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FOREWORD
by Luciano Buso

Never before in these times, the era in which we live, the science has become part of our everyday life.
In every field, in every place wherever we are now oriented in science to solve any problem, or just to know what was once unthinkable only imagine.
It seems now that science is part of all of us, of our social life, helping more and more becoming aware of our existence and of our knowledge.
E ‘therefore with deep respect on tiptoe myself approached “this our valuable ally”, drawing from it the knowledge of this wonderful di- scovery, which inevitably will open a whole new world and so far completely unknown.
I dedicate my important discovery, these tiring and lengthy scientific studies to the memory of the historian Prof. Stefano Fugazza, former director of the museum, “Ricci Oddi” in Piacenza, who died recently. Figure unparalleled for its unusual true love and dedication for our precious history. He was among the first supporters of this extraordinary scientific discovery, one of the first people to whom addressed it my very first scientific studies. It incredulous spectator, with his innate humility and honesty basic, never tried to take advantage, given its location, groped the physical removal of this innovative new way my scientific analysis of works of art in general, as regularly instead is then occurred later in other addresses. To him my congratulations, my respect and my deep gratitude for the support received.
Given the amount of paintings analyzed by me in these years, spanning seven centuries of art history, all bearing the inscriptions and figures esoteric hidden in their area, I felt publish the discovery dividing it into seven volumes, one per century. Then starting from the beginning of the fourteenth century with Giotto di Bondone, up to the present day.
Each volume bears a different cover chosen at random among the works I have studied for a century. Except with the Mona Lisa in the Louvre, show all hidden figures and written directly visible to the naked eye observing the work. No scientific help is in this case the rescue of images that compose the different covers. In some of them will only fill light in the affected area in order to better understand the written or figure emerged.
The volumes are in their content, scientific discovery I made first in the years 2004-2005, the presence of esoteric writing and figures hidden in every painting done by artists to more or less, from the time of Giotto until the present day.
This publication aims to demonstrate concretely with images, the presence of written and figures occulted in the paintings here entered and analyzed by me, not the nature of a showcase as science, of the texts is merely reduced to a minimum to make room for the images that are the true and only protagonists in the volumes.
In order to better grasp and a glimpse into each painting analyzed the exact spelling of writing hidden, I joined the right of each original document bearing the words “written emerged”, another image is very similar with the words appeared highlighted, “written emerged highlighted". 
The one true and original scientific paper is therefore to be the one with the words “written emerged. In each painting analyzed here are highlighted and published only written and hidden figures more visible, which appear better and are also suitable for any printing press. I insist that the appearance and discovery in every painting of the many complex and esoteric figures, was made possible from the exhaustive study of writing encrypted.
These clear esoteric messages are designed together, to further ex- plain the painted scenes, the intimate thought of the author in his personal interpretation obscured tells and interprets the main scene. A worthless then the occasional discoveries so far made a single figure appeared esoteric, documented in Renaissance works such as Mantegna and others. Only the study of the total of the figures hidden in each painting allows us to understand thoroughly the con- tents of the painted scene.
It ‘s the case to mention the many works I have studied by Leonardo da Vinci, the Last Supper in Milan reaches its highest summit, the real esoteric meanings emerged in the works of Gino Rossi in the twentieth century.
Later in my studies, in 2009, in fact I saw first in a number of impor- tant paintings by Giotto, Giorgione, Leonardo da Vinci, Paris Bordon and gradually all the other writers of the twentieth century also, the abundant presence in every work analyzed, these figures together with the written esoteric hidden in the folds of painting. More volumes that show the real presence of these figures have already been edited by me some time ago.
These include: “Images in the esoteric works of Leonardo da Vinci”, “The Mona Lisa by Leonardo da Vinci” and “Leonardo da Vinci the scientific revelations of the Last Supper.
A concrete and tangible scientific enrichment so that adds to the already valuable discovery of hidden writing. A veritable identity card for each painting done in all ages, left us with cunning and intelligence by various authors which protected so their valuable work. Inde- lible marks as performed with the same subject matter with which they were executed various works.
Within the volumes are included, as well as masterpieces of various epochs, even minor works of lesser known artists and less important, representing a tangible proof of this practice come down to us in a continuous and silent. There are many new works that I discovered during these important and endless scientific studies. Works carried out also by historical authors such as Giotto, Mantegna, Leonardo da Vinci, Raphael, Giorgione, Titian, Paris Bordon, Palma il Giovane, Giovanni Battista Tiepolo, Guardi brothers in the eighteenth century Venetian and many others, including the latest: Toulouse Lautrec Van Gogh, Federico Zandomeneghi, Picasso, Gino Rossi, Giorgio Morandi, Giacomo Balla and Emilio Vedova. Works performed by major authors lying in the limbo of anonymity just like the Lady dellErmellino of Leonardo da Vinci, which was discovered on the ground in the dust in an antiques market on the outskirts of Paris over a century ago.
