Paintings of care and transformation by Rafael Sancho. Raphael's masterpiece Santi - Transfiguration of Christ

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)

The next chapter of the tenth book, which occupies as many as 5 pages in Word, is called "Don't judge in vain". The essence of this chapter is that the invented heroine - Anastasia - easily convinces the simple-minded Vova Megre of the necessity and usefulness of religions of all faiths. Like this! In fact, something like this should have been expected by the end of the book, because without religions (fanatical belief in something) it is simply impossible to deceive large masses of people for a long time. Therefore, the appearance of such a chapter is quite natural and logical. The technique of persuading Vova, “playing like a fool,” has been known to us for a long time: simple and correct questions are asked, to which Anastasia gives some ornate answers, often having nothing to do with the questions. And then the conclusion necessary for the monks necessarily follows, confirmed by Volodya, who suddenly “saw the light”...

If you read thoughtfully and slowly, then all the tricks and cunning of the NIIOP members are visible to the naked eye. And if someone didn’t notice them right away, it’s okay, we’ll tell you! Look, first Volodya utters a completely sane, logical and reasonable phrase:

“In one of the books, I talked about the birth of Christianity in Rus', I cited historical facts, data from museums. And I got negative information. All this birth was similar to the capture of Russia. It seems that I presented the correct facts and conclusions, but now it’s unpleasant I’ve been tormented by doubts in my soul for many years now..."

But at the end of the phrase they appear "doubts" who torment Vova Megre "it's been a year". Anastasia asks leading questions, and Vova gives out the most important idea, which very clearly shows “who ordered this music” and to whose “mill” the KGB monks are pouring grist:

“When I wrote negatively about the baptism of Rus', it turned out that I had a negative attitude not towards someone in particular, but towards everyone at once. Only later I realized that this should not have been done under any circumstances...”

Why do we count these phrases the most important? Because here Vova loudly expressed his main idea: “It was impossible to write negatively about the baptism of Rus'!”. And then here the concepts are cleverly replaced, and the arrows are transferred from Judeo-Christianity to "all at once". By “all at once” Vova means her grandparents, mother, who “even on sore legs I attended church”, invented by Father Theodoret and "many good and worthy people".

What is the substitution of concepts here? In the following: when Vova wrote about the crimes that took place during the baptism of Rus', he described bloody ACTIONS baptists. And in this chapter, he suddenly declares that he treated him badly TO PEOPLE who had nothing to do with these acts, to people who also suffered from Christianity (deceived and gave up their life force in the “temples of the Lord”). And it turns out that the “arrows” are once again cleverly transferred from the perpetrators to the victims: from the baptists to the baptized, deceived and intimidated to the last degree by bloody repressions.

All this obscurantism designed for very dark and downtrodden readers, i.e. on those people who, according to the monks, read and know almost nothing except green books, spending the time of their lives growing food and fighting for survival. In principle, the monks would be right if everything developed exactly as planned by the puppeteers - the Jewish financial mafia - which is the real customer of both "Ringing Cedars" and hundreds of other similar opuses that have proliferated in many countries around the world over the past few years decades.

In reality, this is not the case at all! God, invented by religions for the convenience of stupefying people, does not exist! "God", imposed on us by the church, - this is an abstract concept, which has nothing to do with reality! And this invented God cannot hold anyone’s hand, because... life is born inevitably, one might say automatically, on a huge number of planets on which the necessary and sufficient conditions for this appear! This is a purely natural process that proceeds safely on its own, without any outside interference! Where suitable conditions appear, life inevitably arises there! Where conditions are not very suitable, life does not arise or arises and dies... There is nothing divine in this process! You can read more about this in the books of academician Nikolai Levashov, who was the first to write and publish the truth about all this at the end of the last century.

In fact, the emergence of religions is also a natural process that occurs in the early stages of the development of human society. When people still know very little and cannot explain the observed periodic phenomena (mainly the elements), they invent some mysterious creatures that supposedly control these elements. Then, as civilization matures, religions themselves die out, like unnecessary, outdated childhood fears and ideas (for more details, see the article “On Religion”).

In our earthly civilization, modern religions were deliberately imposed on people. This is due to the long war between the Light and Dark Forces, which has been going on for many millions of years. Relatively recently, just over 100 thousand years ago, this war reached our beautiful planet, which our ancestors called Midgard-earth. During this time, 2 moons were destroyed - Lelya and Fatta - and a little more than 13 thousand years ago a terrible world nuclear war was unleashed. As a result, the infrastructure of earthly civilization was completely destroyed, and people were thrown back into the real Stone Age, gradually went wild and were forced to fight for survival (for details about this, see our website “Food of Ra”).

After this, the Dark Forces, who sought to take over our planet at any cost, with the help of their assistants - their chosen people, the Jews - gradually imposed on earthlings several “world” religions created on the basis of Judaism. This is where the religions that now exist in our country came from and are diligently supported by the “world government” - the Jewish financial mafia.

