1.) Unraveling History’s Concealed Fabric

During Alberti’s own lifetime, a profound shift in daily life was observed as mechanical clocks and personal watches transitioned from being mere novelties to becoming widely adopted instruments. Concurrently, the introduction of ballistic weapons dramatically amplified the reach and coercive power of emerging state authorities. Only a few decades later, the conceptualization of proto-telescopic lenses further revolutionized human observation, promising unprecedented insights into the cosmos and the natural world. It was within this dynamic and rapidly evolving environment that Alberti fundamentally reshaped the field of architecture. He played a pivotal role in distinguishing the architect as a learned designer of overarching principles from the traditional hands-on mason, elevating the profession to a more intellectual and theoretical plane. When Alberti famously declared, “We painters,” he was not speaking as a practicing artist himself, but rather as a profound theoretician and teacher of visual laws. 

Giorgio Vasari, in his influential Lives of the Artists (1550), famously acknowledged that Alberti “achieved nothing of any great importance or beauty” with the actual brush. Despite this, Vasari lauded Alberti’s relentless dedication to research and his profound intellectual contributions. Vasari himself coined the Italian term rinascita (“rebirth”), which was later Anglicized as “Renaissance,” and argued that the pinnacle of artistic progress culminated in Michelangelo. Even so, Vasari placed particular emphasis on Alberti’s scholarly pursuits over his practical architectural creations, noting that “Alberti spent his time studying the proportions of ancient structures; above all, he preferred writing to applied work”. This profound intellectual approach is strikingly echoed in the voluminous notebooks of Leonardo da Vinci, which, heavily influenced by Alberti’s canons of beauty and proportion, are replete with detailed studies of human anatomy and classical symmetries.

Alberti’s initial seminal treatise, Della pittura (1435), proved to be a transformative force that profoundly reshaped Florentine pictorial art. Its principles later provided a foundational influence for Enlightenment Neoclassicism, a clear lineage visible, for instance, in the architectural designs of prominent 18th century structures such as the White House and the U.S. Capitol. Beyond pure aesthetics, Alberti imbued geometric forms with profound symbolic resonance, lending sacred proportions to Vatican altars and tabernacles that continue to be regarded as holy to this day. His meticulous analysis of natural phenomena culminated in a systematic and comprehensive account of perspective, which he then widely disseminated through the burgeoning medium of print. His subsequent work, De re aedificatoria (circa 1452)—which earned him the honorific "Florentine Vitruvius"—addressed not only skilled craftsmen but the entire intellectual community, or "republic of letters". In this treatise, Alberti unequivocally asserted mathematics as the universal common ground bridging both art and science, famously stating, “I shall borrow first from the mathematicians whatever concerns my subject”. The rigorous criteria he established in I became defining hallmarks of civic architecture throughout the High Renaissance, the Baroque period, and subsequent Classical revivals.

Equally significant, and perhaps even more revealing of the underlying intelligence operations, was Alberti’s pioneering work in the field of cryptography. He is widely recognized as the “father of European cryptography” for his invention of the first polyalphabetic cipher in 1467, a revolutionary system now known as the Alberti cipher, specifically designed to safeguard sensitive intelligence from unauthorized access. Both royal courts and the powerful Church financed a dedicated cadre of code-makers and codebreakers. The Vatican, in particular, employed Alberti not only for his expertise in constructing physical fortifications but also for securing their confidential correspondence. His personal self-portrait depicts him in the attire of an ancient Roman, accompanied by his distinctive winged-eye emblem, which served as an acknowledgment of Divine Providence. Later iterations of this emblem encased the eye within a triangle, further symbolizing the Christian Trinity. Alberti’s innovative cipher disk, which achieved secret communication by rotating through mixed alphabets at specific cues embedded within the text, ingeniously combined his architectural advisory role to Pope Nicholas V (pontificate 1447–1455) with a sophisticated system for clandestine communication. De re aedificatoria intentionally echoed Vitruvius’s De architectura (circa 30 BC). As the only extant treatise on architecture from antiquity, Vitruvius’s work made Alberti’s the second of its kind, an intentional stylistic and thematic link. While engaged in the study of classical texts in Rome, he actively advanced the humanist project of recovering, editing, and translating ancient literature. This ambitious endeavor was a central component of Nicholas V’s initiative to establish the Vatican Library. Was the true Rome not the Holy Roman Empire of the medieval era—a dominant Christian power—rather than a fading pagan relic of antiquity?

