Diamond Earrings Flats

Shoah and the Holocaust - an interview with Liliana Segre (survivor)

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Phosphate Buffer Calculations

Holocaust: The sleep of reason produces monsters, the Binario21 forgotten in Milan and the bullshit revisionist!

the Memorial of the Shoah Foundation for the missing 6 million euro to complete the museum's permanent Binario21 Milan Central Station (the one from which the prisoners were leaving Italian to Auschwitz). But there seems to be a "race" of solidarity and activism to collect them. Indifference seems now lord it in our society?

said Francisco Goya: The sleep of reason produces monsters.

A scanso di ogni equivoco ed usando toni, me ne rendo conto, "decisi" aggiungo: le STRONZATE REVISIONISTE E NEGAZIONISTE di certi stupidi, che sul web tentano di ammorbidire le responsabilità del regime nazista o, peggio, insinuare una qualche responsabilità della comunità ebraica internazionale nell'olocausto, MI FANNO SCHIFO!

OLOCAUSTO: NAUTILUS CONTRO LE 66 RISPOSTE DEI REVISIONISTI:

http://nautilusmagazine.blogspot.com/2009/09/olocausto-le-risposte-di-nautilus-alle.html

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Savanna Samsons Pregnant

Inside Opus Dei: Michael Allegri interview Emanuela Provera (the second and last part)

Who would take this path, if it is to be young, I would recommend to turn to other realities of the Christian Church to receive training to deal with priests from other religious experiences.

Michael Allegri

you think Opus Dei is all in line with orthodox Catholicism? There are rituals that are not in line with Catholic Tradition?

Also for reasons of synthesis, do just a few examples:

BABY VOCATIONS : In the operation and provided the figure of the 'hood [art. 20 par. 4] a minor who, although not legally belong to the Prelature, is formed as was already cash, with the consequence of causing damage on the development of his personality. And this, despite the Church were abolished minor seminaries, which were once popular, in fact, as a child. The aspirant, a minor, living as a numerary, choose an early age a lifelong commitment which binds him to decide not feasible at that age, such as that which excludes forever to marriage or to a normal and healthy emotional relationship.

SPIRITUAL DIRECTION: Against all the requirements of the Code of Canon Law of 1983, in the pastoral care of the Prelature there is a submission of the exercise of priestly ministry to the particulars of "government" of lay directors, which is charged the personal guidance of consciences of the faithful of the Prelature in their subject. A command the conscience is a group of lay people who say to be assisted by the Holy Spirit because of their particular charism. But under canon 129, CIC 1983, the same lack of sacred potestas who can not even get to the delegation of Opus Dei Vicari. [The 129 in par.1 can say that government is capable of the power of the clerics]

FINANCIAL ADMINISTRATION OF PERSONAL PROPERTY : I do not numeraries may, for reasons of good spirit, detachment from money and poverty, economically manage their assets and their income, so personal and independent, that is, directly.

It is said that Opus Dei is a powerful and rich. E 'is a myth or truth?

Many men, families that belong to the opera are wealthy, rich and powerful. At the same time, the Opus Dei is made up of people belonging to disadvantaged social groups, and their commitment is sincere and devout. In the wake of political and economic alliances that Opera has made with the institutional leaders in the Franco period in Spain, the prelate also now insists on the highest positions of power. You must also take into account the special carisma dell’istituzione, quello cioè di sviluppare un apostolato preferenziale con gli intellettuali e con la classe dirigente del Paese in cui si insedia. Per rispondere alla sua domanda: è verità che l’Opus Dei sia diventata ricca e potente, nonostante le defezioni di membri che, ad oggi, sta soffrendo. Sempre nel libro “Dentro l’Opus Dei” [capitolo Denaro e proprietà] delineo una prima ipotesi di mappatura immobiliare che fa capo all’Opera, in Italia.

In cosa consiste il “carisma” del fondatore e cosa significa Prelatura.

The Personal Prelature is a legal entity created in the years of Vatican II and introduced the latest edition of the Code of Canon Law [1983], because association of the faithful may take the configuration of a personal prelature these conditions must be met: to have serves to implement a specific pastoral works, consist of priests and deacons of the secular clergy, the presence of the laity is optional, it can not do that part through an incorporation itself but only through cooperation agreements. None of these elements is their Opus Dei. So some believe that the founder wanted the erection of the Opera prelature to just to get unprecedented autonomy within the Catholic church.

announced Escriva's charisma is the sanctification of ordinary work, in other words it is a "theme acetic" already widely used by the Benedictine rule of 'ora et labora ". Then the operator does not introduce any novelty in church membership.

What Opus Dei has specific characteristics compared with other Catholic organizations, such as Communion and Liberation, the Legionaries of Christ, Catholic Action, Focolare ...

In my opinion none, from the standpoint of Christian content. In terms of form and style, there are some differences: CL insist on the "sign" as represented by Christ, Focolare on the theme of 'unity', the Legionaries of Christ on the idea of \u200b\u200bthe militia to spread the Kingdom of God so

Now that you left Opus Dei, you still have contacts with active members? How do you feel and what advice to young people who want to pursue this path?

I keep sporadic contact and "Carbonari" con membri dell’Opera; qualcuno di loro mi scrive ma non certo per solidarietà o per sviluppare un’amicizia. Una di loro l’ultima volta che ci siamo sentite mi ha detto “non più di una volta l’anno, perché sono molto impegnata”.. Dopo l’uscita ho potuto incontrare rappresentanti dell’istituzione solo due volte, nel 1999 ho parlato con una numeraria dell’assessorato regionale, Franca Anti, che non mi ha neppure ricevuto nel centro dell’Opus Dei ma lungo la via Pagano di Milano per una chiacchierata che aveva l’obiettivo di sapere cosa stavo facendo e come mi stavo muovendo, con chi mantenevo rapporti all’interno dell’organizzazione. Un incontro che aveva l’obiettivo to find useful information to the Prelature. The second time I met briefly numeraries Opera was at the funeral of a close relative of mine in 2000. Ferrario and Anna Louise Francesconi attended the ceremony in the Church, soon after I offered them a coffee bar in front. Recently, I talk about three years ago, a representative of the institution asked me if he could come visit to meet my family. But the intent was not clear, it seemed an attempt to blunt the complaints that begin advertising the Work and its practice.

