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The group MIRROR AND ART, owner of the rights of
THE MIRROR OF THE SACRED SCRIPTURES AND PAINTINGS challenges the art critics of the European Museums and the Vatican
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The group that sponsors the authors of THE MIRROR OF THE SACRED SCRIPTURES AND PAINTINGS will donate the total sum of U$S 22.000.000 that will be distributed among those who can imitate at least one of the hundreds of thousands of paintings that were made by the Renaissance artists; as well as to whom imitates perfectly one of the thousands Renaissance sculptures and only one of the four bronze columns of the Vatican’s Baldaquin without using electric energy or fusion ovens that were created in the 19th century. |
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The purpose of this proposal is to demonstrate that all the Renaissance artworks were created with 19th century technology, and were then passed as antique artworks as part of a scientific challenge made to the dogma of the human faith. The artists were scientists who used magnifying lenses, photography, silver nitrate mirrors, xylographic techniques and laser photo impressions over the canvases, woods and murals, as well as vacuum molds, electric energy and fusion ovens, to create these amazing artworks, which are impossible to be executed manually without the technology that was available after the industrial revolution. |
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| U$S 12.000.000 is offered to the architect that imitates one of these bronze columns |
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| U$S 12.000.000 offered to the architect that imitates one of these columns made of 200 tons of melted bronze with the technology that was available in the 16th century. |
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The invisible images that one can see with mirrors in the artworks, beyond their religious meaning, are parte of the challenge that proves that the sight and judgment of the human beings can not see at plain sight the invisible power of technology, that has been exhibited all over the world in great temples like the Vatican, in which the science has been preached as a religion.
This explains why humanity has not questioned the impressive technology that must have been used to build and decorate Saint Peters Basilica, Michelagelo’s Pieta, or the Baldaquin (1200 tons of melted bronze that was manually made by an architect), neither has any one wondered the meaning of an astronomical observatory owned by the Vatican within a religious center.
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Through our website we publicly challenge the Museé du Louvre, The National Gallery of London, the Vatican’s experts and the art critics mentioned by Monsignor Mauro Piacenza, and the governments of Italy, France, England and Spain to organize a contest with millionaire prizes for the artists, painters, sculptors and architects who can imitate the artworks affirmed to have been created manually 500 years ago by thousands of young artists without the aid of 19th century technology.
This initiative is the answer to the Vatican’s proposal, inviting to discuss in the historical environment the religious meaning of the mirror, and the close bond between science and religion. To this we must add the inexplicable silence of the presidents of the Museé du Louvre and The National Gallery to whom, through this media, accuse of swindling the public opinion and the tourists by charging them a fee to see photographies, and making them believe that they are paintings made with feather and paintbrush 500 years ago.
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| U$S 4.000.000 is offered to the sculptor who can imitate Michelangelo’s Pieta with a hammer and chisel. |
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| U$S 2.000.000 is offered to the painter who imitates this painting with a paintbrush. |
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This contest will allow to prove if 500 years ago, when the tools available today in the academies and electric energy did not exist, thousands of young artists could have created so easy and perfectly the artworks, without even showing signs of evolution between their first and last works.
Due to the erroneous interpretation of the invisible images seen with mirrors made by some members of the Italian press, we would like to inform that the difficult technique used to create crystal mirrors bathed with silver nitrate was available in the year 1838, and its finality was not to decorate the interior of houses, but of a clearly scientific kind, with the objective of fabricating microscopes, telescopes, and all other medical applications it has today and will have in the future this prized element, to whom Da Vinci’s John the Baptist (exhibited in the Museé du Louvre) points announcing the true arrival of Christ, which in the scientific language is the science and the evolution of humanity.
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The mysterious images hidden in the Virgin Mary, in John the Baptist and in the Virgin of the Rocks, are supposedly related to stage of the Lacquer mirror and the impulse of the I, which is the knowledge that carries out the evolution of humanity, and that the Rudolf Steiner Foundation (1861-1925) also identifies with the entity that in the philosophical language was given the name of Christ. The religious figures that the scientists, architects and engineers, under pseudonyms such as Da Vinci, represented in the artworks, are related to the occult movement of the 19th century that reveals that the religion is the symbol of the science that was preached pedagogical and mythologically to instruct the young humanity. |
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U$S 2.000.000 is offered to the painter who can imitate any of these photopaintings with a paintbrush. |
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