One of the plausible reasons for this silent practice come down to us free, we can find in the story of Amorino buried by Michelangelo Buonarroti, who ordered the fire to keep it from Savonarola did not hesitate to hide burying it. Past the danger and unearthed the statue gave it to a merchant passing for 30 ducats, which in turn sold it, given the ancient patina acquired during their stay in the ground, a Roman cardinal to 100 ducats guise of ancient relic of Roman . Story later unmasked by Michelangelo who in the meantime had traveled in the city of Rome, he found himself before his “cupid”.
In this story the absolute certainty of forgery, false operations of commercial made by people who do not have no qualms, no respect and love for the works of art in general, which are solely the sole purpose to make money, as it often can be seen even today in our time. In the year 2005, while the sunlight unpublished picture by Paris Bordone: “Venus reclining in a landscape”, I found the presence of plants in the landscape behind the monumental figure of the god- dess of writing hidden in Roman character.
Found the real presence of multiple encrypted written in the painting, I was driven by curiosity to see if other authors besides the Bordon had this brilliant idea.
For a test in other seventeenth-century and nineteenthcentury paintings, I noticed with no little astonishment, that it was a habit of all the old masters as well as modern.
Many friends, at first showed disbelief when I talked about this discovery, perhaps someone has tacitly thought I was a visionary, I certainly noticed that disbelief was replaced by a later resigned amazement when I showed them the concrete images attesting to the writing and the figures hidden in every painting emerged.
To observe the written form attached in hidden by Titian Vecelius in the painting “Venus with a Mirror” of the Ca ‘d’Oro in Venice,462 years ago, in addition to being a safe and gave a reassuring certitude, it feels almost in disbelief, a strong emotion that increases even more to see the original spelling of the master who is outside the scene described in the painting. Greater wonder still observing the test marks and the original spelling of Andrea Mantegna affixed 507 years ago in the painting “The Martyrdom of St. Sebastian”, always Cà d’Oro in Venice, or in historical paintings and unpublished in 1505 and 1508 entered here by Raphael Sanzio.
                                                                                                                                                                                                                                                                                                                Almost everything you would not believe if it were not scientifically documented with real images, quite palpable and verifiable at any time.
Besides a strong emotion becomes even being able to clearly establish which date an artist has performed in its precise age, the work of analysis.
The genius is the prerogative of a select few, in this case genius is also able to encrypt in oil or tempera painting, drawing, sculpture or in the water color just taken, even before the final varnish overlay work, their names, its brands, the date of execution of the painting and sometimes the name of a character portrait, as well as the many esoteric figures that best explain the true content of each work. It is no coincidence speak of genius, as it is not easy to write or insert other paintings in the pictorial film of a painting in progress without damaging the optical observation.
During my extensive research I was able to understand thoroughly this technique as widely used at various times, to the point that today also put into effect in my paintings, mainly because I am an artist. Here are purposely inserted at the end some of my paintings bearing the inscriptions hidden in clear evidence of this very old practice I preferred to make the entries in smaller quantities, in an orderly manner and in the form almost hidden, given the difficulty had in the stand of the old masters that inserted well hidden and almost the entire surface of the painting, sometimes crossing them, overlapping each other also painted inverted and inverted light.
I said genius for those who during all these centuries has affixed with wisdom and cunning all this myriad of data in the works, I have to say without being presumptuous that a part of the merit of their precious discovery, can be attributed to me that today was able to capture the them all the labels and esoteric figures only observing the paintings to the naked eye, the heart and the passion that comes from love of the art in its various expressions, something that has always accompanied me.
However, I must admit that the brain of an artist is always used observation, to understand things that others do not see, is used to form natural to read the light that gives life and form to things and people.
No wonder then that it was an artist to do this extraordinary disco- very. In earlier times people had much more time because the pace of life was slower and less pressing of the current, thus leaving more time for reflection. Perhaps this may be able to treat the value In my studies I could also recognize the change in the way to make the entries and the figures in the paintings done throughout the ages. There was a ‘technical evolution exactly how the various artistic movements that have changed gradually over the centuries.
Giotto, Giorgione, Raphael, Andrea Mantegna, Titian Vecelio, Paris Bordon and all the others at that time were using the forms in the painting to hide the labels and their esoteric figures, but also the Zandomeneghi more than three centuries after the end of ‘eight hun- dred used the same technique.
E ‘in the twentieth century that we began to change modes, namely it can be seen in paintings entered here by Gino Rossi in 1915, where the writing is inserted as a graphic construction of the subject. I can only quote the artist, but are no different: Gustav Klimt, Pablo Picasso, Giorgio Morandi, Emilio Vedova, Max Ernst, Joan Miro and all others in this century.
