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 | The Journey through the Great Work /3.2 |
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Ars Muratoria describes in detail the ‘geometry’ of a method and its instruments. These instruments hide the virtues of the Initiate’s Psyche in the allegory.
On the contrary of what we think, it is necessary to refuse and disown the exoteric isolation of the High ritual Chambers and to understand the invisible connections of the initiatory activities through which Esoteric Philosophy joins in the Scottish Pyramid the commitment of initiates of different levels and abilities.
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| The Journey through the Great Work /3.1 |
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Ars Muratoria describes in detail the ‘geometry’ of a method and its instruments. These instruments hide the virtues of the Initiate’s Psyche in the allegory.
When in the evolution of the Human Kingdom the air element of the thought got in contact with the fire element of the spirit, an aqueous and voluble element appeared in the lower levels of the mind; it still accompanies Personality up to its complete individualization. |
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 | Anamnesis of the inner reawakening |
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... I wonder if being an initiate represents the "sine qua non" condition... or isn't it enough to have a pure and simple love for knowledge, beyond any material interest.
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| Imago Templi / 6.19 |
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The Number Nine, perfection
The primitive Yod is supported by nine pillars. These nine pillars are placed in the nine directions of the world. They are placed in right lines, Three in each direction and one in the center. These three points placed as a square make nine, which are in actual fact eight. They are the thrones of the sacred Yod.
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| Imago Templi / 6.18 |
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Number Eight, from the Sign of Chaos.
We have seen the eight-pointed Star as the Sign of Chaos. But to simply stop at that first and far too synthetic statement would not allow the researcher to completely and exhaustively own the meaning hidden in that shape.
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 | Art and artistic action in everyday life |
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| Many people experience the feeling that a work of art channels and irradiates the energies, the love for the work, the goals, the intentions and intuitions of the artist.
It is as if these elements were kept in the work of art; whoever is in tune with it can perceive its vibrations. From this apparently ordinary experience was born this short reflection on the sense of art and the energy it symbolizes and evokes, purifying its debris; it can infuse praxis and effectiveness in those who can transmute them. |
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| The sense of vision in the hermetic poetry of William Blake |
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| Until not long ago, William Blake was considered a great visionary poet as well as an eccentric rebel. Literary critics agreed in finding in his poetry the thread that joined him to the great English romantic poets such as Byron, Shelley and Keats; this made Blake a pre-romantic forerunner or even one of the first exponents of this current. After all, it was a time when poets started a journey that would lead to the enclosure of the Ego in one’s own inner lyricism. A nonconformist lifestyle and the paroxysm of certain visions didn’t stir any sensation; emphasis was normality and the reflection of the spirit of the time, surely not an exception. Nevertheless, in the twentieth century a parallel – rather than alternative - interpretation started developing; it saw in the Blakean poetry not only the germs of the ‘poetizing self’ that would flourish in the nineteenth century, but also a reference to suggestions belonging to the world of arcane. |
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| Imago Templi / 6.15 |
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The Number Five, symbol of the Kingdoms of Man.
The number Five is the expression of the Kingdom of Man in all its attributes. Therefore it is the expression of the microcosmic Universe contained in the essence itself of the earthly Adam.
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| Ars Muratoria, Ars Regia and Ars pontificia |
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| Since ancient times, building ‘immaterial bridges’ has been the fundament of mysteric science, which finds its highest expression in hiero-inspiration. The term Hierophant comes from this; it indicates the initiator that became ‘bridge’ and transmitted to the postulant the ‘knowledge’ of which he was the ‘Chalice’.
Holy inspiration was a prerogative of Hierophants; it consists of receiving ideas from the ‘divine’ plane. Plato called this dimension ‘hyperuranium’ (plane of archetypical ideas).
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| On metallic transmutation / 2 |
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The symbol of the sword – From the reality of Principles to the mirage of opinions – Transformation and Transmutation –
Initiatory modesty – Intellectual speculation – Flaming pentalpha
The initiatory principles of Freemasonry are universal, timeless, unchangeable and in their synthesis they lead to the sensitive contact with the Great Architect. But if those Principles are not known or applied,
the adept will reflect only his own personal qualities or characteristics of Freemasonry. It happens, then, that one believes that there are several types of Freemasonry, such as symbolic, speculative, ritual, initiatory, esoteric and exoteric, manifested and occult; in actual fact this is the result of a mirage.
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 | How to find oneself |
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| Reasonably, there are many debates about ‘instruments and methods of growth’. Nobody as yet has mentioned where to find the energy to expand the instruments, which are metaphors of mental, animistic and spiritual aspects.
…when planning a route the only useful thing is to expound the details, that is what to do and how to do it.
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| Stages of self-realization |
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