Saturday, 30 December 2017

Truth From God - What is Man?

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Trump's ultimate con. 61735.jpeg
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US, Israel and Saudi Arabia Cooperate Against Iran




If You’re Wondering Why US, Israel and Saudi Arabia Cooperate Against Iran, Here’s the Answer
TEHRAN (FNA)- It doesn’t take a strategic mind to understand why Israeli media is reporting a secret deal has been negotiated and signed by the Trump and Netanyahu regimes regarding what they describe as “the Iranian threat,” pledging full cooperation with one another – and Saudi Arabia - in targeting Iran in various ways.
Long before this deal, the US and Israel had already established multiple organizations and teams of both US and Israeli spy agencies charged with targeting different aspects of Iran, from its civilian nuclear program (by assassinating its nuclear scientists and sabotage) to its defensive missile systems (by creating media hue and cry in the West and the United Nations).
Nor is that all. The US and Israeli regimes have been hopelessly trying to confront with Iran, potentially military confrontation, for many decades. This includes from backing Iraq’s dictator Saddam in his 8-year war in the 1980s to shooting down Iranian passenger planes over the Persian Gulf, targeting its oil tanks, imposing illegal sanctions and restrictions on Iranian people and government, supporting anti-Iran terror groups like MKO, ISIL and Al-Qaeda, and most recently targeting Iran’s allies in the region (Iraq, Syria and Yemen) through regime-change campaigns and via terror proxy groups, and of course doing everything they can to derail the 2015 nuclear deal signed between Iran and the P5+1 (US, UK, France, Russia, China, plus Germany).
So, it should be clear by now how the new “secret deal” won’t change any hostile US or Israeli policy towards Iran. In the near-term President Trump seems to be set with trying to sabotage the P5+1 nuclear deal, and Israel is perpetually beating the war drums on Iran, and indeed any other Shi’ites they come upon, so they have limited options for anything else they can do. Much of the focus is likely to be on planning and making joint speeches about how “aggressive” Iran is being, and how super ready for war the US and Israel are, though naturally there is always a risk that any such joint operations grow from another layer of desperation into launching a war outright.
In other words, the new deal to confront Iran isn’t something new – it doesn’t come with anything specific in mind that they haven’t done before, and rather just progressed because both US and Israeli officials don’t want to seem insufficiently hostile toward Iran by not signing off on the understanding after their disgraceful defeats in the regime-change wars through terror proxies in Iraq, Syria and Yemen.
And we haven’t even started talking about the secret deals and alliances against Iran between Israel and some regional Arab dictatorships, including Saudi Arabia. To that end, Bin Salman’s power grab is in itself spectacular. But the wider significance of this can only be fully understood in conjunction with events in Israel. The Zionist regime and Saudi Arabia have long shared a common enemy: Iran. Both claim the latter is exploiting the opening created by the fall of ISIL, and the triumph of the elected governments in Syria and Iraq, to dominate the region. Iran and its allies – including Hezbollah in Lebanon and Ansarullah of Yemen - are in the ascendant, and neither Israel nor Saudi Arabia can do anything about it.
So the two – in addition to the Trump regime - have been working together: close diplomatic and military cooperation, intelligence sharing and more. Mind you, Israeli media recently reported that a senior Saudi prince, possibly Bin Salman himself, paid a secret visit to Tel Aviv. Apparently, the idea of a Saudi-Israeli alliance is no longer controversial in both capitals, but details are starting to leak out.
Amid the recent madness, for example, we saw the forced resignation of Lebanese Prime Minister Saad Hariri. He was summoned to Riyadh, where he was forced to read a letter announcing his immediate departure, the official reason being that he feared an assassination attempt by Hezbollah. But why would a prime minister visit a foreign capital to resign? The odds are that he had no idea he was resigning until he landed in Riyadh to meet Saudis furious at him for holding talks with both Iranian and Hezbollah officials. His saga shocked the region for quite some time. But it didn’t shock the Israelis or the Americans. A leaked memo shows Israeli diplomats being instructed to back the Saudi version of events, and start to join Riyadh in denouncing the Ansarullah resistance movement in Yemen.
This brings us back to the night of the long knives: An outpouring of anti-Iran sentiment might for some time provide a rallying cry for those who lost the regime-change wars in Iraq, Syria and Yemen – Iran’s closest regional allies. But they won’t be able to change the current turn of events. The disgraced warmongers have become increasingly isolated on the international stage, particularly in the United Nations where the General Assembly voted overwhelmingly against Trump’s declaration of Jerusalem Al-Quds as Israeli capital and called on Saudi Arabia and other Arab despots to end their criminal war against Yemen.
In the prevailing environment don’t be surprised to see the established enemies of the Resistance Front conducting joint aerial military drills somewhere in the region – all simulating war with Iran and its regional allies. The United States and Israel have already tightened a military alliance with Saudi Arabia, and have all but declared war on Iran long before their latest “secret deal” - with Hezbollah as their first target.
After all, imprisonment without trial, extrajudicial executions, human rights abuses, racism and corruption, military rule, war crimes, wars of aggression and suchlike; all these characteristics belong to the American, Israeli and Saudi regimes. And as for being supporters of terrorism, the warmongers will continue to destabilize post-ISIL Iraq and Syria by exporting their state-sponsored terrorism – and their money and weapons – to the most vicious proxies in the Middle East. In between, Israel will refrain from bombing these same vile creatures – and even give hospital treatment to wounded fighters from the Al-Nusra Front. It’s a criminal project of which Washington, Riyadh and Tel Aviv have all been in favour for decades.
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Friday, 29 December 2017

