Category: Templar

Holy Mass - Church of San Paolo - Lido degli Estensi (FE) 12.07.2020

(from templarioggi.it) – The Catholic Templars participate in the Holy Mass and carry out voluntary custody service of the copy of the Holy Shroud exhibited in the Church of San Paolo in Lido degli Estensi in the province of Ferrara.
Catholic Templars always participate standing, as a sign of readiness and protection, they act in joy by example and dedication to safeguarding the Temple of his Body in the Blessed Sacrament of the altar.

Not us, not us, but give glory to your name!

Custody of the Church of San Bartolomeo Apostolo - Borgo Tossignano (BO) 12.07.2020

(from templarioggi.it) – The Catholic Templars perform custody service at the Church of Borgo Tossignano participate in the Holy Mass and have volunteered to perform access control and positioning of the faithful, according to current legislation, for Covid prevention 19, with the sanitization of the hands of the faithful at the entrance wearing masks and attended the Holy Mass by checking the one-way flow for the exit of the faithful.

Not us, not us, but give glory to your name!

Bernardo di Chiaravalle, praise of the Knights Templar. (C. Di Giuseppe). Review

(from blog.messainlatino.it) – It is the Liber ad Milites Templi. The new host Laude, work that Saint Bernard of Chiaravalle wrote, at the request of Ugo di Payns, first master of the Templar Order, to praise the birth of the Templar cavalry. A particularly interesting and current text from all points of view, since the author outlines how the true miles Christi must be, but it is also a fascinating spiritual itinerary out of the commonplace.
To the new "knight monks", to carry out their mission, unlike the monk who lives in the monastery, who only has the weapon of prayer, the use of weapons against all the enemies of Christianity is required. Bernard, however, does not justify the use of violence, but "rather it provides a theological depth to one noble cause above all others: the military pro Deo » (from the Presentation of Cardinal Josè Saraiva Martins).
The treaty, then, highlighting the ethical character of the mission and spirituality to which the knights templar monks were called, as opposed to the uses of secular cavalry, urges the milites Christi to abandon all worldliness and to convert, placing himself at the service of Christ to protect the Holy Places.
Despite the title, the treaty of Saint Bernard is not celebratory but constitutes a heartfelt exhortation, also accompanied by severe admonitions and reproaches for members of the new Templar Order. The Cistercian abbot saint, also, it does not spare a harsh criticism of secular cavalry, whose members live perpetually in danger of spiritual death, for they are continually subject to sin. He also points to its defects, which are still, unfortunately, current: fight unjust wars, flaunt luxuries, let yourself be guided by anger, from vainglory and greed.
In the second part of the treatise it is, instead, an extraordinary spiritual pilgrimage to the Holy Places was presented. However, this is not a simple itinerarium in Loca Sancta, ma di un journey of the mind, in which the physical places, in which Jesus was born, it has grown, he visited, in which he suffered, is dead, and he is risen, they are used by the Cistercian abbot to mark the steps of meditation and the search for God.
The De laude is, then, a work written to be read and meditated by the new Templar monks-knights, who pledged to keep the Holy Land, but in reality it was written for Christians of all ages, who are the custodians of those values, guardians of the Holy Places but also and above all of the Jerusalem interior which resides in the heart of every believer.
stick up for, therefore, Holy Land with earthly weapons (for the Knights Templar) and with spiritual "weapons" for all of us it is a concrete symbol of the deepest defense of the Word of God, that all, monaco-Knight, priest or lay person we are bound to keep in the silence of our soul. The war between Christians and infidels, in fact, it is only the pale reflection of everyone's struggle against evil, the dead, the sin; the life of the knight, but of the layman, in general, is presented, therefore, by San Bernardo as a perfecta imitatio Christi.
Il Liber to the Soldiers of the Temple. The praise of the new guard of San Bernardo di Chiaravalle, with the presentation of Cardinal Josè Saraiva Martins, is re-proposed to readers, in a new translation with Latin text opposite, by professor Carmine Di Giuseppe, who oversaw the introduction, the new translation and commentary notes. The over sixty introductory pages are not just a simple introduction to Saint Bernard's work, but I'm a real essay in its own right, accomplished and exhaustive, with which Carmine Di Giuseppe offers us a careful analysis of the work and in a lucid and concise way it traces the origins of Templar cavalry and the Church's attempt to use it for its purposes. But most of all, eliminating any misunderstanding or misrepresentation on the thought of the Saint Cistercian abbot about the war, presents us with a work that is, from every point of view, not only historical but also theological and spiritual, still extraordinarily current for each of us and for future generations.

