Tuesday, December 9, 2008
Creatine Alkaline Bigger Muscle
Origin of Philosophy today?
Origin of Philosophy today?
of George Minucci
The philosophy is called for his research on the whole rather than on the parties, in any industry or size it takes place: the metaphysical dimension, ontological, ethical, political, social, aesthetic, logical, epistemological. In any field, philosophy questions on key issues. What is essentially metaphysical? Essentially ontological? Essentially ethical? It is clear that the answers are dependent on different philosophies. Why philosophies differ? Reflecting on these differences mean to ask whether or not there is a condition for epistemological philosophy, which in some way to explain and legitimate the difference between the philosophies. This question, however, requires a solution in my opinion difficult, extremely difficult.
then begin to ask why there are different philosophies. Beyond any response we give, the problem is that the response itself can be the result of a philosophy, then it may be different depending on the different philosophies. For example, a Marxist, according to his philosophy, would not hesitate to assert that the philosophies are different in different contexts and historical materials, a Weber, however, drawn from a more philosophical basis (every human action as such has sense) would not hesitate to say that the philosophies differ different ethical and cultural contexts. As you can see the answer key guiding philosophies based on philosophical presuppositions, which in turn, by the way, a philosophical dignity in the sense that philosophical assumptions are made, the acceptance or criticism which is mediated by another, respectively, or philosophy. The speech we are doing is to show that in reality there is a philosophy of philosophy, a philosophy that determines the outcome of the philosophy in one direction rather than another. The philosophy of living itself. Of his reflections, his research, his freedom, his absence of extrinsic conditions, the data objects. It is epistemologically autonomous. The only prohibition is the dogma. Who wants to philosophize on the basis of assumptions that are not the result of a free critical reflection, actually makes a claim ideological, not criticism. But what is critical, foundation, ideology, what do these terms mean in itself, absolutely, this can not be fixed once and for all. The meanings of these terms, once again, dependent on different philosophies. All this does not certify a vicious circle, but the undeniable fact that criticism, freedom, the foundation and so on, beyond the contents of which are filled with different theoretical, are modalities, attitudes peculiar to the philosophy that forward with his performance style.
In this sense, the philosophy was born in Greece, because in this land for the first time, for all we know, the human eye is critical questions about the essence of things. Never mind that this is the essence of water rather than fire or air ol'infinito. Matter that the answer has been sought through a survey razionale.La critical rationality in philosophy is needed, however, is not that of scientific explanation, it is rather the consistency of critical discourse on which the conclusions resulting from the premises, which are those for that the way in which they are employed are the most obvious. Even here we touch on a difficult topic yet very interesting. The philosophy starts from the evidence of what is shown. Through critical reflection that matter in one way or another it comes to evidence. It may be presented after a long search by an empirical fact, from an intuition that arises from the soul, or is found through philological or semantic analysis of a term, a tradition, a religion. The philosophy, anyway, critical issues, starting from the evidence of what is by a free examination. But in turn the free critical analysis, reflective, evidence requires radical inescapable: the wonder of being, the feeling that being is not nothing for granted. Here we touch the soul of philosophy, which is perhaps the only necessary but not sufficient condition of its possibility: the feeling that nothing is worthy of being the object of wonder and question. The look is boyish and philosophical at the same time very demanding. Ask what the essence of things, with disarming simplicity compared to the ordinary. In this sense, radical philosophers and critics, thanks to the wonder of Being. In this way we shift the focus to another topic: it is very difficult to be philosophers in the present circumstances of our social system. Indeed, the bureaucratization of social existence, through organizational charts and job descriptions more or less formal measures to ensure the gear and the order for vocational roles, so conforming to personal identity, that this can no longer take the viewpoint of Wonder, and immediately preclude using procedures that disqualify as non-administrator, so you literally removed. It is difficult today to find a philosopher in public occasions recite his thought without bureaucratic procedures. Philosophy, since it assumes its own condition as critical reflection and interpretation in amazement, as never before and is under duty to take his own condition as even the critics of modernity irreducible, looms for a style radically humanistic. Historically speaking, this condition is the most important, not only because philosophy is a critical towards modernity, but also because any compromise with modernity removes the source from which it springs: the Me
of George Minucci
The philosophy is called for his research on the whole rather than on the parties, in any industry or size it takes place: the metaphysical dimension, ontological, ethical, political, social, aesthetic, logical, epistemological. In any field, philosophy questions on key issues. What is essentially metaphysical? Essentially ontological? Essentially ethical? It is clear that the answers are dependent on different philosophies. Why philosophies differ? Reflecting on these differences mean to ask whether or not there is a condition for epistemological philosophy, which in some way to explain and legitimate the difference between the philosophies. This question, however, requires a solution in my opinion difficult, extremely difficult.
then begin to ask why there are different philosophies. Beyond any response we give, the problem is that the response itself can be the result of a philosophy, then it may be different depending on the different philosophies. For example, a Marxist, according to his philosophy, would not hesitate to assert that the philosophies are different in different contexts and historical materials, a Weber, however, drawn from a more philosophical basis (every human action as such has sense) would not hesitate to say that the philosophies differ different ethical and cultural contexts. As you can see the answer key guiding philosophies based on philosophical presuppositions, which in turn, by the way, a philosophical dignity in the sense that philosophical assumptions are made, the acceptance or criticism which is mediated by another, respectively, or philosophy. The speech we are doing is to show that in reality there is a philosophy of philosophy, a philosophy that determines the outcome of the philosophy in one direction rather than another. The philosophy of living itself. Of his reflections, his research, his freedom, his absence of extrinsic conditions, the data objects. It is epistemologically autonomous. The only prohibition is the dogma. Who wants to philosophize on the basis of assumptions that are not the result of a free critical reflection, actually makes a claim ideological, not criticism. But what is critical, foundation, ideology, what do these terms mean in itself, absolutely, this can not be fixed once and for all. The meanings of these terms, once again, dependent on different philosophies. All this does not certify a vicious circle, but the undeniable fact that criticism, freedom, the foundation and so on, beyond the contents of which are filled with different theoretical, are modalities, attitudes peculiar to the philosophy that forward with his performance style.
In this sense, the philosophy was born in Greece, because in this land for the first time, for all we know, the human eye is critical questions about the essence of things. Never mind that this is the essence of water rather than fire or air ol'infinito. Matter that the answer has been sought through a survey razionale.La critical rationality in philosophy is needed, however, is not that of scientific explanation, it is rather the consistency of critical discourse on which the conclusions resulting from the premises, which are those for that the way in which they are employed are the most obvious. Even here we touch on a difficult topic yet very interesting. The philosophy starts from the evidence of what is shown. Through critical reflection that matter in one way or another it comes to evidence. It may be presented after a long search by an empirical fact, from an intuition that arises from the soul, or is found through philological or semantic analysis of a term, a tradition, a religion. The philosophy, anyway, critical issues, starting from the evidence of what is by a free examination. But in turn the free critical analysis, reflective, evidence requires radical inescapable: the wonder of being, the feeling that being is not nothing for granted. Here we touch the soul of philosophy, which is perhaps the only necessary but not sufficient condition of its possibility: the feeling that nothing is worthy of being the object of wonder and question. The look is boyish and philosophical at the same time very demanding. Ask what the essence of things, with disarming simplicity compared to the ordinary. In this sense, radical philosophers and critics, thanks to the wonder of Being. In this way we shift the focus to another topic: it is very difficult to be philosophers in the present circumstances of our social system. Indeed, the bureaucratization of social existence, through organizational charts and job descriptions more or less formal measures to ensure the gear and the order for vocational roles, so conforming to personal identity, that this can no longer take the viewpoint of Wonder, and immediately preclude using procedures that disqualify as non-administrator, so you literally removed. It is difficult today to find a philosopher in public occasions recite his thought without bureaucratic procedures. Philosophy, since it assumes its own condition as critical reflection and interpretation in amazement, as never before and is under duty to take his own condition as even the critics of modernity irreducible, looms for a style radically humanistic. Historically speaking, this condition is the most important, not only because philosophy is a critical towards modernity, but also because any compromise with modernity removes the source from which it springs: the Me
Thursday, December 4, 2008
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Friday, October 3, 2008
Graves Disease In The Army
Demonstration of Goldbach in the case of two primes less than n
Let n be such that there are only the first two (the number 2 should not be considered first, so it is not strictly for the purpose of demonstration) p and q less than it first with it.
Consider the numbers h = 2n - pek = 2n - q
Obviously if one of them is the first result validates the hypothesis of Goldbach.
say you, then, that none of them are first, that both are composed.
Who made them? For example, what are the factors of h?
Those of n can not be otherwise p = 2n - h them as it would also factors and we know that p is prime. But h can not be made either by p, otherwise p = 2n + h, n, in particular, would have p as a factor. Virtually
h can only be power q.
Similarly we see that k can only be power p.
Then k - p is a multiple of peh - q is a multiple of q. But
k - peh - q are the same number, in fact, 2n = k + q = h + p where k - p = h - q. So
k - p is a multiple of both p and q and that is a multiple of their product pq.
It has 2n = k + q = k - p + p + q = M (pq) + p + q.
We note that p + q is an even number, and so M (pq) is equal to what is no more than k - p.
dividing both sides by 2 we have
n = M (pq) + (p + q) / 2
It we get that pq is certainly less than n.
Now, as between a number and its double there is always a first (thm Cebicev), there must be a first between q and pq. This is the first which is less than that of n greater than q. But what is first? Being neither p nor q, it must necessarily be one of those who make no Let's call it a. Always
's theorem Cebicev between a and n must be a first, which can not be either p or q, is yet to be necessarily a factor of n. This will always proceed by determining the existence of a new factor of n, to infinity. The absurdity is obvious. 
Let n be such that there are only the first two (the number 2 should not be considered first, so it is not strictly for the purpose of demonstration) p and q less than it first with it.
Consider the numbers h = 2n - pek = 2n - q
Obviously if one of them is the first result validates the hypothesis of Goldbach.
say you, then, that none of them are first, that both are composed.
Who made them? For example, what are the factors of h?
Those of n can not be otherwise p = 2n - h them as it would also factors and we know that p is prime. But h can not be made either by p, otherwise p = 2n + h, n, in particular, would have p as a factor. Virtually
h can only be power q.
Similarly we see that k can only be power p.
Then k - p is a multiple of peh - q is a multiple of q. But
k - peh - q are the same number, in fact, 2n = k + q = h + p where k - p = h - q. So
k - p is a multiple of both p and q and that is a multiple of their product pq.
It has 2n = k + q = k - p + p + q = M (pq) + p + q.
We note that p + q is an even number, and so M (pq) is equal to what is no more than k - p.
dividing both sides by 2 we have
n = M (pq) + (p + q) / 2
It we get that pq is certainly less than n.
Now, as between a number and its double there is always a first (thm Cebicev), there must be a first between q and pq. This is the first which is less than that of n greater than q. But what is first? Being neither p nor q, it must necessarily be one of those who make no Let's call it a. Always
's theorem Cebicev between a and n must be a first, which can not be either p or q, is yet to be necessarily a factor of n. This will always proceed by determining the existence of a new factor of n, to infinity. The absurdity is obvious.
Monday, September 29, 2008
Trailers Liniment In Mississauga
window right?
Let us in front of the conjecture Goldbach and try to understand, from a purely algorithmic point of view, what is the question. Suppose we have an even number, denoted by 2n such that p and q that do not exist the first two added together give just 2n. Imagine that the Goldbach conjecture is verified for a given 2n.
say this is like saying that n is not in the middle of the first two, namely that the symmetry with respect to n, for every prime less than n is a number made the other side.
The point is that, in this case, each of these numbers can only be made by the same compound that the first child of n. Indeed, a prime greater than n, multiplied by any other first (even doubled) makes a greater number of 2n and clearly the numbers in question are between them 2n. In addition, these compounds can not be among their prime factors which are also factors of n, for obvious reasons.
So everything is summarized in the following way:
If for any even number p = 2n Goldbach not true, then the primes less than n (and first with n!) Must compose, combine only with each other, all the numbers the results in the symmetry with respect to n.
To be more precise, ik first under its first coat should combine it with a producer ik places equidistant from them n the other hand, those who give them added up to 2n.
The conjecture then says that those k may not hold each of the first k places that are symmetrical with respect to at least one of the jump ..... No!
speech is a very difficult course to be pursued in an attempt to extract a proof from this account. Just think how many possible combinations of k prime numbers, how difficult it is to define the restrictions on those combinations in order to bring these products in the range of its 2n ...
A vision that makes us understand how other results (to Chen, for example) do not fall completely on that interpretation.
This is not to assess the likelihood of achieving results apparently near you .... Goldbach question is whether you can show that given any number n, ik first child early with it and it will not be able to cover all ik places that are symmetrical with respect to n.
Friday, September 26, 2008
Kylie Wilde And Jessie James
Goldbach's conjecture - Presentation
E 'known to the mathematician Christian Goldbach left (in 1742) is an open problem in number theory, a problem faced primarily by Euler and later generations of mathematicians, problem now solved. The wording, and perhaps a sense, the conjecture is very simple and understandable to most people
every even number greater than 2 is the sum of two primes
That is, given any even number is always possible to determine (at least) a pair of primes such that their sum that would lead to an even number of departure. Although not yet produced a proof of this fact, certainly in the last century there has been progress. Although on that 'ahead we would have to get some clarification.
In fact, the problem has never been addressed from a structural point of view, or at least, though never with partial results. A mathematical approach has been followed by the strictly statistical and probabilistic, which led to the conclusion that the conjecture is true , although not proven, based on the principle that the greater the even number in question, the more likely to find that the first two added together are equivalent to it . Combining this theorem (called of prime numbers, source wikipedia) the results of electronic computers, have come to probe the validity dell'asserto for all numbers up to values \u200b\u200bthat are important, as there is content on one side and is considered the conjecture, if proved, at least assimilated. On the other hand, in the course of this century, the emphasis was to turn around all'asserto Goldbach, attacking, and partly showing, seemingly related.
Examples include Vinogradov, who in 1937 proved that every odd number greater than 3 high 3-15 is elevated to a sum of three first, or even Chen, who in 1966 showed that every even number big enough or is the sum of two first or a first and a semiprime or a number consisting of only two primes.
Oliveira e Silva, with powerful computers, have verified the validity of the conjecture up to 1,200,000,000,000,000,000 (results as at March 2008).
And then?
The question we ask is whether the attitude of mathematicians who deal with the problem is perhaps made a silent before it. How can the streets followed are now checking with the computer to ever larger numbers, the study of the problem on probabilistic bases, while making these numbers large enough or worse, the deviation of the problem on other related but that in mock do not really have anything to do with Goldbach's conjecture? It 's the sign that, unlike Fermat's Last Theorem, it'll be really hidden in the great book, without ever leaving?
Monday, May 12, 2008
Brazil Women Team In Shower
Leda and the Swan
Clipboard
That union between Leda and Zeus is certainly among the most fascinating stories of the mythology of Greece. Firstly here is a brief summary: the Lord of Olympus falls in love with mortal Leda, queen of Sparta. God presents himself to the woman in the form of a swan, and she sees two pairs of twins: Castor and Pollux, who will be born from an egg, and Helen and Clytemnestra, a second egg. In other versions of the myth, only Polydeuces and Helen were children of Zeus, while Castor and Clytemnestra were the offspring of King Tindaro, the companion of Leda, and so deadly. The four sons of Leda are the protagonists of many other Hellenic legends in the field: Helen and Clytemnestra, in particular, we find in the Homeric poems. But we
interpretation or at least one of the possible levels of interpretation hermeneutics: Leda could be the Hyle (matter). When Zeus, the divine spark animating things, joins the field, it generates with two "eggs", which in this case should be read as two "foreign assets": Psyche (the etheric) and Nous (the astral). These two "bodies" are themselves divided internally by a gang of "mortal" and component "immortal", just like the inside of an egg yolk and egg white is divided into: the psyche is composed of momentary aspects related to individual personality and space-time (Clytemnestra), and part divine and immutable (Elena), as well as the Nous, which is divided into lower personal Ego (Castor), and the superego, ego than trasnpersonale (Pollux). The alchemists used to refer to the human being, symbolically, as "philosophical egg, the egg that is where we were making the transformations of consciousness. 
Clipboard
hermeneutical
That union between Leda and Zeus is certainly among the most fascinating stories of the mythology of Greece. Firstly here is a brief summary: the Lord of Olympus falls in love with mortal Leda, queen of Sparta. God presents himself to the woman in the form of a swan, and she sees two pairs of twins: Castor and Pollux, who will be born from an egg, and Helen and Clytemnestra, a second egg. In other versions of the myth, only Polydeuces and Helen were children of Zeus, while Castor and Clytemnestra were the offspring of King Tindaro, the companion of Leda, and so deadly. The four sons of Leda are the protagonists of many other Hellenic legends in the field: Helen and Clytemnestra, in particular, we find in the Homeric poems. But we interpretation or at least one of the possible levels of interpretation hermeneutics: Leda could be the Hyle (matter). When Zeus, the divine spark animating things, joins the field, it generates with two "eggs", which in this case should be read as two "foreign assets": Psyche (the etheric) and Nous (the astral). These two "bodies" are themselves divided internally by a gang of "mortal" and component "immortal", just like the inside of an egg yolk and egg white is divided into: the psyche is composed of momentary aspects related to individual personality and space-time (Clytemnestra), and part divine and immutable (Elena), as well as the Nous, which is divided into lower personal Ego (Castor), and the superego, ego than trasnpersonale (Pollux). The alchemists used to refer to the human being, symbolically, as "philosophical egg, the egg that is where we were making the transformations of consciousness.