Modern speculation has even led to the controversial conflation of Alberti’s identity with that of Vitruvius. This theory gains circumstantial support from marginalia found in a 15th-century Latin Vitruvius edition held in the Biblioteca Medicea Laurenziana. The handwriting, identified by palaeographers as closely matching Alberti’s known correspondence, includes corrections that align with Alberti’s architectural theories but diverge from classical Vitruvian principles. In the late 20th century, the Russian mathematician Anatoly Fomenko, employing Gleb Nosovskiy’s statistical methodologies, asserted that the two individuals were, in fact, one and the same. This conjecture finds an intriguing resonance with Leonardo da Vinci’s Vitruvian Man, whose mirrored script invites a playful, almost cryptographic, association with Alberti’s profound theories of proportion. Nevertheless, such provocative claims largely remain outside the purview of mainstream academic scholarship. What remains beyond dispute, however, is Alberti’s astonishing polymathic scope. As James Beck observed in Artibus et Historiae, attempting to isolate his contributions to a single discipline is “of no help in characterizing his extensive explorations”. Alberti also pioneered the standardization of Italian grammar, meticulously refined medieval Latin for papal communications, practiced Roman law, and oversaw the extensive collection and preservation of ancient manuscripts scattered across Italy, France, and the eastern Mediterranean. 

The inherent fragility of papyrus as a medium meant that any works not meticulously recopied onto expensive parchment would inevitably disintegrate. This pervasive vulnerability underscored a fundamental and enduring question that I rigorously confronted: How can one truly ascertain what is genuinely original in the historical record?.

The influence of the Watch was not confined solely to religious institutions; it extended profoundly into secular power structures, notably the Holy Roman Empire and the broader European aristocracy.These secular powers actively sought to legitimize their immense territorial claims, validate their dynastic successions, and reinforce their hierarchical systems of rule by anchoring them in a supposedly ancient and deeply venerable past. 

Through the meticulous fabrication or distortion of historical events and genealogical lineages, they could present their authority as divinely ordained and historically inevitable, thereby effectively suppressing any potential dissent and strengthening their firm grip on power.

Foreign intelligence, or espionage, emerges as a critical missing element in the conventional understanding of historical scholarship. Alberti’s profound mastery of ciphers allowed him to ingeniously safeguard sensitive information through classical cryptographic methods, seamlessly integrating art, writing, and intricate mechanical devices into his sophisticated techniques. This unique capability prompts a profoundly thought-provoking inquiry: could the very timeline of the historical record itself be encrypted in a similar fashion, concealing deeper truths beneath its apparent linearity?

Think of the official timeline as a master forgery—beautiful to look at, skillfully aged, but painted over the top of another image. My task here is to scrape away that upper layer, sometimes revealing faint outlines, sometimes discovering entire scenes the original artist never intended us to see. 

I build on certain concepts from The New Chronology (TNC) by Fomenko and his team, but the distinctions are crucial to clarify. I don't fully agree with TNC's specific timeline. Instead of presenting a narrative based directly on his work, I borrow from the overarching premise that history was fabricated during the 15th century with the creation of the printing press. This central idea, which suggests a deliberate manipulation of historical timelines, serves as the foundational framework for my unique and speculative historical theory. While my research aligns with certain aspects of TNC's arguments, my own analysis prioritizes the narratives omitted from both mainstream and alternative historical discourse.

I agree with TNC’s claim that many stories from Western Europe and the Byzantine Empire are duplicates of each other. One set was told using Greek names and the other with Latin or Germanic ones. The Byzantine Empire experienced its ultimate collapse during the pontificate of Pope Nicholas V. Constantinople functioned as the capital of "Rome" for more than a millennium, the Eastern Roman Empire. The fall of Constantinople in 1453 profoundly intensified the collaborative efforts between fleeing Byzantine scholars and Alberti’s extensive Latin translation projects. 

Crucially, the invention of mechanical movable type, the Printing Press, shortly before this period, provided the means for the rapid creation and wide-ranging dissemination of “counterfeits,” including works falsely attributed to revered ancient historians, poets, playwrights, and philosophers. It is plausible that Alberti meticulously orchestrated this grand-scale deception through an expansive and intricate network of influential bankers, intrepid explorers, master builders, talented artists, skilled cosmographers, and cunning dealers. With advanced knowledge of aging techniques, they mass-produced "ancient" texts, artifacts, and monuments, then planted them in archaeological contexts. 

In Italy, Alberti and his network of collaborators meticulously studied ancient ruins under the patronage of the Vatican. This pursuit not only ignited their profound interest in classical architecture but also directly informed the precise design of their forgeries and facilitated the strategic influx of ostensibly "newly discovered" Greek knowledge into Florence. One compelling hypothesis suggests that Alberti seamlessly integrated these forged historical structures within genuine archaeological sites, thereby lending them an appearance of far greater antiquity than their actual construction date.

What are commonly presented as distinct and earlier epidemics—such as the Neolithic Decline (around 3000 BC), the Plague of Hittites (around 1320 BC), the Plague of Athens (430–426 BC), the Plague of the Philistines (circa 11th century BC), the Antonine Plague (165–180 CE), the Cyprian Plague (249–262 CE), and the Plague of Justinian (541–549 CE)—are, from this re-contextualized viewpoint, nothing more than "phantom reflections" or "fractal copies" of the devastating 14th century Black Death. Repeated, structured correlations across geography, time, and culture demand attention. A single shared architectural style may be a coincidence. The same style appearing alongside matching political structures, mythic symbols, and technological leaps—multiple times, across continents—becomes a pattern that invites investigation. My approach does not stop at spotting similarities; it tests whether these similarities form part of an intentional network of influence.