Afghanistan and Turkmenistan inaugurate apis Lazuli railway - 2016

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More American Troops to Afghanistan, To Keep the Chinese Out? Lithium and the Battle for Afghanistan’s Mineral Riches



https://www.globalresearch.ca/more-american-troops-to-afghanistan-to-keep-the-chinese-out-lithium-and-the-battle-for-afghanistans-mineral-riches/5605456

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Thursday, 21 December 2017

Lorenzo Ghiberti - the Doors



From Wikipedia, the free encyclopedia
Lorenzo Ghiberti
Ghiberti.png
Lorenzo Ghiberti on Gates of Paradise, modern copy Florence Baptistery
Born Lorenzo di Bartolo
1378
Florence
Died 1 December 1455 (aged 76–77)
Florence
Nationality Florentine
Known for Sculpture
Notable work Gates of Paradise, Florence Baptistery
Movement Early Renaissance
Lorenzo Ghiberti (Italian: [loˈrɛntso ɡiˈbɛrti]; 1378 – 1 December 1455), born Lorenzo di Bartolo, was a Florentine Italian artist of the Early Renaissance best known as the creator of the bronze doors of the Florence Baptistery, called by Michelangelo the Gates of Paradise. Trained as a goldsmith and sculptor, he established an important workshop for sculpture in metal. His book of Commentari contains important writing on art, as well as what may be the earliest surviving autobiography by any artist.

Contents

Life

Early life

Ghiberti was born in Pelago, 20 km from Florence. His father was Bartoluccio Ghiberti, an artist and goldsmith, who trained his son in goldsmithing. He then went to work in the Florence workshop of Bartoluccio di Michele, where Antonio del Pollaiolo also received his training.[1] When the bubonic plague struck Florence in 1400, Ghiberti emigrated to Rimini, where he assisted in the completion of wall frescoes of the castle of Carlo I Malatesta.