Who would take this path, if it is to be young and consiglierei di rivolgersi anche ad altre realtà della Chiesa per ricevere formazione cristiana, a confrontarsi con sacerdoti provenienti da altre esperienze religiose. Senz’altro di posticipare ad un momento successivo l’Ammissione nell’istituzione. Questo periodo di riflessione gli servirebbe per fare un serio discernimento vocazionale sulla proposta che i direttori gli avessero avanzato.

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Can I Use My Kitchenaid To Make Fondant

Inside Opus Dei: Michael Allegri Emanuela Provera interview (part one)

I numerari non vanno a teatro, al cinema, allo stadio... consegnano al direttore qualunque regalo ricevano, including parents, every day for two hours wearing the hair shirt and whip on the buttocks once a week ... Opus Dei is a church in the Church ...

Michael Allegri

to know what the Opus Dei, considered by many a the richest and most powerful private organizations in the world, we met Emanuela Provera, author of "Inside Opus Dei" (Chiarelettere publisher). Emanuela Provera, 42, resident in Milan, a professional consultant, was numerary of Opus Dei, or did part of the central nucleus dell'Obra that the founder, Escriva De Balanguera called "the aristocracy of love."

Let's start from here, Emanuela. It 's true that numeraries are the aristocrats of love?

According to Escrivá, founder of Opus Dei, numeraries [unmarried members] are the staff of Christ, every Tuesday of the year performing together, kissing the rosary, Psalm 2, which is a psalm has resonances warriors, about to shake yokes, of conspiracies and plots, which tells of a God who laughs at his enemies: Quare fremuerunt gentes? Why do the nations conspire? .... It was customary that the Knights Templar played in the foot before going into battle, their shield restore the image of two soldiers sitting on the same horse and the founder used this "iconography" to indicate the mutual help that the brothers in the Work had to lend to each other. Compact like a pine cone against the evil of the world and the obsession with the degeneration of post-conciliar Church is too "modern." If this is aristocracy, then you, me, us, they were part.

While the beginning of the Opera [1928] Escrivá "sees" that God tells him to accept the numerary member in the institution, in 1948 [ie twenty years after the foundation] the doors are open to members married, supernumerary. That's why early numeraries were considered "members in the strict sense" and remain the cornerstone in the government of Opus Dei.

Sometimes, when I was of the Opera, I had the feeling that define us "aristocrats of love" was just a bonus to compensate for the annoying and unnecessary moments of sadness and "sterile heroism" of that life.

What steps should a person do to join Opus Dei? You enter by co-option? Tell us, briefly, what was your path, that is, how did you come to this reality?

I know the work in England, during a learning vacation, I have participated in this activity as a result of contacts that my family had had with people of the Prelature. The first step for the educational activities of the Work done through friendships with members who are already part and do not always cover aspects of training cristiana. E’ più frequente che l’avvicinamento avvenga tramite un’attività culturale, ricreativa, professionale o di studio. Piano piano, dopo che le direttrici mi avevano selezionato secondo criteri ben precisi, sono stata condotta per un “ piano inclinato” che prevede un sempre maggiore coinvolgimento interiore nei modi e negli spazi dell’Opera. Nel capitolo “La caccia” del libro “Dentro l’Opus Dei” ho descritto nei particolari le tappe del cosiddetto “piano inclinato”. Nel percorso che ho fatto c’è stato un momento,che è durato qualche mese, in cui ho subito pressione psicologica e manipolazione della coscienza attraverso un’attività di controllo mentale che, nell’Opera, viene mitigata con la direzione spirituale, prassi da sempre praticata nell’ascetica cristiana.

Come si vive nei centri dell’Opus Dei? E’ vero che i numerari portano il cilicio, come si legge nel romanzo “Il Codice da Vinci” di Dan Brown?

Nei centri dell’Opus Dei si vive una vita che non è normale , cioè diversa da quella di un comune cittadino laico. Nonostante Giuseppe Corigliano, portavoce ufficiale della prelatura, continui a sostenere il contrario affermando che “la nostra cifra è la normalità”. Descrivere le minuziose consuetudini che costellano la vita del numerario richiede troppo spazio, esemplifico con brevi note per dare l’idea dell’ anomalia generata da un spiritualità che si professa “laica”ma non lo è affatto: tutti i giorni dell’anno ci si alza ad ora fissa, stabilita dalla direttrice; insieme alle altre sorelle si fa mezz’ora di meditazione prima di assistere alla santa Messa; ogni settimana tutti i numerari si confessano con un sacerdote numerario ma, se ne “avessero bisogno”, ogni mattina lo stesso prete è disponibile per ascoltarli, assolverli da colpe o liberarli da scrupoli di coscienza; partecipano al circolo breve nel quale viene impartita training in the spirit of the Opera, they can only listen without taking part, they are read in Latin, which are 26 questions for a personal examination of conscience Emendatio followed by any [public request for forgiveness for their minor deficiencies] numeraries not go to the theater, cinema, stadium [the latter, in my opinion, is a good practice, but should not be imposed], read only books allowed, deliver to the Director to receive any gifts from anyone, including parents, do not add up to live with their family of origin if they had desire or need [events or special circumstances are required to obtain a return home, which for some never occur]; every day wearing a hair shirt for 2 hours and whip on the buttocks once a week [at certain times of the year even more often] in the centers of Opus Dei is neither protected in their private life because, through the practice of " fraternal dialogue "is said or done any thought or intention to its director and the priest .... On the management of economic issues is living practices that often are at the limit of the fraud, other than the fact that normally numeraries can not have a personal account or if they can not quite manage it independently. Can not be holders of life insurance policies and if I am obliged for professional reasons, must agree with the directors because the beneficiary died. The total absence of an affective or emotional life, the constant monitoring of the emotional sphere, which results most often in a severe repression in the formation of immature and childish personality. The condition of celibacy, as experienced by numeraries, total absence of sexual experience, often result in phobias, obsessions and illness. And so on.

