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

[Richard]

I read an article called time travel evidence in Atlantis Rising that I thought was interesting. I haven’t found much info on the net about it yet but Atlantis Rising has a PDF you can check out at the link below. Go to page 7 and there is a clip and photo from the article.

http://www.atlantisrising.com/incl/pdf_sampler/71sampler.pdf

TIME TRAVEL EVIDENCE
BY JOSEPH ROBERT JOCHMANS

Our world is filled with many anoma-lies, most of them well documentedand incontrovertible, which demon-strate that space and time are not what we think they are. One of the strangest of these is an enigmatic object which appearsin a painting in the little church of Montal-cino in Italy, dating to over four hundred years old. The object can be classified as agenuine “out-of-place” artifact, because it in-corporates several apparently advanced as-pects in its design. But the context in which it was placed inthe painting and portrayed in detail opens up a whole different level of technological in-quiry and potential achievement. The item’sexistence raises not only the question ofwhere did it come from, but more impor-tantly, when did it come from? For here weare faced with something that is more thanout of place, it also appears to have comefrom a totally different time. In essence, what we may be looking atcould be the first real evidence for time travel. At this point, we cannot be sure if the item in question manifested from our future or if it represents some kind of time-traveling technology, which was the product of the un-known past, built and sent forward to our pe-riod from some prehistoric civilization now lost to us. Let the readers judge for them-selves. In 1595, Italian artist Bonaventura Salim-beni (1567-1613) was commissioned to pro-duce a painting for the right-hand altar of the Church of St. Peter at Montalcino, located within a few miles of Florence. He was amember of a prominent family of artists fromnearby Siena, and the goal of his commissionwas that his work be completed for the Chris-tian Jubilee Year of 1600. According to the message accompanying his signature, Salim-beni’s painting was finished right on schedule. The Montalcino art masterpiece is enti-tled “The Glorification of the Eucharist,” and features a vertical work divided into three segments. The lower third depicts a number of worshipping figures seated before the altar, including priests, cardinals and one in-dividual wearing a papal crown believed tor epresent Pope Clement VII. The middle third shows the altar itself,and prominently displayed in its center is the Cup of the Eucharist emblazoned in glowing light. The upper third of the painting symbol- that it looks exactly like a spheroid satellite with two antennae, something akin to theold Russian sputniks or American vanguard orbiters of the late 1950s. But what is it actu-ally supposed to be? Renaissance art experts interpret the strange sphere as representing the universe, showing the faint lines of celestial longitudeand latitude, plus the images of an obscuresun and an exaggerated crescent moonizes heaven, dominated by the three Beingsof the Holy Trinity who are looking down onthe earthly scene below and giving their blessings—God the Father depicted as a Moses-like bearded old man, God the Son as Jesus Christ, and the Holy Spirit portrayed as a Dove hovering above the center. What immediately catches the viewer’s attention, however, is something pictured inamong the Trinity members that to modern eyes seems very familiar, but not from theright time period. The first impression is OUT-OF-PLACE ARTIFACTSTIME TRAVEL EVIDENCE Does a 16th-Century Painting Show Technology from the Future?

Salimeni's "Glorification of the Eucharist"  is an amusing image to behold because it looks so very much as if Jesus and God the Father are holding onto the Soviet satellite Sputnik.

http://www.abovetopsecret.com/forum/viewthread.php?tid=188505&page=1