Born in 1444, Milo Rambaldi was chief architect for Pope Alexander VI. In
equal parts prophet, mathematician and artist; scant trace was left to prove
his existence, except through precious documents, most of his own creation:
notably his hand-made notebooks contained detailed schematics for inventions
which preceded his time.

Rambaldi's "machine code" was documented as early as 1489, through the
innovation of data compression and his use of pre-binary 1's and 0's. His
drawings and documentation were enciphered in multiple languages, (Italian
and Demotic hybrids have been discovered) through elusive mixtures of
pre-masonic symbols and encryptions. Some have been drawn so as to be
invisible to the naked eye, and require the aid of a special solution for
reading... Visit: http://www.followersoframbaldi.org/
for a more complete biographical profile of the late seer and prophet.

What is "The Prophecy?"

"The Prophecy" was contained in a text revealed, on one of the blank pages of
a Rambaldi notebook, and intercepted by Sydney during an exchange between Mr.
Sark and Lavro Kessar's men. In each of Rambaldi's notebooks, page 47 is
known to hold particular significance. In this case, the invisible ink on the
paper was revealed later by CIA, using liquid from the ampule retrieved
during McKenas Cole's SD-6 takeover...The solution revealed an image of a
woman's face, bearing striking resemblance to a young Ms. Bristow.

Excerpted, Rambaldi's "Prophecy" reads: "The woman here depicted will possess
unseen marks. Signs that she will be the one to bring forth my works...bind
them with fury; a burning anger. Unless prevented, at vulgar cost, this woman
will render the greatest power unto utter desolation. This woman, without
pretense, will have had her effect, never having seen the beauty of my sky,
behind Mount Subasio. Perhaps a single glance would have quelled her fire."

After Sydney was taken into custody by the FBI's Department of Special
Research, and questioned in connection to this reference, she later cleared
her association with "The Prophecy" by climbing up Mt. Subasio, with the help
of a special extraction team -- Jack, Vaughn and Weiss.

BIOGRAPHY:
MILO Giacomo RAMBALDI
b. 1444 - d. 1496

Born in Parma in 1444, Rambaldi was educated by monks of the Vespertine
order, and until the age of 12, was self-employed as a painter, sculptor and
student of the arts. Introduced to Cardinal Alexander of the Roman Catholic
church, during his travels to Rome at the age of 18, he was retained
privately as architect, consultant and prophet, when Alexander became Pope in 1492.

Despite this benefactor's wishes to see Rambaldi prosper, during his lifetime
Rambaldi and his works receded from visibility by commandment of Archdeacon
Claudio Vespertini, who feared the revolutionary implications of technologies
defined in Rambaldi's belief system, and sought to have Rambaldi's works
ontained and eventually eliminated. He conflicted with Alexander VI on this
one matter; a moot point at the time of the Pope's passing in 1503.

Vespertini commanded that the name Rambaldi be "washed" from all monuments and
edifices throughout the period of 1470 to 1496, at which time he ordered that
the Pope's engineer be excommunicated for heresy, his workshop in Rome be
destroyed, and that he be sentenced to death by flame, upon Rambaldi's
declaration that science would someday allow us to know God.

Milo Rambaldi died a lonely man, in the Winter of 1496. He had no surviving spouse or heir.

Shortly after Rambaldi's demise, a second, "secret workshop" was discovered,
in San Lazzaro, and was systematically torn apart by agents of the Vatican.
In a movement to discredit his work and influence, plans and sketches were
sold and traded for next to nothing by mandate during a private auction.

Since the 15th century, traces of Rambaldi's enigmatic work have turned up in
various places around Italy, France, parts of Eastern Europe and the former
Soviet Union, and even a museum warehouse in Waterbury, Connecticut in 1921.
The design directive for many of these drawings remains unclear to this day,
and has even inspired some impressive forgeries.

Rambaldi is said to have preceded the digital information age by implication
of an illustrated "machine code" language as early as 1489, through the
introduction of cryptic algorithms (eg, compression) around his use of
pre-binary 1's and 0's. Many of his drawings and documentation are written in
multiple languages ranging from Italian and Demotic hybrids, to elusive
mixtures of symbols (pre-masonic cipher encryptions).

Rambaldi created the earliest known watermark on all of his papers, known as
the "eye" of Rambaldi, and which show up to the naked eye only when held to
black light. His waterpapers were all hand-made and of a unique polymer fiber
(similar to onion skin), and possessing a consistency that has lived and aged
well-beyond its era, and in under (oftentimes) adverse storage conditions.
His watermark (the eye "") is so far the only test of accuracy against the
slew of falsifications and forgeries, which have also arisen in a revisionist
era, culminating with several prime examples of digital piracy. So far there
have been 102 known forgeries in balance to the total of 22 known and
documented sketches.

Documents interpreting Rambaldi's designs and teachings were highly
sought-after during the Third Reich, during Adolf Hitler's paranoid scavenger
hunt for occult and theoretical knowledge. During this period, the epithet
"Nostravinci" became part of the fuhrer's private lexicon -- a personalized
short-hand for the name Rambaldi, in auctioneering circles where the desire
for the seer's work still proved competitive.

Rambaldi's works are still, to this day, formally unpublished, due to a
consistent international ban on the name Rambaldi, its fascistic legacy, and
especially its lack of visibility; it has been alleged that a conspiracy of
containment precedes many of these twentieth-century discoveries, even that
the knowledge contained under private sanctioning of his documents remains
under the firm "hand" of the Trilateral Commission.

In 1988, a rudimentary schematic unearthed in one private collector's home in
Brazil, indicated on the back, a diagramme for a transportable vocal
communicator revealed the design and workings of contemporary cellular phone technologies.

Since March of 2001, (KDir Classifications Director) Olgi C. Krystovnich (b.
1964, Russian historian and cryptologist) happened upon one of Rambaldi's
earliest designs, ca. 1460, located and released from a personal collection
in Madrid. In this drawing, she identified a prototype that reflected the
properties and composition of a 20th century transistor design.

The remainder of Rambaldi's oeuvre remains forgotten, and much of it has been
destroyed, with much uncertainty remaining as to how many notebooks he might
have filled during the fifty-four years of his life.

Source: ABC.com