In your opinion, is the Opus Dei, which influence the Vatican, or vice versa?

The tour highlights historical and legal institution la ricerca di un delicato equilibrio tra due “forze” che agiscono per rafforzare la propria immagine e salvaguardia di interessi non sempre solo “spirituali”. Per l’ottenimento della veste giuridica di prelatura personale [1982] mi sento di affermare con certezza che l’Opus Dei ha influenzato la Santa Sede.

E’ possibile che rappresenti una Chiesa nella Chiesa?

E’ improprio definire l’Opera “chiesa nella chiesa”; non si può paragonare l’Opus Dei ad una diocesi o a una chiesa particolare e mi spiego meglio facendo due esempi concreti relativi al regime of the prelature

• the "unique pastoral activities" that works, are, to name but a few, retreat houses, schools, colleges, universities founded on Catholic principles, promotion of social activities for men or women living in so-called "developing countries" ... initiatives already invented in the past decades by many Catholic organizations. In addition, each diocesan bishop, responsible for pastoral care of the faithful, if it wanted, could promote in their dioceses, as indeed happened in some cases, the same action carried out by Opus Dei.
• The faithful of the Prelature are subject to the ordinary pastoral care of the diocesan bishop the same way as any other faithful Catholic does not belong to the Opera and the responsibility of every bishop the power to prohibit the installation of "corporate works" of the Prelature , to inspect the "speakers" in the centers of the Opera, and since it must ensure that they meet the rights and duties to their loyal, receive complaints of abuse that may have suffered, for example, members of the Opera.

There would therefore ask what is the necessity "as a Prelature Opus Of that "peculiar" and which has nothing prelate Echevarría accidentally Cilibia bishop of a diocese of the Romanian just over 1000 inhabitants.

... continues in the next post ... REBUS

Maurizio Decollanz interview Emanuela Provera

to present his book:

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What Do I Do For Thinning Hair 2010

Shroud, Michael Allegri Barbara Frale: "Welcome to the club advisers" ( second part)

publish the second part of Michael Allegri, which follows from the previous post Title: Shroud, Michael Allegri Barbara Frale: "Welcome to the club advisers"

Let's see what he writes Adriano Forgione in the number of Hera December 2007

Later writes "It should be noted that spitting is not always the form of denigration." Good to know: try to spit in the face of your neighbor in the condominium next meeting ... and tell him it was an act of friendship ...

"The denial and spit on the cross that Philip the Fair had manipulated and passed to a test of heresy with the help of his best lawyers, belonged to a secret ceremonial entrance actually used by the Order of Temple .. "

Forgione says that in a Catholic monastic order, like the Templars, it was customary to have a ceremonial key to the petitioners which included spitting on the crucifix and quite right, because it says the Chinon document, discovered by Barbara Frale.

Even the document in question, however, is enough to make him change his mind and renew the Pope's forgiveness of the Pope. Four years later, in fact, in 1312, with a lot of bull, Vox in Excelso, Clement says:

-King Philip did not move against the Templars in France by the lure of greed but only for Catholic zeal

the Order is guilty of heresy and should be deleted in this manner perpetual

is prohibited for anyone to bring signs and symbols of the Order, on pain of excommunication

This last point tells us that the New Templars , if they feel Catholics , are de facto excommunicated.

Close: Dr. Frale you should not complain about the "attacks" on her face . Wants to be part of the Academy and then his work must be reviewed by academics and, as used, criticized. Be happy to be criticized by professors from such deals, although I do not understand why, pur volendo stare nell’Accademia, la Frale partecipi spesso a trasmissioni tipo Voyager di Giacobbo che l’Accademia, in toto, non considera luogo di serietà storica.

Se tutto ciò non le andasse a genio, beh, c’è sempre la possibilità di passare con noi divulgatori, sempre che non l’abbia già fatto. E’ bello essere divulgatori . La gente ci riconosce per strada, non perché ci ha visto la sera prima in tv ma perchè abbiamo la lingua corta, perché non abbiamo bisogno di spazzolare le giacche dei potenti, lucidare le altrui tiare o metterci medagliette sulle nostre giacche…

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Dexter Rita's Bedding

free WiFi in all of Italy - Online Petition

An online petition asking for free WiFi throughout Italy,
CLICK HERE TO SIGN THE PETITION petition
Text:
To urge the Italian Parliament to promote, liberalize and provide access Free Internet access via WiFi in cities and suburban areas, in addition to promoting the full extension where it already active
and raise awareness of the Italian Government and the Ministers are responsible to finance data ai vari Comuni, alle Province e alle Regioni per la realizzazione del servizio Wireless, con tecnologia WiFi per l’accesso gratuito ad Internet su tutto il territorio dei Comuni Italiani, compresa la periferia.

Gennaio 2011 – Appello a cura del
Comitato WiFi gratis a tutta l'Italia by Carlo Marino

Pagina FB ufficiale del Comitato WiFi gratis a tutta l'Italia:
LINK

Access Southpark With Canadian Proxy

Aliens, if you arrive on Earth, would like us: violent and hungry for resources. Word of scientist!

imagine that a cat reflect on the possibility that there is life on other planets and that attempts to describe his musings to other cats. Probably will venture into what can be long dissertations on the tail of extraterrestrial planets and which offer exactly the same conditions that allowed the evolution feline. How many chances would our cat-philosopher to discover a reality that is outside its limited imagination of cat?

More whether or not this is the concern that emerges in reading the new publication of the Royal Society The detection of extra-terrestrial life and the Consequences for Science and Society ": fifteen essays that have stock of the academic situation of what we know - and you might know in the near future - the existence of life beyond Earth, analyzing the implications of anthropological, ethical, religious and even a possible contact with alien life forms.

But as the earth's population would react if the discovery was announced other forms of life? Albert Harris considers the hypothesis of "culture shock" that already Arthur C. Clarke had suggested in 2001: A Space Odyssey. "Society," writes Harris, "was disturbed by men on the moon, canals on Mars, the discovery of quasars and pulsars, by the announcement that the fossil came from Mars and false announcements of discoveries by SETI. Any discovery of extraterrestrial life would probably a mix of emotions that include fear, pandemonium, equanimity and joy .

