Not so long ago, a friend of mine and like-minded person drew my attention to the painting "The Revenge of the Winners", which is also known as the painting by Antoine Caron "Massacre by Decree of the Triumvirate." This painting, which according to the official version was painted by this artist in 1566, shows armed men dressed in the clothes of Roman soldiers brutally murdering bearded, fair-haired men, who are clearly the native inhabitants of this city. It is precisely this detail - bearded fair-haired men, and confused some researchers of alternative history, allowing them to assume that this picture does not depict Rome, but antediluvian Moscow. And some even saw the familiar "Moscow" area in the picture.
Continuing this version, they suggested that the plot of the picture is in fact dedicated to the murder of the inhabitants of Moscow Tartary, during the occupation of Moscow by the troops of the Holy Roman Empire, of which Romanov's Russia with the capital in St. Petersburg was supposedly a part. But, I will say that a thorough study of this picture, no signs that this is Moscow, did not reveal. But I found many characteristic signs that all this action is taking place not in antediluvian Moscow, but in antediluvian Rome. By the way, in view of the inhuman cruelty and bloodiness of the scenes of this picture, I do not recommend considering it in detail for persons under 16 years old and for pregnant women.
Of course, some alternatives, who are already too much carried away with this hypothesis, blindly believing in its truth, may not like the text of this post of mine. But I want to remind them, the famous phrase of Aristotle: "Plato is my friend, but the truth is dearer!" Our task is to restore historical truth, and not create new pseudo-historical myths to replace those written in the textbooks of official history. For if we do not try to find the truth, then we will be no different from those storytellers who carried out a total project of falsifying history in all past centuries, hiding from us the truth about the existence and death of previous civilizations.
And, if you are interested in the truth, and not blind faith in your own hypotheses, then first listen to my conclusions, which I made by downloading this picture from the network in good resolution and carefully considering its details. I must say that the "Moscow" hypothesis really interested me and I was sincerely looking for evidence for it. But I found only evidence to the contrary. No, dear colleagues, as much as we would like to, but this is not Moscow.
Firstly, nowhere in the painting did I find a single Tartarian symbol - a griffin or an owl. But even now, in our ancient cities, these images can still be found in some places. Therefore, I can say with confidence that they would probably have been present in one of the central squares of antediluvian Moscow. In the same way, I did not find a single Vedic solar or swastika ornament, and in fact, for example, in wooden architecture these ornaments in Russia were widely represented. And even in some buildings of the characteristic antique style, whose construction "from scratch" is attributed to foreign architects of the Romanov era, such ornaments are still present.
I also looked for signs of Old Russian writing, but I found an inscription in the Latin alphabet, which is written on one of the standards. So there can be no doubt that this is the standard of the Roman legion. And the armed men are definitely Roman soldiers. But let's continue to look at the details of the picture.
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I would like to draw your attention to its central part, which depicts a "visiting card" - the famous Colosseum. Of course, someone can argue that a similar structure existed in antediluvian Moscow and that it is the ruins of the entrance to the ancient Moscow metro. True, I personally have not been able to find anywhere any traces and real images of the Moscow "colosseum". But there are other interesting details that have nothing to do with Moscow. So, right behind the Colosseum, we see a certain antique building, somewhat similar to the Roman Pantheon (I will not argue that this is it), and in front there is a small pyramid.
On the left side of this "palace" you can see a characteristic Egyptian obelisk, and in front of it - a statue of a sphinx. On the right side, another statue of the sphinx is visible, and behind it, in the background, is another pyramid, which is clearly larger than the first. Have you ever heard that there were pyramids, sphinxes and obelisks in Moscow? I personally don't. Well, I did not find sphinxes in modern Rome (but they are present in Piranesi's paintings), since apparently they died during wars or cataclysms, but everything else is in Rome. The pyramid of Cestius has survived to this day and there is irrefutable evidence that it was not the only pyramid of Rome. Also, there are many paintings with images of Roman obelisks (one there and now stands near the Pantheon, and the other - in the Vatican in front of St. Peter's Basilica) and columns,which we can clearly see in the foreground of the painting "Revenge of the Winners" we are considering.