Sunday, May 11, 2008
Home Office That Donates Space To A Non-profit
The Baphomet
Dyeing of Wisdom
is bitterly note the order of the Knights Templar. An order that has often lumped together in history, the revolutionary movements and their authors, and I refer particularly to those who, in the past, not so much trying to change the conditions of life, policy or technology, but rather the thought of a civilization. The Templars, and by that I mean not necessarily to each member of the Order, were certainly revolutionary for their time, without promoting new or original values. The new and original values \u200b\u200bdo not exist and never existed: eternal ideas is always present to us in new and different forms. But returning to the Knights of the Temple of Jerusalem, they were able to recover or at least to show in their time, thought, the "mindset" of those groups who seek the truth always thinner than the great mass of the faithful of any doctrine . In the particular case, the Poor Knights of Christ sought and discovered some truths about Christianity (and others) that clearly and ineluctably divided them from the rest of Christendom to a point of no return.
honestly do not believe (and indeed have many elements that lead me to see the contrary) that the Templars were "unjustly" accused by the Inquisition to have made substantial changes to their religious and liturgical orientation. I refer, in addition to the alleged denial of certain dogmas, rituals and symbols of belief in force, the adoption of new types of worship, including the infamous "Baphomet". Sadly, I say, as they du it has been said and written it all and more, often with no real knowledge cause, often falling into the ridiculous or even the charge of Satanism. The exact nature of the Baphomet, in his appearance, meaning and role have been numerous hazardous situation, which of course I will not explain. Now, if it is true that some scholars (mainly to distract the public from the idea of \u200b\u200ba demonic cult of the Templars), reject the traditional image of Baphomet as a being of hybrid and grotesque appearance, fitted with wings and horns, cross between a faun, a devil and a gargoyle, suggesting that it might be, in reality, an icon or a relic of the Christian (perhaps the Veil of Veronica, the Shroud, or even the real head of Jesus, secondo alcuni), ritengo questa la versione meno probabile.
Perchè, mi chiedo, “avvilire” l’oggetto di adorazione segreta dei Templari ad un cimelio di natura fin troppo “ortodossa”, assimilandolo a quanto si sarebbe potuto venerare in qualsiasi Chiesa dell’epoca? Non dimentichiamo che reliquie più o meno importanti, attribuite non solo ai Santi ma allo stesso Gesù, circolavano in quantità non proprio irrilevanti in ogni angolo dell’Europa medievale, tanto che gli storici odierni (seri) arrivano a chiedersi quanto “smisurato” dovesse essere il corpo dei Santi, quante fossero le “vere croci” di Cristo, quanti i “veri chiodi” utilizzati for the crucifixion, as the grail, as the shrouds ...
No, I do not think this was the interest of the Knights Templar. Not a relic, even "holy". Of "holy" relics if they were in every church that counts. I do not think of Initiates of high grade as the Templars, in addition come into contact with authentic Islamic and Jewish esotericism giants who built and, in return, from cathedrals substrate technology unthinkable at the time (and the accompanying symbolic still not fully understood and certainly largely divorced Christian iconography), could devote their highest devotion to a piece of religious history. Many monuments from the period would suggest the contrary, that the Templars had abandoned the tight walls of religion, only interested in the Truth that lies beyond the cults and doctrines.
But then, if we wanted to support the idea that the mysterious Baphomet was really a hybrid of demonic aspect, so much misunderstood and maligned (by the Inquisition before, then the public), a being so alien to "normal "conceptions of devotional be a source of heresy for his" worship ", how can we explain the true nature of this symbol? Cedo that in an age of terror and coercion such as that in which they lived and worked the Templars, was certainly unwise to make use of a symbol of Baphomet as ambiguous as that, unless this is not rivestisse a didactic function that (in the context of initiation of the Order) to justify the risks. With "didactic" I mean large-scale carrier esoteric messages, messages may easily transmitted using other allegorical images.
begin this analysis is the "appearance" grotesque "the Baphomet. It is undeniable that many initiatory societies over the centuries have made extensive use of symbols "grotesque", and this because, in my view, these images functioned in some ways from the "Guardians of the Threshold. By this I mean that, using (in books and rituals) of the symbols that were intimidated by their very nature or at least puzzled the "right-thinking" (and by this I mean the bigots), this would lead to a natural skimming "among those who approached the sacred sciences and in particular the Ars Regia. "Who's Afraid refrain," seem to whisper some monsters, dragons and skeletons, crows and wolves blacks from the pages of the manuscripts of alchemy. "Who's Afraid refrain." Fear of symbols to see what the Catechism has not used, or from which it has explicitly tried to get away. Fear of trying to understand the meaning of something that seems far from our understanding of the sacred. Only those who decide to cross the threshold, as it intends to seek, discover and understand the true meaning of certain symbols, is the hero who go through the door of the Mysteries.
The idea of \u200b\u200ban approach to the "grotesque" has the function to change the way we think about approaching the sacred not only aiming at the most beautiful, the good, the perfect, high in heaven. "Grotesque" is synonymous with "strange", "bizarre," "capricious," "ridiculous," "monstrous," "funny," "absurd," "paradoxical" and it is in fact in all these ways that may seem the Sacred. "This place is terrible," said Jacob discovering God in a stone of Bethel, while Krishna, the "Baghavadgita," says Arjuna as it may be disconcerting vision of Brahman.
The grotesque image of Initiation at the gates intended to indicate the ability to search (and find) the sacred in every manifestation of reality. Most religions offer us the messianic story of a God who was born in a stable or a cave, to emphasize that the "gods" of things not to be found elsewhere in a mythical and higher, but the roots of the occult world and ourselves (Osiris is a Black God). Many raise his eyes, imagining a God who is up there somewhere and who knows what in heaven, but they forget that it would take a break to raise a piece of wood or stone, as you said the "Gospel of Thomas" to see the true face of God, God who is immanent in every atom of creation and in every aspect of it manifests itself fully and without reservation. Behind the door and waits. Knock, and it will be opened. The
Funzine of "Guardian of the Threshold grotesque taken by the Templar Baphomet, should be likened to that of the Egyptian god Bes. This deity, even the "minor" in the Egyptian pantheon, played a major role in the mystery rituals, and its role as guardian of access to the mysteries (as well as driving into the mysteries), we found even centuries after the fall of the Pharaonic civilization, such as in the Roman villa of the Marquis Palombara. Bes was depicted as a grotesque dwarf squat and hairy, sometimes good-natured sometimes threatening, often holding torches and weapons to ward off evil spirits or musical instruments; is winged in the representations that range from New Kingdom to the religious revolution of Akhenaten. This recalls the (alleged) of Baphomet, which in addition, according to some versions, he had goat's head (or just the horns), a lighted torch between the horns and female breasts (which, in contrast to the masculinity the goat would signal the androgynous nature of this mysterious being.) The look horrible, rough, or burlesque and of Baphomet Bes could also indicate the nature of foul Commodity alchemy, which, remember, is said to be vile and despicable in the eyes of many, before being transmuted dall'ermetico works or artists , which alone will make the substance golden and radiant after the long and difficult journey Magnus Opus. The wings, then, a symbol of elevation and purity that transcends the mundane, create an antithesis between nature and "raw" Commodity and its appearance melamine. Indicate that the initial substance is sublime. The posture in which the royal Baphomet is represented in the raw material would highlight the coexistence of a leaden quality exterior and a hidden gold. The torch on the head of the idol temple indicate the Secret Fire is necessary in order to extract gold from nature and leave the gang. The androgyny of the seal of Baphomet is finally sealed its essence: it is man and woman, sun and moon, Mercury and Sulphur. About
due cause of the name "Baphomet", the versions are numerous. It would, according to some, a corruption of "Mahomet" and "Mohammed", the European version of Arabic "Mohammed". Yeah, but why, I wonder, would the Knights of the Temple should include in their rituals such scimmiottatura the name of the Prophet of Islam? Equally it seems unlikely that the release would "Baphomet" as a derivative of "Behemoth" (Beasts), referring to the Beast of the 'Apocalypse of St. John. " I deem it too cumbersome to the proposal made by etymological E. Levi J. Argentier "Temp.oph.Ab", an anagram of "Baphomet" is the contraction of the Latin 'Templi omnium hominum pacis abhasa "or" abbas Templi omnium hominum. " I admire instead the idea of \u200b\u200bIdries Shah, who envisions a "Baphomet" generated from the Arabic "Abufihamat. The meaning would then be "Father of the Unknown," a name that certainly seems to be "forged" affixed to the mysterious temple idol. However, personally, I think another way to bring us even closer all'impervia goal. Already embarked on a road, but, I think, not fully covered, by those who see the "Baphomet" a word of Greek origin. "Baphe" and "Metis" are the original words that, combined, would give rise to the name "Baphomet" according to J. And M. von Hammer-Pyrgstall Summers. If so, the name of the enigmatic creature would indicate a "Baptism of Wisdom." But it is also You can replace "Metis" with "Metheos", that "Baphemetheos" should be read as "baptism by fire" (which explains, among other things, the probable liturgical function of the "Baphomet" for excellence in the temple festival, which took place during the day of Pentecost).
brilliant intuition that, despite everything, in my humble opinion is a right way traveled only half its discoverers witty. I would therefore like to analyze a final hypothesis, which I think we draw closer to the core of esoteric studies of the Order of the Knights Templar. Who knows the story of the origins of Alchemy Hellenistic and Egyptian-Ptolemaic Panopolis of the works of Zosimus and the other authors of the period (but we can go up to the Gnostic Basilides), will know that the term "Baphe" also and above all had a different meaning than "Baptism," which is to "dye". It is here that, in my opinion, a careful hermeneut should linger. "Dyeing" is not a random term and even in secondary landscape Ars Regia, and indeed, is the central pillar of the whole doctrine trasmutatoria. The idea of \u200b\u200b"dye" in the ancient world, as I have explained (see " Presentation of the book Reflections on the Great Work " and the video " Interview with writer Sebastian B. Brocchi "), and today was not the simplistic" to the color of a thing to another, but rather a philosophical concept, almost a miraculous event, meaning the real and complete change of nature of an entity, by Dye receives essential identity of all new. So for example if we speak of "red dye" in Alchemy, it refers to the total transmutation of base metal into pure gold. There is no mention of that is what today would be called "gold", but the change "molecular" of a metal that becomes truly golden and all the effects, so it can undergo and successfully pass the repeated "trial by fire." As is known, however, the true Alchemy (Ergon or Opera) known to the Initiates was a virgin from contacts with the laboratory and with the simple Spagiria (Parergon Parody or Opera) and in the laboratory was situated. I think the Knights Templar, or at least the inner core and the secret of the Order, was focused on the diligent search for the true Philosopher Dyeing: Dyeing of metals but not of man, not chemical dye obtained in a test tube, but "Dyeing of Wisdom "policy in spirit and truth. 
Dyeing of Wisdom
is bitterly note the order of the Knights Templar. An order that has often lumped together in history, the revolutionary movements and their authors, and I refer particularly to those who, in the past, not so much trying to change the conditions of life, policy or technology, but rather the thought of a civilization. The Templars, and by that I mean not necessarily to each member of the Order, were certainly revolutionary for their time, without promoting new or original values. The new and original values \u200b\u200bdo not exist and never existed: eternal ideas is always present to us in new and different forms. But returning to the Knights of the Temple of Jerusalem, they were able to recover or at least to show in their time, thought, the "mindset" of those groups who seek the truth always thinner than the great mass of the faithful of any doctrine . In the particular case, the Poor Knights of Christ sought and discovered some truths about Christianity (and others) that clearly and ineluctably divided them from the rest of Christendom to a point of no return. honestly do not believe (and indeed have many elements that lead me to see the contrary) that the Templars were "unjustly" accused by the Inquisition to have made substantial changes to their religious and liturgical orientation. I refer, in addition to the alleged denial of certain dogmas, rituals and symbols of belief in force, the adoption of new types of worship, including the infamous "Baphomet". Sadly, I say, as they du it has been said and written it all and more, often with no real knowledge cause, often falling into the ridiculous or even the charge of Satanism. The exact nature of the Baphomet, in his appearance, meaning and role have been numerous hazardous situation, which of course I will not explain. Now, if it is true that some scholars (mainly to distract the public from the idea of \u200b\u200ba demonic cult of the Templars), reject the traditional image of Baphomet as a being of hybrid and grotesque appearance, fitted with wings and horns, cross between a faun, a devil and a gargoyle, suggesting that it might be, in reality, an icon or a relic of the Christian (perhaps the Veil of Veronica, the Shroud, or even the real head of Jesus, secondo alcuni), ritengo questa la versione meno probabile.
Perchè, mi chiedo, “avvilire” l’oggetto di adorazione segreta dei Templari ad un cimelio di natura fin troppo “ortodossa”, assimilandolo a quanto si sarebbe potuto venerare in qualsiasi Chiesa dell’epoca? Non dimentichiamo che reliquie più o meno importanti, attribuite non solo ai Santi ma allo stesso Gesù, circolavano in quantità non proprio irrilevanti in ogni angolo dell’Europa medievale, tanto che gli storici odierni (seri) arrivano a chiedersi quanto “smisurato” dovesse essere il corpo dei Santi, quante fossero le “vere croci” di Cristo, quanti i “veri chiodi” utilizzati for the crucifixion, as the grail, as the shrouds ...
No, I do not think this was the interest of the Knights Templar. Not a relic, even "holy". Of "holy" relics if they were in every church that counts. I do not think of Initiates of high grade as the Templars, in addition come into contact with authentic Islamic and Jewish esotericism giants who built and, in return, from cathedrals substrate technology unthinkable at the time (and the accompanying symbolic still not fully understood and certainly largely divorced Christian iconography), could devote their highest devotion to a piece of religious history. Many monuments from the period would suggest the contrary, that the Templars had abandoned the tight walls of religion, only interested in the Truth that lies beyond the cults and doctrines.
But then, if we wanted to support the idea that the mysterious Baphomet was really a hybrid of demonic aspect, so much misunderstood and maligned (by the Inquisition before, then the public), a being so alien to "normal "conceptions of devotional be a source of heresy for his" worship ", how can we explain the true nature of this symbol? Cedo that in an age of terror and coercion such as that in which they lived and worked the Templars, was certainly unwise to make use of a symbol of Baphomet as ambiguous as that, unless this is not rivestisse a didactic function that (in the context of initiation of the Order) to justify the risks. With "didactic" I mean large-scale carrier esoteric messages, messages may easily transmitted using other allegorical images.
begin this analysis is the "appearance" grotesque "the Baphomet. It is undeniable that many initiatory societies over the centuries have made extensive use of symbols "grotesque", and this because, in my view, these images functioned in some ways from the "Guardians of the Threshold. By this I mean that, using (in books and rituals) of the symbols that were intimidated by their very nature or at least puzzled the "right-thinking" (and by this I mean the bigots), this would lead to a natural skimming "among those who approached the sacred sciences and in particular the Ars Regia. "Who's Afraid refrain," seem to whisper some monsters, dragons and skeletons, crows and wolves blacks from the pages of the manuscripts of alchemy. "Who's Afraid refrain." Fear of symbols to see what the Catechism has not used, or from which it has explicitly tried to get away. Fear of trying to understand the meaning of something that seems far from our understanding of the sacred. Only those who decide to cross the threshold, as it intends to seek, discover and understand the true meaning of certain symbols, is the hero who go through the door of the Mysteries.
The idea of \u200b\u200ban approach to the "grotesque" has the function to change the way we think about approaching the sacred not only aiming at the most beautiful, the good, the perfect, high in heaven. "Grotesque" is synonymous with "strange", "bizarre," "capricious," "ridiculous," "monstrous," "funny," "absurd," "paradoxical" and it is in fact in all these ways that may seem the Sacred. "This place is terrible," said Jacob discovering God in a stone of Bethel, while Krishna, the "Baghavadgita," says Arjuna as it may be disconcerting vision of Brahman.
