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 | Inconsistency of virtual initiations |
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... what I think, but that is my opinion, is that a true initiatory organization should never refuse the initiation to those who prove to be spiritually suitable to receive it only because they cannot afford the enrolment and a monthly fee that is beyond their possibilities. Not all initiatory organizations are the same. Fortunately there are some, in my experience, which are within everyone’s reach, rich and poor.
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 | Imago Templi / 6.20 |
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The Number Ten, Harmony and the achievement of the complete state of ‘Being’.
With this paragraph we enter the 3rd Level of interpretation, that of Initiate Master Builder.
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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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| Knowledge to face obstacles |
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| Q: Sometimes it happens that some readings, instead of explaining, give a sense of discomfort for the quantity of words used to express one single confuse idea; this doesn’t mitigate the sense of inadequacy in order to progress in the development of one’s own conscience... so much that the ‘light’ seems to remain a dream. |
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 | Pompeii |
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| In Pompeii, in the Architects' House, there is a particular mosaic, the photography of which is often shown in Masonic texts. It was the emblem in the floor of the Triclinium and man thinks that the naturalistic representation of the skull and of the mason's tools is an allegoric reference to the lapsing of the human life and the looming death. In my opinion, however, the tile conceals a deeper mean-ing. I strove to find it and I want, therefore, to share with you my thoughts. |
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| Imago Templi / 6.13 |
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The Number Three – the Foundation of the Masonic Work
We have dealt with the application of the three and the three-fold several times in all the previous topics of our journey; for the economy of this work I think it is pointless to re-propose all those meanings. Likewise I think it makes no sense to anticipate for all numbers concepts that we will treat later.
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| The Way of the Sword |
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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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| Imago Templi / 6.7 |
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Esoteric reading of a Vedantine Symbol, the Cardiac Chakra seat of receptive intelligence.
The esotericist differs from the ordinary man because he doesn’t care for what appears, or as a container appears, be it a word, a concept or a symbol; least of all he embraces a biased ‘faith’; instead he tends to penetrate its synthetic and timeless substance (teaching), stripping it of the corruptible and changeable characteristics of the form with the changing of languages and interpretations.
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| Esoterical meaning of Dante’s Mountain |
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| In the Convivio, Tome II, Dante Alighieri wrote: « ...in every Work of Art there are always four meanings, the literal, the allegorical, the moral and the anagogical one (Greek anà-ago: to bring up).…» This criterion that sums up four ways of understanding an idea, gives shape to an ideal mountain to be climbed in order to reach the top and find the immaterial purity of the primogenial idea. |
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