I also draw your attention to the fact that the Arc de Triomphe is visible in the background to the right of the Colosseum. Yes, here is the only similar object, i.e. Moscow also has its own triumphal arch. But, if we look at photographs of modern Rome, or even Piranesi's paintings, we will see that it is the Roman arch that is located not far from the Colosseum.
By the way, we noticed that there is a similar antique temple or palace in the second painting by Piranesi, and in the background there is the same Roman Arc de Triomphe. Also, we see many obelisks and columns, and even - statues of sphinxes near the ancient building. Of interest is also a statue of a typically Roman horseman. The same statue can be seen in the painting "The Revenge of the Winners". And this is clearly not Alexander the Great, for his war horse Bucephalus was always depicted with two raised front hooves. That is why the famous monument of St. Petersburg, known as the "Bronze Horseman", depicts Alexander in antique clothes without a saddle and with an antique sword, and by no means a false Peter, who, moreover, rode not on a horse, but on a mare. The Romanovs changed only the head of the Bronze Horseman, not without reason believing that thosewho will blindly believe in the official version of history and will themselves be "headless". But back to our Roman horseman, whose image can be seen in the background on the right side of the picture.
And if you compare it with a modern copy of a bronze statue of the emperor Marcus Aurelius, you can find not only a similar characteristic Roman style, but also clearly similar elements. And this Roman greeting with the right hand, perhaps, is the "visiting card" of statues of Roman emperors. Has anyone heard of that. so that statues of Roman emperors ever stood in Moscow? Personally, I don't know anything like that.
But, of course, all of the above has not yet convinced the most zealous adherents of the "Moscow" hypothesis. Therefore, let's move on to examining the left side of the picture. In the background we see a very characteristic antique arch bridge abutting against a large round tower. There is a mast on the tower, on which a red flag flies. Do you still think this is Moscow?
I wonder if there is something similar in Piranesi's paintings? It turns out there is. Do not recognize the characteristic bridge and tower, though from a slightly different angle?
Considering that Piranesi painted pictures of Rome, not Moscow, and on the basis of the identity of many of his depicted objects with similar objects of the painting "Revenge of the Winners", we can confidently say that the scene of this picture is precisely Rome, and not Moscow at all. In addition, this antique arched bridge and a round tower have survived to our time, and now there is an interesting photo of modern Rome.
It is this bridge that is depicted in Piranesi's paintings, and it is also visible in the background of the painting "The Revenge of the Winners". Considering that we have considered a lot of evidence indicating that the action of the picture does not take place in antediluvian Moscow, but in antediluvian Rome, this question can be considered closed. Moreover, it was not possible to find a single real proof to the contrary.
However, the question remains, who were the very fair-haired, bearded people of Slavic appearance, whom the Roman legionaries so cruelly slaughtered? I agree that they are completely different from the Romans themselves. And on this occasion, I propose this version: it is Etruscan. The very ones who actually founded and built many cities on the territory of present-day Italy, including Rome itself. They were the ones who built all the famous ancient buildings, bridges, aqueducts, roads and aqueducts, attributed by the falsifiers to the legacy of the "Roman Empire".
But what actually happened? In a certain historical period, Rome was flooded with representatives of the Mediterranean peoples, who gradually seized all key posts and lower levels in the "power structures". And when they became the majority of the population of Rome, they simply killed the Etruscans who sheltered them, who were the ruling elite in Rome, and ascribed all their inventions, technical and architectural projects to themselves.
Apparently, just the moment of this bloody massacre is depicted in this picture during a successful military coup that marked the beginning of the so-called. “Holy Roman Empire”, which, of course, existed in the Middle Ages, and not in distant antiquity. In fact, no "Roman Empire" ever existed, but there was precisely the "Holy Roman Empire". For otherwise, all these ancient buildings simply would not have survived to this day. And for those who doubt this, I advise you to carefully study the tables of durability of various building and facing materials, which clearly say: which stones, after how many years, completely collapse. All these events also logically explain the fact that it was the Vatican, which played an important role in the life of this empire, for centuries was the main focal point for falsifying history.
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