The grotesque image of Initiation at the gates intended to indicate the ability to search (and find) the sacred in every manifestation of reality. Most religions offer us the messianic story of a God who was born in a stable or a cave, to emphasize that the "gods" of things not to be found elsewhere in a mythical and higher, but the roots of the occult world and ourselves (Osiris is a Black God). Many raise his eyes, imagining a God who is up there somewhere and who knows what in heaven, but they forget that it would take a break to raise a piece of wood or stone, as you said the "Gospel of Thomas" to see the true face of God, God who is immanent in every atom of creation and in every aspect of it manifests itself fully and without reservation. Behind the door and waits. Knock, and it will be opened. The
Funzine of "Guardian of the Threshold grotesque taken by the Templar Baphomet, should be likened to that of the Egyptian god Bes. This deity, even the "minor" in the Egyptian pantheon, played a major role in the mystery rituals, and its role as guardian of access to the mysteries (as well as driving into the mysteries), we found even centuries after the fall of the Pharaonic civilization, such as in the Roman villa of the Marquis Palombara. Bes was depicted as a grotesque dwarf squat and hairy, sometimes good-natured sometimes threatening, often holding torches and weapons to ward off evil spirits or musical instruments; is winged in the representations that range from New Kingdom to the religious revolution of Akhenaten. This recalls the (alleged) of Baphomet, which in addition, according to some versions, he had goat's head (or just the horns), a lighted torch between the horns and female breasts (which, in contrast to the masculinity the goat would signal the androgynous nature of this mysterious being.) The look horrible, rough, or burlesque and of Baphomet Bes could also indicate the nature of foul Commodity alchemy, which, remember, is said to be vile and despicable in the eyes of many, before being transmuted dall'ermetico works or artists , which alone will make the substance golden and radiant after the long and difficult journey Magnus Opus. The wings, then, a symbol of elevation and purity that transcends the mundane, create an antithesis between nature and "raw" Commodity and its appearance melamine. Indicate that the initial substance is sublime. The posture in which the royal Baphomet is represented in the raw material would highlight the coexistence of a leaden quality exterior and a hidden gold. The torch on the head of the idol temple indicate the Secret Fire is necessary in order to extract gold from nature and leave the gang. The androgyny of the seal of Baphomet is finally sealed its essence: it is man and woman, sun and moon, Mercury and Sulphur. About
due cause of the name "Baphomet", the versions are numerous. It would, according to some, a corruption of "Mahomet" and "Mohammed", the European version of Arabic "Mohammed". Yeah, but why, I wonder, would the Knights of the Temple should include in their rituals such scimmiottatura the name of the Prophet of Islam? Equally it seems unlikely that the release would "Baphomet" as a derivative of "Behemoth" (Beasts), referring to the Beast of the 'Apocalypse of St. John. " I deem it too cumbersome to the proposal made by etymological E. Levi J. Argentier "Temp.oph.Ab", an anagram of "Baphomet" is the contraction of the Latin 'Templi omnium hominum pacis abhasa "or" abbas Templi omnium hominum. " I admire instead the idea of \u200b\u200bIdries Shah, who envisions a "Baphomet" generated from the Arabic "Abufihamat. The meaning would then be "Father of the Unknown," a name that certainly seems to be "forged" affixed to the mysterious temple idol. However, personally, I think another way to bring us even closer all'impervia goal. Already embarked on a road, but, I think, not fully covered, by those who see the "Baphomet" a word of Greek origin. "Baphe" and "Metis" are the original words that, combined, would give rise to the name "Baphomet" according to J. And M. von Hammer-Pyrgstall Summers. If so, the name of the enigmatic creature would indicate a "Baptism of Wisdom." But it is also You can replace "Metis" with "Metheos", that "Baphemetheos" should be read as "baptism by fire" (which explains, among other things, the probable liturgical function of the "Baphomet" for excellence in the temple festival, which took place during the day of Pentecost).
brilliant intuition that, despite everything, in my humble opinion is a right way traveled only half its discoverers witty. I would therefore like to analyze a final hypothesis, which I think we draw closer to the core of esoteric studies of the Order of the Knights Templar. Who knows the story of the origins of Alchemy Hellenistic and Egyptian-Ptolemaic Panopolis of the works of Zosimus and the other authors of the period (but we can go up to the Gnostic Basilides), will know that the term "Baphe" also and above all had a different meaning than "Baptism," which is to "dye". It is here that, in my opinion, a careful hermeneut should linger. "Dyeing" is not a random term and even in secondary landscape Ars Regia, and indeed, is the central pillar of the whole doctrine trasmutatoria. The idea of \u200b\u200b"dye" in the ancient world, as I have explained (see " Presentation of the book Reflections on the Great Work " and the video " Interview with writer Sebastian B. Brocchi "), and today was not the simplistic" to the color of a thing to another, but rather a philosophical concept, almost a miraculous event, meaning the real and complete change of nature of an entity, by Dye receives essential identity of all new. So for example if we speak of "red dye" in Alchemy, it refers to the total transmutation of base metal into pure gold. There is no mention of that is what today would be called "gold", but the change "molecular" of a metal that becomes truly golden and all the effects, so it can undergo and successfully pass the repeated "trial by fire." As is known, however, the true Alchemy (Ergon or Opera) known to the Initiates was a virgin from contacts with the laboratory and with the simple Spagiria (Parergon Parody or Opera) and in the laboratory was situated. I think the Knights Templar, or at least the inner core and the secret of the Order, was focused on the diligent search for the true Philosopher Dyeing: Dyeing of metals but not of man, not chemical dye obtained in a test tube, but "Dyeing of Wisdom "policy in spirit and truth.
Monday, May 5, 2008
Tech Deck Universe Game
The Tempest and its mystery
In 1506, George said Zorzi Giorgione brought to the world one of the greatest masterpieces of art of his century: "The Tempest", which is also one of the most enigmatic paintings of the Renaissance. The painting depicts a woman nursing her baby in a clearing near some ruins. At the scene assisting an Lansquenet. In the background a bridge, a river, a village and above all, to justify the title, a gloomy sky, pierced by a thunderbolt. Various interpretations, few answers. And the gaze of the woman portrayed in silence looking exegetical efforts of observers.
The penultimate work of William Shakespeare (as well as one that marked his farewell to the stage), also not without a certain mystique and elusive, was titled "The Tempest", the storm (story of the sinking of Alun nobles on an island after a hurricane). Not that this has a direct relationship with the painting by Giorgione ... but it is interesting to create this symbolic parallelism between the legacy of two great Renaissance masters, around a theme which in itself is not without its intense charm, and in the sixteenth century seems to anticipate the subjects dear romantic art: the mystery of nature, the strength of the elements, the feeling melancholy.
Since ancient times man appears shocked, almost spiritually shaken by the event of a storm. Anxiety on the "windows of heaven" that seem to open, awe for the water rushes with such force, the astonished vision of lightning that breaks the heart of the clouds, lighting up the gray sky, the deep disturbance given by the shocking power of the thunder with his thunder rumbles as divine wrath . The storm, which plays a major role in the myths of many cultures (even as a flood) is immediately perceived as a peremptory theophany, emergence of the voice of the gods thus expressing their will to men: the flashes become the weapons of Zeus, whose name means precisely, originally, "Light of Heaven." With time, however, though not universally, the storms lose their oracular connotation of "divine punishment" or intervention of the gods in human affairs. Especially after the Enlightenment centuries, thanks to a renewed look at science on the nature, time ceases to be expressed in a religious light, and fall within the category of natural laws. But, in parallel with this newfound rationality in the approach to meteorology, certainly when compared to the sacrosanct superstition but also simplistic when you consider that nature is also first and foremost magical feeling, then, is the art to maintain the charm of the mysterious storm. Storm that is given by air currents, electrical reactions and physical factors, but also has the keys of the human imagination, that faced with the fury of the elements is disarmed, admired, upset, regenerated.
The storm marks a crucial event of nature with the lightning, blue flame across the sky and hits the ground with force, amid an avalanche of water that comes gushing over the world, that's created the perfect synthesis of the four elements : earth, water, air, and fire them pierces the early Enlightenment ... It is perhaps this impressive elements to mingle together and have been higher for the artistic imagination. And that lovely disturbance that seemed to occur every time you land, water, air and fire collided, perhaps was not entirely alien to a form of natural magic: if you think that, according to some, the very thunder that shook the primordial world, could have led to the emergence of the earliest forms of organic life. Chemical randomness or divine design, this is another matter ... 
In 1506, George said Zorzi Giorgione brought to the world one of the greatest masterpieces of art of his century: "The Tempest", which is also one of the most enigmatic paintings of the Renaissance. The painting depicts a woman nursing her baby in a clearing near some ruins. At the scene assisting an Lansquenet. In the background a bridge, a river, a village and above all, to justify the title, a gloomy sky, pierced by a thunderbolt. Various interpretations, few answers. And the gaze of the woman portrayed in silence looking exegetical efforts of observers. The penultimate work of William Shakespeare (as well as one that marked his farewell to the stage), also not without a certain mystique and elusive, was titled "The Tempest", the storm (story of the sinking of Alun nobles on an island after a hurricane). Not that this has a direct relationship with the painting by Giorgione ... but it is interesting to create this symbolic parallelism between the legacy of two great Renaissance masters, around a theme which in itself is not without its intense charm, and in the sixteenth century seems to anticipate the subjects dear romantic art: the mystery of nature, the strength of the elements, the feeling melancholy.
Since ancient times man appears shocked, almost spiritually shaken by the event of a storm. Anxiety on the "windows of heaven" that seem to open, awe for the water rushes with such force, the astonished vision of lightning that breaks the heart of the clouds, lighting up the gray sky, the deep disturbance given by the shocking power of the thunder with his thunder rumbles as divine wrath . The storm, which plays a major role in the myths of many cultures (even as a flood) is immediately perceived as a peremptory theophany, emergence of the voice of the gods thus expressing their will to men: the flashes become the weapons of Zeus, whose name means precisely, originally, "Light of Heaven." With time, however, though not universally, the storms lose their oracular connotation of "divine punishment" or intervention of the gods in human affairs. Especially after the Enlightenment centuries, thanks to a renewed look at science on the nature, time ceases to be expressed in a religious light, and fall within the category of natural laws. But, in parallel with this newfound rationality in the approach to meteorology, certainly when compared to the sacrosanct superstition but also simplistic when you consider that nature is also first and foremost magical feeling, then, is the art to maintain the charm of the mysterious storm. Storm that is given by air currents, electrical reactions and physical factors, but also has the keys of the human imagination, that faced with the fury of the elements is disarmed, admired, upset, regenerated.
The storm marks a crucial event of nature with the lightning, blue flame across the sky and hits the ground with force, amid an avalanche of water that comes gushing over the world, that's created the perfect synthesis of the four elements : earth, water, air, and fire them pierces the early Enlightenment ... It is perhaps this impressive elements to mingle together and have been higher for the artistic imagination. And that lovely disturbance that seemed to occur every time you land, water, air and fire collided, perhaps was not entirely alien to a form of natural magic: if you think that, according to some, the very thunder that shook the primordial world, could have led to the emergence of the earliest forms of organic life. Chemical randomness or divine design, this is another matter ...
Priemlesh Translate To English
The Almond Mystic
bladder Piscis, better known as Mystic Almond is a very common symbol in art, especially in medieval Europe, where it appears often associated with Christ in bas of Gothic cathedrals. However, since it is a geometric figure made up of only two curves, and therefore a design simplicity and essentiality, provides the basis and structure artistic creations of many civilizations in the world, and not only: it is one of those backing tracks that underpin the complex architecture of the universe and anatomy of living things. In the human body, eyes, mouth, and almost every hole through which the interior of the body communicates with the outside world are structured on the basis of geometrically Bladder Piscis. Among the symbols of art, what is perhaps most affected the influence of the vesica pisces is the fish stylized as widely used in early Christian symbol of the Redeemer (well before the appearance of the first depictions of Jesus as a human figure), partly because the Greek word for fish, "stroke" was read by the faithful of the nascent religion as an anagram of "Iesous Theou Uyios Christos Soter" (Jesus Christ, Son of God, Savior). Are almost universally the Mystic Almond also as a representation of the vulva, and then the Magna Mater (Great Mother).
But what is the deep meaning conveyed by the vesica pisces? What links at an abstract level so its presence in the casing of the cosmos as its multiple uses iconography? To understand this it is necessary to analyze the source graphic: Piscis, the bladder arises from the intersection of two circles (the two-dimensional plane) or two spheres (in three dimensional space). Therefore, it also marks and visually represents the meeting and interpenetration of two worlds or dimensions of being. It is the core unit predates the separation of opposites (yin and yang), or their reunification. Therefore represents a synthesis, abandonment or to overcome any dualism. So if Christ or combined with other figures of the ancient messianic cults misteriosofici, the Mystic will Almond paleserà the dual nature (divine and human) meeting. If associated with the vulva will indicate the bridging function between the hidden and manifest, between what is yet to be born and that which has already come to light. The fact that many openings they have the human form, it also confirms a anatomical level function mediator that we have attributed to bladder Piscis, bridge and gateway between the inner and outer sphere. Almond
The Mystic is also a symbol of the steps the relations between the start and conclusion of a solar eclipse, marriage par excellence of the celestial spheres, in which the unification of opposites is exemplified, at least visually, to its highest degree. But, we repeat, the appearance of the almond is linked only dynamic phases of the eclipse: first, if we in fact two separate celestial bodies, two "circles" separate and now eclipses ended do not we see that only a sphere, created by the perfect overlap of Sun and Moon, is in the progressive stages of unification we see that the role of bladder Piscis, which is not a symbol of immobility in either direction (ie in the still existing in the two-tier or monadic), but generally more or less an expression of the long process of unification of the two extremes. It is a metaphor of the work, but also human and cosmic interior, creating the paradox of the union of what seem irreconcilable: light and dark, good and evil, male and female, high and low, spirit and matter, motion and peace ... 
meeting between two worlds
bladder Piscis, better known as Mystic Almond is a very common symbol in art, especially in medieval Europe, where it appears often associated with Christ in bas of Gothic cathedrals. However, since it is a geometric figure made up of only two curves, and therefore a design simplicity and essentiality, provides the basis and structure artistic creations of many civilizations in the world, and not only: it is one of those backing tracks that underpin the complex architecture of the universe and anatomy of living things. In the human body, eyes, mouth, and almost every hole through which the interior of the body communicates with the outside world are structured on the basis of geometrically Bladder Piscis. Among the symbols of art, what is perhaps most affected the influence of the vesica pisces is the fish stylized as widely used in early Christian symbol of the Redeemer (well before the appearance of the first depictions of Jesus as a human figure), partly because the Greek word for fish, "stroke" was read by the faithful of the nascent religion as an anagram of "Iesous Theou Uyios Christos Soter" (Jesus Christ, Son of God, Savior). Are almost universally the Mystic Almond also as a representation of the vulva, and then the Magna Mater (Great Mother). But what is the deep meaning conveyed by the vesica pisces? What links at an abstract level so its presence in the casing of the cosmos as its multiple uses iconography? To understand this it is necessary to analyze the source graphic: Piscis, the bladder arises from the intersection of two circles (the two-dimensional plane) or two spheres (in three dimensional space). Therefore, it also marks and visually represents the meeting and interpenetration of two worlds or dimensions of being. It is the core unit predates the separation of opposites (yin and yang), or their reunification. Therefore represents a synthesis, abandonment or to overcome any dualism. So if Christ or combined with other figures of the ancient messianic cults misteriosofici, the Mystic will Almond paleserà the dual nature (divine and human) meeting. If associated with the vulva will indicate the bridging function between the hidden and manifest, between what is yet to be born and that which has already come to light. The fact that many openings they have the human form, it also confirms a anatomical level function mediator that we have attributed to bladder Piscis, bridge and gateway between the inner and outer sphere. Almond
The Mystic is also a symbol of the steps the relations between the start and conclusion of a solar eclipse, marriage par excellence of the celestial spheres, in which the unification of opposites is exemplified, at least visually, to its highest degree. But, we repeat, the appearance of the almond is linked only dynamic phases of the eclipse: first, if we in fact two separate celestial bodies, two "circles" separate and now eclipses ended do not we see that only a sphere, created by the perfect overlap of Sun and Moon, is in the progressive stages of unification we see that the role of bladder Piscis, which is not a symbol of immobility in either direction (ie in the still existing in the two-tier or monadic), but generally more or less an expression of the long process of unification of the two extremes. It is a metaphor of the work, but also human and cosmic interior, creating the paradox of the union of what seem irreconcilable: light and dark, good and evil, male and female, high and low, spirit and matter, motion and peace ...
Different Shaped ####
Metempsicosi
I think all of us, at least once, we heard of the Eastern doctrine of reincarnation. I say "Oriental" because it is commonly called, although if they find traces of more or less relevant in many ancient civilizations, from Greece to Pythagoras and Plato pre-Columbian America ... According to this doctrine, also known as within the purely philosophical " metempsychosis "(greek word which means transmigration of the soul), to the death of, or better than his material body, his soul in the position they disappear or go into some kind of afterlife, would continue the suopercorso in the world taking on a new body physical, "reborn" in fact. Then it is a cycle infinite rebirths (as the Pythagoreans seems to imply) or a process will disappear within a few or many incarnations (the idea taken from Buddhism and Hinduism), is another matter on which strands of interpretation is also divergono.Vi to be determined, and there appear new differences between the various streams, if the soul of the individual can only be reincarnated in another human being or any other living thing ... But, in my view, is the real crux of the matter, you should really understand "what", as part of the individual that is immaterial, passages from one body to another in its journey through space-time. Already, as "anima" and "spirit", terms often interchangeable in the Abrahamic religions which are used to indicate a total of "what man is not matter, do not give an accurate idea of \u200b\u200bsome inner structure or anatomy of a conscious individual. In contrast, in the East, but also in some ancient civilizations (such as Pharaonic Egypt) and in the Western esoteric disciplines, "soul" and "spirit" takes on a different role and precise nature, and they are joined, in many cases , a much more complex and orderly (though obviously speculative) division of the bodies that make up the intangible human being. The problem is that often these subdivisions vary depending on the region or school of thought, so by the terms as used by Bodhi Atman and sacred texts of Hinduism, we pass to the Egyptian Ka and Ba, or the Greek Psyche and Nous.Ciononostante, beyond the differences in terminology, it is clear that old soul and spirit identified two distinct parts: the first, also known as "ethereal", seat of vital energy, the plan instinctive, emotional and sentimental, and the second, called "astral", constituting the individual mind itself, intellectual activity and consapevolezza.Quest 'last body would in turn be divided into an Ego of the human type, bottom, and another divine supreriore, also called the superego. So, if you can Reincarnation speaking, it makes more sense to understand it as transmigration of the spirit, rather than the soul, and that is not in relation to the biological sphere of existence and the sentimental, emotional, but rather to a higher conscious realm. And here also should be made a fundamental distinction between the ego particular, that belongs to the person that is space-time that we are current incarnation, "I" of universal and impersonal that we carry within us the image of God as I believe it is more
plausible that the latter "I" it is for the honor of metempsychosis, understood not as a transmigration from one body to another individual, but as a manifestation in progressive stages of cosmic consciousness in the first one and then in another aspect or monad. We would not be "us" to be reincarnated, according to this view of things, but the immortal being who dwells in us and in every other particular, but not identify with any of these. 
metamorphosis of consciousness or ego trip?
