Sometimes it is useful to forget about all the knowledge gained at school and to look at things that have long been known, in a new and different way. Then something new will surely appear. So I propose to think about this way over my collection of reproductions of the paintings of 18 painters. and the beginning of 19. century.

To begin with, a small introduction. That's to make my thoughts understandable, and they did not seem so incredible.

Every morally and physically healthy person sooner or later becomes aware that all life is a continuous run in the circle. Well ... or like zebra, how do you like it. However, the essence is the same: one day you wake up in the morning and realize that you have lost a lot of life force to spill from empty to empty. So you start doing everything again in the light of past experience and finally come the next morning when you have to re-evaluate everything once again.

But very many find that they do not have the power to admit that what they considered unshakable is actually a delusion or lie. For they taught us fortresses. We are convinced that there must be some truths that should remain the basis of everything without chaos. A person disposing of his beliefs has no respect. They value "solid tin soldiers". And that is the main problem. It is very difficult to capture the thin line between truth and delusion.

And time is running away ... Everything is changing fast. You can not obliviously follow obsolete instructions. At the same time, however, it can not retreat from the rules of morality, otherwise it is inevitably the corkscrew that leads to disaster. The Bible describes the extinction of Sodom and Gomorrah, and that applies precisely to those who have decided that morality standards are obsolete and it is not imperative to obey them. I hope that I will come to terms with the time when the new present-day Sodomite countries are paid to find that these truths are truly unshakeable. Otherwise, they will have to find out that PEKLO really exists and we are in it. So I will try to withdraw from the dogmas, but not to cross the border and not to engage in mysticism.

I'm going to start painting different artists, less known than Giovanni Battista Piranezi, but they are linked not only to age but also to content.

Unknown artist of the second half 18. century

Pierre Patel older

Francesco Guardi

Antonio Canaletto

Dresden. Antonio Canaletto

Alessandro Magnasco

Jacob van Ruisdael

Nicolaes Pietersz Berchem

This master painted quite a few landscapes where the main motive is undoubtedly ruins. I called him Nikolai Petrovich Medvedev, and that's not quite a joke, as many people understand.

And now you may think of the logical question: "Have there been no demolished buildings in 18th-19th century Europe?" There are logical explanations for art historians and historians. The explanation is actually simple and hard to question - total madness. At first glance it is simply such a cultural stream, fashion, or as it has become fashionable today to say in patriotic circles - the "trend of the time".
Yes. Fashion and style are subject to the tastes and moods, thoughts and feelings of millions. We all see the "monkey" all around. Some famous idiot pays off to take pictures of skis, and hundreds of thousands of fools are picking up the shelves of ski equipment shops, quietly telling each other that since childhood they dreamed of standing on skis like… Well, you know how to go on. Did they succumb to an epidemic? How about flying freely with white cranes?

All right, let's get back to our rams. And also to bulls, sheep and goats on the background of "ancient" ruins. This is also a “trend”. Like shepherds and laundries in the lands of those years. Did this “time” also affect Russia? Undoubtedly. Although the memory of the Russian ruins was carefully masked in the 19th and even in the 20th century, but something was preserved. Let me show you only two less known works:

Kiev Dětinec. Unknown painter.

Tower-ruin in Yekaterinian Park Carls Sela.

Now she looks right and proper. Good expensive Tajik complete reconstruction, shine and grace. But until recently, it looked exactly like the 18th century European “trend” as seen in the picture.
Remarkable is a stone with a European date, but written with Russian numbers:

Numbers are 1762

In truth, the plausibility of this record seems very controversial. For many reasons. Look at it!

But no wonder. The extent of “clearing” Russia's true history is such that it is almost incomprehensible how all this could have been done. After all, everything we could have known about the Pre-Roman Empire was drawn from sources outside the area of ​​"purification" at Western universities and libraries.
This fact leaves us in no doubt as to who exactly “cleaned” our history. Of course the winner. And apparently our ancestors weren't the winner, because otherwise we would write the history of the Anglo-Saxons and not them. Although ... This is not our method. We are not against the great past of ancient European civilization, which was a hundred thousand million guilders better than our barbarian.
But seriously: of course I do not assume that the crowds of Germans walked through our forests and fields and leveled all the ancient buildings in the Tartarium with a bulldozer. No. It was enough to spit all this "junk" and not worry about its preservation, it was enough. And the written sources were destroyed similarly. Not just, but deliberately, purposefully.
Under Peter and Catherine, under the pretext of preserving them, the books were taken from the peasants and transported by car to Moscow and St. Petersburg. Traces of them then disappeared into the darkness. It is clear that "ancient Greek heresy" was simply burned - along with the bearers of this ancient faith.

