Atlantis Rising Time Travel

7/29/2019 Atlantis Rising Time Travel

1/4

Featured Issu e About Us Now in P rint Archives

Subscribe

TIME TRAVEL EVIDENCE

Does a 16th-Century Painting Show Technology from the F uture?

BY JOSEPH R OBERT JOCHMAN S

Our world is f illed with many anomalies, most of t hem well documented and incontrovertible, which demonstrate that

space and time are not what we think they are. One of the stranges t of these is an enigmatic object which appears

in a painting in the litt le church of M ontalcino in Italy, dating to over four hundred years old. The object can be classified

as a genuine out-of-place artifact , because it incorporates several apparently advanced aspects in its design.

But the context in which it was placed in the painting and portrayed in detail opens up a whole diff erent level of

technological inquiry and potential achievement. The items existence raises not only the quest ion of where did it

come f rom, but more importantly, when did it come f rom? F or here we are f aced with something that is more t han out

of place, it also appears t o have come from a totally different time.

In ess ence, what we may be looking at could be the f irst real evidence for time travel.

At this point, we cannot be s ure if the item in ques tion manifes ted from our future or if it represents some kind of

t ime-t raveling technology, which was the product of t he unknown past , built and sent forward to our period from some

prehist oric civilization now lost to us. Le t the readers judge for themse lves .

In 1595, I talian artist Bonaventura Salimbeni (1567-1613) was commissioned to produce a painting for the right-hand

altar of t he Church of St. Peter at M ontalcino, located within a few miles of F lorence. He was a member of a

prominent family of artists from nearby Siena, and the goal of his commission was that his work be completed for the

Christian Jubilee Year of 1600. According to t he message accompanying his signature, Salimbenis painting was fin-

ished right on schedule.

The Montalcino art masterpiece is entit led The Glorif ication of t he Eucharist , and features a vertical work divided

into three s egments . The lower third depicts a number of worshipping figures seated before t he altar, including

pries ts, cardinals and one individual wearing a papal crown believed to represent Pope Clement VI I.

The middle third shows the altar itself, and prominently displayed in its center is t he Cup of the Eucharist emblazonedin glowing light.

SEPT./OCT. 2008 #71

Get a FREE Sampler PDF

Buy Full IPadREADY PDF

To View These E-Magazines,

Download Your Free PDF Reader.

IPAD USERS

Download GoodReader App

IN THIS ISSUE

ALTERNATIVE

ARCHEOLOGY

Enigma of the Cryst al Skulls

BY DAVID H . CHILDRESS

Americas Mound Builders: The

Mystery Deepens

BY GREG LITTLE

ALTERNATIVE SCIENCE

The Super Collision Threat

BY NANCY L. WILLIAM S

Can We See into the Future?

BY ROBERT SCHOCH, Ph.D.

Whatever Happened to Gene

Mollinets Hydraulic Pinto?

BY JOHN KETTLER

Global Cooling

BY SUSAN M ARTINEZ,

Ph.D.

ATLANTOLOGYThe Beasts of At lantis

BY FR ANK JOSEPH

CLASSIC ASTROLOGY

Lilith

BY JULIE LOAR

EARLY RAYS

News

More N ews

Even More News

St ill More N ews

INTERNET NEWS

INEWS

JEANE MANNIN G

Could the Wave of the Future Bein Water?

Atlantis Rising MagazineAncient Mysteries, The Unexplained, and Future Science

Time Travel Evidence Atlantis Rising Magazine http://atlantisrisingmagazine.com/2008/09/01/ti...

1 of 4 04/19/2011 07:55 PM


2/4

man, God the Son as J es us Christ , and the H oly Spirit portrayed as a Dove hovering above the center.

What immediately catches the viewers att ention, however, is something pictured in among the Trinity members

that to modern eyes seems very familiar, but not f rom the right t ime period. The f irst impress ion is that it looks ex-

actly like a spheroid satellite with two antennae, something akin to the old Russ ian sputniks or American vanguard

orbiters of t he late 1950s. But what is it actually supposed to be?