I think all of us, at least once, we heard of the Eastern doctrine of reincarnation. I say "Oriental" because it is commonly called, although if they find traces of more or less relevant in many ancient civilizations, from Greece to Pythagoras and Plato pre-Columbian America ... According to this doctrine, also known as within the purely philosophical " metempsychosis "(greek word which means transmigration of the soul), to the death of, or better than his material body, his soul in the position they disappear or go into some kind of afterlife, would continue the suopercorso in the world taking on a new body physical, "reborn" in fact. Then it is a cycle infinite rebirths (as the Pythagoreans seems to imply) or a process will disappear within a few or many incarnations (the idea taken from Buddhism and Hinduism), is another matter on which strands of interpretation is also divergono.Vi to be determined, and there appear new differences between the various streams, if the soul of the individual can only be reincarnated in another human being or any other living thing ... But, in my view, is the real crux of the matter, you should really understand "what", as part of the individual that is immaterial, passages from one body to another in its journey through space-time. Already, as "anima" and "spirit", terms often interchangeable in the Abrahamic religions which are used to indicate a total of "what man is not matter, do not give an accurate idea of \u200b\u200bsome inner structure or anatomy of a conscious individual. In contrast, in the East, but also in some ancient civilizations (such as Pharaonic Egypt) and in the Western esoteric disciplines, "soul" and "spirit" takes on a different role and precise nature, and they are joined, in many cases , a much more complex and orderly (though obviously speculative) division of the bodies that make up the intangible human being. The problem is that often these subdivisions vary depending on the region or school of thought, so by the terms as used by Bodhi Atman and sacred texts of Hinduism, we pass to the Egyptian Ka and Ba, or the Greek Psyche and Nous.Ciononostante, beyond the differences in terminology, it is clear that old soul and spirit identified two distinct parts: the first, also known as "ethereal", seat of vital energy, the plan instinctive, emotional and sentimental, and the second, called "astral", constituting the individual mind itself, intellectual activity and consapevolezza.Quest 'last body would in turn be divided into an Ego of the human type, bottom, and another divine supreriore, also called the superego. So, if you can Reincarnation speaking, it makes more sense to understand it as transmigration of the spirit, rather than the soul, and that is not in relation to the biological sphere of existence and the sentimental, emotional, but rather to a higher conscious realm. And here also should be made a fundamental distinction between the ego particular, that belongs to the person that is space-time that we are current incarnation, "I" of universal and impersonal that we carry within us the image of God as I believe it is more
plausible that the latter "I" it is for the honor of metempsychosis, understood not as a transmigration from one body to another individual, but as a manifestation in progressive stages of cosmic consciousness in the first one and then in another aspect or monad. We would not be "us" to be reincarnated, according to this view of things, but the immortal being who dwells in us and in every other particular, but not identify with any of these.
What Happened To Sun Micro
The Skeleton and Skull
climbing the long staircase that leads to the Church of Morcote (Switzerland), surrounded by the idyllic landscapes of Lake Lugano, the faithful who goes to the function, the art historian, a tourist visiting or the simple traveler, would be to pass in front of a fresco enigmatic and I would say "tight", depicting a human skeleton, portrait posing "a philosopher", along with a phylactery apparently alluding to the Christian eschatological beliefs.
The inscription, "You will live the Dead", which the devotee invokes the idea of \u200b\u200bimmortality of the soul, has, for the esoteric, a much more complex and subtle. Significance is underlined by the presence of the skeleton, one of the most present in the iconographic symbols of secret societies. The pose "a philosopher" taken from the skeleton in question seems to imply that the fresco, and especially the phylacteries, should be "thoughtful" than watched.
entering the austere and sober Church of Roquebrune-sur-Argens (France), moving a few steps to the left of the entrance door, we are in a very interesting chapel "Masonic." The mosaic floor, stands the supreme symbol of brotherhood Freemasonry (the effigy of the team and intersected the compass). Even the brochures collected in the Office du Turisme informs us (with a frankness that in countries with stronger Catholic presence would, in similar cases, at least utopian), which is precisely the place of burial of a Master Mason.
In the chapel, We see skulls and ossements gold, carved in relief in wood along with some flames and vines that climb up the columns. The skull and crossbones, dear symbolic imagery of Freemasonry and the Knights Templar (only later inherited by pirates), represent (at least on first reading level) the bones of the legendary Abif Hiram, architect of the Temple of Solomon and legendary progenitor of all initiates charpentiers.
the Galleria Nazionale d'Arte Antica in Rome, houses a famous painting by Guercino, entitled "Et in Arcadia Ego." This framework is the time when some shepherds of Arcadia, the Greek region idealized as "Earthly paradise" in bucolic mold, they encounter human remains lying at the foot of a tombstone. The stele is inscribed with the phrase "Et in Arcadia Ego" (Even I am in Arcadia). This is one of the lucky ones (how to punch rather than diffusion) memento mori: episodes or pictures, that is, whose purpose was to remind the observers of the imminence of death, ahead of which the "good Christian" would had to think of repentance and abandonment of sin. At least that ecclesiastical interpretation. In this case, to say the sentence would be engraved on the tombstone Death itself, claiming to be "too" in Arcadia (That is, a place of pleasure and carelessness for excellence), pointed out to the shepherds the impermanence of worldly beauty.
A similar meaning is attributed to the episode of the meeting of the three live and three dead (see for example the remarkable fresco of the Castello di Serravalle in Bosa, Sardinia). Three young medieval lords, during a walk in the woods back from a hunt with the falcon, they ran into three tombs open. In them lie dead in three different stages of decomposition. Suddenly the dead addresses young people principles, saying the inexorable decision: "What we were you are, what we are you will."
The skull as memento mori is also found in almost all representations of the Penitent Magdalene (citing some authors) or other Saints, in the melancholy portraits of nobles and artists, as well as, of course, in the figure of Hamlet Shakespeare and his popular monologue "To be or not to be" (although, in reality, the original version of the tragedy, the monologue of the protagonist and the discovery by that of the remains of Yoric are not concurrent).
In Christianity, we must not forget to mention the importance of the skull in the representations of the Passion: Jesus, under the "Gospels" was crucified at Golgotha, the "Place of the Skull" in fact, more precisely in the place where, according to Jewish tradition, was buried the skull of Adam.
Other popular uses of the symbol of the human skull and dell'ossatura be found pre-Columbian art, especially the Aztec, a culture that has always emphasized the appearance of the sacred and mysterious death. See in this regard, the sculptured reliefs, frescoes and written codes (the day of the glyphs, symbols of the gods ...), in addition to those enigmatic "crystal skulls" in a perfect bill, which some would not work but the Aztecs disappearances "civilization of dawn" and their advanced technology craft. How
I have already pointed out in my latest book ("Reflections on the Great Work", 2006) the skull, but in general the human skeleton, was a symbol of importance for the MA, which bound him to Nigredo and particularly to that phase of putrefactio (Rot). If the spiritual meaning of the Black or Opera Nigredo reference eponymous chapter of my book, is rather esoteric on the high capacity of the skeleton that I now turn. This was so even in Alchemy, a memento mori, an invitation to meditation on impermanence and the vaquita, as this is known to be the way to gnosis (see the Sanskrit texts of Mahayana), but the huge symbol of eloquence does not end with this - albeit important - consideration of the eschatological nature. The function of the skeleton in Alchemy was not so much to remember the physical death: this semantics, in a hypothetical scale of interpretation of the archetype, is positioned in the initial steps. The progression indurebbe to consider the symbol of the skeleton rather than as an embodiment of particular processes occurring (or expected) During the operation, and therefore during the development of human conscience.
One of these meanings, it would definitely reduce the Essence. The Initiate it to arrive at "grade mystical" represented by the skeleton, would reached, reading between the synonyms of the word, the skeleton, the scaffolding, casing, the internal framework of the self. Hence the consciousness of the Adept deprived of all mental superstructure, reduced literally to the bone, pure essence, or quintessence. The individual
profane come here at the height of its disintegration, its "decomposition": dead to the world, ignorance, apparently, can now do on the input nell'Oltre initiation, in Wisdom and Being. The skeleton is a symbol of having made half-way point of deification: the primitive Self is already fully dissolved, the new has yet to be formed (symbolically the new flesh, the new body). This new body is to come - or rather by the emergence - is the "resurrection of the flesh on the Day of Judgement: No future event in the world but internal event of the Opera. The Initiate recover his body after he died philosophically, but it is time for a new body as integral to the Body of Light "that now the Alchemist, is fully aware. The skeleton is a symbol of one who died, is waiting to be reborn Adept. Like the snake that is stripped of the old skin or the phoenix that burns in the fire that will procure renewal.
This is the meaning carried by the skeleton in the dreams-visions of the ancient shamans. "The Eskimo neophyte must successfully undergo a great trial initiation. To succeed, this effort requires a long experience of physical asceticism and contemplation of mind as having the ability to view themselves as vederse a skeleton. On this spiritual exercise, the shamans interviewed by Rasmussen gave very vague information, the illustrious explorer summarized as follows: "Although no one can explain how and why shaman, could, however, thanks to the power that his thinking it receives from the supernatural , stripped his body of flesh and blood, so it does not remain that the bones. (...) Observations in this way, naked and completely released from flesh and blood perishable and ephemeral, he devotes himself, always in the sacred language of the shamans, to his great mission in this part of his body that is designed to resist for longer periods to Delsol, wind and time ". This important meditative exercise, which is also equivalent to an initiation (...) strangely recalls the dreams of the Siberian shamans, except that the reduction to the state of the skeleton is, in this case, an operation performed by shamans or ancestors other mythical beings, while the Eskimos at the transaction obtained through mental an asceticism and personal efforts of concentration. (...) But in both cases, the decrease in skeleton marks a passing of the profane human condition and, therefore, a liberation from it. (...) Reduced to the status of the skeleton is equivalent to a reintegration into the array (...), ie a total renovation, a mystical rebirth "(Mircea Eliade," Le Chamanisme "from" Encyclopédie des mystiques, "on Edited by M.-M. Davy, Petite Bibliothèque Payot).
The phylacteries of Morcote, "Dead will live" as well as the inclusion guerciniana "Et in Arcadia Ego" can then be read in a new light. Dead (initiation), seems to suggest the former, you will live (really). You'll say the "Living" came out a day, the Osiris justified the "Book of the Dead" Egyptian. "Et in Arcadia Ego", may not be the sentence of death, but that this has become the Initiate Adept. So, I (who died initiation) I am now in Arcadia (ie the size of the so-called mystical and eternal Iperuranio). I am a skeleton, or one that is free to all. "What you are I was, what I am you will be, if we accept this proposition exegetical, is what is being said by the Master-started that appeals to the novice. "What you are I I was a (secular), what I am you will be (Adept).
skeleton, do not forget, the symbol of the inner core of things (in this sense may be the symbol of the heart), is also the covert nature of them, the backbone of the secret of the cosmos, the "code" creationist, far from the form but the root structure of each particular form. Here is a "skeleton" that you can represent the "bare bones" by Alchemist, the mystery of Nature, have explored the secrets.
The skull, which is also part of the skeleton, however, and often occupies a privileged position in the symbolism and iconography, has in fact only the meanings that partially overlap with the human skeleton in its entirety.
Considered individually, the skull is opened and then a series of readings that go beyond those analyzed earlier. It represents the boss, and as such means metaphorically everything that happens in your head, or, by extension, within the human being. His imagery is often linked with that of the vessel or the still. It is the crater of the Intellect "which is discussed in the" Corpus Hermeticus "(Book IV), the mystic cup of the divine Logos which was the real object of the search quête du Graal. In the skull he met of spirit and matter, Deus et Homo. Hence the significance of the Magic head, skull or scalp in almost all ancient cultures. The rendering
Initiate and conservazine of his head, we find that a bit 'anywhere in the esoteric literature (from shamanism to the lives of the saints, until the Alexandrian alchemy "Spendor Solis") means the annihilation of the physical links in' Adept and the changing perception of self, from body to the Body of Light: he is now pure intellect, pure Spirit agent in the field, unperturbed about the world, he finds himself in the world but not of the world, in space without being of space, time, although forever. 
The human skeleton in the artistic and esoteric symbolism and imagery
climbing the long staircase that leads to the Church of Morcote (Switzerland), surrounded by the idyllic landscapes of Lake Lugano, the faithful who goes to the function, the art historian, a tourist visiting or the simple traveler, would be to pass in front of a fresco enigmatic and I would say "tight", depicting a human skeleton, portrait posing "a philosopher", along with a phylactery apparently alluding to the Christian eschatological beliefs. The inscription, "You will live the Dead", which the devotee invokes the idea of \u200b\u200bimmortality of the soul, has, for the esoteric, a much more complex and subtle. Significance is underlined by the presence of the skeleton, one of the most present in the iconographic symbols of secret societies. The pose "a philosopher" taken from the skeleton in question seems to imply that the fresco, and especially the phylacteries, should be "thoughtful" than watched.
entering the austere and sober Church of Roquebrune-sur-Argens (France), moving a few steps to the left of the entrance door, we are in a very interesting chapel "Masonic." The mosaic floor, stands the supreme symbol of brotherhood Freemasonry (the effigy of the team and intersected the compass). Even the brochures collected in the Office du Turisme informs us (with a frankness that in countries with stronger Catholic presence would, in similar cases, at least utopian), which is precisely the place of burial of a Master Mason.
In the chapel, We see skulls and ossements gold, carved in relief in wood along with some flames and vines that climb up the columns. The skull and crossbones, dear symbolic imagery of Freemasonry and the Knights Templar (only later inherited by pirates), represent (at least on first reading level) the bones of the legendary Abif Hiram, architect of the Temple of Solomon and legendary progenitor of all initiates charpentiers.
the Galleria Nazionale d'Arte Antica in Rome, houses a famous painting by Guercino, entitled "Et in Arcadia Ego." This framework is the time when some shepherds of Arcadia, the Greek region idealized as "Earthly paradise" in bucolic mold, they encounter human remains lying at the foot of a tombstone. The stele is inscribed with the phrase "Et in Arcadia Ego" (Even I am in Arcadia). This is one of the lucky ones (how to punch rather than diffusion) memento mori: episodes or pictures, that is, whose purpose was to remind the observers of the imminence of death, ahead of which the "good Christian" would had to think of repentance and abandonment of sin. At least that ecclesiastical interpretation. In this case, to say the sentence would be engraved on the tombstone Death itself, claiming to be "too" in Arcadia (That is, a place of pleasure and carelessness for excellence), pointed out to the shepherds the impermanence of worldly beauty.
A similar meaning is attributed to the episode of the meeting of the three live and three dead (see for example the remarkable fresco of the Castello di Serravalle in Bosa, Sardinia). Three young medieval lords, during a walk in the woods back from a hunt with the falcon, they ran into three tombs open. In them lie dead in three different stages of decomposition. Suddenly the dead addresses young people principles, saying the inexorable decision: "What we were you are, what we are you will."
The skull as memento mori is also found in almost all representations of the Penitent Magdalene (citing some authors) or other Saints, in the melancholy portraits of nobles and artists, as well as, of course, in the figure of Hamlet Shakespeare and his popular monologue "To be or not to be" (although, in reality, the original version of the tragedy, the monologue of the protagonist and the discovery by that of the remains of Yoric are not concurrent).
In Christianity, we must not forget to mention the importance of the skull in the representations of the Passion: Jesus, under the "Gospels" was crucified at Golgotha, the "Place of the Skull" in fact, more precisely in the place where, according to Jewish tradition, was buried the skull of Adam.
Other popular uses of the symbol of the human skull and dell'ossatura be found pre-Columbian art, especially the Aztec, a culture that has always emphasized the appearance of the sacred and mysterious death. See in this regard, the sculptured reliefs, frescoes and written codes (the day of the glyphs, symbols of the gods ...), in addition to those enigmatic "crystal skulls" in a perfect bill, which some would not work but the Aztecs disappearances "civilization of dawn" and their advanced technology craft. How
I have already pointed out in my latest book ("Reflections on the Great Work", 2006) the skull, but in general the human skeleton, was a symbol of importance for the MA, which bound him to Nigredo and particularly to that phase of putrefactio (Rot). If the spiritual meaning of the Black or Opera Nigredo reference eponymous chapter of my book, is rather esoteric on the high capacity of the skeleton that I now turn. This was so even in Alchemy, a memento mori, an invitation to meditation on impermanence and the vaquita, as this is known to be the way to gnosis (see the Sanskrit texts of Mahayana), but the huge symbol of eloquence does not end with this - albeit important - consideration of the eschatological nature. The function of the skeleton in Alchemy was not so much to remember the physical death: this semantics, in a hypothetical scale of interpretation of the archetype, is positioned in the initial steps. The progression indurebbe to consider the symbol of the skeleton rather than as an embodiment of particular processes occurring (or expected) During the operation, and therefore during the development of human conscience.
One of these meanings, it would definitely reduce the Essence. The Initiate it to arrive at "grade mystical" represented by the skeleton, would reached, reading between the synonyms of the word, the skeleton, the scaffolding, casing, the internal framework of the self. Hence the consciousness of the Adept deprived of all mental superstructure, reduced literally to the bone, pure essence, or quintessence. The individual
profane come here at the height of its disintegration, its "decomposition": dead to the world, ignorance, apparently, can now do on the input nell'Oltre initiation, in Wisdom and Being. The skeleton is a symbol of having made half-way point of deification: the primitive Self is already fully dissolved, the new has yet to be formed (symbolically the new flesh, the new body). This new body is to come - or rather by the emergence - is the "resurrection of the flesh on the Day of Judgement: No future event in the world but internal event of the Opera. The Initiate recover his body after he died philosophically, but it is time for a new body as integral to the Body of Light "that now the Alchemist, is fully aware. The skeleton is a symbol of one who died, is waiting to be reborn Adept. Like the snake that is stripped of the old skin or the phoenix that burns in the fire that will procure renewal.
This is the meaning carried by the skeleton in the dreams-visions of the ancient shamans. "The Eskimo neophyte must successfully undergo a great trial initiation. To succeed, this effort requires a long experience of physical asceticism and contemplation of mind as having the ability to view themselves as vederse a skeleton. On this spiritual exercise, the shamans interviewed by Rasmussen gave very vague information, the illustrious explorer summarized as follows: "Although no one can explain how and why shaman, could, however, thanks to the power that his thinking it receives from the supernatural , stripped his body of flesh and blood, so it does not remain that the bones. (...) Observations in this way, naked and completely released from flesh and blood perishable and ephemeral, he devotes himself, always in the sacred language of the shamans, to his great mission in this part of his body that is designed to resist for longer periods to Delsol, wind and time ". This important meditative exercise, which is also equivalent to an initiation (...) strangely recalls the dreams of the Siberian shamans, except that the reduction to the state of the skeleton is, in this case, an operation performed by shamans or ancestors other mythical beings, while the Eskimos at the transaction obtained through mental an asceticism and personal efforts of concentration. (...) But in both cases, the decrease in skeleton marks a passing of the profane human condition and, therefore, a liberation from it. (...) Reduced to the status of the skeleton is equivalent to a reintegration into the array (...), ie a total renovation, a mystical rebirth "(Mircea Eliade," Le Chamanisme "from" Encyclopédie des mystiques, "on Edited by M.-M. Davy, Petite Bibliothèque Payot).