Florence Baptistery doors

Gates of Paradise.
In Flagellation, one of the panels on the North Doors.
Ghiberti's career was dominated by his two successive commissions for pairs of bronze doors to the Florence Baptistery (Battistero di San Giovanni). They are recognized as a major masterpiece of the Early Renaissance, and were famous and influential from their unveiling. Ghiberti first became famous when as a 23-year-old he won the 1401 competition for the first set of bronze doors, with Brunelleschi as the runner up. The original plan was for the doors to depict scenes from the Old Testament, but the plan was changed to depict scenes from the New Testament instead. However, the trial piece made was of the sacrifice of Isaac and still survives.
To carry out this commission, he set up a large workshop in which many artists trained, including Donatello, Masolino, Michelozzo, Uccello, and Antonio Pollaiuolo. When his first set of twenty-eight panels was complete, Ghiberti was commissioned to produce a second set for another doorway in the church, this time with scenes from the Old Testament, as originally intended for his first set. Instead of twenty-eight scenes, he produced ten rectangular scenes in a completely different style. These were more naturalistic, with perspective and a greater idealization of the subject. Dubbed "The Gates of Paradise" by Michelangelo, this second set remains a major monument of the age of Renaissance humanism.

Earlier doors by Andrea Pisano

As recommended by Giotto, Andrea Pisano was awarded the commission to design the first set of doors at the Florence Baptistery in 1329. The south doors were originally installed on the east side facing the Duomo, and were transferred to their present location in 1452. These proto-Renaissance doors consist of 28 quatrefoil panels, with the twenty top panels depicting scenes from the life of St. John the Baptist. The eight lower panels depict the eight virtues of hope, faith, charity, humility, fortitude, temperance, justice and prudence. Pisano took six years to complete them, finishing in 1336. In 1453, Ghiberti and his son Vittorio were commissioned to add a door case to Pisano's existing panels. Ghiberti died in 1455, eight years before the frame was finished leaving a majority of the work to Vitorrio and other members of his workshop.[2] There is a Latin inscription on top of the door: "Andreas Ugolini Nini de Pisis me fecit A.D. MCCCXXX" (Andrea Pisano made me in 1330). The South Doors were undergoing restoration during September, 2016.

1401 competition

In 1401, the Arte di Calimala (Cloth Importers Guild) announced a competition to design doors which would eventually be placed on the north side of the baptistry (the original location for these doors was the east side of the baptistry, but the doors were moved to the north side of the baptistry after Ghiberti completed his second commission, known as the "Gates of Paradise").[3]
These new doors would serve as a votive offering to celebrate Florence being spared from relatively recent scourges such as the Black Death in 1348. Many artists competed for this commission and a jury selected seven semifinalists which included Ghiberti, Filippo Brunelleschi, Donatello and Jacopo della Quercia.[4] At the time of judging, only Ghiberti and Brunelleschi were finalists, and when the judges could not decide, they were assigned to work together on them. Brunelleschi's pride got in the way, and he went to Rome to study architecture leaving 23 year-old Ghiberti to work on the doors himself. Ghiberti's autobiography, however, claimed that he had won, "without a single dissenting voice." The original designs of The Sacrifice of Isaac by Ghiberti and Brunelleschi are on display in the museum of the Bargello in Florence.
It took Ghiberti 21 years to complete the doors. These gilded bronze doors consist of twenty-eight panels, with twenty panels depicting the life of Christ from the New Testament. The eight lower panels show the four evangelists and the Church Fathers: Saint Ambrose, Saint Jerome, Saint Gregory and Saint Augustine. The panels are surrounded by a framework of foliage in the door case and gilded busts of prophets and sibyls at the intersections of the panels. Originally installed on the east side in place of Pisano's doors, they were later moved to the north side. They are described by the art historian Antonio Paolucci as "the most important event in the history of Florentine art in the first quarter of the 15th century".[5]
The bronze statues over the northern gate depict John the Baptist preaching to a Pharisee and Sadducee and were sculpted by Francesco Rustici. Rustici may have been aided in his design by Leonardo da Vinci, who assisted him in the choice of his tools.
After the completion of these doors, Ghiberti was widely recognized as a celebrity and the top artist in this field. He was given many commissions, including some from the pope. In 1425 he got a second commission for the Florence Baptistery, this time for the east doors, on which he and his workshop (including Michelozzo and Benozzo Gozzoli) toiled for 27 years, excelling themselves. The subjects of the designs for the doors were chosen by Leonardo Bruni d'Arezzo, then chancellor of the Republic of Florence.[6] They have ten panels depicting scenes from the Old Testament, and were in turn installed on the east side. The panels are large rectangles and were no longer embedded in the traditional Gothic quatrefoil, as in the previous doors. Ghiberti employed the recently discovered principles of perspective to give depth to his compositions. Each panel depicts more than one episode. "The Story of Joseph" portrays the narrative scheme of Joseph Cast by His Brethren into the Well, Joseph Sold to the Merchants, The merchants delivering Joseph to the pharaoh, Joseph Interpreting the Pharaoh's dream, The Pharaoh Paying him Honour, Jacob Sends His Sons to Egypt and Joseph Recognizes His Brothers and Returns Home. According to Vasari's Lives, this panel was the most difficult and also the most beautiful. The figures are distributed in very low relief in a perspective space (a technique invented by Donatello and called rilievo schiacciato, which literally means "flattened relief"). Ghiberti uses different sculptural techniques, from incised lines to almost free-standing figure sculpture within the panels, further accentuating the sense of space.
The panels are included in a richly decorated gilt framework of foliage and fruit, with many statuettes of prophets and 24 busts. The two central busts are portraits of the artist and of his father, Bartolomeo Ghiberti.
Although the overall quality of the casting is considered exquisite, there are some known mistakes. For example, in panel 15 of the North Doors (Flagellation) the casting of the second column in the front row has been overlaid over an arm, so that one of the flagellators appears trapped in stone, with his hand sticking out of it.[7]
Michelangelo referred to these doors as fit to be the "Gates of Paradise" (It. Porte del Paradiso), and they are still invariably referred to by this name. Giorgio Vasari described them a century later as "undeniably perfect in every way and must rank as the finest masterpiece ever created". Ghiberti himself said they were "the most singular work that I have ever made".
The story of Joseph, a panel from the second set of doors to the Baptistery

