An ancient fresco in Kosovo, dating to 1350, shows two winged objects in the sky of a Crucifixion that bear striking resemblance to modern depictions of the interstellar object. 3I/ATLAS.

While art historians insist on religious symbolism, the design aerodynamic of the figures, including jets or directional trails, opens the debate on a possible uncatalogued historical observation.

The strange similarity of Visoki Dečani’s crucifixion

An artistic mystery dating back almost seven centuries has resurfaced in the context of interstellar object research 3I/ATLAS. It is the fresco of the Crucifixionpainted around 1350 at the Visoki Dečani Monastery in Kosovo.

In the upper corners of the work, flanking the central scene, two oval or almond-shaped objects appear in the sky. Traditionally, art history has classified them as symbolic representations of the Sun and the Moonwho act as witnesses of the religious scene.

Read also: Zombie Comet! 3I/ATLAS defies cosmic death: Its interstellar core survived disintegration

However, the report notes that the morphology of these objects eerily aligns with modern 3I/ATLAS images:

• Shape and Contour: Objects have a structure locked up and elongated with defined contours, instead of the facial discs or spheres typical of medieval art.
• Directional Projections: Each object presents projections that appear gas jets or trailsvery similar to the jets of the “anti-tail” which astronomer Avi Loeb has identified in 3I/ATLAS.
• Crew members: Each of these “vehicles” contains a seated figure inside that appears to be sailing or piloting the structure.

Historical interpretation vs. Observation

The sticking point is in the interpretation. Art historians maintain that representation is purely symbolic and allegoricalshowing the celestial bodies reacting to the biblical event.

Read also: Mystery 3I/ATLAS: Why doesn’t the interstellar comet break up?

Those who analyze the similarity point out that the design behaves more like a recorded observation that like a metaphor. They ask why the Moon or Sun would be painted as an aerodynamic “vehicle” with a pilot on board and propulsion jetsa feature that is not common in medieval religious iconography.

The craftsman’s deliberation is crucial: the precision of the lines and posture suggest an intentionality that surpasses symbolic necessity, more closely resembling the structures currently seen in high-resolution 3I/ATLAS images.

Read also: Alien spies? The Harvard hypothesis about the 3I/ATLAS object and its fate on Jupiter

The mirror in time

This visual coincidence adds to the debate over the origin of 3I/ATLAS. While the correlation is purely visual and subject to interpretation pareidoliaFor proponents of the technological hypothesis, the appearance of a similar morphology in such an ancient context fuels the idea that these interstellar objects could have been visiting our solar system throughout history.

The lack of records of other medieval works using this same design adds mystery to the fresco, forcing observers to consider whether it is not a representation of something that, almost 700 years ago, an artist observed in the sky.

Read also: Space defense system: The “anti-tail” of 3I/ATLAS would work like lightning to clear its path of meteorites