The phylacteries of Morcote, "Dead will live" as well as the inclusion guerciniana "Et in Arcadia Ego" can then be read in a new light. Dead (initiation), seems to suggest the former, you will live (really). You'll say the "Living" came out a day, the Osiris justified the "Book of the Dead" Egyptian. "Et in Arcadia Ego", may not be the sentence of death, but that this has become the Initiate Adept. So, I (who died initiation) I am now in Arcadia (ie the size of the so-called mystical and eternal Iperuranio). I am a skeleton, or one that is free to all. "What you are I was, what I am you will be, if we accept this proposition exegetical, is what is being said by the Master-started that appeals to the novice. "What you are I I was a (secular), what I am you will be (Adept).
skeleton, do not forget, the symbol of the inner core of things (in this sense may be the symbol of the heart), is also the covert nature of them, the backbone of the secret of the cosmos, the "code" creationist, far from the form but the root structure of each particular form. Here is a "skeleton" that you can represent the "bare bones" by Alchemist, the mystery of Nature, have explored the secrets.
The skull, which is also part of the skeleton, however, and often occupies a privileged position in the symbolism and iconography, has in fact only the meanings that partially overlap with the human skeleton in its entirety.
Considered individually, the skull is opened and then a series of readings that go beyond those analyzed earlier. It represents the boss, and as such means metaphorically everything that happens in your head, or, by extension, within the human being. His imagery is often linked with that of the vessel or the still. It is the crater of the Intellect "which is discussed in the" Corpus Hermeticus "(Book IV), the mystic cup of the divine Logos which was the real object of the search quête du Graal. In the skull he met of spirit and matter, Deus et Homo. Hence the significance of the Magic head, skull or scalp in almost all ancient cultures. The rendering
Initiate and conservazine of his head, we find that a bit 'anywhere in the esoteric literature (from shamanism to the lives of the saints, until the Alexandrian alchemy "Spendor Solis") means the annihilation of the physical links in' Adept and the changing perception of self, from body to the Body of Light: he is now pure intellect, pure Spirit agent in the field, unperturbed about the world, he finds himself in the world but not of the world, in space without being of space, time, although forever.
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The Transcendence
The authors of the artistic movement known as "Pointillisme" or "division" (Cross, Seurat, Signac), created a form made of painted an infinite series of colored dots, apparently without meaning if watched closely, and instead, when the observer moved away, gave life to an orderly and structured according to a figurative. It follows that, monotonous and confused by a series of points without an organic sense, you could get, simply by moving your vantage point to contemplate landscapes, objects and characters, figures, or at least made sense, clearly identifiable as such. This conceptual demarche, which splits found with a maximum of expressive possibilities, at least in the twentieth century, but it is a process that values \u200b\u200bfar more universal, timeless and profound.
The need to move away from the object to understand the subject himself, finds himself in another form, with the mysterious geoglyphs the desert of Nazca, Peru. In this case we have lines drawn on the ground floor that you would say an abstruse system of trails that lead nowhere, but which, when viewed from the sky, become birds, monkeys, spiders and other animals of the forest in South America. Unlike Pointillisme, the Nazca lines lead us not only to move away from the object, but also to ask in an elevated position, the point of observation that, ideally, for the peoples who inhabited these territories belonged to the gods .
I would like to mention at this point, the famous guide the vision seen by the mystic Black Elk Sioux "I found myself on the highest of all mountains and all around beneath me was the whole hoop of the world. And in that place I saw more than I can tell, and I understood more of what I saw, because I saw in a sacred manner the shapes of all things in the spirit and shape of all shapes as they must live together as one being. And I saw that the sacred hoop of my people was just one of many hoops that made one circle as wide as daylight and as starlight. "
On reflection, this vision, as the Divisions and the Nazca lines, reflects the reality of our atomic world: all the things we see and distinguish as separate entities, in fact, if quantum terms are not reduced to an endless series of particles. And even at levels which we can see with the naked eye, identical law order applies: the more we move away from individual objects with their eyes, from particular beings, more designs will be presented to our eyes to understand. But there is also
another form of "removal for understanding", which is the transcendence of the mystics. In this sense it is no longer the eye have to make the process, but the spirit, rising from the particular reality, comes to grasp the universal. Stop focusing on individual expressions of creation, the inner eye of the philosopher or the beginning, try to lift him up to the reality Iperuranio, since only distancing themselves from the manifold, represented by the diversity of events, be able to contemplate a more extensive and comprehensive, made this time unit does not show. These are the "high temple, from which, according Lucretius, the essays point out the world that lies beneath. The entire universe, moreover, is based on the perpetual alternation of the All-interpenetration and unity, which prevents the Whole to see the One. The real challenge that arises with men, which is based on the path to Gnosis, you grasp the unity in all members of the Whole. 
That is the search for an overview
The authors of the artistic movement known as "Pointillisme" or "division" (Cross, Seurat, Signac), created a form made of painted an infinite series of colored dots, apparently without meaning if watched closely, and instead, when the observer moved away, gave life to an orderly and structured according to a figurative. It follows that, monotonous and confused by a series of points without an organic sense, you could get, simply by moving your vantage point to contemplate landscapes, objects and characters, figures, or at least made sense, clearly identifiable as such. This conceptual demarche, which splits found with a maximum of expressive possibilities, at least in the twentieth century, but it is a process that values \u200b\u200bfar more universal, timeless and profound. The need to move away from the object to understand the subject himself, finds himself in another form, with the mysterious geoglyphs the desert of Nazca, Peru. In this case we have lines drawn on the ground floor that you would say an abstruse system of trails that lead nowhere, but which, when viewed from the sky, become birds, monkeys, spiders and other animals of the forest in South America. Unlike Pointillisme, the Nazca lines lead us not only to move away from the object, but also to ask in an elevated position, the point of observation that, ideally, for the peoples who inhabited these territories belonged to the gods .
I would like to mention at this point, the famous guide the vision seen by the mystic Black Elk Sioux "I found myself on the highest of all mountains and all around beneath me was the whole hoop of the world. And in that place I saw more than I can tell, and I understood more of what I saw, because I saw in a sacred manner the shapes of all things in the spirit and shape of all shapes as they must live together as one being. And I saw that the sacred hoop of my people was just one of many hoops that made one circle as wide as daylight and as starlight. "
On reflection, this vision, as the Divisions and the Nazca lines, reflects the reality of our atomic world: all the things we see and distinguish as separate entities, in fact, if quantum terms are not reduced to an endless series of particles. And even at levels which we can see with the naked eye, identical law order applies: the more we move away from individual objects with their eyes, from particular beings, more designs will be presented to our eyes to understand. But there is also
another form of "removal for understanding", which is the transcendence of the mystics. In this sense it is no longer the eye have to make the process, but the spirit, rising from the particular reality, comes to grasp the universal. Stop focusing on individual expressions of creation, the inner eye of the philosopher or the beginning, try to lift him up to the reality Iperuranio, since only distancing themselves from the manifold, represented by the diversity of events, be able to contemplate a more extensive and comprehensive, made this time unit does not show. These are the "high temple, from which, according Lucretius, the essays point out the world that lies beneath. The entire universe, moreover, is based on the perpetual alternation of the All-interpenetration and unity, which prevents the Whole to see the One. The real challenge that arises with men, which is based on the path to Gnosis, you grasp the unity in all members of the Whole.
Duofem And Ferrous Fumerate Tab
The Ignorant Fairy
art, according to Magritte, is like a fairy ignorant, capable of real magic whose meaning escapes his own understanding. I believe that this charming metaphor expressed in a simple basic idea: Art is the creative force, and does not need to understand herself. But there are other data tools to break through, at least in part, the mysterious veil that drapes the multifaceted universe. The philosophical insight, enables us to go further. Cross the threshold of aesthetic, entering the mystical dimension of the artistic event. Readers of my books know what I mean: the art has become an image concept, an idea formed in the field, made a visible symbol.
If the artist is responsible to concretize the abstract, is given to the philosopher's mission to perceive the message of an intimate opera. Being able to grasp the multiple epiphanies of Fairy ignorant, the objects of its expression, its abundant fruits, the seeds that will sprout in the understanding of wisdom. Through the philosophical intuition, art communicates the spirit, what the brain does not potrebbeintendere by rational language. And I'm not talking empty and pompous digressions of many critics, but the deep search, as the pilgrimage to the heart of the artwork, which expects as lasfinge of the Theban myth, Oedipus who can answer his riddle . Maybe there will be no answers to every question, but what the mind will not hear the soul can understand it. 
the boundaries of art, philosophy born
art, according to Magritte, is like a fairy ignorant, capable of real magic whose meaning escapes his own understanding. I believe that this charming metaphor expressed in a simple basic idea: Art is the creative force, and does not need to understand herself. But there are other data tools to break through, at least in part, the mysterious veil that drapes the multifaceted universe. The philosophical insight, enables us to go further. Cross the threshold of aesthetic, entering the mystical dimension of the artistic event. Readers of my books know what I mean: the art has become an image concept, an idea formed in the field, made a visible symbol. If the artist is responsible to concretize the abstract, is given to the philosopher's mission to perceive the message of an intimate opera. Being able to grasp the multiple epiphanies of Fairy ignorant, the objects of its expression, its abundant fruits, the seeds that will sprout in the understanding of wisdom. Through the philosophical intuition, art communicates the spirit, what the brain does not potrebbeintendere by rational language. And I'm not talking empty and pompous digressions of many critics, but the deep search, as the pilgrimage to the heart of the artwork, which expects as lasfinge of the Theban myth, Oedipus who can answer his riddle . Maybe there will be no answers to every question, but what the mind will not hear the soul can understand it.
Donating Home Office Space To A Non-profit
Children of the Sun God
Mausoleums Egyptians in the heart of Ticino
This bizarre
my research, was "beginning", so to 'say, on the occasion of a funeral I attended some time ago. After the ceremony, the funeral procession marched slowly towards the crematorium (all, forgot to mention, took place in the cemetery in Lugano). The air was cold, gray sky, I think that it was still March.
It 's a shame that the art historians are not dealing with art almost never cemetery,' cause the campisanti often do not have the sequelae of cold granite crosses, but in many cases, the elegant city parks, where in more ', and' can admire the works of great delicacy of sculpture. Neoclassical temples alternate a romantic figure, small obelisks, stelae, and a whole series of remarkable achievements, which certainly have nothing to do with the dismal gloom of a necropolis
... I was taken by these thoughts (and I must say, by a slight but nagging neck pain, due in all probability 'moisture' winter of that morning), when, suddenly, I saw something that impressed me 'deeply: their own' them ', the sides of the avenue, lined with monuments insignificant or at least common, certainly in the eyes of many passers-by discreet but also, in a way, standing out among so many tombs of far more 'orthodox "bill, check here a mausoleum that had everything, except for "Christian."
The temple, which headed the name of Von Almen, was fully realized in ancient Egyptian style.
What surprises me greatly, because 'I had never seen anything like this in our region. However, for the sake of ceremony, I continued to follow the procession, leaving blur the vision of that Egyptian tomb behind me, but not the thought of returning as soon as possible. In fact, a few days later, when I had the opportunity (it was even more 'hot, and neck pain was gone) I went to the cemetery, decided to investigate better the vision. I took with my Nikon digital, impractical companion investigation, now accustomed to document the secrets of the art ...
In the maze of monuments, I found what I was interested.
The two front columns of the mausoleum were covered with hieroglyphics, the capitals (as in most 'pure Egyptian tradition) reproduced of lotus flowers, and the lintel staked in the effigy of the Sun God, Amon-Ra, a winged sun disk. Inside the mausoleum, as well as a grate, it was possible to see the subject as interesting as a stained glass window. It was the late, shown dressed as a Knight Templar kneeling in a temple (perhaps the Temple of Jerusalem, where the Order of the Poor Knights of Christ was founded?), In front of a pillar-altar. Su the latter, an effigy All-seeing Eye of God, which, compared in the context of "Egyptian" the mausoleum, we should call Udjat Eye of Horus. The golden triangle in which 'marked by the eye, then, resembles the sacred capstone of Heliopolis, the Ben-Ben stone, that the conception was the seed of the Egyptian Sun God
"For the ancient Egyptians, the stone apex or capstone of a pyramid or obelisk phallic (actually 'built a pyramid) represents the pinnacle of their beliefs for more' reasons. To understand the significance of the pyramid we have to resort to the Egyptian creation myths. Of all the myths of creation, the version eliopolitana (...) supports the principle that the universe was a formless void and watery "called Nu or Nun. From the waters of Nun emerged a phallic hill, the "primordial hill". This hill, or mountain, and 'the metaphor of an energy vortex, a circular array created the New Town. This myth of creation and 'the origin of the ancient Egyptian symbol of the Sun, a simple circle with a central point. Some traditions maintain the idea that the waters of Nun surround this "hill" or "mountain", since the first "mountain in the world." (...)
In Egyptian myth of Creation, from this hill phallic Amon-Ra (...) Masturbate 'if' itself up to an explosive orgasm, kicking off with his seed to the birth of the universe and creating it in life. (...) The stone apex of the pyramid, which was applied to columns and obelisks (...) was called Ben-Ben and representing the "seed-to-point" of the Creation. In other words, the pillar ol'obelisco, represents the failure of the supreme god Amon-Ra, who personified the central source of the cosmos and of all creation, while the Ben-ben at the top, 'represented the sperm or the " seminal droplet "that gave rise to this creation" (by Philip Gardiner and Gary Osborn, "The seed of the Stone Building, article that appeared in "Hera", nr. 73 February 2006).
the window, Von Almen was depicted in the act of praying with the sword. Helmet and shield were resting under the altar. The shield (I do not know if they were family dell'armoriale Von Almen) was painted a golden lion, another symbol of solar nature.
Now, it will be 'true that the nineteenth century, especially in the middle of the Napoleonic period, in intellectual circles and in the nobility and upper-class burst' a sort of "egittomania" but I do not think this is enough to justify the construction of a mausoleum amon Catholic on earth, at least by someone who of ideas is fundamentally Christian. I rather think that our Von Almen, who chose to be buried under the aegis of Amon-Ra, and to be represented in adoration Omniscient Eye, was hardly fervent in religion "traditional", but instead it began to some form of religiosity 'esoteric and filomassonica.
of Masonic symbols, the mausoleum and 'chock: The Eye and Omniscient' heads the same as in the Masonic lodges as a picture of GAOTU (Grand Architect of the Universe), the Supreme Being of French revolutionaries, the Temple and 'that' ideal "Temple of Solomon" which, again, of the Masons build within their (sub interioritatis species, as they say the learned), to welcome the Divine Presence, or Shekhinah, the two pillars Jachin and Boas are very famous, and finally, also divided by Knight, brings us back mentally to that Order from which many people believe that Freemasonry itself is derived (only an order that was originally Christian, but soon became a repository of esoteric philosophies). Von Almen
The conclusion that he was a Freemason, or at least an initiate of some tight brotherhood, and 'is only artistic exegesis of the mausoleum, but I'm not' could not find any documentation about it. The only other mention of the family Von Almen I found in Hill d'Oro, and more 'precisely in the cloister of the Church of St. Ambrose in Barbengo (Church where, among other things, there are some interesting hermetic symbols including the sun's disc). Actually, this is another reference, found "google" (apparently the term 'recently entered the vocabulary), but not' no help on the merits of this research. And 'the extract of an article by Christoph Zürcher, which I reproduce below for the sake of completeness:
"Von Almen: hotelier family originally from Lauterbrunnen. The Almen played a leading role in the development of tourism in the Bernese Oberland. Christian (1815-1882), Steinbock Lauterbrunnen manager of the inn, and his wife Margaret Heim (1822-1899) opened in 1888, the Trümmelbachhotel. The hotel is located near the Falls Trümmelbach; in 1913 by Christian in-law, Margaret Von Almen-Hirn, widow of Werner Friedrich (1855-1895) and his son Fritz (-> 1) made available to visitors to the falls. In 1926, Fritz I find 'the two hotels in the Kleine Scheidegg, until then belonged to Adolf Seiler, his stepfather, from 1937 he has been working' as well, as manager, the hotel on Wengernalp, where he became owner in 1958. His son Fritz (1918-1974) went on 'in the conduct of the two hotels of the Little Sheidegg that in the meantime had been joined in one company. The latter's son, Kaspar (* 1926), from 1964 to 1971 the mayor of Lauterbrunnen, I see 'the first Trümmelbachhotel and in 1962 the hotel on Wengernalp "(dhs-by-www.hls dss.ch).
In the following months, the thought of the mausoleum of Von Almen solar constant 'to be processed for the mind. Of course, I could not help but think of groups like the Egyptian Rite of Freemasonry founded by the Count of Cagliostro, which greatly affects' the works of Wolfgang Amadeus Mozart Mason (see "The Magic Flute" ...), Masonic Order Eastern Ancient and Primitive Rite of Memphis and Misraïm (in whose emblem appears on its winged sun disk), or to those mysterious "Brothers of Heliopolis" which are dedicated Alchemist French books known by the pseudonym of Fulcanelli. The winged sun disk of Amon-Ra is also included in the emblem dell'AMORC, Ancient Mystical Order of Rosicrucians, and more 'in general, we find him as a divine symbol widely used in hermetic field, a field of mysticism and philosophy for ages trying to abstract the idea of \u200b\u200bGod from the traditional portrayal of the elderly bearded man who sits on a throne of clouds, and in fact recover a vision of "archetypal" (the winged sun disk, remember, and 'a symbol of deity' distributed to the ancient civilizations', pre-Columbian America from Mesopotamia, through Persia and Egypt ...) and then "nondenominational." An image that brings us, as well as the all-seeing eye, a universal and syncretic vision of God, transcending the individual religions, they very well and more 'spoken at that great scholars such as J. Campbell, F. Shuon, A. Elenjimittam, CG Jung ...
