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Excerpts from the
MILO Giacomo
b. 1444 - d. 1496
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 water-papers
were all hand-made and of a unique polymer fiber
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biography of
RAMBALDI
(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 "<o>") 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.
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