With the help of religions, billions of people are kept in ignorance, bad habits and a poor worldview are imposed on them, racial and religious hatred is sown, countless wars are unleashed, constantly claiming many millions of lives. Many people in the past knew about the dark essence of religions, even those who contributed to their spread. We will not deny ourselves the pleasure of introducing you to several statements of famous people:

"Christian faith is foolishness..."(The Tale of Bygone Years).

"Christianity arose from Jewry. It turned back into Jewry..."(Karl Marx).

“I became convinced that the teachings of the church are theoretically an insidious and harmful lie, but practically a collection of the grossest superstitions and witchcraft...”(L.N. Tolstoy. Complete works, vol. 34, 1952, p. 247).

“Ignorance is the first prerequisite of faith, and that is why the Church values ​​it so highly...”(Paul Holbach).

“Religion is the art of intoxicating people in order to distract their thoughts from the evil that those in power inflict on them in this world...”(Paul Henri Holbach).

"Religion is a universal obsessive neurosis..."(Sigmund Freud).

"There is no greater hatred in the world than the hatred of the ignorant for knowledge..."(Galileo Galilei).

At the same time, we also found statements by completely different famous people who defended religion with all their might.

We present these quotes here so that you will not have any doubts about religions and their role in our lives today:

"We will not tolerate anyone in our ranks who attacks the ideas of Christianity... in fact, our movement is Christian..."(Adolf Hitler. Speech in Passau, October 27, 1928).

“In a fascist state, religion is considered one of the most profound manifestations of the spirit, therefore it is not only revered, but enjoys protection and patronage...”(Benito Mussolini, The Doctrine of Fascism, 1932).

There is another important question that definitely needs to be clarified: why does a religious corporation brutally fight against Knowledge, against rationality, for many centuries in a row? The answer is ambiguous, but not at all complicated. Some of the staff who rely on church business are zombified to the required degree, know little and do their dirty work like automatons. This is the bottom, but the most massive link. Those who control them are also certainly zombified, but already stronger than the first, and they also know almost nothing about reality. They have no need for Knowledge! They are zombies! Exactly the same thing happens at other levels of the church hierarchy, right up to the very top. And now only a few, about whom few have heard, know something about the real picture of the universe.

However, just a few hundred years ago, many people knew what is now carefully hidden not only by the church, but also by the authorities of almost all countries. For example, in the 16th century, the well-known Italian artist Raphael Sancho (Raphael Sanzio/Santi) painted a wonderful picture "Care", which depicted the process of moving Radomir (Jesus) to Vaitmana (“flying saucer”) after the resurrection, which actually took place. The church authorities immediately stamped their feet and ordered the painting to be destroyed. The artist hid this picture and painted another one, exactly the same, but without the “plate” and called it “Transfiguration”. I found this sensational information Svetlana Levashova! She found BOTH paintings and displays them in chapter 42 1st volume of his amazing book "Revelation"...

And a thousand years earlier, trade spaceships - Whitemans and Whitemars - regularly flew to Earth, and people, if necessary, traveled to other planets even by hitchhiking. And this did not surprise anyone and was not considered something out of the ordinary! This is written in detail in Nikolai Levashov’s absolutely wonderful book “The Tale of the Clear Falcon. Past and Present” ...

And then (in the 10th century AD) a natural phenomenon called “Night of Svarog” occurred on Earth. Through the efforts of the chosen people, small pieces began to break off from the great Slavic-Aryan Empire, which occupied most of the lands on all continents, and new “states” were created on them. At the same time, the imposition of the so-called Greek religion, which would later be called "Christianity". Then the church will begin to restore “order” in the “subordinate territories”, diligently destroying books and those who knew how and loved to read them. The savagery of the Inquisition will last in some countries until the end of the 18th century and will cost humanity hundreds of millions of lives (read more about this in the article “Christianity as a Weapon of Mass Destruction” and in the books “The Sacred Den”, “The Orthodox Inquisition in Russia”, “Chain Dogs” churches. Inquisition in the service of the Vatican", "Pagans of Baptized Rus'" and others).

And just this religion Vova Megre diligently advertises everything for fifteen years in her green books!

What can you call such a person? Right, he is our implacable enemy! And the rare and inarticulate attacks against the church were, in our opinion, a kind of “strategy,” i.e. a banal trap into which many of those who previously bypassed religion “by the tenth road” fell. For such people they came up with a special bait - green, and a new religion was invented - "cedar ringing", led by a flaunted Vladimir Kedrov! And this was done in order to try to return all those who did not give in to the “bosom of the church” (does everyone remember what a “bosom” is?).

This is why the “authors” of green stories go out of their way to force their heroes to talk utter nonsense, just to voice at least some, albeit stupid, arguments in favor of religion. These payers know well that naive and gullible people quickly get used to stupidity repeated many times with a serious look. And they repeat, they are not lazy...

What should we do in this situation?

We still have only one way out: think! Find out, check, weigh, think, analyze, get smarter and draw your own conclusions, never again entrusting this most important work to anyone! Only in this case do we have a chance to reveal all the plans of our enemies, neutralize them and avoid destruction! Unfortunately, there is no other way..."

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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. The contradictions of the last years of Raphael’s work were most 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...

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

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 works, 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 ( enlarged 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 the 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.