Mysterious Abruzzo: the Knights Templar

(from abruzzoturismo.it) – The Knights Templar they were a Chivalric Religious Order of the Catholic Church of the XII-XIV centuries.
The Order of “Poor soldiers of Christ and of the Temple of Solomon”, was founded in 1118 by the aristocrat Hugo of Payns who owned numerous fiefdoms in Abruzzo, at the end of the first Crusade, with the task of defending pilgrims who traveled to Jerusalem from the infidels.
The Templars were recognizable by the white cloaks with a red cross, observed strict rules of behavior, they ate fish, vegetables and legumes, cultivated in their fiefs and enjoyed great authority until Filippo Il Bello, perhaps frightened by their growing power, he had them investigated and sentenced to death by the thousands until the suppression of the Order.
The legends concerning the Knights Templar are infinite , the most widespread indicate them as custodians of the Holy Grail and protectors of the Ark of the Covenant.
Also in Abruzzo the monks-soldiers appeared, settling in strategic points of the region: tractors, consular roads and crossings, building large reception areas for pilgrims. Seven residences have been identified in Vasto, in Castelluccio di Atessa there are traces of a templar monastery and near the Church of San Nicola some tombs and swords have been found. Remains of mansions remain in Penne (ON) Saint John the Baptist of the Templars – Santa Maria di Borgonovo – Scurcola (AQ) – Santa Maria del Ponte - Vasto (CH) Mansion of Penna Luce - Port of Punta Penna – San Salvatore mansion – Monteodorisio (CH) - Mansion - Atessa (CH) – Mansion in Castelluccio hamlet - between Pescasseroli (AQ) and Bisegna fraction of Gioia dei Marsi (AQ) San Nicola del Tempio.
San Leucio di Atessa, the sanctuary of Maria Incoronata of Pescasseroli, San Pietro ad Oratorium, San Pietro d’Albe, in the archaeological area of ​​Alba Fucens, l’ Abbey of Santa Maria della Vittoria in Scurcola, Santa Lucia in Magliano dei Marsi bears Templar symbols: from the rose, to the cross with lamb cornflower. Similar elements are also noted in Santa Maria in Valle Proclaneta, in the portal of the church of S. Nicola di Avezzano and also in the external apse window of the church of Santa Maria del Ponte near Fontecchio. San Nicola del Tempio in Gioia dei Marsi seems to have been a Templar residence, The Eagle would have been built on the plant of Jerusalem and chosen by the Templars to hide part of their immense treasure, the Church of Santa Giusta would be a representation of the Temple Mount, the Basilica of Collemaggio would have been built taking into account the stars and using part of the treasure of the Knights Templar who kept relics inside it such as the thorns of Christ's crown during his ordeal and the index finger of the right hand of St. John the Baptist. Pietro Angelerio himself, on whose tomb is the emblem of King Solomon, symbol of wisdom and initiatory knowledge, he may have been the custodian of the treasury after his meeting with the Templars at the Council of Lyons. Also in Santa Maria ad Cryptas we find Templar traces in the representation of Jesus, similar to the Holy Shroud which, probably, it belonged to the Order and in the depiction of San Giorgio and San Martino, dressed in Templar clothes. Archaeological excavations near the Church of Santa Maria di Luco dei Marsi, built in early 1100, have unearthed a temple dating back to the Marsi era dedicated to the Goddess Angizia. In it there are unequivocal symbols on the presence of the Templars: a demon placed on the capital of one of the columns that is eating a child, the tau and the cross on the architrave, fruit, draghi, fishes, snakes and roses carved in columns and corn cobs spread long after the church was built… .
In the church of S. Tommaso, Archbishop of Canterbury of the religious Order of the Knights Templar, murdered in 1170 in the cathedral of the same name in England, because of the eternal struggle between the English Crown and the Holy Roman Church, which rises isolated in the verdant valley of the Orta river, in the heart of the Majella National Park, there are important symbols of the mysterious knights: here too we find the cob, which leaves open doubts about the origin and foundation of the church, from the early 13th century, when the discovery of America had not yet taken place, probably the work of the Knights Templar returning from their travels, the Flower of Life, tradition dear to the Templars, carved on a stone and the flowers "paired" in a circle, engraved mysteriously. The mystery of the knights also hovers over the Holy Column, with thaumaturgical properties lavished through the rite of lithotherapy, that would have been carried by an angel.

