... Which in reality was absolutely true. Raphael was a very unusual person, often going against the Holy Church. As the famous Vassari called him in his writings, he was “an atheist with a rich imagination”... The second painting was painted in the last year of the artist’s life (1520) and was called “Departure”. Having caused a real storm of indignation on the part of the Holy Church, the magnificent work was sentenced to destruction. Then, deciding to play a harmless joke on the Pope, the artist painted a second picture, as if moving the entire composition down, and cutting off the upper (main) part of the picture, which depicted Christ, which, according to the strict canons of painting of that time, was in no way allowed. He called the second painting “Transfiguration”... Unfortunately, the artist died without finishing the second painting - it was completed by his best students and (at the request of the teacher) presented to the Vatican. Dad was delighted with the work and called it “one of the best” paintings by Raphael...

Raphael's painting "Transfiguration"

Painting by an unknown artist “Departure”. This is a painting by Raphael, which was considered destroyed.

Combination of two paintings by Raphael

An ancient fresco of the 11th century, which shows a waiting
Whiteman. It's called "Plate at the Tomb of Jesus"
currently located in the Vatican Museum, Rome
(Fresco of XI century “Saucer at the Tomb of Jesus”,
Museo Soccero Vaticano, Roma)
________________________________________ ________________________________________ _______________________

In ancient paintings, sometimes there are interesting images. One of them, for example, is the painting “Madonna, John and Child Jesus”, which was painted in the 15th century by Domenico Ghirlandaio (1449-1494) and is part of the Lozer collection in the Palazzo Vecchio.

Or, for example, another picture. Pay attention to the woman. While reading a book, a dove descends from the sky to her ( enlargement of the picture below).

Above are two enlarged images: the upper left corner and the upper right. Fresco "The crucifixion", located above the altar of the Visoki Descani monastery in Kosovo, Serbia. The moment of the Savior's crucifixion is captured here ( created ≈ 1350).

This is a fragment of a Tibetan translation of the Sanskrit text "Prajnaparamita Sutra", dating from the 10th century and kept in a Japanese museum.

The vimanas that you see in the top picture are in the lower right corner ( in a red square), surprisingly resemble modern UFOs.

Vimanas are the ancient Indian flying chariots of the gods.

Petroglyphs / Petroglyphs

Petroglyphs found on cave and mountain walls in many parts of the world, imply that ancient aliens may have visited the planet.

In 1898, a wooden model resembling a glider was found in the Egyptian tomb of Saqquara, dating to around 200 BC.

You will receive more detailed information by watching the video:
03.28.10, OTV "Center", Anna Prokhorova

Stone sarcophagus of a ruler in the Temple of the Inscriptions, in the ancient Mayan city of Palenque. The relief on its lid has long been the subject of controversy: did the 7th century artist carve a drawing of a jet aircraft engine?
If this picture is presented in a different color ( not only in black and red), then this may also resemble a similarity with an astronaut sitting in a spacecraft before launch...

Food for thought. Three images above:
1. Painting by an unknown artist “Care”. This is a painting by Raphael, which was considered destroyed.
2. Combination of two paintings by Raphael.
3. Raphael’s painting “Transfiguration”.

“Discoveries objectionable to science” | The progress of human development. Part I
Time travel. Aliens from the future | Ancient astronauts | Part II

UFO Images | Antique drawings, frescoes, etc.

