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Excerpts from the biography of Milo Giacomo Rambaldi

Excerpts from the biography of
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 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 “<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.

*Doesn’t add up, but I’m leaving it as is.


Authenticated vs Falsified

The above Rambaldi (original) is keymarked by its watermark “eye” <o> over the gear-like mechanism and characteristic aging lines on the proprietary onionskin. Coloration and striation lines match the direction of the scrolls (all sketches were stored scrolled top to bottom.)

This falsified Rambaldi, below, from Germany, is recognizable by its lack of watermark “eye” and uneven aging lines (vertical) on a substandard parchment. Scale of drawing is crudely altered, and does not conform to Rambaldi’s standardized system of geometrics. Coloration and striation lines also *do not* match direction of scrolls.


ILLUSTRATIONS (ca. 1462-1495)


  • Device 01 (ca. 1462)
  • Device 02 (ca. 1464)
  • Device 03 (ca. 1464)
  • Device 04 (ca. 1466)
  • Device 05 (ca. 1467)
  • Device 06 (ca. 1467)
  • Device 07 (ca. 1468)
  • Device 08 (ca. 1468)
  • Device 09 (ca. 1468)
  • Device 10 (ca. 1471)
  • Device 11 (ca. 1471)
  • Device 12 (ca. 1471)
  • Device 13 (ca. 1478)
  • Device 14 (ca. 1478)
  • Device 15 (ca. 1478)
  • Device 16 (ca. 1478)
  • Device 17 (ca. 1478)
  • Device 18 (ca. 1484)
  • Device 19 (ca. 1485)
  • Device 20 (ca. 1492)
  • Device 21 (ca. 1495)
  • Device 22 (ca. 1495)

CLASSIFIED FORGERIES (19th-20th century)

RECENT DISCOVERIES (20th-21st century)


< O >


Rules for dealing with Jack Bristow: Never offer to &#8220;save&#8221; him. It doesn&#8217;t end well.

Rules for dealing with Jack Bristow: Never offer to “save” him. It doesn’t end well.