We go to Alberona to be caressed by the wind

(from rec24.it) – Going to Alberona is like being caressed by a light and fresh wind. The road to reach the country is more comfortable and "softer" than you think. Who comes from Foggia, laps against Lucera and then plunges into the countryside, it passes districts and meets farms and cultivated fields. The views that meet are enchanted. D'estate, the rolling countryside is dominated by the gold color of the wheat fields. Powerful landscapes, that give the idea of ​​something authentic and boundless. The last hairpin turns, before seeing the village clinging to the hill like a nativity scene, I am a hug with nature, trees, the greenery that embraces the village.
In Alberona, small urban center of just over a thousand inhabitants located approx 30 kilometers from Foggia, the Italian Touring Club awarded the Orange Flag. ANCI recognized the country as one of the "most beautiful villages in Italy". Alberona appears 'clinging' to Monte Stilo, a 732 meters above sea level. The first monument you come across as you go up towards the town is the Muta Fountain. From 1824, this oasis of refreshment "speaks" through the eternal pouring of the water. Further on, the Architectural Wall tells how art and love can also shape stone, sweetened, making them find the forms of grace and beauty. A few more steps and higher, on the left, you can see the monument to Lieutenant Andrea Nazzaro, hero of the Nazi-fascist Resistance to terror. The Muraglione goes up to the panoramic square where the view dominates the whole Tavoliere. When the sky is clear of thoughts, from this point you can see the Castello Svevo Angioino di Lucera, the outlines of the cities and even the Tremiti Islands. A horizon as wide as a summer day, capable of flying on the wings of hawks that fly over the woods all around. The heart of the village is a few meters away, in Piazza Civetta. The Church of San Rocco stands out on the agora with the Gothic facade and the conical spire of its bell tower. Inside the temple, placed high above the altar, the eyes go to the statue of the Crowned Madonna. The Virgin, accompanied by two little angels, she is sitting on a tree throne and seems to have wings made of leaves. Accompanied by the descent that stretches at the foot of the sacred building, you arrive at the historic home of Vincenzo d’Alterio, one of the poets who helped make Alberona a small village with a great literary tradition. A tradition that sees in the poet Giacomo Strizzi, elementary teacher disappeared in the 1961, the maximum expression of a lyrical vocation honored by the country with an international prize dedicated to poetry. A few meters further and, in the shadow of the war memorial, the casket of the archaeological museum opens, structure that gathers the ancient testimonies of Alberonese history. Near the museum there is the Mother Church or Prioral, once home to the Knights of Malta who had their coat of arms stamped on it. In ancient times, the bell tower of the sacred building was the military tower of the Templars. The Mother Church was built precisely by the Templars who dedicated it to the Nativity of Mary Most Holy. In the agora that lies at the foot of the temple, Piazza del Popolo, you can see the Tower of the Grand Prior, construction dating from the twelfth century. Power symbol, the Tower is part of the ancient Palazzo Priorale, home of the lord of the Feud. Alberona is an outpost of charm and mystery. You have to have the curiosity to get lost in its meanders to discover its alleys, admire the Arco dei Mille, pass the Arco Calabrese, drink from the icy and pure source of Pisciarelli and Fontanella. It's everywhere, between narrow streets or airy squares, the eyes are reached by glimmers of light, gashes of green, architectural landscapes that become one with the surrounding nature, with butterflies, birds, foxes and hedgehogs. Alberona is a place where silence also speaks, whispering humble peasant stories, whispering secrets and revolts against the "jus primae noctis", volatilizing leaves that bring scents of rare authenticity.

