There are lots of things we’ve presented that should have jarred your notions about what can be considered the norm, but in this article, as in many before, we feel there is something extraordinary. For reasons you’ll figure out  just examining the images ,I think you’ll see what I mean.

Now both images have been on the internet for some time.  Ours, presented here once before , the other from a 17th century fresco depicting the crucifixion of Christ.

What is so striking between the two is just one factor, a face looking down out of a machine in the sky, almost at the very same angle.

Our face has an angry mouth open, or possibly just a face trying to yell over the sounds of the machine , one we were oblivious to overhead.

But in the 17th century fresco  some claim these were representations of the Sun and Moon.  We know that most painters were aware that there were severe atmospheric occurrences at the time of Christs passing .

UFO research is not without it’s episodes of craft seen amidst darkness or harsh weather, exiting clouds or leaving mountains.

Ezekiel,  the much  used example  and probably best, brings so many elements of the abduction experience together that the reasonable mind can only doubt its real truth with tremendous effort.

But what truth? One that fits the ufologists requirements, and satisfying a need for some  to place of technology in the place of God? Or is it something we should value even more, an expansion of our understanding of him, a clearer window into his doings,with an introduction no matter how remote, to some of the servants speaking and acting in his behalf, Angel like beings.

Think about it. You are living in a time of daily rigors that have conditioned man to a point his years long out stretch our own. This was  a time when men  in the field used rocks as pillows and of shepherds who might never see a city in their lifetime. How would men such as these  reflect on the sighting of something metallic and glass, with other marvels in their  make up,details  that would make their minds swim? How would the view this, unexplainable, perched not on a hill or a tower, but just hanging there in the sky? It was enough for Ezekiel’s  mind to leave him sitting  for days afterwards in one spot trying to cope.

Imagine the sky as Mathew describes it. Remember metal craft like objects being described in Gods work before, remember the details of Ezekiel’s  tale, remember just who is dying , and then completely rule out the possibility that similar beings were not  in the sky that terrible day.

That artists of the time were painting scenes in multiple examples, showing objects clearly not the sun or moon.

Matthew 27:45 , 51-52 ‘ There was darkness over the land” “and the earth did quake, and the rocks rent; and the graves were opened; and many bodies of the which slept arose” Mark 15:38 “the veil of the temple was rent in twain from the top to the bottom.

One skeptical source I’ve found  states there could have been no darkness, or severe weather,  yet in the same breath states








(“It is impossible to explain the origin of this darkness.”)

That isn’t surprising when taking into consideration the fact that these descriptions of events are not the weather channel report on a first morning  of a Roman General’s military campaign, but were the reactions of a world parting with a man who had reportedly raised the dead.

These among other miracles were seen by others.   Christ was not the David Copperfield, of his time,  but a being in touch with miraculous power. It was a power he certainly could have used to cease the proceedings of his own unjust trial and punishment.

Is the image we are looking at some representation of  something else, or as in many paintings of the time, have objects of extraordinary importance to the witnesses during the time of the painter, been incorporated  into paintings, (some of the rich benefactors) as a way to use their creative ability to, not only immortalize the faces of the lords and ladies of the time, but instead to make that first crack, in the veneer of the ideas of the time.

Was it to show, not only the marvels of architecture and clothing design  that seemed almost daily, but to free the painter from his bonds of conventionality,  to allow him not only to be a recorder of the lives and loves of the affluent, but to be, in a sense the news man of his times?