The surprises were not over. Some time later I was in Morcote for a hike Sunday. The atmosphere was definitely more 'mild, nothing better to visit your wonderful artistic and landscape as the parish church of the town, che si erge maestosa sul fianco del monte. Una bellezza che, come ogni bellezza che si rispetti, costa fatica: in questo caso una lunga, lunga scalinata…
Dal fortunato posteggio sul lungolago raggiunsi in due passi il nucleo storico del borgo, e da li’ presi la stradina che conduce verso la Parrocchiale. Qualche tappa lungo la scalinata, una vista strepitosa sul Ceresio (che quel giorno era di un blu perfetto), fioriture ai lati del sentiero, concerto di uccelli canori.
La Chiesa di Morcote e’ uno dei siti turistici ticinesi piu’ visitati, ma, solitamente, e’ proprio con la Chiesa che finisce il percorso dei turisti, i quali raramente si spingono oltre, di poche decine di metri. Poche decine di metri, in north-east, behind the church lies the cemetery of Morcote. A cemetery where they were buried important cultural figures, in a green open on the eastern mountains.
to my nature I go over to the path of the tourists left the Church, down some steps, crossed a cobblestone path, and I'm now at the entrance of the cemetery. Lintel peeping Uroboros, the snake devouring its own tail tight.
Beyond this threshold, walked among the flower beds. In the cemetery there was none. Better, I always prefer to visit places of art in solitude. The solitude allows you to capture facets secret. To my
surprise, turning his gaze toward the side of the mountain, in an upper part of the cemetery (which is' built on terraces), I saw another mausoleum dedicated to Sun God Another mausoleum built entirely in ancient Egyptian style. Yet the disc of Ra, even columns that culminate in a lotus flower ... but the inscription, this time, bore the name of Baklanoff.
looked at the lake, meditating. Obviously the Von Almen was not found on the eccentric will of a senior Freemason ... Someone else, of which I knew nothing, had arranged to be buried in a tiny solar temple in the Egyptian land Ticino. Baklanoff.
Once again, everything suggests an Initiate, but I knew nothing about this guy except that he had given up the cross, or any other Christian symbol on his grave, in favor of a high symbolic sacredness' as part of a religion that has now disappeared.
Incidentally, I would point out that the solar cult eliopolitano, as well as to worship the Sun as a "visible aspect of the invisible God" and "demiurge" that "ties together the heavens and the earth, plunging down the essence and raising up on the subject, drawing on if 'all things spontaneously, and then giving it to all, spreading generously on all its light "(" Corpus Hermeticus ", XVI, 5) was intended to honor the Sun Inner namely the principle or divine spark inherent in man, that inner sun (Intellect, Nous) mentioned by any ancient Gnostic philosophy, and that makes man the microcosmic image of the Sun itself (see "Corpus Hermeticus", XI, 15) .
I noticed that while the mausoleum of Von Almen had a cubic structure, to Baklanoff had the shape of a pyramid broken (or incomplete), another symbol very dear to the Masonic lodges, which we find, and as' known, banknotes one dollar. The pyramid broken, that 'even without the sacred stone or capstone Ben-ben.
In the following months I tried the online name "Baklanoff. The search engine will reveal ' more 'effective than it was in the case of Von Almen:
"Georges Baklanoff (* St.Petersburg 01.18.1882, † 06.12.1938 Basel). Russian citizen, American citizen since 1917. ∞ (1928) Anne Gebhard, Ludwigshafen (D). After studying directed at Kiev, he took singing lessons from Martin Petz August in Kiev by Ippolit Petrovic Pryanisnikov in St. Petersburg and Milan by Vittorio Vanzo. Debut 'in Kiev in 1903 and then singing' at the Bolshoi in Moscow in the world premiere of works by Sergei Rachmaniov "Il Cavaliere miser" and "Francesca da Rimini" (1906). Since 1910 he was hired and hosted several European and American theaters. She performed 'frequently in Switzerland; 1912 to 1938 he was a regular guest of the City Theatre of Basel. Interpreter extraordinary suggestiveness', with a powerful baritone voice and stamp it safe, produced in the roles of Escamillo (Carmen), Mephistopheles (Faust), Iago (Otello), Amonasro (Aida), Rigoletto, Tonio (Pagliacci), Boris Godunov , Scarpia (Tosca) and Don Giovanni in Basel, Bern, Lucerne and Zurich, lived in Basel since 1932 (from http://www.hls-dhs-dss.ch/ ).
Some pictures of the baritone (along with your footage) are in the site http://www.morcote-musica.ch/ .
Since that day, when I happened to see from the road a cemetery near a church, it was impossible help but glance over the fence, looking for any item you see "Egyptian" which completed the mysterious puzzle, or at least that the expansion, which will better defining those features just mentioned, giving an edge to the design, making me understand .
If now I expected to find other Egyptian tombs like those of Von Almen and Baklanoff, certainly not what I expected 'I found it later! After a visit to Caslano (we speak of the winter after the initial "discovery"), just before setting foot in the car and leave, the late afternoon, I saw something standing out above the wall that surrounded and enclosed the cemetery of the town. I tried something "Egyptian", but what I saw was really beyond my expectations, so that initially I thought that I was deceived. Unfortunately I was in a hurry, so 'I wrote a memo in the phone, and went Caslano few weeks later.
The "what", I glimpsed the first time, was none other than the tip of a pyramid. I know it sounds absurd that all this' I describe is in Ticino, but they are monuments that are visible to everyone, able to look at.
I entered the cemetery, with no doubt that the "tip of the pyramid", in reality ', could be something else. Passing a group of tombs and mausoleums "classical" I arrived in front of the "thing". The "thing" was really an Egyptian-style pyramid (which drew the very emblem of the Grand Orient of Italy). Not only that: a pediment, which saw the now familiar symbol of Amon-Ra, demonstrating the stylistic and symbolic-conceptual link of that mausoleum with other previously discovered.
This time it was the burial place of Helvetius Vicari. Him, so far I have not found any information. Only the mystery, the riddle of the Sphinx, the Sphinx Elvezio Vicari that he wanted to sculpt the base of the pyramid, to seal his secret. In all probability, 'the other face of the Sphinx is not' that what Elvezio Vicari
same ... The Sphinx is located on the right (the observer) of the pyramid. On the left side, the sculpture of a woman (a goddess Isis-Knowledge?), Looks gloomy and silent as the door of the mausoleum.
Two white stem, on both sides of the pyramid solar images instead bear distinctly Christian: This is, obviously, of coarse attempts back to "Christianize" a monument that a Christian has little, probably by the descendants of Helvetius Vicari, who, of course, could not understand the spirit of Masonic initiation and high wisdom that inspired the design of that mausoleum amon. The rear 'History stele and the Christian 'is clearly not only the use of a different material and artistic style, but also by striking disharmony with the rest of the monument.
The Pyramid and the Sphinx of Helvetius Vicari could not but recall to mind a picture of Julien Champagne: "The sphinx protects and dominates the Science" (where you intend Science alchemical), manufactured by French designer for the book of Fulcanelli, "The Mystery of the Cathedrals". An allusion to the knowledge of the Hermetic Vicari?
I discovered three tombs of Egyptian style clay Ticino. Three effigies of Amon-Ra in the vicinity of Lake Lugano. Three monuments erected all clearly inspired by the esoteric Eighteenth century to the early twentieth century, that 'the era of the origin and maximum development of Freemasonry in Switzerland. I had a monument cubic (Von Almen), a pyramid broken (Baklanoff) and made a pyramid (Vicari), that 'the "three sacred forms" of the stone Masonic as well as' fundamental stages of the erection of a pyramid: squaring the stone, construction of the trapezoidal or rectangular truncated pyramid, laying the capstone or sharp stone coping ...
The fourth found in the mausoleum amon Maroggia. It was the tomb of Aldo Sormani. Until now, the last remains of the mausoleum of its kind that I have discovered. In this case the capitals
of the two columns are not decorated with petals of lotus flower, but rather 'heads by the typical Egyptian hairstyle (wig and false beard). The general style of the building recalls the "Egyptian Room" of the Freemason's Hall in Philadelphia also details capitals are similar to those in the American lodge, located at the sides of the seat of the Grand Master.
We also find some interesting mythological characters embossed on the iron lattice, the falcon-headed Horus, bodies and wings (which can be 'hawk, vulture, but also, animal sacred to Isis) and tail ends with a head cobra-Uraeus; figures that resemble in some way, some hybrids are dear to the gnostic-hermetic tradition Alexandrian ... This time, near the mausoleum, there is an obelisk: new reference to the Egyptian myth of creation, the sun worship and the sacred stone Ben-ben. Also on
Aldo Sormani and I 'could find any piece of news.
At this point, and 'possible, even probable, that in Ticino, or at least in the area of \u200b\u200bLugano, there are other mausoleums "Egyptians" and other lost treasures of knowledge, other evidence of a religiosity' and an eschatological faith unconventional and forgotten, but more animated 'persons or more' places in the past three centuries. And I do not think that it is "neo-paganism" as some might think, but rather 'a new awareness and a new way of looking at religiosity' of the ancients, and to seek, and discover, beyond the 'symbols, spiritual messages of value unchanged over the millennia. That "hidden wisdom of ancient Egypt," they wrote C. Jacq, RA Schwaller De Lubics, and other great masters of contemporary fiction. Of messages about the inner sun, and not the star so that '...
is called "Sol Invictus, Sol Invictus, since' disappeared the evening, it seems reborn every morning. The Sun and the mythical 'represented by large symbols such as gold, the lion, the eagle, the cock and the real principle, the crown, in society 'human. In addition to the vital principle, the Sun also reveals the principle of birth, death and rebirth. On the other hand, its warm light, that 'knowledge on, kill the monsters of the darkness and illuminates the heroes and those who surmount the trials of life as those in the path of initiation. Symbolically, the Sun shows the spirit and the universal consciousness that open "(by JB," Dictionnaire de la Franc-Illustré Maçonnerie). 
Mausoleums Egyptians in the heart of Ticino
This bizarre
my research, was "beginning", so to 'say, on the occasion of a funeral I attended some time ago. After the ceremony, the funeral procession marched slowly towards the crematorium (all, forgot to mention, took place in the cemetery in Lugano). The air was cold, gray sky, I think that it was still March. It 's a shame that the art historians are not dealing with art almost never cemetery,' cause the campisanti often do not have the sequelae of cold granite crosses, but in many cases, the elegant city parks, where in more ', and' can admire the works of great delicacy of sculpture. Neoclassical temples alternate a romantic figure, small obelisks, stelae, and a whole series of remarkable achievements, which certainly have nothing to do with the dismal gloom of a necropolis
... I was taken by these thoughts (and I must say, by a slight but nagging neck pain, due in all probability 'moisture' winter of that morning), when, suddenly, I saw something that impressed me 'deeply: their own' them ', the sides of the avenue, lined with monuments insignificant or at least common, certainly in the eyes of many passers-by discreet but also, in a way, standing out among so many tombs of far more 'orthodox "bill, check here a mausoleum that had everything, except for "Christian."
The temple, which headed the name of Von Almen, was fully realized in ancient Egyptian style.
What surprises me greatly, because 'I had never seen anything like this in our region. However, for the sake of ceremony, I continued to follow the procession, leaving blur the vision of that Egyptian tomb behind me, but not the thought of returning as soon as possible. In fact, a few days later, when I had the opportunity (it was even more 'hot, and neck pain was gone) I went to the cemetery, decided to investigate better the vision. I took with my Nikon digital, impractical companion investigation, now accustomed to document the secrets of the art ...
In the maze of monuments, I found what I was interested.
The two front columns of the mausoleum were covered with hieroglyphics, the capitals (as in most 'pure Egyptian tradition) reproduced of lotus flowers, and the lintel staked in the effigy of the Sun God, Amon-Ra, a winged sun disk. Inside the mausoleum, as well as a grate, it was possible to see the subject as interesting as a stained glass window. It was the late, shown dressed as a Knight Templar kneeling in a temple (perhaps the Temple of Jerusalem, where the Order of the Poor Knights of Christ was founded?), In front of a pillar-altar. Su the latter, an effigy All-seeing Eye of God, which, compared in the context of "Egyptian" the mausoleum, we should call Udjat Eye of Horus. The golden triangle in which 'marked by the eye, then, resembles the sacred capstone of Heliopolis, the Ben-Ben stone, that the conception was the seed of the Egyptian Sun God
"For the ancient Egyptians, the stone apex or capstone of a pyramid or obelisk phallic (actually 'built a pyramid) represents the pinnacle of their beliefs for more' reasons. To understand the significance of the pyramid we have to resort to the Egyptian creation myths. Of all the myths of creation, the version eliopolitana (...) supports the principle that the universe was a formless void and watery "called Nu or Nun. From the waters of Nun emerged a phallic hill, the "primordial hill". This hill, or mountain, and 'the metaphor of an energy vortex, a circular array created the New Town. This myth of creation and 'the origin of the ancient Egyptian symbol of the Sun, a simple circle with a central point. Some traditions maintain the idea that the waters of Nun surround this "hill" or "mountain", since the first "mountain in the world." (...)
In Egyptian myth of Creation, from this hill phallic Amon-Ra (...) Masturbate 'if' itself up to an explosive orgasm, kicking off with his seed to the birth of the universe and creating it in life. (...) The stone apex of the pyramid, which was applied to columns and obelisks (...) was called Ben-Ben and representing the "seed-to-point" of the Creation. In other words, the pillar ol'obelisco, represents the failure of the supreme god Amon-Ra, who personified the central source of the cosmos and of all creation, while the Ben-ben at the top, 'represented the sperm or the " seminal droplet "that gave rise to this creation" (by Philip Gardiner and Gary Osborn, "The seed of the Stone Building, article that appeared in "Hera", nr. 73 February 2006).
the window, Von Almen was depicted in the act of praying with the sword. Helmet and shield were resting under the altar. The shield (I do not know if they were family dell'armoriale Von Almen) was painted a golden lion, another symbol of solar nature.
Now, it will be 'true that the nineteenth century, especially in the middle of the Napoleonic period, in intellectual circles and in the nobility and upper-class burst' a sort of "egittomania" but I do not think this is enough to justify the construction of a mausoleum amon Catholic on earth, at least by someone who of ideas is fundamentally Christian. I rather think that our Von Almen, who chose to be buried under the aegis of Amon-Ra, and to be represented in adoration Omniscient Eye, was hardly fervent in religion "traditional", but instead it began to some form of religiosity 'esoteric and filomassonica.
of Masonic symbols, the mausoleum and 'chock: The Eye and Omniscient' heads the same as in the Masonic lodges as a picture of GAOTU (Grand Architect of the Universe), the Supreme Being of French revolutionaries, the Temple and 'that' ideal "Temple of Solomon" which, again, of the Masons build within their (sub interioritatis species, as they say the learned), to welcome the Divine Presence, or Shekhinah, the two pillars Jachin and Boas are very famous, and finally, also divided by Knight, brings us back mentally to that Order from which many people believe that Freemasonry itself is derived (only an order that was originally Christian, but soon became a repository of esoteric philosophies). Von Almen
The conclusion that he was a Freemason, or at least an initiate of some tight brotherhood, and 'is only artistic exegesis of the mausoleum, but I'm not' could not find any documentation about it. The only other mention of the family Von Almen I found in Hill d'Oro, and more 'precisely in the cloister of the Church of St. Ambrose in Barbengo (Church where, among other things, there are some interesting hermetic symbols including the sun's disc). Actually, this is another reference, found "google" (apparently the term 'recently entered the vocabulary), but not' no help on the merits of this research. And 'the extract of an article by Christoph Zürcher, which I reproduce below for the sake of completeness:
"Von Almen: hotelier family originally from Lauterbrunnen. The Almen played a leading role in the development of tourism in the Bernese Oberland. Christian (1815-1882), Steinbock Lauterbrunnen manager of the inn, and his wife Margaret Heim (1822-1899) opened in 1888, the Trümmelbachhotel. The hotel is located near the Falls Trümmelbach; in 1913 by Christian in-law, Margaret Von Almen-Hirn, widow of Werner Friedrich (1855-1895) and his son Fritz (-> 1) made available to visitors to the falls. In 1926, Fritz I find 'the two hotels in the Kleine Scheidegg, until then belonged to Adolf Seiler, his stepfather, from 1937 he has been working' as well, as manager, the hotel on Wengernalp, where he became owner in 1958. His son Fritz (1918-1974) went on 'in the conduct of the two hotels of the Little Sheidegg that in the meantime had been joined in one company. The latter's son, Kaspar (* 1926), from 1964 to 1971 the mayor of Lauterbrunnen, I see 'the first Trümmelbachhotel and in 1962 the hotel on Wengernalp "(dhs-by-www.hls dss.ch).
In the following months, the thought of the mausoleum of Von Almen solar constant 'to be processed for the mind. Of course, I could not help but think of groups like the Egyptian Rite of Freemasonry founded by the Count of Cagliostro, which greatly affects' the works of Wolfgang Amadeus Mozart Mason (see "The Magic Flute" ...), Masonic Order Eastern Ancient and Primitive Rite of Memphis and Misraïm (in whose emblem appears on its winged sun disk), or to those mysterious "Brothers of Heliopolis" which are dedicated Alchemist French books known by the pseudonym of Fulcanelli. The winged sun disk of Amon-Ra is also included in the emblem dell'AMORC, Ancient Mystical Order of Rosicrucians, and more 'in general, we find him as a divine symbol widely used in hermetic field, a field of mysticism and philosophy for ages trying to abstract the idea of \u200b\u200bGod from the traditional portrayal of the elderly bearded man who sits on a throne of clouds, and in fact recover a vision of "archetypal" (the winged sun disk, remember, and 'a symbol of deity' distributed to the ancient civilizations', pre-Columbian America from Mesopotamia, through Persia and Egypt ...) and then "nondenominational." An image that brings us, as well as the all-seeing eye, a universal and syncretic vision of God, transcending the individual religions, they very well and more 'spoken at that great scholars such as J. Campbell, F. Shuon, A. Elenjimittam, CG Jung ...