Renaissance art experts interpret the strange sphere as representing the universe, showing the f aint lines of

celes tial longitude and latitude, plus t he images of an obscure sun and an exaggerated cres cent moon shining from

inside. The t wo antennaeone held by God the F ather and the other by God the Sonare s aid to be scepters

symbolizing divine rulership.

But the closer one examines the object, t he more inconsist encies arise with this s omewhat limited inte rpretation. If

the sphere is supposed to be the universe, why are there no stars or constellations depicted shining from inside

it? In fact, there is nothing transparent about itthe sphere on the contrary appears to be s olid, with what looks like a

metallic sheen ref lected off its exterior. The so-called celes tial lines more realistically suggest the seams of

metal plating that covers the outer circumference, made of a st range blue-black material.

The sun is t oo indist inct to repres ent the s olar body, and in a technological context more likely is an electrical light

source des igned to illuminate t he spheres immediate s urroundings.

As for the moon, its unnatural double crescent with touching ends was not meant t o depict a flat circle in two

dimens ions, but forms the edge of a three-dimensional narrow-width cylinder seen from an anglewhat we t oday

would identify as a camera lens protruding off the spheres surface.

Without a doubt the most outlandish f eatures are t he two antennae. They bear no resemblance whatsoever to

any type of scepter or staff of power used by Renaissance officials, political or religious. Usually a scepter is

pointed at t he bottom end and has some symbol or figure prominently displayed at its apex. I n contrast , the two

object s held by the Trinity members are s lightly wider at t heir bases than their tops.

In fact, on much closer inspect ion, it can be clearly seen that both object s have an inherent teles coping design.

They are s egmented into distinct sect ions which could be collapsed into a smaller siz e, and when pulled apart would

extend to greater lengths.

The problem is, teles coping was a mechanical innovation which was not invented unt il the early eighteenth century.

What is it doing being portrayed in a painting over a hundred years t oo soon?

Even stranger, it can be observed that the two antennae are fastened to the sphere with gold or brass-colored

grommet-rings, and certain lengths of the antennae also have grommet-rings. A grommet-ring is a threaded

eyelet that is used to tighten and hold metal segments in place. Once again, we are dealing with something from

another t ime, f or such an innovation did not appear in industrial machinery des ign until the mid-nineteenth century.

And then there is the anomaly of the antennae themselves . We today of course are very familiar with their utilization

as rabbit ears, used for te levision, radio and other s ignal rece ivers and transmitters. Even the recognizable

wide-angle dispersion configuration is f aithfully pictured in the Renaissance painting. Yet t he existence of antennae

for the earliest radio transmiss ions did not appear until the first part of t he twent ieth century.

Going a st ep beyond, it can also be noticed that the sphere is clearly depicted as not resting on the background cloud

it is pictured with, or sits on any surface whatsoever, but is hovering in place, held up by the invisible powers of the

Trinity. Also, the sphere cast s no well-def ined shadow, which means that it did not appear in the physical but was

more likely seen as a projected image. H ere we are now dealing with possible anti-gravitational or elect rostatic

levitation, as well as sophisticated holography, that are beyond our present abilities .

Looking at all these various anomalies and their technical implications incorporated t ogether into one object, the upshotis t hat we are apparently being confronted with the pres ence of an artificial mechanism specifically des igned to

illuminate and photograph scenes with a camera, and then broadcast the images to somewhere else. I t could project

its elf t o a specific location, levitate in place, perform its remote viewing task perhaps f or only a few s econds, then

disappear and ret urn to its original point. But where would that origin point have been?

Ufologist s and ancient astronaut theorists have been quick to seize upon this out-of-place object as being proof of

an ext raterrestrial visitation, possibly a spaces hip seen by the artist. The problem is, t here is nothing especially ali-

en about this device. In fact, every one of its aspect s is recognizable as t he product of a purely earth-bound

technology.