Exactly the same in the twenties did the Bolsheviks with the archives of the Romanians themselves. It is not in vain that they say, "Do not spit into a strange well ..." God be their judge.

Let's look at the paintings of yet another clear representative of the "ruin" direction in European painting - Giovanni Paolo Pannini, or, as I call him - Ivan Pavlovich Panova.

As you can see, the main motif of his work is again ancient ruins. So nothing new, just the ruins of the mob with cattle, but "normal Europeans". Middle class and nobility. But basically it doesn't change anything. Some ruins still exist today in the form of reconstructed buildings or apparent novodělů. But much of what has surrounded people quite recently is forever stolen or dismantled for urgent household needs.
These ideas are also associated with the fact that the artist photographed the fact, regardless of future interpretations of the descendants' creations. And the descendants were in an unenviable situation because they considered their pra-grand-grandfathers fools, dark, uneducated fantastically prone to exaggerate, hairy, and even tossing everything from their fingers.
Here is what all modern encyclopedias and handbooks about - “ruin painting” write:
"XYZ (fill in the name of any of the above artists) is known for its picturesque fantasies, the main motif of which are parks and real but more often imagined" majestic ruins "(according to Diderot) and numerous sketches he made during his stay in Italy.

Do we believe that? Just because the authority said it?
For I see all the magnificence, I cannot believe that the buildings that have survived to this day were captured by the artist with photographic precision, and those that no longer exist were painted "out of your mind". Where did it all come from !?

The truth is that the artists have not invented anything, but they have documented the world around us, and that is why we see them in 18. century - according to historical standards - the civilization of European villagers and livestock ponds, driven by a handful of those who have some rather luxurious cloths on the body, existed on the ruins of giant megalithic buildings, which they did not clearly build.

The explanation of the old is that their ancestors actually built it, but then somehow the "medieval dark era" began, which stretched for a thousand years, and everyone just forgot to build such wonders ... And of course they also forgot what they needed pyramids . And when it is not clear what to do, then they must be torn down, to the devil's dog, so that they do not worry. And then set out on a wandering trip to Egypt and “discover” the pyramid again, this time only Egyptian.

So it happened that the Colosseum is simply a theater in our country, so it is properly cared for and can be seen today. But the purpose of the pyramid was not to be found, so they were dismantled on the sheep and goat stable.
And what is this ?! What about the picture (20., 23, and others) makes the stale from Egypt, which, according to the official version, they brought up in 19. century?!

So I have a simple question and I want to get a simple answer: "Egyptologists and art historians, please tell me, how could a man (Giovanni Paolo Pannini) view the "supposed" pyramids and the Egyptian stall in Rome when he died seven years before the "pyramid" of the pyramids and this stake?



The pyramids shown here are a bit strange, don't you think? The proportions are unusual, the ratio of the length of the base of the pyramid to its height is completely different than for all now known pyramids, whether Egyptian or American, Chinese or even European (Visoko in Bosnia). And it's clear that these are definitely not tombs. I doubt there would be any cavities inside them that could be used. Even those dimensions are some "Khrushchev" “. So what is it? That it would be something just out of the need for aesthetics? And what about the "stone cypresses"? Why did they break?

Caspar David Friedrich

But let's go ...

What is still striking here: the dimensions of buildings, columns, vaults and openings in the walls. For a normal contemporary hobbit like all of us (no offense), these dimensions seem to be ... rude: it's not rational in terms of construction, but too expensive and too laborious, and unnecessary and wasteful for the user. A dwelling with this "ventilation" is not up to date in the Mediterranean climate either. In winter you do not heat it and in summer there is no escape from the radiant rays of the sun.

However, if the explanation of radical climate change looks convincing, then all other questions remain unanswered.

There are two versions available: either the builders were giant, and in that case they built similar structures with the left rear. But if they were giants, where are their remains? All finds of giant skeletons, and even fingers or teeth, are allegedly falsified. There was no humanoid of unusual proportions on the ground, of course except for rare specimens. And if they existed, then how did they evacuate everyone into one, and no one forgot their slippers or bra?