(Further, you can argue, but not a single picture depicting a UFO has such detail; all UFOs are drawn rather primitively, because both now and before they were not particularly shown to people).
Biblical sources and legends contain numerous information about the appearance on our planet of gods, prophets, “sons of God,” who had a significant impact on the cultural development and religious worldview of many peoples. As for the famous Dead Sea Scrolls (so secret that only a few scientists have been granted the right to see them). Professor Felix Bonjean and five other scholars who studied the Dead Sea Scrolls under Vatican supervision were under an obligation never to disclose information obtained from the ancient texts, but Bonjean was the first to break his silence. At a press conference in Paris, he said: After many years of hesitation, I came to the conclusion that the truth cannot be hidden from people. The Dead Sea tablets are not just a version of the Old Testament. They contain historical predictions that could shake the world. After all, they contain information that: 25 thousand years ago, a flotilla of spaceships arrived on earth. They had the shape of disks and, judging by the lists, created an anti-gravity field around themselves. Earth's gravity had no effect on them.
The Qumran Scrolls contain the following interesting information:
Moses was not a Jew, an Egyptian, or a human being at all. He arrived on Earth as a messenger of higher beings from another planet...
It is probably no coincidence that he was often depicted with clearly visible “horns” on his head. It is noteworthy that in the ancient Greek work “Sophia” there is the following information about angels:
The angels [aliens] have projections where the sacred cloud rests.
the insignificant amount of information regarding UFOs and aliens at this time is explained by the dominance of the Inquisition: a witness to any mysterious phenomenon could be accused of intercourse with the devil, and the narrator would inevitably face a fire. This can be confirmed by the fate of the Italian Giordano Bruno, who preached the idea of ​​many inhabited worlds in the Universe and expressed rather seditious thoughts for that time:
Thus, I declared that there are infinite separate worlds like the Earth, which, like Pythagoras, I consider as a star, similar in nature to the Moon, other stars and other planets, which have no end, and that all these bodies represent infinite worlds, thus forming an invisible infinity in infinite space, and this is called the infinite Universe, worlds of which there is no number.
For these statements alone, on February 7, 1600, he was burned at the stake of the Inquisition.
Information about extraordinary phenomena and incidents of the 7th–8th centuries was collected by the English monk Bede, the Venerable. His book “Church History” contains interesting facts reminiscent of UFO flights.
The Laurissen Annals contain information about UFOs.
UFOs are described in the ancient Japanese chronicle “Nihongi”
One of the most detailed descriptions of mysterious objects resembling UFOs can be found in the book “Visions” by Abbess Hildegard of Bingen.
There is a description of unusual objects in the “History of England”, which was written by Mathieu of Paris.
This list can be continued endlessly.
So it is not surprising that UFOs were seen in abundance at that time and the pictures written about them are beyond doubt.

A large number of ancient paintings and icons contain images of UFOs. Are these paintings widely known? and their authenticity is beyond doubt. Below I will simply list a number of the most interesting ones.

The mystery of 2 paintings

The authorship of both is attributed to Raphael, but when compared with all the paintings presented, one can see that in the painting by an unknown author, the UFO is depicted as too technologically advanced. Therefore, I propose to consider this particular picture as an interesting hypothesis.

Painting by an unknown artist “Leaving”

Combination of two paintings

Raphael's painting "Transfiguration"

Here are two almost identical paintings, the author of which is the great Italian artist Rafael Sancho (Raphael Sanzio/Santi)... One gets the impression that someone deliberately “moved” the second picture down in order to cut off the top with a “dangerous” object - a superbly depicted “flying saucer”... Which in reality was absolutely true. Raphael was a very unusual person, often going against the Holy Church. As the famous Vassari called him in his works, he was “an atheist with a rich imagination”... The first painting (on the left) was painted in the last year of the artist’s life (1520) and was called "Care". Having caused a real storm of indignation on the part of the Holy Church, the magnificent work was sentenced to destruction. Then, deciding to play a harmless joke on the Pope, the artist painted a second picture, as if moving the entire composition down, and cutting off the upper (main) part of the picture, which depicted Christ, which, according to the strict canons of painting of that time, was in no way allowed. He called the second picture "Transfiguration"(Transfiguration)... Unfortunately, the artist died without finishing the second painting - it was completed by his best students and (at the request of the teacher) presented to the Vatican. Dad was delighted with the work and called it “one of the best” paintings by Raphael...

An ancient fresco of the 11th century, which shows a waiting
Whiteman. It's called "Plate at the Tomb of Jesus"
currently located in the Vatican Museum, Rome
(Fresco of XI century “Saucer at the Tomb of Jesus”,
Museo Soccero Vaticano, Roma)