Other work

Ghiberti was commissioned to execute monumental gilded bronze statues for select niches of the Orsanmichele in Florence, one of Saint John the Baptist for the Arte di Calimala (Wool Merchants' Guild) and one of St. Matthew for the Arte di Cambio (Bankers' Guild). Finally, he also produced a bronze figure of St. Stephen for the Arte della Lana (Wool Manufacturers' Guild).
He was also a collector of classical artifacts and a historian. He was actively involved in the spreading of humanist ideas. His unfinished Commentarii are a valuable source of information about Renaissance art and contains what is considered the first autobiography of an artist. This work was a major source for Vasari's Vite. Ghiberti died in Florence at the age of seventy-seven.[8]
Ghiberti's "Commentario" includes the earliest known surviving autobiography of an artist. He discusses the development of art from the time of Cimabue through to his own work. In describing his second bronze portal for the Florence Baptistry, he states: "In this work I sought to imitate nature as closely as possible, both in proportions and in perspective ... the buildings appear as seen by the eye of one who gazes on them from a distance." The language Ghiberti used to describe his art has proved invaluable to art historians in understanding the aims Renaissance artists were striving for in their artworks.
Paolo Uccello, who was commonly regarded as the first great master of perspective, worked in Ghiberti's workshop for several years, making it difficult to determine the extent to which Uccello's innovations in perspective were due to Ghiberti's instruction. Donatello, known for one of the first examples of central-point perspective in sculpture, also worked briefly in Ghiberti's workshop. It was also about this time that Paolo began his lifelong friendship with Donatello. In about 1413 one of Ghiberti's contemporaries, Filippo Brunelleschi, demonstrated the geometrical method of perspective used today by artists, by painting the outlines of various Florentine buildings onto a mirror. When the building's outline was continued, he noticed that all of the lines converged on the horizon line.
Recent scholarship indicates that in his work on perspective, Ghiberti was influenced by the Arab polymath Alhazen who had written about the optical basis of perspective in the early 11th century. His Book of Optics was translated into Italian in the 14th century as Deli Aspecti,[9] and was quoted at length in Ghiberti's "Commentario terzo." Author A. Mark Smith suggests that, through Ghiberti, Alhazen's Book of Optics "may well have been central to the development of artificial perspective in early Renaissance Italian painting."[10]

