Johann Christian Fischer, by Thomas Gainsborough, the very same painting, above and below, indeed, x-ray off we go, what do you see, what we need to be, is remind the reader of Washington, the General and the President of the United States of America, by whom we discovered the mystery in art on the wall, the Original we declared, the forgeries, in the records of one or more museums, the artists, one Browne, the other Herman van Swanevelt, the first British, the second Dutch, and here we take a tour elsewhere in the world of art to the same destination, the link to the past is in the archive, look fast, to be found in the book in the works please, there you may find the link if you dare, to the original work of art photographed by yours truly at the home, the estate, the current operation of preservation and conservation that is at the heart of the Birth of our Nation, thank you very much, that piece is forged and plagiarized, with a z, the American version to be, wherefrom, we have an idea, but we also know, the British were so mad, so devastated that they lost the American Empire to the Americans themselves, to this day the residue of a very profound hatred of all things to do with the United States can be found emanating from the British Isles, specifically the royalty, and specifically the history, we covered these topics far and wide and here and there, and furthermore we begin to get to the true meaning of this post, that which is below, that which is above, the painting just seen right here,
As above, so below. The x-ray, by Roentgen we believe the world moved farther forward than it has in many, many, many years. Thank you much. What we see, or what we think we see, is the underlying forms that we cannot without, plausibly that is, without hands on analyses of the canvas, the original, the work of art in where, we are told, that the figure, the visage up above is alike the Shakespeare down below, in homage, or after please, the inspiration, now we are told it resides, or at least, at least one version of the sculpture of Shakespeare is said to be in Poets’ Corner in Westminster Abbey, which we are told, no less than two locations online, the statue was designed by William Kent, an unknown. He is purported to have designed the statue which is the further alleged inspiration for the Canvas below Johan Christian Fischer, the painting in one and two, and that sculpture furthermore claimed to have been executed by one Peter Scheemakers, a or the Flemish sculptor who spent most of his time in England, in London in specifically, the work of 1740, whereby the artist of prime concern here, one Thomas Gainsborough, the painter of the German composer so named Johann Christian Fischer, that in 1774 was painted in Bath. Who could believe that below inspired above,
The Effigy here may be in the works of making its way from the New World to the Old.
The artist please, He makes no more motion than is required for the art to proceed, thank you much indeed, we speak of the composer Giardini who Gainsborough refers to in a September second letter to one William Jackson, dated without a year but probably 1768, the same year the one and only, the same year our Thomas Gainsborough was invited to be a founder-member of the Royal Academy of Arts. It may have just been called the Royal Academy at the time, and Jefferson would soon be escorted or invited or otherwise on the grounds of that place of abode of the science, science at its helm the leaders in the field, astronomy especially, and furthermore the arts, the arts that they need, again, we speak of one other composer, the native of Turin, indeed, Felice Giardini below,
What do you see in these paintings or engravings, thus far at least, we find something that is not truly shew, but is a deliberate of the painter or artist, we first must suppose that so, the Royal Society invested in portraiture and furthermore thusly so for the purpose of research into the art of the higher realm, the Face of Effigy, you may look closer and again, and again, and again, and again, and again, and again, and again, and again, look and see nothing twice the same in the background and foreground wherefrom they came. Look below at another Giardini, or maybe the same not at all,
Who came by and made this better than ever seen before is the one who failed to sight the unknown origin of the likely Rembrandt painting of, the portrait, not at all, engraving, all and all, Christ in the Storm, at Sea, not at all not at all, look for the, THREE CRUCIFIXES, all THREE BELOW, or in the middle layer, ALL THREE, by who would be, too much a master we disagree, but modern man, as he can, marks the border with three and four, how by and what came before, all the entertainment that we see, class thirty four, like the marks, how many more, and what do you think they intend to do with such a painting or upon WHO ARE YOU, why touch it at all, that we want to know as well, where and when in exhibition hard to tell, even when they say, it might not be that day, like a DRURER and the Metropolitan Museum of Art, long gone despite the record of on display in this way, like the plates they say are the oldest known today, of the FLOOD, record please, from MESOPOTAMIA, we agree, hidden in the vault, the ivy league again at fault, the Rijksmuseum here likely involved in both the MYSTERY OF WASHINGTON in the engraving aforesaid, this very piece above, the GAINSBOROUGH painting that is, and what is below, repeat, features atop the post, on the CADUCEUS HATH BEEN FOUND, the PATRON DEITY OF THE ARTS, could it be, MARK FOUR, thank you much indeed, divine inspiration that we need, thank you much indeed, here we go and do know that someone at all does not like our posts at all when post upon the one and only, JESUS CHRIST, in any way, there are things we say, long before the present day, an enemy gone away, will take these words and mark thirty four, just like what came before, that is why, that is why, whereby, the ART here, win the day, mystery, codes, and all that may, be the real mystery, not to detract and diffuse the BLOODLINE that we don’t confuse, for being quite REAL, thank you much indeed again, this is here and this is when, we say, by the SEA OF GALILEE, or another way to be, en route to the SOUTH OF FRANCE, the NORMANS and our chance to connect all threads from the day below to the day above, THE BENEDICTINES, here with LOVE THY ENEMIES and make the reversals be, meaningful only in full, when they are ready out they go,
ONE, Hayes, John, ed. 2001. The Letters of Thomas Gainsborough. Published For the Paul Mellon Centre for Studies in British Art by Yale University Press. Designed in Adobe Garamond by Guilland Sutherland. Printed in Great Britain by BAS Printers Limited, Over Wallop, Hampshire. Library of Congress Catalog Card Number 00 111790. ISBN 0 300 08732 2. A catalogue record for this book is available from the British Library.