The sense of the last Assassin's Creed

(from gamerclick.it) – After countless chapters, the saga of Assassin’s Creed it is more than a transmedia certainty, between video games ─ of course ─ novels, comics, films and everything that can be exploited for marketing. Since its debut, in 2007, Assassin’s Creed immediately entered the collective imagination and ever since, Assassini, Desmond Miles e Altair they are part of the universe of video game icons.
The first chapter is far from a perfect game: in the long run it was repetitive and at times boring but it was fundamental for the development of the open world and free roaming that we know today. The stories of Altair Ibn La Ahad and Desmond Miles have opened up a new world, putting a fundamental element also as regards the narrative, work of which he sees great merit Patrice Désilets. This is where the assumptions of the analysis on Origins, Odyssey and Valhalla, trilogy criticized for moving away from the narrative styles of the first chapters and especially from Assassin’s Creed II dove, at the end, the entire narrative asset was enlarged in an immense way. The tirade starts with Assassin’s Creed Origin, chapter that can somehow be considered a new starting point of the franchise, modifying and deepening gameplay mechanics that were beginning to become stale. Facto, the former ─ and underrated ─ Assassin’s Creed Syndicate, he was beginning to feel a certain tiredness, especially regarding the combat system, surrounded by the usual lack of real challenge and contemporary narration lost on the street. Many foreshadowed the arrival, prima o poi, of a chapter that is contemporary to us or, even, a mash-up with Watch Dogs, another franchise made in Ubisoft, in order to end, once and for all the clash between assassins and templars. Ma nel 2017 Ubisoft displaced them all, presenting an episode set in Ptolemaic Egypt by sending fans and non-fans, un po’ in confusion: what is the sense of setting Assassin’s Creed without the Assassins? In reality, the ending of the game the way reveals it, but actually, it is much more complex than that. The arrival of Odyssey, it made things even worse, presenting itself as a prequel to the Egyptian chapter; Also here, “what is the meaning of all this?”. The sense, the brand name already gives it to us, but let's go in order.
As we have seen, the Sect of the Assassins was inaugurated during Ptolemaic Egypt by Bayek and Aya, the protagonists of the title. This already tells us something: the “killers” they already existed, a sparse congregation, without a guide but all gathered under the same flag anyway. So in Egypt, all this takes official form. Even Bayek comes with a hidden blade, weapon symbol of the sect e, as we saw in Odyssey, this blade has very ancient origins as it was the weapon that ended the life of King Xerxes I by Darius in the Persian Empire. The hidden blade, adds another clue: Assassins and Templars were already there: while being called by a different name (Occult or Cosmos regarding antagonists), however, they are driven by the same ideology, the same I think. The arrival of Assassin’s Creed Odyssey it is therefore essential to add other pieces of the puzzle to the cosmogony: further back you go, the easier it is to find ancient technologies; further back you go, the more we find details on a struggle between similar but opposing ideas.
Thanks to the Subject 16, Clay Kaczmarek, cavia dell’Abstergo Industries (Contemporary Templars), let's find out a fundamental detail: the clash has been going on for at least 75000 years. So, no matter the name of the factions, the Creed is important, and that's the word Creed of the brand on which attention must be kept.
Tens of millennia ago, Earth was inhabited by a highly advanced civilization, the Isu. Through the chapters dedicated to Ezio Auditore, we know a lot about them and what happened: the human being was created by the Isu to be their slaves, subjected thanks to the technology that will later be called the Piece of Eden. At a certain point, two humans rebelled (Adam and Eve), discovering the deception that was hidden in their eyes: the lack of free will («nothing is real, everything is lawful…»). After the escape, the two freed their fellow men and the clash became inevitable. The resulting war, however, was interrupted by an event, called the Toba Catastrophe which led to the near extinction of the two species. But Adam and Eve tell us a lot about the topic dealt with today: as seen in the video La Verità, the two are extremely strong and agile and are immune to Isu technology, suggesting a hybrid nature. It all starts with the two of them and it is the Assassins' Creed that makes its way through the minds of free men. But be careful: the Templar Creed also begins. The beauty of the original chapter was that the two factions were actually perfectly amalgamable and not a mere clash between good and evil. I both want peace, both want freedom; it's just the come to distinguish them, in a clash between free will and control.
So how can we guess, narratively speaking, this trilogy undoubtedly has “sense”, putting numerous more pieces on what has been told so far. Valhalla somehow brings us closer to the original chapter, especially as regards the phase stealth, where you can blend into the crowd or spy on targets while doing something else. All of this is obviously very simplistic yet there is a sort of linearity in the project. Even the arrival of Layla Hassan in contemporary narration is a strong sign and absolutely does not want to be there “new Desmond”: corruption by technologies (Issue) it is an interesting theme and will see its catharsis right at the end of this ideal trilogy. Even all the mechanics we see are nothing more than an evolution of what was seen in the previous chapters: already in Assassin’s Creed II there was a basic customization of the weapon, with lots of values ​​on the screen. It's all bigger, everything is more spectacular but it is an exasperation of concepts already present in the saga and that undoubtedly, they had to get old. Obviously these projects are not without criticism: Odyssey on balance it is simply exaggerated, too large and distracting. Also, Kassandra being a demi-deity, at some point the clashes simply became one “hobby”, harnessing the numerous powers of Leonidas Spear. Everything is contextualized, some, the spear and Isu technology, but there is a lack of balance.
We come to the conclusion of this analysis, with a message aimed primarily at fans. È vero, atmospheres are very different becoming something very much “caciarone” to catch more audience. And yet, it is still Assassin’s Creed. Assuming the economic question from Ubisoft, this last trilogy works, it has its own logical and narrative sense, leaving aside the issue of multiple choice dialogues. On this, we just aren't there.