However, Harris continues, "in North America and Europe even the discovery of a specimen exobiology or detecting a remote signal could lead to widespread psychological disintegration and social collapse. " Of course, until the revelations remain on the content of the microbes that feed on arsenic, global panic can be averted said. But maybe that's the risk of a collapse psychosocial why the revelations emphatically announced by the space agencies are showing so poor and disappointing . Perhaps the population, while over-stimulated by the Internet and science fiction, is not well tested and softened. But then scientists - and modern - not just those who serve a mostrarci che la realtà è ben più banale di quello e che si è sempre creduto?

Ma la domanda è anche un’altra: “ Riuscirà a imporsi un processo adeguato sulla base di pareri esperti di scienziati corretti e responsabili, o prevarranno sulla scena gli interessi di potere e l’opportunismo? ” si chiedono il professor Giovanni Zarnecki della Open University e il dottor Martin Dominik dell’Università di St Andrews nel documento introduttivo, anche se la domanda suona come se contenesse già la sua risposta. “ Una mancanza di coordinamento può essere evitata by establishing a general framework in a truly global effort governed by an international politically legitimized. " According to the two scientists, the UN already has a mechanism suitable for this task, in its Committee on the Peaceful Uses of Outer Space (COPUOS). I wonder if, at contact, you can start a debate on the existence of other life forms with the help of new items!

taken from LINK

REBUS has devoted two episodes to the Italian case clearest case of alien abduction: that of PierFortunato Zanfretta:

" It 'hard to imagine that the evolution in alien biospheres operates differently from the Darwinian model " says Simon Conway Morris of Cambridge University, that it is inevitable that life on other planets - if it exists - and resulting in "something like the man." It warns that in the case of a contact, we should prepare for the worst, because the aliens will inevitably be similar to us, our own tendencies to violence and exploitation of resources . What if happen to encounter a planet like Solaris imagined by Stanislaw Lem , indescribable, unclassifiable in the categories of life and communication conceivable, and above all totally ignorant on Darwinism.

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Free Hiv Testing Austin Tx

Shroud, Michael Allegri Barbara Frale: "Welcome to the club advisers"

of Michael Allegri *

It 's a year or so we are assisting to a renewed controversy , one on the Shroud of Turin . As if you asked was born first the chicken or the egg, in this case, some academics wonder: the Shroud is real or fake?

at the expense, this time, and Mrs. Barbara Frale , an official of the Vatican Secret Archives which, arguing that the Shroud of Turin that wrapped the broken body of Jesus , was harshly attacked and challenged by eminent historians, academics, the Shroud, as well Catholics, by Vallerani to Canfora, through Lombatti gradually up until you get to Nicolotti . Subject of the controversy are some written "ungrammatical" in Greek, Latin and Aramaic, which appeared on the Shroud (but in reality, with the powerful media of today, no longer appear!) And translations or interpretations of the translations.

According to my neighbor, it would appear even a fishmonger Thai phrases that would ensure that his pangas are fresh ... But he was not given the right space in the media, perhaps because it is induista.Comunque, recently appeared in the news, not denied, that the Frale, "smaronata" for the continuing attacks received, decided to respond to its academic context from the pages of the monthly magazine Fenix \u200b\u200b , which deals with the esoteric, crop circles, Egyptology vary, directed by Adriano Forgione, director of the monthly Hera.

The Frale, from the pages of that newspaper, he then challenged the protesters, "sustainable" and using the male pseudonym of John Aquilani. Everything ha fatto inorridire il prof. Nicolotti che ha preso carta e penna ed ha scritto ad un notorio quotidiano che non era quello un bel modo di difendersi dalle “giuste” contestazioni accademiche, usando pseudonimi, elogiandosi e via discorrendo. La Frale ha sostenuto, invece, di aver concordato questa formula con il suo editore, il Mulino e di avere fatto solo un piccolo scherzo. Come andrà finire? Non so, quello che avevo da dire sulla Sindone, l’ho scritto in un articolo sul mensile Secreta e l’ho detto nella puntata di Rebus-questioni di conoscenza . E’ un falso, periziato nel 1988 da tre importanti laboratori internazionali!

However, the Templars did not worship the cloth of Turin, as the Frale. The Templars encircled with their string of brothers who had an idol in the form of a head, which was blessed and adored during the night chapters.

In some cases, the head is called " Bafomet . The shroud is a sheet, it would be difficult to encircle it. In addition, the cloth was not a subject of "idolatry," religious event punished by the Church.

sacred towels or rags in hand, I take this opportunity to talk about a subject that has treated Mrs. Frale, ie the paper or parchment of Chinon the archivist says he found in the Vatican, as had been forgotten for centuries. To express some opinions on this subject (so delicate that at the last G8 heads of state have not been able to sleep), I recovered the number of Fenix \u200b\u200bdevoted to this subject, not to displease the archivist of the Vatican, of course.

years part of the Templar history and no one could ever deny me, I have always maintained, in my books, articles in newspapers, on radio and in the speeches on TV, that the Chinon document gave endorsement to this that historians have always maintained namely that the Templars practiced strange rites, a thousand miles away from the orthodox Catholic, even more, for true brand blasphemous.

I have always said, then, that the reading of that document of 1308 is misleading. Indeed not want to rehabilitate the Templars on charges of heresy rather than try but want to get out of the fray and the only truly responsible for the end of the Order, ie Bertrand de Goth, that Pope Clement V . The choice of "policy" is certain to shift all blame to the French king Philip IV the Fair most Christian , "so there's no more" and Sarkozy's ... certainly not take the trouble to respond in defense of a monarchy that no longer exists ..

In essence, the revisionists argue that the accusations of heresy, the Templars were a fabrication of King Philip and Pope Clement V was dominated by the French king. One of the biggest such bales to the public in the last twenty years!