Medical historians have noted that symptom descriptions in these earlier accounts often match 14th-century plague records word-for-word, right down to the same metaphors for the body’s decay. A side-by-side linguistic analysis of Thucydides’ account of the Plague of Athens and Gabriel de Mussis’ 14th-century chronicle reveals more than thematic similarity—over 40% of symptom phrases appear verbatim in translation. Such overlap suggests a direct copying or adaptation rather than independent eyewitness testimony. These seemingly ancient outbreaks, with their documented reports of widespread societal collapses, profound religious shifts, and significant military defeats, were retroactively inserted into the historical timeline. Their purpose was twofold: to artificially create a false sense of deep antiquity for existing narratives, and to provide a fabricated explanation for why advanced knowledge and technologies that supposedly existed in earlier eras seemingly "disappeared," only to be "rediscovered" during the Renaissance. 

From this re-envisioned perspective, history itself is analogous to a cryptogram—specifically, a substitution cipher—that can be “solved only through frequency analysis”. Fomenko, a mathematician, applied statistical models to historical texts. Building on the work of Nikolai Morozov, he believes the current version of history is a patchwork of 3–4 duplicate versions of the same events, repeated with different names and places As an illustration, TNC draws a comparison between the conventional timeline of Rome, as recorded by Titus Livius, and a modern historical account of Rome penned by the Russian historian V.S. Sergeev. TNC’s calculations reveal a high correlation between these two texts, implying that they describe the same historical period despite their supposed temporal separation. Conversely, when he analyzes modern texts that genuinely describe distinct and unrelated historical periods, he observes, as expected, a low correlation. However, when examining, for example, the early timeline of Rome and the Renaissance records of Florence, he again estimates a remarkably high correlation. Based on these findings, TNC concludes that the early history of Rome is, in essence, a duplicated narrative, a copy of the Late-Medieval records of Rome. He also recalculated ancient eclipse records and found they line up better with dates in the Middle Ages..

While it is not asserted that Alberti was the initial individual who set these complex processes in motion, evidence suggests that manifestations and records of his life and influence can be identified across various cultures and geographical locations worldwide. As a master cryptographer, Alberti skillfully utilized his extraordinary abilities and expansive connections to craft and disseminate powerful narratives, strategically designed to imbue populations with an exaggerated sense of antiquity. While it is true that we possess ancient artifacts like cuneiform tablets and papyri that predate the printing press by thousands of years, I believe the mainstream historical narrative was largely fabricated in the 15th century.

While TNC focuses on 16th century chronologers, this analysis focuses on the foundational fabrications orchestrated by Alberti and his network during the Renaissance—making those earlier manipulations the true wellspring of later chronological errors. In this revised historical framework, all events and figures traditionally dated before the 15th century—including the so-called “ancient” civilizations of Iraq, Egypt, Greece, and Rome—are repositioned within the 11th–14th centuries. This includes all major wars like the Egyptian campaigns against the Hittites, the Assyrian and Babylonian conquests, the Greco-Persian Wars, and the Peloponnesian War between Athens and Sparta. Alexander the Great expanded Macedon across Persia, followed by the Punic Wars between Rome and Carthage. Rome’s rise led to centuries of imperial conflict, including the Jewish-Roman wars and the Germanic invasions. The Islamic conquests rapidly expanded Arab rule, clashing with Byzantines and Persians. The Crusades, starting in the 11th century, pitted Christian Europe against Muslim powers. The Mongol invasions in the 13th century reshaped Eurasia, while the Hundred Years’ War between England and France dominated the late medieval West. In other words, mainstream history generally has the correct sequence of events, but the dating is often inaccurate—sometimes off by centuries, or even millennia. 

Our dating systems are reverse-engineered constructs, not precise reflections of the past. Dates should be interpreted as relative markers of chronological order—not as absolute truths. I remain deeply skeptical of radiocarbon dating (C-14), developed by Willard Libby, particularly before its calibration in the 1980s. The method relies on the assumption of stable atmospheric carbon levels, yet volcanic eruptions, industrial pollution, and nuclear testing have all distorted these levels, leading to potential inaccuracies. There are documented cases where C-14 dating contradicts established historical records—such as medieval artifacts being misdated to ancient periods. Radiocarbon dating is a valuable tool—but like any tool, it can be misused or misinterpreted. Calibration curves, contamination, and selective sampling can skew results by centuries. One medieval shroud tested in the 1970s returned a date between 200 BC and AD 200, until later calibration shifted it forward by more than a thousand years. The method itself is not the problem—it’s the assumption that every sample’s context is unquestionable. My position is not that radiocarbon dating is useless, but that its results are only as trustworthy as the chain of custody and the interpretive framework surrounding them.