The Templars and the number thirteen

(da disclosurenews) – An element, generally little known, but very significant, which concerns the order of the Templars is made up of numerology and the esoteric use they made of it.
Thirteen is the number so dear to the Templars, mysteriously tied to their history and their destiny.
It is the number of members of a Templar chapter and of the great electors 12+1 of the Grand Master.
Thirteen participants also attended the Last Supper: 12 apostles + the Messiah; 1+ 2 = 3 the Trinity; 13 given by 1 + 3 = the divine unity enclosed in three persons; 1 + 3 = 4 the divine who incarnates, in fact the 4 it is a symbol of the material world.
Thirteen Knights Templar, including the abbot, they could found a new convent, according to the rule inspired by St. Bernard.
A Templar unable to participate in the morning worship had to recite 13 Our father.
The number thirteen was already considered an inauspicious number since ancient times, dating back to the fact that at the last supper the diners were in 13, however, some argue that the negativity of this date dates back to Friday 13 October 1307, year in which Philip IV of France ordered to arrest all the Templars.
In numerology the 13 represents the Alchemist and is closely related to the universe of senses and forms.
It contains within itself the principle of the inevitability of change, the meaning of this concept, it is a warning not to cling to what no longer supports evolution.
It is the number that with the addition of one unit to the Twelve, interrupts the cyclicality, forcing a radical transformation.
The 13 is made up of numbers 1 and 3 whereby, the One origin of all things, it has within itself the germ of the not yet formed principle, the divine source number of all that exists and is. Three is also the knowledge of completeness and perfection.
Thirteen is considered the number of the goddess, of the feminine principle.
The lunar year is 13 months of 28 days each, for a total of 364 days. It corresponds to the arcane of the Death tarot, symbol of transformation.
And the transformation into alchemy is putrefactio, rot, representing death and rebirth.
Then there is the thirteenth constellation, that of Ophiuchus "he who dominates the serpent", eliminated from traditional astrology.
The constellation, already mentioned by Ptolemy among the 48 ancient constellations, that distorts astrology: not twelve but thirteen. Thirteen returns.
The number thirteen is the esoteric representation of the myth of Osiris: torn apart by Seth (dismembered in 14 set off) and reassembled by Isis without, however, being able to find the 14th part, the penis.
If we insert two triangles with inverted vertices, one down (the invisible in the visible) and the other upwards (the visible in the invisible ) we will get the symbol of Solomon, one of the fisher kings, the magician, the warrior priest guardian of the Ark.
The two central points will converge, revealing the double face of the alchemical work: White and black, albedo and nigredo,the esoteric part and the exoteric part.
What it is and what it must appear. The dualism so dear to the Templars.
The Templars adopted the symbolism of duality expressed visually through pairs of light and dark squares: the Sigizie of the Gnostics.
The number 2 for the Hebrew Kabala it means Knowledge while for the Christians, the represents the double nature of Christ: divine and human.
For the Pythagoreans it is the Dyad, the bipolar principle, the generating principle that externalizes God in space and time.
The Templars later adopted duality as their banner the Beauceant, composed of two colors black and white.
This duplicity is revealed in entering - leaving, high Low, male Female, finite - infinite, momentary - lasting, active - passive, positive negative.
In man we have the duplicity expressed with two hands, two feet two eyes, two ears, two nostrils, two cerebral hemispheres.
In architecture we have the pairs of obelisks in Egypt and the pairs of columns in the Temples.

The Templar Cathedrals, Stone Books
Throughout France they arose between 1200 and the 1250 the great Gothic cathedrals of Rouen, di Reims, Paris, up to the Gothic cathedral par excellence, that of Chartres.
Templar churches were consecrated to Notre-Dame which can be either the Virgin or the Magdalene.
They were built on places already considered sacred and dedicated to the Great Mother, considered the most widespread unitary cult before Christianity.
Cathedrals rise towards the sky as if to create a contact between the human and the divine world.
They are all posed alike: with the apse facing east, that is towards the light and all are dedicated to the Virgin (Our Lady).
They are located in particular positions such that if the points of the various cathedrals are joined, the constellation of the Virgin is traced. That is, the sky brought back to earth.

The Templar Chapel of Saint-Christophe-Des-Templiers in Montsaunès, France
The Knights Templar decided to build this chapel in 1180 in a strategic position, on the French side of the Pyrenees, on the way traveled by pilgrims, merchants and armies to Compostela.
It stands above an ancient Christian building, in turn built on the foundations of an ancient place of worship of Mithras. The Pope of Avignon John XXII, the successor of Pope Clement V, with the memories kindly Conviction, he asked the Christian faithful “to chisel the patent crosses, the frescoes, Templar seals and symbols from everywhere so that their memory would be extinguished forever ".
The Montsaunès chapel escapes this destruction, its geometric frescoes, his sculptures on themes from the Bible are of no concern.
In this way, like a great stone book, the teaching to which the Templars were based was preserved and hidden in full light.
The chapel is frescoed with mystery themes and everything seems to indicate that the place was not intended for popular worship but for the Knights of the Temple and their initiatory journey.
In the main portal of the Templar Chapel of Montsaunès, in a semicircular band, they are carved 52 human figures joined in pairs, i.e. 2 × 13 per side, in total 4 × 13.
Some are serene, almost smiling; others are grotesque animals with grins.
Thirteen the number so dear to the Templars.
On the first day of creation Elohim separates the Light from the Darkness and was Light, symbolized by the flower on a white field. The flower is surrounded by a crown with 23 sectors, division 13 to the south side, and 10 to the north side. Ten is the Decade, foundation and guide of divine and human life. Thirteen is a prime number, that is, incorruptible that cannot be split; it is connected to the South side, in the light of material creation, that is to the visible; the number 10 it is connected to the north side, to the invisible, to what is hidden by the form. The two numbers in the wheel of becoming form twenty-three, a happy number.

The Cathedral of San Pardo, Larino, Molise, Italy
The rose window of the Larino Cathedral also conceals a great mystery. Usually, in fact, i rosoni sono a 12 rays while this one has 13.
It could represent Jesus with the twelve apostles, but dwelling on the alchemical meaning of the number 13 interesting considerations emerge.
The meaning of the end of a cycle is associated with the number Thirteen, from the fact that there are thirteen lunar months in a year and thirteen are the signs in Celtic and Native American astrology.
Thirteen predicts new beginnings, but it also means that the old systems must end to favor the required transformations.
But thirteen is also the famous date “Friday 13 October 1307 "So feared that it generated the" triscaidecaphobia "that is the fear of numbers 13.
In the central lunette of the facade there is another surprise. An angel tries to remove the crown of thorns from Christ on a Y cross.
This image faithfully follows an ancient symbol that alchemy traces back to the ancient Atlantean civilization: Algiz, the rune of the momentum between the world of the living and that of the Gods.
It is the most energetically and spiritually powerful rune, the one that symbolizes awareness of the cosmic order.

