In 410 B.C. priests of Khuum, having secured consent of Persian commander, raised soldiers of Egyptian descent who penetrated into Yahve’s temple, pillaged its precious sacred vessels {Could some of these things held sacred have once been art or manufacture of those who Egypt venerated or considered their own? Could that include Ark and other scientific instrumentation?} and demolished and burnt temple. When Jews complained to Persian satrap at Memphis, commander who agreed to this misdeed was punished by death, but it was only in 407 B.C., after continuous requests and bribery, that Jews secured from Persian authorities permission to rebuild temple…” (10)

He goes on to document how Egypt overthrew Persians and then Alexander took over Egypt. I do ask reader to think long and hard about Persian relationship with these mercenary Jews and ask if Basilidae of Greece and Persia are their kin. I know this means Bible Narrative about hard done by slaves who left with Moses and other trite fictions is pure hogwash and one can thus see an elite and well-armed force of specially equipped fighters is what poor Jews have been. But that does not mean average Jew gets treated much better by their elite.

Alexander put alchemical family of Ptolemy in charge of Egypt. Ptolemy had Manetho do a history of King's List that connected him to Hercules and De Danaan that are elite Jews I have traced throughout 35,000 years since first white man walked to face of this trembling and fearful planet. No longer was it easy for mankind and much has gotten worse in matters of soul and brotherhood. I apologize as a member of this elite group that was split into factions and still fights for power. I have less and less regard for my forbears and their history as I continue my research.

Apart from his inherent quality of genius this last fact may explain why Botticelli was far more subject of study in nineteenth century. It was a question of art-market. There were, come to think of it, far more Botticelli pictures to move about , and get to know, and make a profit from, than there ever could be with an artist most of whose art was permanently attached to a wall, such as Signorelli. Cognoscenti concentrated on moveable art; should one blame them?

Signorelli’s extraordinary qualities as a draughtsman are brought out to full in coloured reproductions of frescoes at Capella Novain Orvieto Cathedral. His mastery over limbs, nude or clothed, and his beautifully organised and clear drawing of drapery are first things one notices. It is only after that that one notices his authority in drawing of hands and faces of character comes to fore. In many cases perspective is such that one feels Signorelli has taken courage as a result of having looked at frescoes of Mantegna. We are given a good coverage of frescoes in Monte Oliveto with figures (though much neglected and mutilated in time) of white-robed Olivetian monks which make an original composition, and most beautiful subdued colour harmonies which succeed in escaping from more conventional colour-schemes, deriving from Florentine practice, of his larger frescoes.

Altogether this book is an achievement. It is not likely to be superseded for at least next fifty years. It is well worth acquiring for committed library, either private or public.