They, the revisionists, they forget, however, that Clement V issued four bubbles, official documents, with which it established the Templar arrests, seizure of their property, ordering the royal families of Europe to follow suit. I revisionisti si dimenticano o fanno finta di dimenticarsi che nessuno laico poteva mettere le mani su un monaco (e i templari lo erano), né tantomeno arrestarlo o torturarlo senza autorizzazione ecclesiastica. Inoltre i templari erano monaci che dipendevano direttamente dal papa e solo lui avrebbe potuto armare la mano degli Inquisitori. Cosa che avvenne puntualmente con tanto di bolla!

Il documento di Chinon non fa che confermare un’usanza sacrilega dell’Ordine templare e cioè che i cavalieri, all’atto dell’iniziazione, sputavano sul crocifisso e rinnegavano la figura del Cristo. I Templari si giustificarono dicendo che facevano questo atto “non con il cuore ma con mouth ", ie without any real intention to offend" our Lord Jesus. " The fact is that they did.

Nothing new under the sun, as inquisitors in the acts, the visitor general of the Hugh de Pairaud declared that it sputtered on the cross "was the custom according to the statutes of the Order."

Since the Order was a Catholic, do not be surprised that a Christian King and a Pope could run a bit '"the two seals" for these strange expressions of affection toward Jesus

The document Chinon is written that no charges were invented by King Philip . In all the historical documents talking about a traditional fact. All this has been distorted and even more. It is said that the document speaks of absolution of Pope Clement V at the accusations of heresy. not true ! There is talk of absolution of the Templars did not because there is no repentance but , which is quite another thing! Only after the Templars had admitted that it was truly a rite practiced and only after an outspoken and sincere repentance, only then, Clement V, Pope, exonerated them.

* Doctor of Political Science-International political, is a connoisseur of ancient history and contemporary geopolitical scenario of the present, with particular attention to issues of cooperation and development of the most deprived areas of the world.

For his studies in religion and esoteric, it has been repeatedly invited to panel discussions and workshops about the Templars and orders of chivalry, as well as European and U.S. philanthropic institutions. Collaborate with national journals of history, current events and geopolitics, and is conductor of radio programs. For some time, also operates in the fields of public relations, communications and publishing industry, holding positions and roles of various levels.

The REBUS episode dedicated to the Shroud, entitled "The Shroud of God":

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Pineapple Dance Clothes

Amadeo Peter Giannini, the "banker to the poor "who wanted to change the world

In the days following the terrible earthquake that destroyed San Francisco a century ago , a 36 year old man was seen dragging carts of fruit among the smoking ruins and the survivors who wandering the streets like ghosts in despair. That character was Amadeo Peter Giannini , the son of two immigrants from Liguria few years before had founded the Bank of Italy . In those carts, in fruits and vegetables, were the money and the gold of the bank, who hid in the chimney of his house partially destroyed by the earthquake. After only six days to reopen the bank did , creating a place of luck in his brother's house doctor, which exhibited a sign that he was able to recover charred. He placed well in view, a sign reading: "loans as before, even more than before." The new Bank of Italy was literally assaulted by a crowd of victims in need of everything, which collect deposits and for loans.

Amadeo toured the devastated areas of San Francisco, for the camps made of tents, offering interest-free loans and filling their pockets with slips of paper signed by immigrants of all nationalities, sometimes marked by a cross. Giannini was the emblem of the reconstruction of San Francisco , not so much the money but for the safety sent to inspiring optimism and confidence instilled in those who had lost everything. This experience convinced him that the banker would do for the rest of his life. Was a resounding success. Giannini's fame began to become a legend. Confidence in his courage and his moral integrity they rush new customers from all over California. The rebuilding of San Francisco, who was then the main port of the Pacific, attracted a mass of small and large investors and a huge amount of money flowed into the coffers of the bank. In 1909, the Bank of Italy began to open branches.

In retracing his fascinating biography, what is surprising is not so much what Amadeo Giannini has done, but how he did . Throughout his life he worked outside the logic of profit with the ambition to meet the needs of the weakest. And his life shows us how, even without putting money on top of the scale of values, we can achieve significant profits and create wealth for themselves and others.

In 1901 he decided to sell his company to employees, who would pay with the future earnings , thereby ensuring an income that allowed him to raise his head from everyday life and offered him the opportunity to know the world and reflect. At the age of thirty-three years, one year before founding the Bank of Italy, had already developed a theory on money: "Do not I want to be rich "- he said -" because no man actually has the wealth, but it was possessed. " In 1926, while the Bank of Italy was continually expanding, Giannini refused a prize of $ 100,000 and declares: "A man who desires to own more than $ 500,000 should run to a psychiatrist."

In 1920, Giannini realized the possibility of development of the film , with the 'attention to the socio-cultural that would take the models from the movies in the development of consciousness and behavior. So when he learned that a young artist talented, who had already had success with the comic, he could not find a lender for a seemingly difficult subject, but of high moral value, Amadeo decided to pay $ 50,000 to First National Distributors for the film The Kid by Charlie Chaplin . The film would have cost less, but wanted Amadeo Chaplin, who became a friend, was not forced too many economies. In six weeks, return of capital and, later, his bank had enormous profits.

Many years later, make new friends with a successful author of a relatively new genre. He spent many evenings with him to talk about cinema and communication, and soon after decided to finance a movie. It was Walt Disney and the film in question was Snow White and the Seven Dwarfs. Later did the same with Frank Capra , other giants of world cinema.

In January 1928, in a period of financial euphoria, Giannini he obtained from his participation in the Bank of Italy for a useful and a half million dollars, but since he had already amassed a fortune of nearly $ 500,000, faithful to its principles refused the award, decided to donate the full amount at the University of California for research on technologies for agriculture . In 1930 the Bank of Italy took il nome di " Bank of America National Trust and Saving Association ".

È significativo notare che, quando la Bank of Italy chiuse i conti ed esaminò i sospesi, ci si accorse che sui prestiti senza garanzia era stato rimborsato il 96% del totale sborsato, e quindi complessivamente, considerando gli interessi, la banca non aveva subìto perdite sui prestiti concessi ai non abbienti. Al contrario, in tempi di crisi, i grandi banchieri che accettavano solo clienti danarosi, si trovarono a subire perdite considerevoli e non perdonavano a Giannini la sua lungimiranza.