The surprises were not over. Some time later I was in Morcote for a hike Sunday. The atmosphere was definitely more 'mild, nothing better to visit your wonderful artistic and landscape as the parish church of the town, che si erge maestosa sul fianco del monte. Una bellezza che, come ogni bellezza che si rispetti, costa fatica: in questo caso una lunga, lunga scalinata…
Dal fortunato posteggio sul lungolago raggiunsi in due passi il nucleo storico del borgo, e da li’ presi la stradina che conduce verso la Parrocchiale. Qualche tappa lungo la scalinata, una vista strepitosa sul Ceresio (che quel giorno era di un blu perfetto), fioriture ai lati del sentiero, concerto di uccelli canori.
La Chiesa di Morcote e’ uno dei siti turistici ticinesi piu’ visitati, ma, solitamente, e’ proprio con la Chiesa che finisce il percorso dei turisti, i quali raramente si spingono oltre, di poche decine di metri. Poche decine di metri, in north-east, behind the church lies the cemetery of Morcote. A cemetery where they were buried important cultural figures, in a green open on the eastern mountains.
to my nature I go over to the path of the tourists left the Church, down some steps, crossed a cobblestone path, and I'm now at the entrance of the cemetery. Lintel peeping Uroboros, the snake devouring its own tail tight.
Beyond this threshold, walked among the flower beds. In the cemetery there was none. Better, I always prefer to visit places of art in solitude. The solitude allows you to capture facets secret. To my
surprise, turning his gaze toward the side of the mountain, in an upper part of the cemetery (which is' built on terraces), I saw another mausoleum dedicated to Sun God Another mausoleum built entirely in ancient Egyptian style. Yet the disc of Ra, even columns that culminate in a lotus flower ... but the inscription, this time, bore the name of Baklanoff.
looked at the lake, meditating. Obviously the Von Almen was not found on the eccentric will of a senior Freemason ... Someone else, of which I knew nothing, had arranged to be buried in a tiny solar temple in the Egyptian land Ticino. Baklanoff.
Once again, everything suggests an Initiate, but I knew nothing about this guy except that he had given up the cross, or any other Christian symbol on his grave, in favor of a high symbolic sacredness' as part of a religion that has now disappeared.
Incidentally, I would point out that the solar cult eliopolitano, as well as to worship the Sun as a "visible aspect of the invisible God" and "demiurge" that "ties together the heavens and the earth, plunging down the essence and raising up on the subject, drawing on if 'all things spontaneously, and then giving it to all, spreading generously on all its light "(" Corpus Hermeticus ", XVI, 5) was intended to honor the Sun Inner namely the principle or divine spark inherent in man, that inner sun (Intellect, Nous) mentioned by any ancient Gnostic philosophy, and that makes man the microcosmic image of the Sun itself (see "Corpus Hermeticus", XI, 15) .
I noticed that while the mausoleum of Von Almen had a cubic structure, to Baklanoff had the shape of a pyramid broken (or incomplete), another symbol very dear to the Masonic lodges, which we find, and as' known, banknotes one dollar. The pyramid broken, that 'even without the sacred stone or capstone Ben-ben.
In the following months I tried the online name "Baklanoff. The search engine will reveal ' more 'effective than it was in the case of Von Almen:
"Georges Baklanoff (* St.Petersburg 01.18.1882, † 06.12.1938 Basel). Russian citizen, American citizen since 1917. ∞ (1928) Anne Gebhard, Ludwigshafen (D). After studying directed at Kiev, he took singing lessons from Martin Petz August in Kiev by Ippolit Petrovic Pryanisnikov in St. Petersburg and Milan by Vittorio Vanzo. Debut 'in Kiev in 1903 and then singing' at the Bolshoi in Moscow in the world premiere of works by Sergei Rachmaniov "Il Cavaliere miser" and "Francesca da Rimini" (1906). Since 1910 he was hired and hosted several European and American theaters. She performed 'frequently in Switzerland; 1912 to 1938 he was a regular guest of the City Theatre of Basel. Interpreter extraordinary suggestiveness', with a powerful baritone voice and stamp it safe, produced in the roles of Escamillo (Carmen), Mephistopheles (Faust), Iago (Otello), Amonasro (Aida), Rigoletto, Tonio (Pagliacci), Boris Godunov , Scarpia (Tosca) and Don Giovanni in Basel, Bern, Lucerne and Zurich, lived in Basel since 1932 (from http://www.hls-dhs-dss.ch/ ).
Some pictures of the baritone (along with your footage) are in the site http://www.morcote-musica.ch/ .
Since that day, when I happened to see from the road a cemetery near a church, it was impossible help but glance over the fence, looking for any item you see "Egyptian" which completed the mysterious puzzle, or at least that the expansion, which will better defining those features just mentioned, giving an edge to the design, making me understand .
If now I expected to find other Egyptian tombs like those of Von Almen and Baklanoff, certainly not what I expected 'I found it later! After a visit to Caslano (we speak of the winter after the initial "discovery"), just before setting foot in the car and leave, the late afternoon, I saw something standing out above the wall that surrounded and enclosed the cemetery of the town. I tried something "Egyptian", but what I saw was really beyond my expectations, so that initially I thought that I was deceived. Unfortunately I was in a hurry, so 'I wrote a memo in the phone, and went Caslano few weeks later.
The "what", I glimpsed the first time, was none other than the tip of a pyramid. I know it sounds absurd that all this' I describe is in Ticino, but they are monuments that are visible to everyone, able to look at.
I entered the cemetery, with no doubt that the "tip of the pyramid", in reality ', could be something else. Passing a group of tombs and mausoleums "classical" I arrived in front of the "thing". The "thing" was really an Egyptian-style pyramid (which drew the very emblem of the Grand Orient of Italy). Not only that: a pediment, which saw the now familiar symbol of Amon-Ra, demonstrating the stylistic and symbolic-conceptual link of that mausoleum with other previously discovered.
This time it was the burial place of Helvetius Vicari. Him, so far I have not found any information. Only the mystery, the riddle of the Sphinx, the Sphinx Elvezio Vicari that he wanted to sculpt the base of the pyramid, to seal his secret. In all probability, 'the other face of the Sphinx is not' that what Elvezio Vicari
same ... The Sphinx is located on the right (the observer) of the pyramid. On the left side, the sculpture of a woman (a goddess Isis-Knowledge?), Looks gloomy and silent as the door of the mausoleum.
Two white stem, on both sides of the pyramid solar images instead bear distinctly Christian: This is, obviously, of coarse attempts back to "Christianize" a monument that a Christian has little, probably by the descendants of Helvetius Vicari, who, of course, could not understand the spirit of Masonic initiation and high wisdom that inspired the design of that mausoleum amon. The rear 'History stele and the Christian 'is clearly not only the use of a different material and artistic style, but also by striking disharmony with the rest of the monument.
The Pyramid and the Sphinx of Helvetius Vicari could not but recall to mind a picture of Julien Champagne: "The sphinx protects and dominates the Science" (where you intend Science alchemical), manufactured by French designer for the book of Fulcanelli, "The Mystery of the Cathedrals". An allusion to the knowledge of the Hermetic Vicari?
I discovered three tombs of Egyptian style clay Ticino. Three effigies of Amon-Ra in the vicinity of Lake Lugano. Three monuments erected all clearly inspired by the esoteric Eighteenth century to the early twentieth century, that 'the era of the origin and maximum development of Freemasonry in Switzerland. I had a monument cubic (Von Almen), a pyramid broken (Baklanoff) and made a pyramid (Vicari), that 'the "three sacred forms" of the stone Masonic as well as' fundamental stages of the erection of a pyramid: squaring the stone, construction of the trapezoidal or rectangular truncated pyramid, laying the capstone or sharp stone coping ...
The fourth found in the mausoleum amon Maroggia. It was the tomb of Aldo Sormani. Until now, the last remains of the mausoleum of its kind that I have discovered. In this case the capitals
of the two columns are not decorated with petals of lotus flower, but rather 'heads by the typical Egyptian hairstyle (wig and false beard). The general style of the building recalls the "Egyptian Room" of the Freemason's Hall in Philadelphia also details capitals are similar to those in the American lodge, located at the sides of the seat of the Grand Master.
We also find some interesting mythological characters embossed on the iron lattice, the falcon-headed Horus, bodies and wings (which can be 'hawk, vulture, but also, animal sacred to Isis) and tail ends with a head cobra-Uraeus; figures that resemble in some way, some hybrids are dear to the gnostic-hermetic tradition Alexandrian ... This time, near the mausoleum, there is an obelisk: new reference to the Egyptian myth of creation, the sun worship and the sacred stone Ben-ben. Also on
Aldo Sormani and I 'could find any piece of news.
At this point, and 'possible, even probable, that in Ticino, or at least in the area of \u200b\u200bLugano, there are other mausoleums "Egyptians" and other lost treasures of knowledge, other evidence of a religiosity' and an eschatological faith unconventional and forgotten, but more animated 'persons or more' places in the past three centuries. And I do not think that it is "neo-paganism" as some might think, but rather 'a new awareness and a new way of looking at religiosity' of the ancients, and to seek, and discover, beyond the 'symbols, spiritual messages of value unchanged over the millennia. That "hidden wisdom of ancient Egypt," they wrote C. Jacq, RA Schwaller De Lubics, and other great masters of contemporary fiction. Of messages about the inner sun, and not the star so that '...
is called "Sol Invictus, Sol Invictus, since' disappeared the evening, it seems reborn every morning. The Sun and the mythical 'represented by large symbols such as gold, the lion, the eagle, the cock and the real principle, the crown, in society 'human. In addition to the vital principle, the Sun also reveals the principle of birth, death and rebirth. On the other hand, its warm light, that 'knowledge on, kill the monsters of the darkness and illuminates the heroes and those who surmount the trials of life as those in the path of initiation. Symbolically, the Sun shows the spirit and the universal consciousness that open "(by JB," Dictionnaire de la Franc-Illustré Maçonnerie).
Sunday, May 4, 2008
Bunged Up Nose In Morning
Collina d'Oro, a reflection of the sky
" The mane of the lion and sun, his face is light. (...) It does not shine at the zenith of a consciousness that really transformed "
Christian Jacq
Many mysteries surround the history of the Collina d'Oro, charming and legendary land, history and magic, situated at the southern border of Switzerland.
suggestive because, with its mild climate and lush landscape, the lush gardens and forests of beech and chestnut trees, villages, palaces and towers, the slopes washed by the lake, has always fascinated poets and artists, becoming the subject their romances, the 'Arcadia' of their webs. Legendary for his name so that enigmatic, which probably refers to an ancient fable that would have existed on the hill, in the past, a large golden stone pure.
historic because, besides being home to architects who worked around the world (and particularly in Moscow and St. Petersburg, earning the thanks of the Czar), he became, even for being placed near the center of Europe, a region or passing, the home of great personalities of international culture (just to quote Hermann Hesse, Thomas Mann, Alexandre Benois, Bruno Walter ...), and even meeting place of political conspiracy: arriving at the gates of Certenago, pretty generic eighteenth century, There is in fact in front of the imposing and elegant villa of the Marquis de Nobili, who hosted in his rooms some of the most famous exponents of the Risorgimento Italian, names such as Filippo Caracciolo, Ugo La Malfa, Egidio Reale, as well as friends and family of Giuseppe Mazzini, as well as numerous activists and the period of anti-conspirators, I think of Allen Dulles, head of the CIA or the British general John Mac Keffery .
Magica, finally, because among the people who visited there were personality in some way related to higher levels of esoteric knowledge (the same Hermann Hesse was, according to some, a member of the ancient Order of the Rose Cross, while among those who find accommodations in Villa de Nobili, it is easy for members or at least sympathizers of Freemasonry) and, not least because the art of this land seems sacred symbols conceal the enigmatic secrets of the projects. In other words, what it looks to be an ancient Via Initiation, which remained hidden to this day ...
It was only in the nineteenth century that the name "Golden Hill" appeared on an official act, and more especially on a document drawn up by Liberal Party of the Franks. Party in Canton Ticino, which two centuries ago, it was practically a synonym for "Freemasonry." And (why not?) Precisely those same Freemasons who once built churches and cathedrals of the Old World may have had an important role in choosing the name "Collina d'Oro" or at least he wanted to seal, by this act, a name of origin oral older.
Even the banners of arms of noble families of the Hill "overflow," so to speak, of Masonic symbols, alchemical and Rosicrucian (square and compasses, Solomon's seal, owl, tree of life, scale, green lion ...). A wealth of arcane symbols that can be found in the mausoleums of the same families (when they appear effigies of well known builders tools, together with bas-reliefs depicting the Ouroboros sometimes, sometimes the Flower of the Apocalypse, sometimes the Celtic Cross or the temple, sometimes the 'All-seeing eye).
What does this mean? For what purpose such a deployment of allegories, symbols and subtle references to the secret doctrine of the hermetic? And more importantly, could this have some hidden connection with the cult of the Sun that since prehistoric times appears to have had in the regions insubrica one of its major cities?
We know that in Celtic times, many clan Europeans came into contact with the Egyptian civilization. A contact that started with the war (the siege of Abydos, for example) and ended with a cultural exchange. Druids received by Egyptian priests rich initiation mystery, a wisdom which, on their return to Gaul, handed down to posterity.
We also know that some holy sites in Gaul were renamed with Egyptian names (such as the case of the Celts of Armorica they called the alignment of Carnac menhirs in honor of the Egyptian temple of Karnak). And even the mysteries of Tooth, Horus and Amon-Ra to be found, just veiled in the Druidic worship of Theutatis, Jul Belenos and, like Isis and Nephtis meets in the representation of female deities of Gaul (some of which are then absorbed by the Christianity, just think of some holy or the famous "Black Virgin").
One of the main Egyptian myths, eliopolitana source says that the Sun, the day of creation, descended on the primordial hill, a small mountain source from the cosmic waters of Nu, and there spread the life generating everything. The seed of life the sun was symbolized by the Benben stone, the sacred stone of gold kept in the temple of Annu (Heliopolis), the stone pyramid that would become an important Masonic symbol, the symbol of the Supreme Being.
These myths, remember, told the story of the bright blue yes, but also interior of the Sun, the Amon-Ra who dwells secretly in every individual, and waiting to be revealed through the initiative, whose task is precisely to penetrate the layers that separate the consciousness from the Golden Core. As the "Koran", "God is the light of heaven and earth, and resembling His Light in a niche, which is a lamp, and lamp is a crystal and the crystal is like a bright star (...) You light up daylight, and God guides to His light whom He wills "(XXIV, 35), followed by Angelus Silesius hand in hand with his" Cherubic Pilgrim "" God dwells in light which no road leads: who does not become light, does not see him for ever "...
Returning home after having been initiated in Egypt, the Celts might Insubria, logically, have recognized in the Golden Hill (a small mountain that stands between the waters of "Lake Lugano", ie the lake of the god Lug, Lake of the Sun God), the "first hill" described by the priests of Heliopolis. E yet, the legendary "golden stone" that would have existed in the Hill long ago, may have been nothing but the image of the sacred Celtic Benben stone, which, as argued by Egyptologists, was probably completely covered d 'gold, the metal of the Sun, the flesh of the Gods. "
Even the etymology of "Agra", the name of the village built at the top of the hill, seen in this perspective might result (rather than "acer" or "aga", respectively "maple" or "water" as suggested by some) from the Egyptian "Akh-Ra," and mean So light of dawn (Agra is the first village in Golden Hill to be illuminated by the rays of the sun in the morning). A curiosity: The Church of Agra is dedicated to St. Thomas (patron saint of architects and masons) where the saint is depicted with the team and holding a project ...
Noranco The village, which in the dialect of the region is called Nuranc, would seem to combine the three "key words" of Creation: The Egyptian Nu, Ra, Ankh. Or, in other words, the place where the sun appeared from Nun, Ra, and it's life, Ankh. And, just happened Noranco-NuRâAnkh is located at the foot of Golden Hill, where those slopes is done symbolically Division of the Order of Chaos, represented by the separation of the Hill from the lake. We know that in Egyptian temples, particularly those loyal to the cosmogony eliopolitana, artificial lakes were created to represent the Nun. No wonder therefore that the same symbolic association may have taken place with a lake "authentic", like that of Lugano, already previously sacred to the God of the Sun
Many archaeological finds in the region (including some artifacts in the Museum of Riva San Vitale) really refer to the worship of the sun, and if you think that (according to the latest research) or even the designers of solar megalithic temple of Stonehenge in England, came insubrica lands, this leads us to understand what the Star of the day was important and venerable to the prehistoric inhabitants of the Canton Ticino and Celtic.
But the trail of an emerging cult due to the Sun, in Lugano, definitely do not disappear with the coming of Christianity (who has played a key role in the destruction of the ancestral forms of religion), and indeed, seems to have survived the Middle Ages. In the Church of St. abundance, the liturgical heart of Golden Hill, and two valuable sundials, there is a golden sun disk of the Baroque period, close to a hawk (also gold) that recalls very closely the ' Egyptian Horus. The Church itself, with its tall and slender tower, cypress trees and grassland plains that surround it, seems conceived as the gnomon of a giant sundial. An inscription on the southern facade of the building, seems to give us confirmation: "I even miss the absence of the Sun" ...
the same period, a fresco depicting the Sun in the Church of St. Ambrose in Barbengo. In some religious buildings of the Hill is portrayed even the Supreme Masonic (symbol, remember, is an image of the Benben Stone, the Seed of Ra).
But it is taking a map or a photograph of the Hill of Gold from above, that many of these enigmatic Coincidences begin to assume a precise meaning. Map highlighting the eighteen places of worship in the region (many, for a territory so few hectares) with road layouts that bind them together (tracks that have not changed much over the centuries) we will find that they draw on the territory the stylized figure of a lion. And that's not all nine of these Churches (exactly half of eighteen, with all references to the sacred numerology that this entails) are modeled accurately as many stars in the constellation Leo (the Lion astrology).
Leo is considered the dawn of time and a gold symbol of the Sun Sacred to Amon-Ra, it is also the guardian of our inner time. It symbolizes the archetype of Christ-and the fire of life.
