MILO RAMBALDI



MILO Giacomo RAMBALDI
b. 1444 - d. 1496
Chief Architect for Pope Alexander VI (circa 1470)
Prophet and Seer...Psychic and Alchemist

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 contained 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 and wikipedia.com


SEASON 1 (ONE)
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SEASON 2 (TWO)
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SEASON 3 (THREE)
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SEASON 4 (FOUR)
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SEASON 5 (FIVE)
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