Nel 1932, il sognatore Joseph Strauss, progettista del Golden Gate, non riuscendo a trovare un finanziatore per il suo progetto ebbe l’ispirazione di rivolgersi a Giannini . E la carta vincente per convincere Amadeo non fu il possibile profitto, ma la convinzione che il ponte avrebbe aiutato la popolazione di San Francisco ad uscire dal clima di depressione economica che aleggiava sulla città. Giannini finanziò il progetto con sei milioni di dollari e impose che la Bank of America non percepisse alcun interesse.

I banchieri tradizionali, invidiosi dei suoi successi, continuarono a fargli una guerra spietata , raccontando che il famoso banchiere era prepotente e ambizioso, e usava ogni mezzo per ottenere potere.

After the Great Depression of the thirties, in 1945 created the Giannini Family Foundation with the aim of promoting medical research . During the Second World War, California became the state more involved in war production. The Bank of America financed the construction of airplanes, ships, heavy and light weapons, manage payments of the armed forces and civilian staff. Amadeo Giannini instructed his son to take care of the Italians Mario confined to concentration camps, and efforts to try to prevent the internment of other Italian Americans. Immediately after the war that the bank would participate directly in the reconstruction of Italy. he agreed with Arthur Schlesinger, responsible for administering the Marshall Plan, to accelerate the delivery of aid, and its interest-free bank anticipated amounts of all shipments in Italy.

October 1945, at the age of seventy-five years, Amadeo Peter Giannini he leaves the presidency of the Bank of America, leaving open the drawers of his desk which, moreover, had never closed: " I have nothing to hide - he said - as he has nothing to hide the bank." At the same time, announced that Bank of America had become the largest bank in the world.

Morì nel 1949. Un accurato inventario di tutti i suoi beni, stabilì che essi ammontavano a 489.278 dollari .

tratto da: LINK

Questa storia, inevitabilmente, mi porta a ripensare alla puntata che REBUS ha dedicato al tema del "Signoraggio" bancario e all'etica nella finanza. Per chi avesse perso la trasmissione, la ritorva su YouTube:

Wikio

Cleaning Toddler Genitals

concealment of Caravaggio in the" beheading "of the Baptist

The Beheading of John the Baptist (1607-8), the work carried out in Malta, is certainly an important hermeneutical key to understanding not only of the last production of the pictorial Caravaggio but also of his early paintings.

The Beheading of John the Baptist, as we know, is the largest painting that Caravaggio ever painted. In this work is the vastness of architectural space, with its horizontal and circular shapes and dominates the scene, which seems to be in an ideal stage of a theater of cruelty imagined and created by Antonin Artaud only a few centuries later.

In this stage, the background is made up of high outer walls of a prison. The climax takes place for just before his front door. On the ground lies the body of the weir Baptist. The executioner bent over him he holds his head steady with your right hand with a knife and challenged in the left, held behind his back, preparing to clean off his head. The young man bends over Salomé concerned for the executioner handing him a wicker basket. The jailer with the keys to your belt and on the ground staring point the finger of the left towards the basket in the act of ordering the final phase of the beheading of the saint and the destination of his head.

An old home of the young princess in horror before the scene of butchery, which appear before, with his hands holding his head about to falter. His is the only reaction of dismay before the merciless cruelty of execution. Two prisoners, finally, curious protrude from behind the grates of the prison to witness the scene of the beheading. Among all these characters in the play, however, there is only one exchange of looks. All eyes are firmly on the ground, soil, where it lies prostrate on the victim whose face expresses unspeakable suffering. The blood leaking from the neck semitroncato of the saint, as the center and almost on the verge of a lump under the framework of a pinkish liquid. From this pool of blood seems to draw Caravaggio per firmare la sua grande opera.

La firma notata da qualcuno solo agli inizi del 1900 (2), venne tuttavia scoperta durante le operazioni di restauro della tela nel 1955-6. Tale firma, ridotta al solo nome di battesimo, strana, inquietante è forse l'indizio di un segreto, di un patto iniziatico e misterioso, inerente all'ammissione all'ordine Gerosolimitano dal momento che tale ordine, quello dei Cavalieri di Malta, aveva un culto particolare just for the Baptist.

This signature, however, still shows something very compromising that only he could seal a pact of blood. Signature of this still very strange that today is readable is reduced to only seven letters, which form as Michel preceded by a sign which has been commonly interpreted as an 'f'. According to this interpretation, the letter 'f' would be for "fecit" or "brotherhood." As Michele would then be followed by one or more abrasive characters and indecipherable.

To return to the scene of the picture well someone said that it is the first of modern tragedy. darkness not only physical, palpable but also symbolic of the prison walls the only light that falls on strong sloping base myself at the base of the painting is one that illuminates the tops of half-naked bodies of the jailer and the victim. So in this light that illuminates the scene of a cruel beheading of John the Baptist seems therefore to have a metaphysical meaning that certainly can not be sought in the intervention of divine grace. And yet the sharp contrast between the darkness of the prison and the outside light it, illuminating the horrible execution of the executioner makes you that this light cone (the first hours of dawn?) Is preferred in the dark depths in which are surrounded by two prisoners who observe from behind the grate. This light symbolic external to a dark prison, however, is not the light of salvation but that instead of a supernatural plan which, while illuminating the dark matter does not exclude but includes the duality, which is the evil at work and reigns over this world in which we are all imprisoned and from which we posted in a violent, traumatic death in order, the will of the Demiurge which is the jailer of our soul.


This is the occult truth, gnosis secret that lurks in the big picture of the beheading of John the Baptist, a work signed - do not forget - with the color of blood and with a name Michael , Whose letters in the computation as cabalistic damage totals the number 22, an emblematic figure in the positive sense of personality and superb in the negative sense of the Master of Black Arts. (3)

Of these limbs just the picture in question is a test where you can find precise numerical correspondences between the different sides and a symbolic representation in pictorial composition.

In fact in a plane of matter, represented on the right side of the painting from number 2 (the two prisoners in the prison dark) corresponds to the floor of a heavenly world represented by 5 consists of odd and even numbers (the two figures the three female + male figures).