Similarly, long-range tree-ring chronologies are often artificially constructed by cross-matching fragments, relying on assumed historical timelines. Stratigraphy, another key dating tool, is frequently misinterpreted due to natural disturbances or human activity that disrupt sediment layers. Moreover, many archaeological finds are "contextually dated"—assigned ages based on surrounding artifacts rather than direct evidence. Ultimately, chronologies are built by cross-referencing with preexisting historical frameworks, making them dependent on circular reasoning and prior assumptions.

The cuneiform tablets and papyrus fragments we have offer fragmented glimpses into ancient civilizations, but they were limited in scope and accessibility. Most surviving records were administrative, religious, or literary—not comprehensive historical accounts. The invention of the printing press during the Renaissance revolutionized knowledge dissemination, allowing historians to compile, standardize, and propagate cohesive narratives of world history. Before that, histories were often localized, inconsistent, or lost, making the printing press a turning point in shaping a more unified and widely accepted historical record. Likewise, what has been labeled “prehistory” (such as the Neolithic, Mesolithic, or Paleolithic periods) is now interpreted as symbolic or encoded representations of a time before the 11th century. This compression model allows for a unified reinterpretation of global history through a deliberately encoded, fractal lens.

I draw extensively from Julian Jaynes (1920–1997) an American psychologist best known for his book The Origin of Consciousness in the Breakdown of the Bicameral Mind (1976). His provocative theory, which posits that humans in the Medieval period fundamentally lacked modern self-awareness. Instead, Jaynes suggested, these individuals were governed by and obeyed auditory hallucinations emanating from a "god" hemisphere within their brains, a cognitive state that persisted until societal collapse forced the emergence of introspective consciousness. This psychological shift began during the plague yet reached its culmination amid Renaissance upheavals—most notably the fall of Constantinople in 1453—underscoring a multi-phase collapse of bicameral cognition.

Multidisciplinary evidence lending support to Jaynes’s theory encompasses findings from neurological, psychological, linguistic, archaeological, and anthropological research. Neurologically, studies on brain lateralization consistently demonstrate distinct functional roles between the cerebral hemispheres, with the right hemisphere often implicated in auditory processing and the left in language. This aligns seamlessly with Jaynes’s model, where one hemisphere seemingly “ spoke” and the other implicitly obeyed. Psychologically, the authoritative “voices” experienced in clinical conditions such as schizophrenia, Post-Traumatic Stress Disorder (PTSD), and bereavement echo the commanding nature of bicameral hallucinations, suggesting enduring vestiges of this archaic cognitive mode. There's also genetic overlap and shared inflammatory pathways between such conditions and plague. Linguistically, ancient texts like Homer’s The Iliad conspicuously lack introspective language, instead describing characters’ behaviors as directly dictated or influenced by divine commands. This textual characteristic aligns with Jaynes’s claim that consciousness, as we understand it today, had not yet fully emerged in these early periods. Linguists have shown that Homer’s Iliad contains zero uses of words for internal decision-making—terms like “mind,” “self,” or “choice” never appear, replaced instead by divine commands. Moreover, the Iliad reflects medieval social structures, weapons, and worldview—not those of ancient Greece.

In this framework, bicameral works are direct survivors from an ancient era not Renaissance reconstructions — sometimes heavily edited or entirely reimagined — based on fragments of older oral traditions. These oral sources, originating in genuinely bicameral societies, preserved the linguistic and psychological markers Jaynes identified. 

Archaeologically, sudden and significant shifts observed in burial practices, religious iconography, and the development of writing systems around the time of the Iliad and Odyssey are interpreted as supporting his notion of a cultural breakdown of the bicameral system. Anthropologically, the parallel emergence of introspective language and complex metaphors for selfhood alongside increasing societal complexity and stress indicates that consciousness was, to a significant extent, culturally constructed rather than solely biologically predetermined. Collectively, this multidisciplinary body of evidence provides provocative—though continually debated—support for Jaynes’s radical and transformative thesis.

The integration of Jaynes's Bicameral Mind theory with TNC leads to a profoundly compressed view of humanity’s historical timeline. TNC’s controversial re-dating asserts that many supposed Bronze Age artifacts and events, including the Trojan War and various Egyptian dynasties, were, in reality, medieval fabrications originating from the Renaissance onward. Within this radically revised framework, what is conventionally understood as the "Bronze Age Collapse" might actually represent late medieval crises. This suggests that the bicameral breakdown, rather than occurring in deep antiquity, likely reached its final phase during the Renaissance, though its roots lay in the gradual collapse of bicameral cognition centuries earlier. Renaissance fabricators, drawing on remnants of these pre-conscious oral traditions, preserved their structure while reframing them within a compressed, rewritten chronology.

This intellectual fusion implies that the shift from hallucinated divine commands to self-reflective thought—what we typically define as "ancient" consciousness—was, in fact, a much more recent development. It was possibly intrinsically linked to the profound upheavals and transformations of early modernity, rather than an evolutionary step of deep antiquity. Consequently, both behavioral modernity and the very historical record we consult may be far more recent constructs than conventionally believed.