Thirteen Skulls
In 1924 in Belize, an English expedition led by Frederick Albert Mitchell Hedges discovered an ancient city buried in vegetation.
The city was called Lubaantum , Place where the celestial stone fell.
One of the most extraordinary finds in the history of archeology was found here: a very pure crystal skull. A skull entirely in rock crystal, alto 13 cm., long 18, weighing 5 kg.
Rock crystal or hyaline quartz, also called ice rock, possesses a remarkable hardness (can be worked with diamond points), it is resistant to the wear and tear of time and has formidable piezoelectric properties and the Maya called it The Talking Skull.
Let's try to read the number symbols connected to the Tarot, made from the crystal skull: 13,18,5.
13: THE DEAD
5: IL PAPA
18: THE MOON
First of all it is necessary to find in which “house” to insert the reading process, and to do so we must add the 13, the 5 and the 18: 13+5+18 = (36) 3+6= 9.
The arcane of the Tarot number 9 it is the Hermit (reflection).
Well, under this auspice we consider the following: the 13 it represents the manifested Divinity or the individual principle (1) permeated by knowledge (gnosis ) expressed by 3.
Thirteen according to a Mayan legend were the hidden skulls, 13 they were Jesus with the disciples, yet 13 becomes the combination of the stars around the head of the Virgin Mary and 13 the celestial bodies of the solar system, although official science has not yet identified the remaining three planets.
Thirteen in the Tarot is depicted by the arcane of Death, that is the metamorphosis.
The 5 he is the figure of the Pope: the responsability, while the 18 it is the Moon, the deception.
With an operation of sacred geometry we add the five in the thirteen and we will get the eighteen, that is, the concealment of what one should not know.
We are on a karmic planet that has to "repeat" its evolution by starting over.
The dimensional changes of the solar system and the destiny of humanity according to the cosmic calendar have always occurred.
The ancients knew very well about these energetic shifts that were causing momentous structural and geophysical changes of the Earth.
Mayan calendars dating back to approx 18 thousand years ago, of the Egyptians dating back to approx 39 thousand years ago, of the Tibetans, Chinese and other civilizations indicate that the period corresponds to ours, is about to end.

Seborga: the Monaci Templari farmhouse in the national top10 of the blog 'Destination Adventure'

(from sanremonews.it) – Important recognition for the Monaci Templari di Seborga farmhouse, a reference point for nature lovers and more. He blog 'Adventure Destination' placed it in the 'Top 10’ national educational farms and farms with animals.
There is a magical aura around this country cottage – reads on 'Adventure Destination' – it may be because the Benedictine monks in the adjacent cave celebrated their Templar baptisms Thanks to Emanuela's passion, Flavio and little Nicole, today this cottage has become a farmhouse that boasts numerous awards, come l’Oscar Green 2014 and the "Five Suns". We are faced with a real hymn to hospitality, borrowed from the welcome that the Benedictine monks reserved for travelers”.
Thus concludes the description on the blog: “The educational farm suitable for adults and children, it will give you the opportunity to get to know the many animals housed up close and rediscover a series of forgotten crops, like Seborga's black tomatoes. The property also organizes oil tastings, strictly organic jams and marmalades”.
The renovated Monaci Templari farmhouse continues its activity dedicated to families, to the little ones and also to inclusion with activities for all. Even if it is surrounded by nature, the Templar Monks do not lack a pinch of technology with the system that will allow guests to 'talk' directly with the animals.