But there's more. The Lion, in the coded language of the Alchemists, is the process of purification and spiritualization of raw metals, which are transformed into gold. It is therefore another name of the enigmatic and hidden Philosopher's Stone, which is primarily a symbol of inner nature. In this view, the esoteric path of Collina d'Oro, guided by the shape of the cosmic Leone, shows the path of the wayfarers Palingenesis hermetic, namely, the pilgrimage that leads to the Light of Knowledge and the initiation of self glorification. The eighteen
Churches, and more particularly corresponding to the nine stars (the stars were a symbol of steps Mystic, as evidenced by the Way of the Field of Stars, Santiago de Compostela), form the outline of this avenue of research hidden Essence of Creation.
Since ancient times, the major initiatory brotherhoods have built temples in the image of the firmament, to unite the land to the perfection of the heavens. In some Apocryphal Gospels of Nag Hammadi is mentioned, one of these congregations of scholars, builders and architects, called the Organization. His philosophical principles are also found in the Corpus Hermeticus and Picatrix. The study of the history of Freemasonry inevitably leads the researcher to go beyond the data "conventional" of its foundation, by treating the underlying principles in the guilds of masons and charpentiers medieval or even earlier. The ancient pyramids of Giza
accurately reflect the belt of the constellation of Orion, the temples of Angkor, the constellation of the Dragon, some French cathedrals dedicated to Notre Dame would seem the earthly copy of the Virgo (Virgin) astrology, seven Cistercian abbeys are inspired, In their place, the design of the Big Dipper.
"As above so below, and as is so low is high," read the famous lines of Tabula Smaragdina of Hermes Trismegistus. This indicates the union of opposites, the mystical marriage between the Yin and Yiang, the marriage between Uranus and Gaia, Heaven and Earth.
was one of those mysterious brotherhoods, in all probability, to drive in secret from the beginning and development of sacred art in the Golden Hill for almost nine hundred years, from medieval times to the nineteenth century (the century in which the finished construction work of buildings of worship). Not by chance, as we mentioned, in the armorial bearings of the noble families are symbols of mastery compagnonaggio or seal. From master to apprentice, as used by the initiated, the project was handed down and continued until the goal was achieved: Golden Hill had become a reflection of the sky, a reflection of the constellation Leo.
To prove this, the Church and the monument which would correspond to the star Regulus (Heart of Lions), were named after St. Abbondio Como, who was known in ancient times, for having resurrected the son of a nobleman called Regulus ... (!). Unlikely to be a mere coincidence. Not only the height of the tower (40 meters and 50 centimeters), if interpreted esoterically with the principles of Islamic DàWah (a system that is based on a whole theological tradition of correspondences between letters of the alphabet, numbers, attributes of God, signs Zodiac, etc.., explicit in the table Jawâhirùl-Khamsah) should be associated with the name King of Kings Light or Light (Malik Nur), a name that certainly draws the Regulus (lit. "Little King"), the brightest star of Leo astrological. Connection even more obvious if we think that the divine attribute Malik (King, 40) is bound by Arab scholars in the fifth sign of the zodiac, Leo indeed. Augustine Camuzzi, the architect who was commissioned to redesign the nineteenth century bell tower of St. Abbondio after the spire was destroyed by lightning, and which must, therefore, the choice of this particular height (40.50 m) lived in an age of rediscovery of the Arab world and Egypt in particular, e perciò il fatto che possa aver utilizzato una tavola come quella di Jawâhirùl-Khamsah per affidare alle misure del nuovo campanile un messaggio in codice per gli Iniziati non dovrebbe lasciarci perplessi più di quel tanto. Tanto più che sia nel campanile che nel suggestivo palazzo edificato dal Camuzzi nel nucleo storico di Montagnola unendo stile russo e lombardo, numerosi elementi lasciano supporre una vicinanza dell’architetto alla sapienza esoterica e massonica. Basti pensare che, nelle proporzioni geometriche e numeriche del campanile di St. Abbondio, ritroviamo quelle della figura umana, dei sette cieli degli antichi, del Purgatorio dantesco, delle fasi alchemiche.
Curiosamente, anche il moderno gonfalone comunale della Golden Hill seems to evoke the esoteric mysteries of this land, and in particular the references to sun worship and skill builders. In the arms, in fact, the figure of a hill from the water source, a golden sun disk in the sky above the small mountain, a path that winds along the pristine hills, and finally a team scarlet in the center, the symbol par excellence of the rectification of the self ...
"Collina d'Oro Secret seeks to shed light on some of these mysteries from the past re-emerged, providing readers the keys to a better understanding of sacred symbols in their deep and mystical meaning.
proposing at all times to its users a comparison (And complement each other) between the various wisdom traditions and hermeneutics, this book will not give definite answers to the many doubts and questions raised from the explanations of the complex and fascinating inner CONVERSION, but show how you can give images of architecture, painting and sculpture, multifaceted interpretation and free from the tight confines of a single religion or philosophy. Everyone, regardless of his beliefs and his cultural background, can be found in the esoteric path of Collina d'Oro a path of spiritual development and flowering, as this path has been created for the universal human being ... 
" The mane of the lion and sun, his face is light. (...) It does not shine at the zenith of a consciousness that really transformed "Christian Jacq
Many mysteries surround the history of the Collina d'Oro, charming and legendary land, history and magic, situated at the southern border of Switzerland.
suggestive because, with its mild climate and lush landscape, the lush gardens and forests of beech and chestnut trees, villages, palaces and towers, the slopes washed by the lake, has always fascinated poets and artists, becoming the subject their romances, the 'Arcadia' of their webs. Legendary for his name so that enigmatic, which probably refers to an ancient fable that would have existed on the hill, in the past, a large golden stone pure.
historic because, besides being home to architects who worked around the world (and particularly in Moscow and St. Petersburg, earning the thanks of the Czar), he became, even for being placed near the center of Europe, a region or passing, the home of great personalities of international culture (just to quote Hermann Hesse, Thomas Mann, Alexandre Benois, Bruno Walter ...), and even meeting place of political conspiracy: arriving at the gates of Certenago, pretty generic eighteenth century, There is in fact in front of the imposing and elegant villa of the Marquis de Nobili, who hosted in his rooms some of the most famous exponents of the Risorgimento Italian, names such as Filippo Caracciolo, Ugo La Malfa, Egidio Reale, as well as friends and family of Giuseppe Mazzini, as well as numerous activists and the period of anti-conspirators, I think of Allen Dulles, head of the CIA or the British general John Mac Keffery .
Magica, finally, because among the people who visited there were personality in some way related to higher levels of esoteric knowledge (the same Hermann Hesse was, according to some, a member of the ancient Order of the Rose Cross, while among those who find accommodations in Villa de Nobili, it is easy for members or at least sympathizers of Freemasonry) and, not least because the art of this land seems sacred symbols conceal the enigmatic secrets of the projects. In other words, what it looks to be an ancient Via Initiation, which remained hidden to this day ...
It was only in the nineteenth century that the name "Golden Hill" appeared on an official act, and more especially on a document drawn up by Liberal Party of the Franks. Party in Canton Ticino, which two centuries ago, it was practically a synonym for "Freemasonry." And (why not?) Precisely those same Freemasons who once built churches and cathedrals of the Old World may have had an important role in choosing the name "Collina d'Oro" or at least he wanted to seal, by this act, a name of origin oral older.
Even the banners of arms of noble families of the Hill "overflow," so to speak, of Masonic symbols, alchemical and Rosicrucian (square and compasses, Solomon's seal, owl, tree of life, scale, green lion ...). A wealth of arcane symbols that can be found in the mausoleums of the same families (when they appear effigies of well known builders tools, together with bas-reliefs depicting the Ouroboros sometimes, sometimes the Flower of the Apocalypse, sometimes the Celtic Cross or the temple, sometimes the 'All-seeing eye).
What does this mean? For what purpose such a deployment of allegories, symbols and subtle references to the secret doctrine of the hermetic? And more importantly, could this have some hidden connection with the cult of the Sun that since prehistoric times appears to have had in the regions insubrica one of its major cities?
We know that in Celtic times, many clan Europeans came into contact with the Egyptian civilization. A contact that started with the war (the siege of Abydos, for example) and ended with a cultural exchange. Druids received by Egyptian priests rich initiation mystery, a wisdom which, on their return to Gaul, handed down to posterity.
We also know that some holy sites in Gaul were renamed with Egyptian names (such as the case of the Celts of Armorica they called the alignment of Carnac menhirs in honor of the Egyptian temple of Karnak). And even the mysteries of Tooth, Horus and Amon-Ra to be found, just veiled in the Druidic worship of Theutatis, Jul Belenos and, like Isis and Nephtis meets in the representation of female deities of Gaul (some of which are then absorbed by the Christianity, just think of some holy or the famous "Black Virgin").
One of the main Egyptian myths, eliopolitana source says that the Sun, the day of creation, descended on the primordial hill, a small mountain source from the cosmic waters of Nu, and there spread the life generating everything. The seed of life the sun was symbolized by the Benben stone, the sacred stone of gold kept in the temple of Annu (Heliopolis), the stone pyramid that would become an important Masonic symbol, the symbol of the Supreme Being.
These myths, remember, told the story of the bright blue yes, but also interior of the Sun, the Amon-Ra who dwells secretly in every individual, and waiting to be revealed through the initiative, whose task is precisely to penetrate the layers that separate the consciousness from the Golden Core. As the "Koran", "God is the light of heaven and earth, and resembling His Light in a niche, which is a lamp, and lamp is a crystal and the crystal is like a bright star (...) You light up daylight, and God guides to His light whom He wills "(XXIV, 35), followed by Angelus Silesius hand in hand with his" Cherubic Pilgrim "" God dwells in light which no road leads: who does not become light, does not see him for ever "...
Returning home after having been initiated in Egypt, the Celts might Insubria, logically, have recognized in the Golden Hill (a small mountain that stands between the waters of "Lake Lugano", ie the lake of the god Lug, Lake of the Sun God), the "first hill" described by the priests of Heliopolis. E yet, the legendary "golden stone" that would have existed in the Hill long ago, may have been nothing but the image of the sacred Celtic Benben stone, which, as argued by Egyptologists, was probably completely covered d 'gold, the metal of the Sun, the flesh of the Gods. "
Even the etymology of "Agra", the name of the village built at the top of the hill, seen in this perspective might result (rather than "acer" or "aga", respectively "maple" or "water" as suggested by some) from the Egyptian "Akh-Ra," and mean So light of dawn (Agra is the first village in Golden Hill to be illuminated by the rays of the sun in the morning). A curiosity: The Church of Agra is dedicated to St. Thomas (patron saint of architects and masons) where the saint is depicted with the team and holding a project ...
Noranco The village, which in the dialect of the region is called Nuranc, would seem to combine the three "key words" of Creation: The Egyptian Nu, Ra, Ankh. Or, in other words, the place where the sun appeared from Nun, Ra, and it's life, Ankh. And, just happened Noranco-NuRâAnkh is located at the foot of Golden Hill, where those slopes is done symbolically Division of the Order of Chaos, represented by the separation of the Hill from the lake. We know that in Egyptian temples, particularly those loyal to the cosmogony eliopolitana, artificial lakes were created to represent the Nun. No wonder therefore that the same symbolic association may have taken place with a lake "authentic", like that of Lugano, already previously sacred to the God of the Sun
Many archaeological finds in the region (including some artifacts in the Museum of Riva San Vitale) really refer to the worship of the sun, and if you think that (according to the latest research) or even the designers of solar megalithic temple of Stonehenge in England, came insubrica lands, this leads us to understand what the Star of the day was important and venerable to the prehistoric inhabitants of the Canton Ticino and Celtic.
But the trail of an emerging cult due to the Sun, in Lugano, definitely do not disappear with the coming of Christianity (who has played a key role in the destruction of the ancestral forms of religion), and indeed, seems to have survived the Middle Ages. In the Church of St. abundance, the liturgical heart of Golden Hill, and two valuable sundials, there is a golden sun disk of the Baroque period, close to a hawk (also gold) that recalls very closely the ' Egyptian Horus. The Church itself, with its tall and slender tower, cypress trees and grassland plains that surround it, seems conceived as the gnomon of a giant sundial. An inscription on the southern facade of the building, seems to give us confirmation: "I even miss the absence of the Sun" ...
the same period, a fresco depicting the Sun in the Church of St. Ambrose in Barbengo. In some religious buildings of the Hill is portrayed even the Supreme Masonic (symbol, remember, is an image of the Benben Stone, the Seed of Ra).
But it is taking a map or a photograph of the Hill of Gold from above, that many of these enigmatic Coincidences begin to assume a precise meaning. Map highlighting the eighteen places of worship in the region (many, for a territory so few hectares) with road layouts that bind them together (tracks that have not changed much over the centuries) we will find that they draw on the territory the stylized figure of a lion. And that's not all nine of these Churches (exactly half of eighteen, with all references to the sacred numerology that this entails) are modeled accurately as many stars in the constellation Leo (the Lion astrology).
Leo is considered the dawn of time and a gold symbol of the Sun Sacred to Amon-Ra, it is also the guardian of our inner time. It symbolizes the archetype of Christ-and the fire of life.
But there's more. The Lion, in the coded language of the Alchemists, is the process of purification and spiritualization of raw metals, which are transformed into gold. It is therefore another name of the enigmatic and hidden Philosopher's Stone, which is primarily a symbol of inner nature. In this view, the esoteric path of Collina d'Oro, guided by the shape of the cosmic Leone, shows the path of the wayfarers Palingenesis hermetic, namely, the pilgrimage that leads to the Light of Knowledge and the initiation of self glorification. The eighteen
Churches, and more particularly corresponding to the nine stars (the stars were a symbol of steps Mystic, as evidenced by the Way of the Field of Stars, Santiago de Compostela), form the outline of this avenue of research hidden Essence of Creation.
Since ancient times, the major initiatory brotherhoods have built temples in the image of the firmament, to unite the land to the perfection of the heavens. In some Apocryphal Gospels of Nag Hammadi is mentioned, one of these congregations of scholars, builders and architects, called the Organization. His philosophical principles are also found in the Corpus Hermeticus and Picatrix. The study of the history of Freemasonry inevitably leads the researcher to go beyond the data "conventional" of its foundation, by treating the underlying principles in the guilds of masons and charpentiers medieval or even earlier. The ancient pyramids of Giza
accurately reflect the belt of the constellation of Orion, the temples of Angkor, the constellation of the Dragon, some French cathedrals dedicated to Notre Dame would seem the earthly copy of the Virgo (Virgin) astrology, seven Cistercian abbeys are inspired, In their place, the design of the Big Dipper.
"As above so below, and as is so low is high," read the famous lines of Tabula Smaragdina of Hermes Trismegistus. This indicates the union of opposites, the mystical marriage between the Yin and Yiang, the marriage between Uranus and Gaia, Heaven and Earth.
was one of those mysterious brotherhoods, in all probability, to drive in secret from the beginning and development of sacred art in the Golden Hill for almost nine hundred years, from medieval times to the nineteenth century (the century in which the finished construction work of buildings of worship). Not by chance, as we mentioned, in the armorial bearings of the noble families are symbols of mastery compagnonaggio or seal. From master to apprentice, as used by the initiated, the project was handed down and continued until the goal was achieved: Golden Hill had become a reflection of the sky, a reflection of the constellation Leo.
To prove this, the Church and the monument which would correspond to the star Regulus (Heart of Lions), were named after St. Abbondio Como, who was known in ancient times, for having resurrected the son of a nobleman called Regulus ... (!). Unlikely to be a mere coincidence. Not only the height of the tower (40 meters and 50 centimeters), if interpreted esoterically with the principles of Islamic DàWah (a system that is based on a whole theological tradition of correspondences between letters of the alphabet, numbers, attributes of God, signs Zodiac, etc.., explicit in the table Jawâhirùl-Khamsah) should be associated with the name King of Kings Light or Light (Malik Nur), a name that certainly draws the Regulus (lit. "Little King"), the brightest star of Leo astrological. Connection even more obvious if we think that the divine attribute Malik (King, 40) is bound by Arab scholars in the fifth sign of the zodiac, Leo indeed. Augustine Camuzzi, the architect who was commissioned to redesign the nineteenth century bell tower of St. Abbondio after the spire was destroyed by lightning, and which must, therefore, the choice of this particular height (40.50 m) lived in an age of rediscovery of the Arab world and Egypt in particular, e perciò il fatto che possa aver utilizzato una tavola come quella di Jawâhirùl-Khamsah per affidare alle misure del nuovo campanile un messaggio in codice per gli Iniziati non dovrebbe lasciarci perplessi più di quel tanto. Tanto più che sia nel campanile che nel suggestivo palazzo edificato dal Camuzzi nel nucleo storico di Montagnola unendo stile russo e lombardo, numerosi elementi lasciano supporre una vicinanza dell’architetto alla sapienza esoterica e massonica. Basti pensare che, nelle proporzioni geometriche e numeriche del campanile di St. Abbondio, ritroviamo quelle della figura umana, dei sette cieli degli antichi, del Purgatorio dantesco, delle fasi alchemiche.
Curiosamente, anche il moderno gonfalone comunale della Golden Hill seems to evoke the esoteric mysteries of this land, and in particular the references to sun worship and skill builders. In the arms, in fact, the figure of a hill from the water source, a golden sun disk in the sky above the small mountain, a path that winds along the pristine hills, and finally a team scarlet in the center, the symbol par excellence of the rectification of the self ...
"Collina d'Oro Secret seeks to shed light on some of these mysteries from the past re-emerged, providing readers the keys to a better understanding of sacred symbols in their deep and mystical meaning.
proposing at all times to its users a comparison (And complement each other) between the various wisdom traditions and hermeneutics, this book will not give definite answers to the many doubts and questions raised from the explanations of the complex and fascinating inner CONVERSION, but show how you can give images of architecture, painting and sculpture, multifaceted interpretation and free from the tight confines of a single religion or philosophy. Everyone, regardless of his beliefs and his cultural background, can be found in the esoteric path of Collina d'Oro a path of spiritual development and flowering, as this path has been created for the universal human being ...
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