The advent of writing and widespread literacy played a transformative role in guiding humanity away from the bicameral mind. This transition was achieved by externalizing divine authority, effectively shifting guidance from internal, hallucinated voices to tangible, enduring symbols. As sophisticated writing systems, exemplified by the innovation of the printing press, continued to evolve, they facilitated abstract thought, enabled systematic record-keeping, and fostered the development of complex legal frameworks. This progressive evolution gradually diminished humanity’s reliance on direct auditory command hallucinations. Furthermore, art and literature deepened this psychological transformation by actively cultivating introspection. The emergence of realistic portraiture and nuanced first-person narratives reflected a burgeoning human capacity for self-awareness and internal dialogue.

Over time, Alberti began to reassess the mission he had served. While once a principal fabricator of the Watch’s manufactured antiquity, his exposure to wider humanist currents — and his own philosophical reflections — led him to the radical conclusion that their monopoly over knowledge was not preserving civilization but stifling it. Alberti, with his keen insight, recognized that the very cryptanalytic skills and expansive cross-border networks that had once been exploited for clandestine forgeries could be strategically redirected. His vision was to employ these tools to dismantle the Watch’s pervasive stranglehold on historical narratives. Rather than permitting secret societies to wield the printing press for the fabrication of "ancient" authorities, Alberti envisioned universal literacy as a formidable cultural counter-weapon. His strategy involved popularizing the alphabet, promoting critical reading skills, and saturating Europe with inexpensive printed texts that would expose the manipulated chronologies. The artful "remixes" of influential figures like Michelangelo, which had functioned as clever deceptions, would be re-contextualized to become visual footnotes for genuinely reliable narratives. This would, in turn, empower an informed public to decipher the past for themselves and directly challenge any predetermined global order.

Humanism provided the essential intellectual framework for this profound revolution. By elevating rational inquiry and affirming the inherent dignity of the individual, Humanism offered a secular philosophical language that could unite diverse populations without relying on the theological gatekeeping traditionally imposed by Rome. Yet, paradoxically, Alberti’s own architectural projects for the Vatican illustrate how he strategically utilized these very institutions to propagate a more accessible Italian vernacular language over the elite and restrictive Latin. In skillfully emphasizing shared human values while subtly encouraging the development and use of local languages, Alberti navigated a delicate balance. His actions simultaneously weakened both clerical dogma and the Watch’s pan-European information cartel, while meticulously nurturing the very civic pride that would later burgeon into nationalism. This was not a sudden break but a gradual drift — a man once at the very center of the Watch’s grand illusion now repurposing its machinery to loosen the very chains he had helped to forge. Thus, the identical tools that had once been wielded for control—namely, cryptography, forgery, and print—were transformed into instruments for a true Renaissance of transparency and autonomous thought.

Concurrent with these transformative 15th century cultural shifts, the increasing complexity of social structures, accelerating urbanization, and broadened intercultural contact introduced a multitude of conflicting belief systems. These emergent tensions progressively eroded the authority of singular, unchallenged divine voices and fostered a pervasive sense of cognitive dissonance within human societies. Catastrophic events further destabilized traditional societal structures, leading to a profound fracturing of the psychological bicameral psyche. In response to these overwhelming pressures, humans began to internalize authority, cultivating an autonomous conscience capable of sophisticated moral reasoning and flexible decision-making. Collectively, these converging forces forged an entirely new mode of human consciousness: one characterized by self-direction, introspection, and a liberation from dependence on singular divine commands.

Prior to the complete emergence of Humanism, as systematically codified by Alberti, the vast majority of humanity existed in a fundamentally different cognitive state. With the notable exception of the Watch’s operatives, the global population experienced reality predominantly through the interpretative lens of auditory hallucinations. In this pre-conscious era, internal thoughts, impulses, and directives were not recognized as originating from within the individual mind. Instead, they were perceived as external, divine commands emanating from a distinct "god" hemisphere of the brain. Societies were meticulously structured around these perceived directives, with priests and rulers serving as crucial intermediaries for these authoritative voices, which were believed to be unequivocal and absolute divine orders. The Watch, however, comprised individuals who had already transcended this bicameral mode of thought. Their network of spies, having long operated with an advanced form of introspective consciousness, moved discreetly among populations still deeply influenced by these internal "voices". They skillfully leveraged this pervasive psychological reality to subtly guide and manipulate societal development over extended periods. While the masses implicitly obeyed these perceived divine commands, the Watch understood them as predictable psychological responses, which provided fertile ground for their covert operations and long-term historical shaping, even before Alberti's more overt attempts to systematize this control.