Following are the reproductions of the images of the great Hubert Robert, in my opinion - Yuri Roberovich, whom they consider to be the great Piranezi pupil.

Yes, we like to build something important, voluminous, which affects the psyche of a small person. For example, the building of Moscow State University (Lomonosovovy), or "Fisht" -Aren in Sochi. But we usually build the usual buffets and dormitories, misunderstood as “houses”.

Hubert Robert, Ancient Temple, 1787

And we have it:
- schools and educational institutions;
- Uniform standards (the entire network of scientific institutions) without which they can not build on a large scale;
- mining, raw materials and energy industries;
- industrial production of building materials, tools, preparations, machinery and equipment;
- a sophisticated system of transport and communications;
- communication system;
- centralized financial and budgetary spheres;
- a unified management system (centralized power).

In the absence of just one of these conditions, construction is not possible on a large scale. But even for their existence, a system is needed to collect, analyze and accumulate scientific knowledge.
All this means that we are dealing with the impossible. With the knowledge that preceded us. And that pushes us to seduce it into mysticism. The aliens arrived, they shared technology, or the gods came, they taught people ... And so on.





I don't like both versions. I am not against the existence of other races, such as the Atlanteans, the Hyperboreans, or the Lemurians, but I am not sure that they existed in the same world or dimension with us. More specifically, I have doubts that we could have been in contact with them on a physical level. We co-live with millions of life forms that are really all around us, but we do not meet, see, hear, speak to them, simply “we are not on the wire”.

So without rejecting all the other versions, I see it as real: Everything that is captured in the paintings has been built by our ancestors, only their level of development is incompatible with ours. We are wild monkeys for them. Capable, fast-learning, but nonetheless ordinary pets, such as cats or dogs. Just much more useful. We can take care of ourselves, yes, and still feed the gentlemen. Cats do not feed us and dress us, but rather we are slaves for them, we feed them.


I'm not going to make a statement that anyone can think of as xenophobic, but that's his problem. Imagine the situation: tomorrow, Erdogan decides to punish for betraying the ideals of Western democracy and selling for cheap Russian gas. This is followed by the immediate revolutionary revolution in Turkey, the Kurdish uprising, the ISIL invasion, and a war of war in southern Europe, compared to Donbas's events only by the fight of Nanjing boys.

A real “hot” world war begins, in which the world turns into ruins. The surviving Hobbits will remain free of electricity, computers, phones and fleets with encyclopedias and "How to Grow Wheat" or "How to Make Iron and Forge a Knife to Cut to Not Suffer" manuals, and ways to hunt without re-emerging firearms. And everything starts from scratch.

At the same time, however, the people who still know nothing about this war still live in Chukotka. As before, he would breed deer and eat it. And that's it ... Do you really think this tribe will ever evolve to the point where it needs airplanes, ships, and computers? Tůdle! They have been eating deer for thousands of years and will continue to eat it because they don't need anything else! Not because they're stupid, they're just "extraterrestrials." They're SO well. They have other life values ​​and know what happiness is, not from stupid books and movies, but from God the Creator! They are united with this world, but we are not. We need to build something, but we do not understand that by building one, we kill the other.


I wonder what's up there at the top right. Is not it the base of the statue of the Colosseum, which is named KOLOSEUM?
Let's try to play with words. COLOSSUS. UM is not counted, because it is according to Latin customs an artificial conclusion of an unknown foreign word. There was some KOLOS and according to the Latin customs - KOLOSS + UM.
What does the WHO / WHEEL mean in Russian? Circular, round object or rotation (wheel, carousel, wheelbarrow, etc.) to which the word OSA is close (Russian "OS") If WHEEL is a broadly understood term designating a circle, circle, then OS / OSA, there is something in its center - pin / pin / pin. There is therefore an association with a cow because wheat or wheat KLAS (Russian "KOLOS") had archaically important meaning, which is understandable - bread. This means that Kolos, whose statue was near the Colosseum, in the city now called Rome, apparently was not a spirit or god of water or fire.

And that means…

No, do not send me to the library to study smart books there. Everything I have read many times and many years ago. Who did not understand, read the introduction again.

Andrej Golubjev