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Da Vinci and the Sistine Chapel Sorry but there is no way Michelangelo was that smart. Da Vinci is the true genius behind the Sistine chapel A was the painting architect B he painted the hardest portions C he painted most of it, under a clandestine agreement
between Michelangelo and the Pope. since Da Vinci himself was hated by most
of the bishops of the Vatican. Da Vinci was that smart, but Michael was not. It takes no stretch of the imagination at all to assume Da
Vinci was smart enough to build a map and codes into his work. He did that
into almost every work he did. This would be no exception in any way. It takes a huge leap of faith to
assume for even a second that Michelangelo was smart enough to build in maps,
and other secrets into his work. He did not have any history in any
way of building in complex maps, secrets, etc. into his works. His decades of experience, he was a
master sculptor, but he was not in almost any way smart enough to follow in
the footsteps of his master Leonardo Da Vinci. No one would question the basic
premise if the Sistine Chapel was painted by or at least designed by Da
Vinci. In fact, Da Vinci scholars would
immediately begin to look for the hidden codes, maps, etc. which are present
in almost every other single work Da Vinci did. That statistical analysis is
absolute. Michelangelo; doubtful he was that
smart Da Vinci; not only was he that
smart, but he could not help himself, he would have designed in codes, maps,
and puzzles into his works. Close to impossible to assume otherwise. We have a solid basis in facts.
Doubtful to a fictional level, and a could not be done without it from the
other. There is absolutely no doubt in most scholars
minds this God brain extremely complex painting is intentional. But Michelangelo did not have this knowledge, he
did not use this type of knowledge of anatomy in anything at all else that he
did before or after. He simply did not use anatomy, he used biology, but not
anatomy. Da Vinci on the other hand was an expert in
anatomy, biology, physiology, mathematics, engineering, medicine, chemistry,
etc. etc. etc. This is one piece of evidence that Michelangelo
did not paint the ceiling, or at least design this specific panel. It is strong almost impossible evidence to how Da
Vinci did not. Close to the only person on the planet callable of painting it
was Da Vinci. Da Vinci (April
15, 1452) and the Sistine Chapel 1508–1512. Da Vinci was in his
middle 50s to early 60, Michelangelo was in his early 30s. The skills of a
seriously legendary master of painting Da Vinci possessed without the
slightest doubt. Michelangelo did not in almost any way. Leonardo was more than smart enough to come up
with the brain structures as God. However, he was also smart enough to have guessed
that the ancient sciences of the Egyptians from which the building the Sistine
Chapel has been a resident of Heliopolis since the city was still called IWNW
circa 5000 bce. The city was this building and the
city and building were the same thing and name. The Capitol City of Pillars. Da Vinci possessed an IQ of well over 200. In his work with
the Vatican and of course his work with the Catholic Church while the
building was being rebuilt from its previous modeling circa 1473,
De Vinci was a man of about 20. Construction had taken place in his 20s and
the plans had taken place in his teens. Despite the fact that he was from Anchiano Italy, that is about 100 give
or take miles from Rome itself. He would have been a noted and remarkable
person interested in the subject. It took more than
four decades and at least two popes between, but they would have finally been
semi-allowed to be included in some aspects of the building itself. Not the
remodeling, or the structuring of it; but he would be allowed to assist in
the fresco painting of the ceiling. Why the ceiling, because for most of the
time the scaffolding prevented all but a very small number of people to even
see the painting process let alone the painter. The painter would
be on a platform, at least 10x10 if not larger to paint the frescoes in time
and have them blend into each other seamlessly. Da Vinci could paint that
way, Michelangelo would not have possessed those skills. Forget a mastery of
those skills, legendary skills are lightyears beyond those type of skills. However, for
Leonardo, being hidden by the scaffolding is simply part of the clandestine
efforts. But this brings up
a very interesting other connection. Moses used a
scaffolding to create the Hebrew letters. The language he used to build his scaffolding
from was the Elder Futhark, the Elder Futhark is the structure of the
Scaffolding. However, in all
large pieces of art, scaffoldings were standard procedure. They were
obviously required in order to not have painters try
in vain to use ladders and have to use three hands to paint. The larger the
piece of art, the larger and more elaborate the scaffolding would need to be.