Lorenzo Ghiberti Images

https://www.google.co.nz/search?q=lorenzo+ghiberti+images&client=firefox-b-ab&dcr=0&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwjRjaH_8pvYAhXFxbwKHb4RCZQQsAQIKQ&biw=1382&bih=667

Gallery

References


  • Renaissance Jewels and Jeweled Objects, Baltimore Museum of Art, 1968, p. 29: "Lorenzo Ghiberti (1378-1455) began his career under the goldsmith Bartoluccio di Michele ... Antonio Pollaiuolo (1433-1498) was also a pupil of Bartoluccio di Michele..."
    1. A. Mark Smith (2001), "The Latin Source of the Fourteenth-Century Italian Translation of Alhacen's De aspectibus (Vat. Lat. 4595)", Arabic Sciences and Philosophy, Cambridge University Press, 11: 27–43 [28], doi:10.1017/s0957423901001035

    External links

    External video
    Brunelleschi & Ghiberti, The Sacrifice of Isaac, Smarthistory[1]

    Navigation menu


  • Bloch, Amy (2009-06-01). "Baptism and the frame of the south door of the Baptistery, Florence". Sculpture Journal. 18 (1): 24–37. doi:10.3828/sj.18.1.3. ISSN 1366-2724.
  • See Laurie Schneider Adams, Italian Renaissance Art, (Boulder, Colorado: Westview Press, 2001), 60. Actually, at the time of the 1401 competition the Florence baptistry needed two portals to be decorated. The aim of the 1401–02 competition was to begin work on this project. See also Monica Bowen, "Ghiberti's North Doors," from Alberti's Window, July 24, 2010.
  • The Premier Artists of the Italian Low Renaissance
  • Antonio Paolucci (1996), "The Origins of Renaissance Art: The Baptistery Doors, Florence" 176 pages; Publisher: George Braziller; ISBN 0-8076-1413-0
  • Scott, Leader (1882). "Chapter III. Baptistery Doors". Ghiberti and Donatello. London: Sampson Low, Marston, Searle, & Rivington. p. 65.
  • Julian Bell (2007). Mirror of the World: A New History of Art (1st paperback ed.). Thames & Hudson. p. 161. ISBN 978-0-500-28754-5. It is noticeable nonetheless that the casting of one column has been mistakenly overlaid over a flagellator's arm, as it were trapping his hand.
  • Artnet artist biographies retrieved January 25, 2010
  • Falco, Charles M. (12–15 February 2007), Ibn al-Haytham and the Origins of Modern Image Analysis, International Conference on Information Sciences, Signal Processing and its Applications
  • Friday, 8 December 2017

    7/7 Ripple Effects Revisited


    july truth analysis campaign evidence

    london GIF

    Fawllty Towers - What is the Church?

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    Matthew 24:24
    24 For there shall arise false Christs, and false prophets, and shall shew great signs and wonders; insomuch that, if it were possible, they shall deceive the very elect.

     
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    666 Explained

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    the word 'antichrist' occurs 4 times in 4 verses in the KJV 

    1 John 2:18
    18 Little children, it is the last time: and as ye have heard that antichrist shall come, even now are there many antichrists; whereby we know that it is the last time.
    22 Who is a liar but he that denieth that Jesus is the Christ? He is antichrist, that denieth the Father and the Son.
    1 John 4:3
    3 And every spirit that confesseth not that Jesus Christ is come in the flesh is not of God: and this is that spirit of antichrist, whereof ye have heard that it should come; and even now already is it in the world.
    2 John 1:7
    7 For many deceivers are entered into the world, who confess not that Jesus Christ is come in the flesh. This is a deceiver and an antichrist.