This plan mercurial as part of the two natures in the one has its center vertical axis of the picture, represented by the jailer, who directs the drama on which all eyes are focused. He has taken orders the execution while everyone seems to bend to his will. The work in the pictorial representation of a plant's theatrical shows, therefore, a director after the director but also disturbing aspects of a "second sight", had a premonition of his imprisonment by the artist on the painting in the same prison (4) and its evasion by means of two ropes dropped from the high prison walls.

In the painting, therefore, a kind of ringing alarm bell for the painter's life in danger. It is indeed in view of this warning that we must be careful to understand that one signing that Caravaggio has placed only on his largest painting.

At this point, however, might wonder whether the emphasis on the inversion of the artist's name in the feminine is just a signature or something else. About one might think in fact that by such signature Caravaggio intended to project or rather reveal his soul and the shadow (5) in that it contains the darker side of his personality.

In the rigor of the composition characterized by pictorial representation a stage of solid architectural structure in which a dramatic action takes place is balanced by precise numerical correspondences such a signature would appear to be the only right given impulsive emotionalism that betrays his obsessive possessive or worse.

of this "possession", which, in a sort of psychosis may have taken the form of a demonic schizoid internal perception, Caravaggio, now in the grip of fear, the fear seems to have had a full knowledge albeit distorted by terror. (6)

The disturbance of consciousness resulting in a demotion, provided that there has been, is due to this state of panic. Hence the rise nell'artista della premonizione, ossia di un fenomeno sincronico acausale, che lo avrebbe spinto a lasciare una traccia, nel suo dipinto, dell'imminente pericolo mortale.

Tale traccia camuffata da una firma non sarebbe altro che un certificato di morte: il suo.

Caravaggio, a nostro avviso, contro tutto quanto si è sostenuto sin'ora a riguardo, in realtà non firma un quadro bensì una lapide facendo in essa precedere il suo nome da un semplice segno di croce. È possibile allora leggere questo segno accanto al nome alterato di battesimo non solo come un segnale per la vita incerta, in pericolo dell'artista bensì anche come contrassegno dello stato, per così dire, mortale of his soul. (7)

Caravaggio's identification with the saint in the scene of the picture is being taken off our eyes, then takes on a deeper meaning of what is commonly attributed only by taking into account the fact and expected life of the artist hung a notice capital (9), as several clues obtained, as we shall see, in particular the examination of his last works, make us suspect that the Lombard master, perhaps to protect the Murder Ranuccio Tommasoni, he ended up contracting a sort of diabolical pact, betting, as they say, the head with the devil by signing and therefore his conviction to death for eternity.

What Caravaggio hanging out with the rest of the occult sciences we learn directly from the testimony of his works. these scientists had to be initiated by the artist in fact Cardinal del Monte, where the oil frescoed ceiling of his cabinet alchemy. The Cardinal himself noted in the artist certainly had a sort of preparation for the occult as a result of the implementation of these in the house of Monsignor Petrignani of the painting La Buona Ventura , of \u200b\u200bwhich for another one bothered to commission a copy.

is mainly in another work, also commissioned by the Cardinal himself, St. Francis receiving the stigmata, that Caravaggio having to care for a person to represent it ends in mystical esoteric, the pictorial realization of a materialization mediumship ' intense visionary ecstasy.

In fact, in this work on the very left of the picture is hidden in the darkness a small figure of a monk sitting , nestling at the foot of a tree and melancholy attitude. (8) The first in this small figure in the shadow and the background is not known even at the outset, that materializes a kind of cross of light, formed by the saint's body lying in the diagonal and the angel that supports it.

Little Brother melancholy, freed from the senses, all wrapped up on itself in the contraction of his figure dwarfed by being wrapped in his inner world that seems to alienate it from external reality, material, visible, yet in a state of passivity and depression, is seized by an intense visionary ecstasy, inspired not only by Saturn, astral demon as powerful, but also by the angel of Saturn, an androgynous spirit of the powerful wings similar to those of the time, which appears in an external projection attitude to lift your torso off the ground and the head of the saint in a swoon.

Always in the background of the picture you see strange and mysterious glow, which appear to brighten, fade away into the surrounding darkness and into the distance. Gleams that maybe these are just ectoplasmic remains bright, the fluidic material that has materialized the vision, the source of energy closer can not be detected in the small seated figure of the monk and almost hidden in the shadows under the tree.

From this perspective, the real subject of the investigation framework is therefore the inspired melancholy , who took an intense visionary ecstasy (9), is also able to show precisely fuori di sé la sua visione mistica.

In due successivi dipinti dedicati ancora a San Francesco Caravaggio nell'esecuzione di una doppia versione, l'una proveniente dalla chiesa di San Pietro di Carpineto Romano, l'altra dalla chiesa di S. Maria della Concezione di Roma, sembra essere risalito ad una antica tradizione inaugurata, a quanto pare, da Giotto. Secondo Cecco d'Ascoli (10) infatti, Giotto avrebbe pure dipinto due uguali rappresentazioni di uno stesso santo, eseguite tuttavia in ore diverse del giorno ossia sotto una diversa configurazione astrologica, allo scopo di far confluire in esse una diversa virtù o influenza celeste.

Nell'esaminare pertanto il soggetto della duplice versione, San Francesco in orazione, non possiamo non considerare il fatto che nel quadro di un rinnovamento spirituale rappresentato dal movimento francescano l'alchimia non poteva non costituire in esso un interesse di certo non irrilevante. (11)

Questo interesse è quel che Caravaggio artisticamente cerca di mettere a fuoco nei due dipinti sopraddetti.

Nella rappresentazione dunque del santo che in ginocchio contempla un teschio tenuto tra le mani non ci sfuggono infatti altri elementi particolarmente significativi, che partendo dal basso verso l'alto della composizione pittorica, così possiamo distinguish: 1 cable inside a rock, resting on the ground and in darkness, 2nd cross resting on a stone, 3rd a skull kept in hand by the saint, which is the brightest object in the context of both painted versions.