Delving deeper into the intricate web of Alberti’s connections reveals a significant nexus with Leonardo da Vinci, particularly through his association with Luca Pacioli, a figure frequently acknowledged as the "father of accounting" and renowned author of Divina proportione. Within the iconic symbolism of Leonardo’s Vitruvian Man, the profound integration of ϕ (Phi), also recognized as the Golden Ratio or Divine Proportion, is clearly apparent. Pacioli is customarily credited with being the first to publish a detailed description of the double-entry accounting system. However, strikingly, the principles of double-entry bookkeeping appear to be prefigured in Pliny the Elder's Tabulae Rationum, dating back to 70 AD. This temporal overlap immediately provokes a critical inquiry: if such a sophisticated financial methodology existed in antiquity, why does historical evidence not demonstrate its continuous and uninterrupted use since 70 AD? This enigmatic void in the historical record, where an advanced financial system seemingly vanished for more than a millennium before its perplexing "rediscovery," profoundly reinforces the hypothesis that such sophisticated knowledge was intentionally suppressed. Surviving merchant ledgers from the so-called “gap centuries” show abrupt returns to single-entry systems, as if the double-entry method had vanished entirely from collective practice. This unexplained pattern strongly suggests a premeditated strategy of knowledge control.

During Leonardo da Vinci's formative years, Florence served as a vital strategic hub for intelligence gathering and dissemination. Da Vinci’s early artistic development unfolded within this vibrant Florentine milieu, surrounded by pioneering artists. At this time, Alberti, then in his sixties, was actively engaged in mentoring a new generation of Humanists. Alberti’s foundational treatise, De pictura, exerted a profound influence on these emerging artists, and notably, on Leonardo da Vinci himself. Da Vinci appears to have ingeniously integrated diverse functions drawn from Alberti's preliminary conceptualizations to illustrate their practical utility. By skillfully reconstituting Alberti’s technical innovations, Da Vinci effectively synthesized new creations, artfully remixing existing knowledge into what were perceived as groundbreaking novelties. These "innovations" meticulously served the Watch’s agenda of selective historical presentation and fostering a controlled illusion of ongoing progress.

The burgeoning condottieri of the Medici family cleverly championed the elaborate narratives of an "ancient" Roman and Greek past. These powerful and ambitious newcomers strategically exploited such narratives to legitimize their own aspirations for ecclesiastical power, including becoming Popes or Cardinals, and to establish enduring regal dynasties. Preceding the Medici in both political and cultural prominence, the Alberti family functioned as direct institutional forerunners, serving as integral players in Florence’s civic and intellectual evolution. Throughout the 13th and early 14th centuries, the Alberti stood among the most affluent and influential Florentine families, commanding significant control over international banking and global trade long before the Medici's ascendance. Following the eventual collapse of the Alberti bank, a consequence of political instability and considerable financial hardship, the Medici gradually superseded them as Florence’s preeminent banking dynasty. This strategic transition was further solidified through carefully orchestrated marital alliances, exemplified by the union of Giovanni di Bicci de' Medici, the progenitor of the Medici banking empire, with Contessina de' Bardi. It is also rumored that another member of the Alberti family married Cosimo de' Medici. Through her mother, Caterina degli Alberti, Contessina provided the Medici with a direct connection to the venerable, older Florentine Alberti lineage, thereby significantly enhancing the Medici’s social standing and prestige. Some historical accounts suggest a subtle underlying tension or rivalry between the Alberti and Medici families, particularly concerning their influence over the city's civic and artistic spheres. The Alberti may have perceived themselves as possessing a more ancient lineage, a superior classical education, and a greater moral rectitude compared to the Medici, who were regarded as newer money.

Leon Battista Alberti became intricately linked with the Medici family, who were, arguably, the wealthiest family on Earth during his lifetime. He was instrumental in shaping the very political and cultural landscape that the Medici would subsequently come to dominate. Alberti held a deep admiration for Cosimo de’ Medici’s extensive patronage of the arts and learning, and he shared Cosimo’s intellectual inclination towards Neoplatonic philosophy. However, unlike many other clients of the Medici (such as Marsilio Ficino or Donatello), Alberti was not financially beholden to the family, enabling him to maintain a more detached and independent relationship. His own Alberti family had been subjected to a banishment from Florence in the 14th century. Although he was permitted to return to the city in 1428, this background instilled in him a cautious apprehension regarding outright Medici dominance.

It is particularly noteworthy that during this historical period, the adoption of surnames was uncommon for most individuals. For instance, Leonardo da Vinci was simply named after his birthplace. In sharp contrast, surnames like Alberti and Medici unequivocally signified deep-rooted family power, enduring legacy, and extensive influence. The Alberti family, for example, famously oversaw the construction of the formidable castle of Catenaia, which they tellingly named "Two Chains" after their distinctive coat of arms. This name powerfully symbolized both their intrinsic identity and their expansive, far-reaching ambitions. The Alberti family’s immense fortune was amassed through a vast and intricate international trade enterprise that extended across Italy, Spain, France, Germany, Great Britain, Greece, and Syria. While the name “Medici” translates to “doctors,” it is plausible that their initial wealth was derived from financing hospitals during the Black Death—an early and astute instance of leveraging crisis for significant economic gain. The Medici Bank, formally established in 1397, was built upon and further refined the innovative banking systems originally introduced by the Alberti family, thereby ushering in a new era of commercial supremacy and unparalleled wealth for Florence.