Later with the advent of modern art, in some cases written are the main subject, then affixed to the whole picture, confused by a few signs which distract the viewer from focusing the word you entered. In particular way in the works of the same Gino Rossi, Emilio Vedova, Pablo Picasso, Max Ernst and others, where many paintings are quite clear and visible letters in their name and the date, participating in the form half visible graphic construction of the main subject represented.
In complex studies conducted by me and published here, I could understand the most intimate, most private and hidden from each single author.
I relived the moments of secluded master, who in his studio hidden from prying eyes put its written and its esoteric figures in the painting process, noting the long forms that could best be given to encrypt the data, often bordering on obsession .
Given the importance of the discovery, I felt it necessary to divulge civil conscience in regard to the history of art.
I hope to succeed with these volumes include works more or less important since the early years of the fourteenth century until the end of the twentieth century.
The company proved to be difficult right now because the matter that makes up the labels and esoteric figures is the same one used to paint the work itself.
I had to avail myself of this more scientific techniques to highlight a small portion of data hidden in every painting, I necessarily had to get used my eyes, my brain to grasp these details directly with the naked eye observing the surfaces of various paintings.
Another significant difficulty lies in the fact that these data are almost always kept secret from me highlighted with a shade lighter than the neighboring surface, which is why I decided right then to support another similar image with the words, “written emerged highlighted “in order to better facilitate the reading.
From century to century are included here most of the works that I had the opportunity to study, to public and private collections, important and less important.
A special recognition and thanks are addressed to all those who have supported me and encouraged in these long scientific studies, particularly as already mentioned above, Prof. Stefano Fugazza who was among the first to recognize the validity of my discovery.
The historic Raffaele De Grada of Milan for his honest contribution to the study and recognition of the small portrait of “Nene” by Federico Zandomeneghi, Prof. Luigi Menegazzi of Treviso in the study of valuation small masterpiece of “Nene” has proven to be a practical among the most significant and prepared the figures in the study of the Venetian nineteenth and twentieth century.
A special thanks is addressed to Dr. Adriana Augusti of Venice, for the study and publication of unpublished picture by Paris Bordone: “Venus reclining in a landscape.”
More My special thanks go to David Bussolari addressed the study of the art diagnostic “Fabbri” Campogalliano of Modena, his friend Silvano Zamprogna of Riese Pio X, study director of photolithography “Scalaquattro” in Castelfranco Veneto, for me always affectively supported during the studies and assisted during the phases of development of the photographic images in the volumes.
Friend Professor Franco Berton, former mayor of source (TV), for his valuable collaboration and participation in the presentation of the preview of volumes in the month of March 2011 in the council chamber of the town of Riese Pio X (TV).
I thank Pierluigi Contarin, mayor of the town of Riese Pio X, which in addition to supporting me during the study kindly hosted in the exquisite villa Eger, the town hall of Riese Pio X, the presentation of the preview of these volumes. I thank also the mayor of Round Maximum source (TV), which together with the other two mayors presented always in Riese Pio X preview of my scientific studies. They come to me particularly thanked all private collectors who have lent their works for the study and its publication.
The Pinacoteca di Bologna for allowing the study and publication of the painting “The Ecstasy of St. Cecilia,” by Raphael Sanzio.
The museum “Galleria Franchetti Ca ‘D’Oro” of Venice, for permission to study and publish paintings “Saint Sebastian” by Mantegna, Venus with a Mirror” by Titian and “Portrait of Mr. Durres “by Anton Van Dik.
I thank the Accademia Gallery in Venice for giving me the opportunity to analyze and publish here the wonderful painting by Giorgione: “The Tempest”."
The Curia of the Venetian, for permission to study and publication of the painting by Giorgione: “The Shovel” of the Cathedral of Castel- franco Veneto.
I also thank the police now pose a particular attention to the discovery made by me, asking me kindly collaboration to identify works of art stolen or false .
I thank the direction of the convent of San Francesco in Assisi, Um- bria for dissemination in the journal-writing online, their nice article regarding my scientific studies made to the works of Giotto of their home, studies I published years ago in the preview of the book I edited: “Signatures and dates hidden in the paintings by Giotto in our time".
All those who in some way in these interminable years I have supported and encouraged in the study and in the arduous task of making these volumes.
I also thank my friend Professor John Porcellato of Loria, for their valuable contribution in the professional photographic collection of images of the paintings in there.
Finally, I recommend the reader to obtain patient and keen observation in view these volumes represent a real scientific treatise, the Real Presence of written and esoteric images hidden in the paintings of all ages.

Luciano Buso