The iLLamanati have emerged from hidden places of the Earth to shed light on the dark side of human endeavors by collating and publishing literature on the secrets of the Illuminati. Representing the Grand Llama, an omniscient, extradimensional light being who is channeled by our Vice-Admiral, Captain Space Kitten, the iLLamanati is organized around a cast of interstellar characters who have arrived on Earth to wage a battle for the light.Bloodlines of the Illuminati was written by Fritz Springmeier. He wrote and self-published it as a public domain .pdf in 1995. This seminal book has been republished as a three-volume set by the iLLamanati.Volume 1 has the first eight of the 13 Top Illuminati bloodlines: Astor, Bundy, Collins, DuPont, Freeman, Kennedy, Li, and Onassis.Volume 2 has the remaining five of the 13 Top Illuminati bloodlines: Rockefeller, Rothschild, Russell, Van Duyn, and Merovingian.Volume 3 has four other prominent Illuminati bloodlines: Disney, Reynolds, McDonald, and Krupps.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.