The painting “The Baptism of Christ” by the Dutch painter Aert de Gelder is particularly well known in UFO circles (see image below). The disc in the sky is clearly identified in this scene as a UFO (unidentified flying object).
Where did Rembrandt's pupil Aert de Gelder get his knowledge
of flying saucers in the 17th century?
Art historians largely ignore this painting or, at best, regard it as an artistic curiosity. The painting measures 37 x 48 cm and hangs in the Fitzwilliam Museum in England. Aert de Gelder (1645–1727) was one of Rembrandt’s last—and probably best—pupils and is known for his magnificent portraits, many of which depict biblical scenes.
Paintings like this are the “classic” depictions of the baptism of Christ, corresponding to the description in the Bible.
How Aert de Gelder came up with the idea of painting a disc in the sky emitting rays of light—illuminating the scene of Christ’s baptism—instead of the dove described in the Bible remains a great mystery. For this disc can be clearly identified with the images of flying saucers familiar from the UFO scene.
In the Luther Bible, the baptism of Jesus Immanuel is described in Matthew 3:16–17 as follows:
(16) And when Jesus had been baptized, he immediately came up out of the water. And behold, the heavens were opened to him, and he saw the Spirit of God descending like a dove and coming upon him.
(17) And behold, a voice from heaven said, “This is my beloved Son, in whom I am well pleased.”
This biblical description was and remains the model for all painters who have interpreted the baptism scene. Why Aert de Gelder painted a flying saucer instead of the biblical dove remains a mystery.
The Phoenix Journal #02 sheds light on the mysterious painting by Rembrandt’s pupil
Only the readers of the Phoenix Journal No. 02, “And They Called Him Jmmanuel,” have an explanation for this. Here, it becomes clear what Rembrandt’s pupil painted.
The Phoenix Journal (PJ) 02 states:
When Jmmanuel quickly emerged from the waters of the Jordan after his baptism and climbed up the riverbank, a great commotion swept through the assembled crowd. And behold, visible to all, a metallic-looking light came from the sky and descended over the river. The entire crowd fell to their knees and pressed their faces into the sand of the riverbank. Some jumped into the water, for they were frozen with fear and horror.
And a voice spoke from the metallic light: “This is my beloved Son, in whom I am well pleased. He will be the King of Truth and a teacher of wisdom who will lift humanity to knowledge.”
After the voice had fallen silent, Jmmanuel turned to the crowd and asked them to be at peace and without fear. He blessed those gathered, and fear and panic vanished. Then he turned and stepped into the metallic light, which looked as if it were enveloped in smoke and fire, yet gave off no terrible heat that burned the skin; everyone remained at a distance from the light, except Jmmanuel, who had approached it and entered. After he had stepped through an opening into the light, it closed again completely invisibly, and the light rose into the sky, gliding through the windless sea of heaven, and the singing of the metallic light was soon no longer to be heard.
After that, Immanuel was neither seen nor heard from for forty days and nights.
In PJ-02, the following texts explain what extraterrestrial encounters Jmmanuel—alias Jesus Christ—had during these 40 days and what he learned about his future mission.
Anyone interested can read about this in the PJ book “And They Called Him Immanuel,” now re-published in English as E-Book, available here in this store.
Here you will also learn who “picked up” Immanuel—just like in a science fiction movie—and subsequently instructed him.
An intriguing question is:
Where did the painter get his knowledge of the flying saucer?
At that time, there was no literature on the subject—at least none publicly available. And certainly no UFO scene like there is today.
Some speculate that the Rembrandt student had access to the Vatican archives, where the uncensored records of the historical events from 2,000 years ago can be found. Did he find relevant clues there? Or did he know “those in the know”?
In any case, it would be quite understandable that it was—and remains—extremely important to the custodians of the Vatican archives that the connections surrounding Jesus Immanuel’s link to extraterrestrial cosmic beings be kept secret. After all, if this were to become public knowledge, it would shake the very foundations of the Church’s web of lies.
This cover-up continues to this day and includes the manipulation of consciousness by the so-called “elites.” For even in the worldview they have deliberately distorted for generations, there must be no room for knowledge of cosmic interconnections that could undermine their power over the people. It cannot be that there are countless civilizations in our universe alone—some of them highly intelligent—in comparison to which we are still living in the Stone Age, both mentally and technologically.
The Urantia Book and, in particular, the Phoenix Journals provide many enlightening insights on this subject.
Ultimately, it will likely remain the Dutch artist’s secret where he obtained his knowledge of the flying saucer. In any case, it remains quite remarkable that a 17th-century painter depicted the extraordinary event at the baptism of Christ Jmmanuel—a celestial phenomenon—in a manner that can be explained by The Phoenix Journal 02. The Phoenix Journal #02 was published in 1989.
At the very least, the “dove” is also a “flying object.”
Biblical scholars point out that the Hebrew word for “dove,” YVNH, is very close to the word YHVH—the Hebrew word for “God.” The main difference between the two words is the letter N (Nun) in the word YVNH (dove), which, contrary to popular belief, does not mean “bird” or “dove,” but rather “winged messenger.”
This leads to the suspicion that the clergy deliberately substituted a “dove” for the extraterrestrial spacecraft at this point, following the motto, “it cannot be what must not be.”
JOS
Don't miss to read the unfiltered and uncensored testimonies
on dramatic occurrences in a land we know as Israel at a time of 2000 years in the past in this Phoenix Journal #02 as E-Book - or as newly edited printed book