The scaffolding
for the most part hid the overwhelming majority of the artwork from view until the
scaffolding was removed and the entire piece of art could be perceived. For the most part
over the years and years it took the construct, from 10 feet high up the
entire Sistine chapel center building was entirely cut off from view from
most people. Easily creating huge areas which dozens of people could easily
hide in and not be seen for years. The Sistine Chapel
itself The history of the
building itself is long, detailed, complicated, and plays a part in the bible
at least twice if not more. The original Capitol
city of Pillars or in Indo-European language IWNW is likely the masonry and
some of the timbers used to build the Chapel in the first place. The City of IWNW
was renamed Heliopolis circa 3500 bce by an invader
of Egypt from Mecca. The temple of IWNW was by legend built by Adam himself. The building had been rebuilt on several
occasions. In both Egypt and of course on Vatican property. The similar sciences which Da Vinci used on
several of his other paintings it appears that he used a Freemasonic 3x3x3
framework similar to the 3x3 he used for the Last
Supper. However, for this ceiling a larger and more audacious
type of mathematics would be required. But there was another problem, Leonardo was hated
by most of the Vatican. The Pope did not mind him, but most of the Bishops
did and the office of inquisition wanted on several occasions to arrest him
and execute him for heresy. But his friends were far too powerful to allow
his arrest. He was good friends with the Medici, some friends in Rome, Machiavelli,
the King of France, etc. He had really good
friends, so the inquisition could not arrest and kill him. But to pull off
the Ceiling of the Chapel would require some clandestine operations as well
as someone most of the Vatican liked and was a specific favorite of the Pope.
Michelangelo (March 6, 1475,) was about 20 years younger than Da Vinci. Which means at
the Venice school of art Leonardo was Michelango’s
painting master. Everything Michelangelo knew about painting was taught to
him by Leonardo. One of the human’s best painters; if not the best painter
humans have ever produced. Michael was good, but Leonardo was as stated one
of the best if not the best painter to have ever lived. But there is a problem. Leonardo himself was not
welcome in the Vatican, but Michelangelo was. So how to fix/adjust the problem.
Simply have the chapel sealed off most of the
time. The painter spends hours out of sight of anyone on the floor. And it
took years, with long breaks between painting sessions. To that Michelangelo
could do his sculpting and Leonardo could make appearances in other locations
to appear he was far away. But in all hard reality Michelangelo did not have
the skills in painting, geometry, anatomy, etc. to pull of the ceiling. Now something else of extreme note. Leo was not gay, but a huge chunk
of the clergy at that time were. Michael was also about as gay as Freddy;
just look at the "queer eye for the straight guy" Swiss guard uniforms.
I mean come on now girlfriend. who else but a raging queen would design that. The Ceiling is laid out according to the story of
Genesis. But it is not laid out in a linear fashion, it is laid out in a
pattern similar to that of the ATEN. Did Leonardo use the structure of the Egyptian
ATEN to design the layout of the panels? Did Michelango’s first
attempts at painting end with his utter understanding he was no where close to the man who taught him painting. He
then asked the pope to bring in Leonardo clandestinely to paint the panels.
He would be paid, but he would have no part in any of the recognition. There is a map built into the structure and
layout of the Sistine chapel panels. That map is absolutely
present. The only question is, is the map present intentionally or
unintentionally built in by Leonardo Da Vinci. Physical evidence of said designs in his
notebooks. About 5 to 15 of Da Vinci’s notebooks were stolen in the hours before
and after his death. They simply “disappeared”; there is no logical reason in
the world to assume those books were not confiscated by either the King of
France’s man or the Bishop from Paris who was specifically tasked to wait until
Leonardo was close to or actually dead and
confiscate those books which would show conclusive proof beyond a doubt the
Sistine chapel work was definitely his. How can we be so sure. Everyone who knew Leonardo knew flat out that he,
with extreme certainty, wrote his ideas and sketches in his notebooks. That is not in question in any way. So, part of the deal he had to follow for the
Vatican and Michelangelo was that he only write and
sketch for the panels in specific notebooks he was either given and or he
purposely purchased for this specific project. Which is not the first time.