This recurring pattern of strategic adaptation, exploitation of crises, and pervasive cultural influence became the undeniable hallmark of Medici power. Toward the end of his life, Alberti authored Della famiglia (On the Family), a comprehensive treatise that can be interpreted as a practical blueprint for effective domestic governance and strategic operational planning—a philosophical framework that the Medici family may very well have adopted and rigorously applied. Alberti also undertook the design of their villa in Fiesole for Giovanni de' Medici, an architectural endeavor that established the quintessential prototype for all subsequent Renaissance villas. Alberti’s return to Florence in the 1430s, alongside the papal court, precisely coincided with the resurgence of Medici political influence. In 1441, with the active support of Piero de' Medici, Alberti organized the Certamen Coronarium, a significant literary competition aimed at promoting vernacular culture. By the 1460s, Cosimo de' Medici had expanded this burgeoning humanist circle into an influential network of resident philosophers. Their concerted efforts led to a massive influx of Greek texts into Florence and meticulously reframed existing historical narratives through a Latinized, Neoplatonic conceptual lens. The Florentine Academy, which they assiduously cultivated, evolved into a strategic recruiting ground for talented artists, scholars, musicians, and architects. These individuals were subsequently mobilized to “wage war” on historical perception, systematically reshaping the cultural legacy of Europe to align with their philosophical and political ambitions.

Poggio Bracciolini, for example, celebrated as a key figure in recovering lost classical texts, may have instead been a master forger who fabricated manuscripts to serve the political and ideological needs of the Renaissance elite. His "discoveries"—such as works by Cicero—miraculously reappeared after centuries of obscurity, perfectly intact and aligned with Medici-backed Humanist ideals. With access to Vatican archives, financial patronage, and a network of scholars, Bracciolini had the means and motive to construct, rather than uncover, a curated classical past. His most notable "find," Lucretius’ De Rerum Natura, conveniently emerged as Renaissance thought shifted toward secularism, suggesting these texts were crafted to legitimize radical ideas under the guise of antiquity. Rather than a heroic preserver of knowledge, Bracciolini was a key operative in a deliberate campaign of historical deception, shaping Western civilization’s foundational myths.

Despite the inherent ambiguity surrounding fixed truths about historical events or their precise meanings, substantial evidence indicates that Alberti was at the helm of a transnational intelligence network. This organization operated seamlessly across international borders and specialized profoundly in the art of secrecy. The members of the Watch are intrinsically united by their mastery of cryptanalysis—their exceptional skill in decoding messages enables discreet, covert communication even when operating in apparently public spaces. Key figures within this network, including renowned artists such as Giotto, Masaccio, Brunelleschi, Piero della Francesca, and Michelangelo, collectively cultivated a sophisticated culture of forgery. They produced remarkably convincing historical fakes through meticulously crafted architecture and art. Alberti further inspired lesser-known architects to create high-quality fabrications that served as tangible, physical "evidence" of a systematically rewritten history.

For Alberti, the intrinsic beauty he observed in nature did not stem from arbitrary forms but arose from the underlying mathematical principles governing these forms—a harmony that, he believed, concealed a deeper, more profound, and utterly inexorable truth. To the discerning Renaissance mind, the exquisite perfection of the nautilus’s spiral or the falcon’s deadly precision was not merely artistic elegance; it served as compelling evidence of a celestial calculus, a cosmic design that inherently favored the robust over the fragile, the cunning over the meek. This was the silent, perpetual conflict waged in dense thickets and shifting tides, where intrinsic symmetry and raw strength dictated ultimate dominion. Alberti’s profound philosophical appreciation for nature’s inherent order was never solely aesthetic; it carried an implicit, almost brutal, recognition of its underlying ferocity. The very same divine proportions that meticulously shaped the soaring arches of cathedrals also dictated the formidable structure of the wolf’s jaw—a stark reminder that beauty and predation shared a common, unyielding architect. This duality seamlessly extended into military innovation, where nature’s most efficient—and frequently violent—adaptations were strategically repurposed for the exigencies of warfare. Camouflage, for instance, perfectly mirrored the chameleon’s masterful deceit, a tactic honed by sheer necessity; similarly, the nautilus’s outwardly serene curves belied the underlying structural principles that were later meticulously reforged into protective armor. Thus, what began as a contemplative observation of natural beauty invariably culminated in the creation of tools of conflict, starkly revealing how seamlessly the sublime and the savage intertwined within this underlying cosmic order. In Alberti’s worldview, nature’s laws functioned as both sacred scripture and strategic doctrine: the most adaptable survived, the most ingenious thrived, and humanity, armed with both geometric understanding and a grim intuition, learned to expertly emulate these fundamental principles.