SAN GIORGIO IL CAVALIERE SIMBOLO DELLA CRISTIANITÀ

san_giorgio_5L’etimo del nome significa “agricoltore” dal greco Gheorgòs – è avvolta nel mistero, al di là delle poche notizie storiche su di lui che lo vogliono nato in Cappadocia figlio di Geronzio persiano, e Policrònia cappadoce, che lo educarono cristianamente. Da adulto sarebbe stato tribuno dell’armata dell’imperatore di Persia Daciano, ma per alcune recensioni si tratterebbe dell’armata di Diocleziano (243-313) imperatore dei romani, il quale con l’editto del 303, prese a perseguitare i cristiani in tutto l’impero. Il tribuno Giorgio di Cappadocia distribuì i suoi beni ai poveri e dopo essere stato arrestato per aver strappato l’editto, confessò davanti al tribunale dei persecutori la sua fede in Cristo. Per questo gli fu chiesto di abiurare e, al suo rifiuto, come da prassi in quei tempi, fu sottoposto a tremendi supplizi e poi chiuso in carcere. Qui ebbe la visione del Signore. Fu decapitato a Lydda (antica colonia greca sulle cui macerie sorge l’attuale città di Lod in Israele) dall’imperatore Diocleziano intorno al 303 d.C. Il culto per il martire iniziò quasi subito, come dimostrano i resti archeologici della basilica eretta qualche anno dopo la sua morte, sulla sua tomba nel luogo del martirio.
La leggenda del drago comparve molti secoli dopo, in the Middle Ages, quando il trovatore Wace (1170 ca.) and, soprattutto, Jacopo da Varagine († 1293) nella sua “Leggenda Aurea”, fissano la sua figura come cavaliere eroico, che tanto influenzerà l’ispirazione figurativa degli artisti successivi e la fantasia popolare. La leggenda narra che nella città di Silene in Libia, vi fosse un grande stagno, tale da nascondere un drago che si avvicinava alla città e uccideva col fiato infuocato quante persone incontrava. I poveri abitanti, per placarlo, gli offrivano due pecore al giorno e quando queste cominciarono a scarseggiare, iniziarono a offrire una pecora e un giovane tirato a sorte. Finché toccò alla figlia del re, which, terrorizzato, offrì il suo patrimonio e metà del regno, ma il popolo si ribellò, avendo visto morire tanti suoi figli. Dopo otto giorni di tentativi, il re alla fine dovette cedere e la giovane fanciulla piangente si avviò verso il grande stagno. Passava proprio in quel frangente il giovane cavaliere Giorgio, il quale saputo dell’imminente sacrificio, tranquillizzò la principessina promettendole il suo intervento per salvarla e quando il drago uscì dalle acque, sprizzando fuoco e fumo pestifero dalle narici, non si spaventò, salì a cavallo e, affrontandolo, lo trafisse con la sua lancia, ferendolo e facendolo stramazzare a terra. Poi disse alla fanciulla di non avere paura e di avvolgere la sua cintura al collo del drago; una volta fatto ciò, il drago prese a seguirla docilmente come un cagnolino verso la città. Gli abitanti erano atterriti nel vedere l’orrenda creatura avvicinarsi, ma Giorgio li rassicurò dicendo: ”Non abbiate timore, Iddio mi ha mandato a voi per liberarvi dal drago: abbracciate la fede in Cristo, ricevete il battesimo e ucciderò il mostro”. Allora il re e la popolazione si convertirono e il prode cavaliere uccise il drago facendolo portare fuori dalla città, trascinato da quattro paia di buoi.
Questa leggenda è sorta al tempo delle Crociate, influenzata da un’errata interpretazione di un’immagine dell’imperatore cristiano Costantino trovata a Costantinopoli nella quale schiacciava col piede un drago, simbolo del “nemico del genere umano”. La fantasia popolare e i miti greci di Perseo che uccide il mostro liberando la bella Andromeda, elevarono l’eroico martire della Cappadocia a simbolo di Cristo, che sconfigge il male inteso come demonio e rappresentato dal drago. La grande diffusione del culto di San Giorgio, originariamente venerato in Oriente, si ebbe inizialmente in Europa in conseguenza delle Crociate in Terrasanta, e più precisamente ai tempi della battaglia di Antiochia. Accadde che, nell’anno 1098, durante una delle battaglie più furiose, i cavalieri crociati e i condottieri inglesi furono soccorsi dai genovesi i quali ribaltarono l’esito dello scontro e consentirono la presa della città, ritenuta inespugnabile. Secondo la leggenda il martire si sarebbe mostrato ai combattenti cristiani in una miracolosa apparizione, accompagnato da splendide e sfolgoranti creature celesti con numerose bandiere in cui campeggiavano croci rosse in campo bianco.
La festa liturgica intitolata a San Giorgio si celebra il 23 aprile anche nei riti siro e bizantino. È onorato, almeno dal IV secolo, come martire di Cristo in ogni parte della Chiesa. I Templari favorirono l’iconografia di San Giorgio in un santo guerriero, volendo simboleggiare l’uccisione del drago come la sconfitta dell’Islam. Inoltre San Giorgio è il Patrono della Cavalleria e, then, anche dei Templari. Vari Ordini cavallereschi portano oggi il suo nome e i suoi simboli.