Some of Da Vinci’s previous masters had forced him into the same agreement,
those notebooks belonged to his master after the work was done. Machiavelli for instance, the notes which became
“The Prince” would be part of the deal he made with Da Vinci. Noah’s Ark Vatican
Sistine Chapel Sistine
Chapel God and the brain We
know da Vinci was one of the smartest people to have ever lived. But
what happened next is of extremely important to the maximum degree. Da
Vinci was a major pain in the butt when it came to being
forced into things. He
was such a huge pain in the butt when it comes to being forced into contracts
he did not want to do. The
Vatican forced Da Vinci to give all credit to a student of his who was more
than 20 years his junior. He was forced to accept Jr Michelangelo as his
equal; despite no evidence to back it up. The
Vatican forced Leo to paint frescoes; paint on wet plaster. A form he hated
the most. It
did not allow for time he wanted to think about how to make every brush stroke
absolutely perfect. He
only had a few hours to paint x square feet of space. When he would have
liked days to weeks to paint those square feet to make every brush stroke absolutely perfect. He
was forced to use only specific notebooks which were ceiling specific. So,
with all those forced things, Leo would on have not been able to keep his
aggressive and scientific mind at rest. He would have used the time and money
to hide the ultimate secrets and codes buried deep into the panels in the
paintings in the ceiling. He
would have taken four decades to think it all out. To think out what the
ceiling could be, could do, his inventive and creative mind pushed for 4
decades of annoyances and frustrations. What could a mind like that do over 4
decades of being actually angry with his church,
local politicians, artists, education, medical science, etc. he would have
had more than sufficient time to think it all out. He
would have also been able to think about ancient cultures and expeditions by
friends of his family who had gone to Egypt and seen the pyramids for
themselves. He was not allowed to go for a variety of reasons, but he would
have been educated in the subjects. Unlimited
resources, unlimited money, 10 years to perform the painting but 3 decades to
think it all out. What
could a mind like his do with those parameters. His
mind would have gone to the ultimate science prize. Time
Travel. What
if Leo built the blue prints for a time machine into the panels he painted on
the ceiling of the Sistine chapel. More on the bottom of these graphics Right off the bat, with some exact specificity,
the code primer for said hidden information can be found Flat out in the fact that the panels are laid out
according to “The ATEN”. The circle at the center, and the limbs of God
and man extending This would point to the ATEN from a given center
place to measure from that center point (first rule of mathematics, measure to
and from fixed points) out to different panels. The center of the ATEN
happens to be the exact feet between the finger of God and the finger of man
reaching for each other. This is the very definition of both the Ptah
standing on the Ben Ben stone reaching up to geb/nut/shu as well as the
exact definition of Jew. The descendants of the holder of the limb. Two codes
in one, which then fan out in the shape of the ATEN. The basic idea of the ATEN and the Ceiling. An example of the from fixed point to fixed point
in the AEtt of the Elder Futhark. From hand to hand, from any given fixed point to
any given fixed opint. Although this first one is from the light of the center
of the universe the ATEN out to usually hand Fixed points. The hand seems to be a huge deal with Jesus, so the
fixed point to work to and from is the hand. Now the next part becomes a bit interesting. The question
is; did Da Vinci know and design accordingly Or did is this code but part of our DNA and comes
out naturally. From fixed points to fixed points. The ATEN fixed center point, out (arms, legs, appendigis) to given fixed points. usually to start with
either hearts Or hands. |
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TR Welling |
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