    So We learn that there are many antichrists and that they are here now
    And that 'antichrist' is not one specific  nor particular person 

    Revelation 13:18
    18 Here is wisdom. Let him that hath understanding count the number of the beast: for it is the number of a man; and his number is Six hundred threescore and six.

    the a here is what is called an 'indefinite' article
    And has been inserted by King James jewish scribes
    There are no indefinite articles in Paleo (Old) Hebrew
    Nor Koine Greek
    From which the scriptures were translated
    Only 'definite' articles
    The being a definite article

    6 was originally the number of Man - Adamites
    Who the Eloheem created on the sixth day of the creation in their image
    But was taken over
    By Satan
    the Devil
    That Old Serpent

    Jesus destroyed the Devils power of 'the' death over US

    King James was working for Christianity and to keep all in fear of the eternal damnation of Hell
    Or if You were lucky pergatory
    Where the Church was in control
    And not YAHWAH God
    And to prevent the Truth from being discovered which would lead to redemption and eternal Life

    This was all part of the Lucifer Lie
    Who does not exist
    But was referring to the King of Babylon
    An adjective turned into a noun

    Isaiah 14:12 
    12 How art thou fallen from heaven, O Lucifer, son of the morning! how art thou cut down to the ground, which didst weaken the nations!



    Antichrist is all that are not of Christ
    That are not Israel
    Eloheem

    Revelation 13:8
    8 And all that dwell upon the earth shall worship him, whose names are not written in the book of life of the Lamb slain from the foundation of the world.

    Revelation 17:8 
    8 The beast that thou sawest was, and is not; and shall ascend out of the bottomless pit, and go into perdition: and they that dwell on the earth shall wonder, whose names were not written in the book of life from the foundation of the world, when they behold the beast that was, and is not, and yet is.

    There are only Two things that exist
    You are either a creation - origin earth
    Or Eloheem - Origin Heaven

    Life precedes Death
    'the' Death precedes Eternal Life 

    Overview 
    So why 666 - triple six?
    As pointed out six is the Number of Man
    Because Man was created on the 'sixth' day by the Eloheem - Man and Woman
    In their image
    So the creation of Man basically falls into three categories
    the Genesis Man of 1:21 - the darker skin races
    the Genesis Man of 1:26 - A new White Race  - called Adamite
    And the Genesis Man of 2:7 - A new White Race created by YAHWAH God - called Adamic
    Created as a vehicle to 'form' His Eloheem children into 3D earth
    'Et YAdam' - 'the' Adam - YAHWAH Gods first begotten being the First Adam
    NOT the First Man
    Not all Adamics being Eloheem
    But all Eloheem being Adamic
    Who are not really Men
    But Spiritual Light beings in Adamic Flesh and Blood Bodies
    Only Eloheem come under the Law - which has not been done away with
    All non Adamics are called - Enosh
    All those not written in the Lambs Book of Life from before the Foundation of the World - not Eloheem
    Worship the the Beast - Revelation 13:1 and 13:11
    Non Eloheem Adamics included (Revelation 13:8)
    Which gets it's power from Satan the Devil that Old Serpent
    the jews are separate and worship their Father Satan the Devil that Old Serpent
    At the end of the Age - the Day of YAHWAH
    All Men will be Judged by YAHWASUA according to their works
    YAHWASUA will deliver all Eloheem to their Father YAHWAH God Who will Judge them according to the Law
    the jews like Eloheem are Separate
    Good and Evil
    A sea within a sea
    A creation within the creation
    And like the Eloheem are not seen as "Men"
    the jews are a race not a Nation
    And have not been since 70AD with the destruction of the Jewish Temple
    They are a product of evil and have already been Judged - no place will be found for them
    Having had been marked as Cain by their Father Satan
    And will be gone
    NO MORE SEA 

    To be continued....................



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