NOI DEL SOVRANO MILITARE ORDINE DEL TEMPIO SIAMO TEMPLARI REGOLARI

templari a volpedo 22.03.14Stante il continuo aumento delle obbedienze sedicenti templari, nel rimarcare che nessuno al mondo può vantare la diretta discendenza da un ordine soppresso nel 1312 da papa Clemente V con la bolla Vox in Excelso, considerato che molti finti ordini templari (quasi tutti) derivano dall’ordine fondato nel 1705 da Filippo d’Orléans (discendente diretto di Filippo il Bello re di Francia che ci mandò al rogo dopo un processo infame tra il 1307 and 1314) che era un libertino ateo e dissoluto, è chiaro che dei templari odierni non ce ne facciamo niente, even the so-called Templar Catholics, che annoverano le donne, as in the Rule of St. Bernard are not provided. We of the Sovereign Military Order of the Temple - Poor Knights of Christ apply to the letter the rule of St. Bernard, and we vow of obedience, povertà e castità intesa come sobrietà di costumi e fedeltà assoluta alla propria moglie, per cui siamo di stretta osservanza. Dopo la soppressione dell’Ordine, il re del Portogallo Dionigi I fondò l’Ordo del Cristo nel 1318 per raccogliere i disciolti Cavalieri del Tempio ed i loro beni. Dionigi ebbe l’approvazione papale con la bolla “Ad ea ex quibus” del 14 March 1319 di Giovanni XXII, che si riservò il diritto di conferirne le onorificenze. Il nuovo Ordine Templare riprese i lavori sotto la guida del Maestro Generale Gil Martins. Ricevette tutto il patrimonio dell’Ordine dei templari in Portogallo. La sua missione originale era di portare guerra nei territori musulmani, cioè nel Nord dell’Africa. L’ottavo maestro, Enrico il Navigatore, allargò l’azione dell’Ordine all’Africa nera. After, la carica di maestro appartenne automaticamente al re. L’Ordine mantenne l’abito bianco e la regola cistercense dei Poveri Cavalieri di Cristo e del Tempio di Salomone, e la sua insegna fu ricavata sovrapponendo alla croce patente rossa templare una croce latina d’argento che simboleggia l’innocenza dell’Ordine dalle oltraggiose accuse che avevano provocato la sua estinzione. Vi potevano accedere solo i nobili dopo un noviziato di tre anni nelle campagne militari contro gli infedeli e dopo aver pronunciato i voti di povertà, obbedienza e castità. La sede originaria dell’istituzione cavalleresca era situata a Castro Marino, nell’Algarvia ed in seguito fu spostata a Tomar, nel vecchio convento dei templari, ribattezzato Monastero del Cristo. Il Sommo Pontefice Eugenio IV (1431 – 1455) autorizzò i Cavalieri di Cristo ad esigere le decime nei territori conquistati ai mussulmani, mentre i sovrani portoghesi premiarono il valore di quest’Ordine con donazioni di terre e castelli. Con una successiva Bolla, Papa Callisto III (1455 – 1458) investì l’Ordine della giurisdizione spirituale nelle terre a lui soggette, con l’autorizzazione a conferire i relativi benefici. La potenza dei Cavalieri di Cristo crebbe enormemente, ma l’Ordine non ne abusò, rimanendo invece spronato dal solo ideale del trionfo della Fede. Col tempo, nonostante che l’Ordine del Cristo fosse diventato un Ordine dinastico portoghese, i Pontefici romani si sentirono legittimati a crear cavalieri per loro conto, dando vita, de facto, ad uno scisma che generò un ramo autonomo non riconosciuto dai veri templari portoghesi. Il vero Ordine, il cui simbolo spiccava nelle vele delle navi portoghesi, declinò con la morte del re Sebastiano nel 1578. Ma non scomparve. Mentre il ramo pontificio subì nel tempo varie modifiche negli Statuti, riformato sotto il pontificato di Leone XIII (1878 – 1903) e definitivamente restaurato il 7 February 1905 con il Breve Multum ad Excitandos del papa San Pio X che gli attribuì la denominazione di Supremo, divenendo Supremo Ordine della Milizia di Nostro Signore Gesù Cristo, al momento quiescente non essendovi più in vita insigniti. l’Ordo de Cristo continuò a lavorare in modo riservato e la sua discendenza giunse fino ai nostri giorni. Assunse l’appellativo di Ordo Supremus Militaris Templi Yerosolimitani scritto con la Y maiuscola all’inizio. The 3 September 1981 a Lisbona i templari dell’Ordo Supremus Militaris Templi Yerosolimitani scritto con la Y all’inizio, insieme a due rappresentanti italiani, nominarono Gran Maestro dell’Ordine il professor Gianluigi Marianini, cui attribuirono anche il Motu Proprio, that is, the right to have all the powers to exercise sovereignty immediately upon the Order of the Templars. Nel diploma si legge: “Ordo Supremus Militaris Templi Yerosolimitani. Il Capitolo dei Cavalieri Templari, a parere unanime elegge e proclama Gran Maestro dell’Ordine il Professor Gianluigi Marianini, assegnandogli le prerogative del grado ed il Motu Proprio. Lisbona 3 settembre 1981”. Solo dopo l’annullamento della scomunica Vox in Excelso, sanctioned by the reform of the Canon Law by Pope John Paul II in 1983, Gianluigi Marianini riprese l’attività di Templare riunendo a Torino un primo gruppo di cavalieri. In 2006 decideva di rifondare l’Ordine Templare, Motu Proprio eliminating all previous orders and would-be, and recovering the old rule. L’Ordine Templare fondato nel 2006 dal professor Gianluigi Marianini è il nostro Ordine, il Sovrano Militare Ordine del Tempio – Poveri Cavalieri di Cristo e del Tempio di Salomone. Il professor Gianluigi Marianini moriva cristianamente a Vicoforte Mondovì il 25 January 2009.