The real mystery is not one of place but one of t ime. The sudden appearance of s omet hing displaying elements of a

futuristic technology in the s ixteenth century s trongly suggest s that t his is ultimately where it must have come

from, t he f uture. Either that, or it was a project ion far forward from a lost advanced civilization long disappeared that

developed along technological lines not that much different from our own today.

The questions remain, what exactly did the artist see, and why did he portray it in the manner shown in his painting?

BY JEANE MANN ING

LOST HI STORY

Ross lyn Chapel & 2012

BY JAN WICHERIN K

Asylum from the TER ROR

BY STEVEN SORA

MICHAEL CREMO

Bolivian Footprints from the Deep

PastBY MICHAEL CREMO

OUT-OF-PLACE ARTIFACTS

Time Travel Evidence

BY JOSEPH ROBERT

JOCHMANS

PUBLISHER 'S LETTER

Dist inguishing Reality f rom I llusion

BY J. DOUGLAS KENYON

READER FORU M

On the Cutting Edge

VIDEO & DVD

Lost Ancient Technology

BY MAR SHA OAKS

ADVERTISMENTS


2 of 4 04/19/2011 07:55 PM


3/4

Undoubtedly, Salimbeni regarded his encounter as a God-given vision, and through his artist ry sought to comprehend it

in that context. The device could have suddenly and unexpectedly appeared bef ore him as if out of thin air, then

quickly vanished after only a few s econds. But having an artistic eye sens itive to details, he very likely immediately

made sket ches of what he saw so he could later bett er remember it and portray it in the larger and more permanent

masterpiece work we see today.

St eeped in a church-oriented upbringing and education, Salimbeni could only interpret his experience as heaven-sent.

This may be why, in his painting, he placed the object among the Trinity, because in his t ime period they were the only

acceptable source of t ruly miraculous events .

Being a good Catholic, and having been res ponsible f or numerous other art pieces of a religious theme, there would

have been no question in Salimbenis mind of t he t rue origins of t he apparition. The f act t hat the object had hovered

before him with no earthly supports could only mean that it had been held aloft by the hands of Divine Providence, and

he deliberate ly pictured it that way.

The artist may very well have t hought t hat the sphere in his vision symbolized the universe, and purposely re-

interpreted the t wo exte rior items he saw on its surfacethe light and the camera lensas being the greater

illumination and lesser illumination of the s ky, namely the s un and moon.

Luckily, Salimbenis excellent memory overcame his des ire to reduce everything he saw to a religious context. He

preserved enough details in his painting that he could not fully underst and in his day, but which we, in our time, s eeing

through our modern technological eyes , can bet ter recognize.

Rather than being heaven-sent, the evidence instead points to the mysterious device having been time-sent.

As to just when in hist ory, either past or future, it was sent from remains the real unanswered enigma.

Joseph Robert Jochmans. The above is excerpted from a privately published book, Remnants of t he

Lost: Outof-Place Artifacts From the Incredible Past , by Jochmans. Inquiries about this and other books by

the author can be requested from: Forgotten Ages Research, P.0. Box 94891, Lincoln, Ne 68509. U.S.A.

by admin - September 1s t, 2008.

Filed under: Featured, Out-of-Place Artifacts , Stories.

Leave a Reply

Name (required)

E-mail (required)

URI

Your Comment

submit

The appearance of any comment in this space does not constitute an endorsement by Atlantis Rising magazine. Any

claims or assertions made, are the sole responsibility of the author, and readers should exercise appropriate caution in

evaluating their cr edibility. Please refrain from making personal attacks and accusations in your comments. If you feel

Type the two words:


3 of 4 04/19/2011 07:55 PM


4/4

you must provide negative information to the public about someone mentioned in our articles, just direct readers to an

appropriate web site.


4 of 4 04/19/2011 07:55 PM

Documents

Atlantis Rising Time Travel