The Villa Santina Case (two humanoids encountered by Italian artist)
Date
August 14, 1947 Location
Villa Santina, Italy
Summary: Italian artist R. L. Johannis was out painting when he noticed a 30 ft. disc-shaped object landing nearby. Next, Signor Johannis saw two child-sized beings standing alongside the object. The artist hailed the creatures. It is possible that this was interpreted as a hostile gesture, for one of the beings touched the centre of its belt and projected a thin vapour which caused the artist to fall dazed onto his back. The creatures approached, picked up the artist's easel, then returned to the craft. The object then rose, hovered, and disappeared.
Drawing by the witness of the entities he encountered. (credit: FSR)
Type of Case/Report: StandardCase
Hynek Classification: CE3
Shape of Object(s): Disc
Number of Witnesses: Single
Special Features/Characteristics: Humanoid/Occupant, Landing, Witness Sketch
More Articles on this Case
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Humanoid Contact Database: Summary of the Villa Santina Case
Humanoid Contact Database, Albert Rosales
A summary of the Villa Santina occupant encounter case from 1947. This summary is based on the full-length article in Flying Saucer Review Vol. 13 No. 1. R
Print / Other References
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Gordon Creighton, 'The Villa Santina Case', Flying Saucer Review 1967 No. 1
Full Report / Article
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Source: Charles Bowen (ed.), The Humanoids, Flying Saucer Review Special Issue (1966)
The Villa Santina Case
On June 24, 1947, airman Kenneth Arnold startled the world with his claim to have seen nine discshaped objects travelling in line ahead, and at fantastic speed, through the skies over Mount Rainier. Arnold likened the objects, and their movements, to "saucers skimming over water". The era of the flying saucer was upon us.
Seven weeks later, according to Italian artist R. L. Johannis, there took place what was probably the first post-Arnold "landing with entities" case in Europe. The story has been recorded in the May 1964 edition of Clypeus (organ of Centra Studi Clipeologici of Turin), and by Antonio Ribera in his book El Gran Enigma de los Platillos Volanies.
Signor Johannis was out painting near the Chiarso creek, at Villa Santina, close by Carnia (Friuli), on August 14, 1947. The time was about 9 a.m. Suddenly he noticed a 30 ft. disc-shaped object that had alighted some little distance from him. Next, Signor Johannis saw two child-sized beings standing alongside the object. The artist said that they were about 3 feet tall, and were wearing dark blue coveralls with a bright red collar and belt. They also wore spherical helmets on heads that seemed larger than normal, but their faces were not covered. Their faces had a greenish colour, their eyes were large and plum coloured with a vertical line (the pupil?) in the centre, and they had no eyelashes or eyebrows. Each had a straight and rather !arge nose. Their hands were claw-like, greenish in colour, and with eight fingers on each, four opposed to four in the same way that our thumbs are opposed to our fingers.
With his paint brushes still in his hand, the artist hailed the creatures. It is possible that this was interpreted as a hostile gesture, for one of the beings touched the centre of its belt and projected a thin vapour which caused the artist to fall dazed onto his back. The creatures then approached to within two yards of the prostrate artist and stood examining his easel. Although weak, the artist contrived to roll over, and saw the beings pick up the easel which had been knocked down; he perceived that it was taller than both of them. He also noticed that they were panting heavily. They then returned to the disc-shaped object and entered it, whereupon it rose from the ground, hovered and, according to the account, disappeared.
When the unfortunate artist had sufficiently recovered his strength to be able to stand, he saw that his easel had disappeared.
There has been some criticism that the artist saw rather a lot, particularly the colours, in a very short time. Surely, however, this is where artists have a great advantage over ordinary mortals: an artist's eye is quicker than a camera, and I do not find it surprising that Signor Johannis's brain could record such a mass of detail.
The description of the belts is interesting, and it calls to mind the belts of the entities in the Antonio Villas Boas case—see Gordon Creighton's article. Also intriguing is the account of the gas or vapour, heralding as it does the incident of Cisco Grove which Mrs. Lorenzen describes elsewhere in this issue.
[We are indebted to Jacques Vallee and Donald HanIon for their translation (paraphrased) from Antonio Ribera's version of the incident—-Editor.]