Once Alberti successfully integrated the young Leonardo da Vinci into his network, Da Vinci commenced designing a wide array of military and espionage equipment, ranging from rudimentary parachutes to early armored fighting vehicles. These innovative designs were then deceptively presented as “Greek antiques,” a strategic maneuver that effectively back-dated advanced technology. This created a false sense of antiquity and propagated a narrative of “lost knowledge” that would conveniently be “rediscovered” centuries later. Indeed, many purported inventions frequently originated as devices for warfare, which Humanists could then conveniently “rediscover” centuries after their original conception to bolster their fabricated historical timelines. For example, Hero of Alexandria, a polymath from the 1st century, produced treatises detailing devices powered by water, air, and steam, long before the 19th century Industrial Revolution. Hero’s texts were supposedly known to Islamic scholars but then "magically reappeared" in Europe during the Renaissance—a suspiciously convenient timing that perfectly aligns with the theory of the Watch's strategic re-introduction of knowledge. The same pattern applies to Archimedes (287–212 BC), a Greek polymath from Sicily, who is credited with designing various machines, including compound pulleys and the screw pump used for irrigation. The precise timing of these "rediscoveries" appears far too exact to be dismissed as mere coincidence; it is interpreted as a deliberate act orchestrated to control and manipulate technological narratives. One must learn to interpret these historical dates not as literal chronology, but rather as serial numbers or coded references, to properly comprehend the true extent of the 15th century restructuring of historical timelines.

As previously noted, one of Alberti’s potential aliases was Vitruvius. Minimal historical documentation exists regarding Vitruvius’s life, but he is alleged to have lived from 70–15 BC under the name Marcus Vitruvius Pollio. Much like Alberti, who dedicated his works to influential political powers, Vitruvius dedicated his treatise De re aedificatoria to Emperor Augustus, Marcus Agrippa, and other prominent figures. Alberti consistently appears to have been a welcomed and influential guest among soldier-princes and high-level military commanders, who generously funded the dissemination and incorporation of his remixed historical records.

For instance, Vitruvius's De Architectura is said to have inspired enduring Roman monuments such as the Pantheon and the Baths of Diocletian. Yet, remarkably, this treatise was not widely circulated until the Renaissance, a striking temporal void that aligns perfectly with the theory of strategic knowledge suppression and re-introduction by the Watch. Even Vitruvius's cognomen Marcus Pollio is uncertain. Intriguingly, Marco Polo (1254–1324) was a member of the Watch who collaborated with the Alberti family as part of the same broader Italian mercantile and cultural network. While both were involved in trade and had branches in various Italian cities (including Venice for the Alberti family), public intel focuses on their separate trajectories and contributions.

Marco Polo supposedly undertook extensive travels through Asia along the Silk Road between 1271 and 1295, becoming renowned for "seeing many things previously unknown to Europe." The uncanny parallels between Marco Polo and Marcus Pollio strongly suggest that the Watch possessed advanced knowledge of the "New World" long before Christopher Columbus, an Italian from Genoa. Given that Polo's widely influential book was published in 1300, some scholars have long viewed his accounts with considerable skepticism. Marco Polo’s purported travels in China are specifically questioned because he makes no mention of the Great Wall of China, and his precise date and place of birth remain "archivally" unknown.

Alberti’s architectural treatise De re aedificatoria (1452) was dedicated to Lorenzo de’ Medici, Cosimo’s grandson. In Roberto Rossellini's film "Age of the Medici," Alberti is visually depicted lecturing the young Lorenzo de' Medici, who subsequently provided Amerigo Vespucci, a Florentine connected to the Medici Bank, with coordinates leading to the Inca and Aztec Empires. After Alberti’s supposed death, Vespucci, at the invitation of King Manuel I of Portugal, reportedly participated as an "observer" in exploratory voyages directed towards the Americas. These voyages gained widespread recognition in Italy following the publication of two accounts in 1502. The Americas were ultimately named after "Amerigo" Vespucci, who famously proposed that the newly encountered lands were not the Indies but a "New World," or Mundus Novus, the Latin title of a contemporary document based on Vespucci’s letters to Lorenzo de' Medici. The infamous Soderini Letter, an influential document, deliberately sought to position Vespucci as a forerunner to Columbus. This entire sequence of events is interpreted as yet another clear instance of the Watch’s manipulation of historical narratives, attributing significant discoveries to their preferred assets and shaping public perception.

Furthermore, the Florentine cosmographer Paolo Toscanelli and Alberti engaged in a collaboration involving map-making, drawing upon their advanced knowledge of astronomy (a science intimately linked to geography at that time).Their joint efforts resulted in the creation of Descriptio Urbis Romae. Toscanelli is documented as having provided Columbus with the very map that guided him on his initial transatlantic voyage. This direct connection unequivocally links Alberti’s sophisticated cartographic knowledge to the dawn of the Age of Discovery, underscoring the pervasive influence of the Watch on global exploration. Alberti’s background in astronomy came from altering and inventing celestial observations (e.g., eclipses, comets) to align with his timeline. Furthermore,  TNC claims Ptolemy’s catalog (a cornerstone of ancient astronomy) was actually compiled much later, in the 15th century. The star positions better match Renaissance skies than ancient times.