From our review is therefore that the occiput, the skull in the hands of the saint, which is at a higher level of raw material (stone quarry inside and still dark) not only is the real philosophical vessel, in which is the task of alchemical transmutation, but must be identified with the philosopher's stone, the source of all magical vision and lighting, was almost precisely a crystal ball.

Only as stripped from its heaviness and "land" through the cross (symbol of the fifth essence) this sphere bone hollow inside, can be symbolically raised from the ground to become the object of spiritual contemplation mirror.

In another beautiful painting, from the Museo Civico di Cremona , the St. Francis in meditation, the saint is portrayed on his knees with his head tilted to the left in the act of turning his gaze down to three items his meditation on the crucifix, a book held open by the arms of a cross, a skull on which the left side of the volume.

Proximity the three objects is certainly the most emblematic figure of the painting. On it focuses the attention of the facts of the saint and ours. In this contiguity is the Christ-Lapis (12), who opens the pages of black and white of alchemical knowledge, which in turn is a philosophical base of support on the vessel or on the skull.

In our observation are the brooding figure of the saint who turns his gaze downward, toward the field of knowledge, no surprise really. The look on his face is indeed sad, pensive. In this brooding melancholy his wide forehead appears to us then corrugated with wrinkles. Throughout his body finally wearing a threadbare habit wide sleeves, which lascia scoperto solo il capo e le mani intrecciate, serpeggiano tra le pieghe della veste e i tratti dell'incarnato le stesse luci ed ombre di quel libro aperto, le cui pagine luminose ed oscure costituiscono forse le diverse fasi dell'operazione alchemica o, se si vuole, i diversi aspetti, lati, piani di un sapere ermetico, avvolto nel mistero.

E' dunque sullo sfondo oscuro di un tale sapere o di una filosofia occulta (16), che occorre situare l'opera in particolare dell'ultimo Caravaggio se di questa si vogliono davvero intravedere gli aspetti magici, esoterici, sorprendenti, di cui abbiamo in parte parlato esaminando, ad esempio, il dipinto Il sacrificio di Isacco, realizzato, it will be remembered in two versions, one at dawn, dusk and the other to try to discover who still speaks of the resurrection of Lazarus.

In this large painting we had first hit the dark side of Christ and the look of some of the characters depicted in it, which turns to look at someone or something that operates alongside or behind him

Very impressive then it seemed an open hand and raised Lazarus, from the realm of the afterlife that seems to react to the command of Jesus in the necromantic count characters of the painting in question had yet discovered, not without some difficulty, they are thirteen, and this fateful number well look at all strano nel contesto del dipinto.

Il numero 13 infatti rappresenta una rottura di livello, un cambiamento di stato ontologico, un elevamento ad un piano superiore. Nei tarocchi, ad esempio, la tredicesima carta è la Morte, che nel senso suddetto può significare una rinascita spirituale, un passaggio ad un nuovo e superiore stato ontologico, una resurrezione.

Da un testo gnostico ritrovato recentemente, Il vangelo di Giuda (13), apprendiamo inoltre che il 13 è il contrassegno del "traditore", ossia la cifra di Giuda. Per comprendere tuttavia il significato di questa cifra, che si eleva al di sopra del 12, bisogna partire da una concezione gnostica origin of the world exposed in this gospel. According to this view the true transcendent God would have put 12 angels ruling the world. Of these governors of the twelve apostles of Jesus as nothing more than their earthly reflection. (14)

In designating Judas as the thirteenth spirit, Christ is telling us then that the "traitor" is beyond or outside the club, group, or rather the circle of the twelve. In this sense, the 13 indicates a different reality than the one ruled by earthly rulers.

This reality on the other, from the world, this phenomenal reality beyond space-time dimensions that is beyond the circle of the zodiac or the universe at that time known, is one of the Great Invisible Spirit. (15)

the avoidance of doubt we must say here that our artist certainly has nothing to do with the Gospel of Judas, found the rest in 1970 in Egypt.

A Caravaggio, however, that, as we saw in part, was also a student of the occult sciences, but could not avoid the cosmological concept clearly expressed in that gospel as through Gnosticism probably it had been conveyed in ' bed of the river still Karst, represented by the esoteric culture.

That was the Lombard master then surely the first experiment in painting Op Art (16) never attempted before in the history of art. In describing this phenomenon, however, we must return to the scene of the enigmatic painting, where at least three of the characters represented, including two necrofori she turned round to the left to look at something or someone next to or behind that Christ, whose dark face can not be curious.

Because in fact - we can not help but wonder - in operating a miracle or a necromantic spell Jesus is or is better represented by Caravaggio in the shade? What is the hidden meaning of this shadow?

That Jesus is a reincarnation of a "black god" Osiris (17) is only a suggestive idea that comes to mind when thinking about the common destiny of death and resurrection of the two deities.

In this darkness of Christ's face but there is the other that compels us to investigate in a cultural terrain not so distant in space and time as the legendary Egypt but in a contiguous territory which the Renaissance when it was created by Dürer's famous engraving of Melancholia I.

if I remember correctly also the face of Melancholy depicted by Dürer, absorbed in intense visionary ecstasy, is darkened by shadow dark without ever has been able to explain fully the reason, that meaning, which certainly goes looked beyond a temporary state of depression or mood black.

In De umbris idearum Giordano Bruno, therefore we have found something that can provide the solution of the mystery. The shadow of talks which Bruno is obviously not one in which it is believed that the Leviathan sleeps, but that "that leads to light and that, although it is not truth, however, stems from the truth and stretches towards the truth." This fact is the shadow that contains "the concealment of the truth" and "alluded to the Kabbalists, as the veil that was placed second type and representation on the face of Moses - and figuratively overshadowed the face of the law - should not deceive the 'eye of men. "(18)

According to this conception of the shadow of Neoplatonic derivation obscure the face of Christ in the Resurrection of Lazarus and his face darkened Dürer's Melancholia I would not have any meaning other then to but not off guard and keep that light metaphysics that we are given only to observe, in our very limited condition of being mortal, only in such a state of concealment and darkness.

In parole povere ed in altri termini dell'opera prodigiosa di Cristo e dell'estatica contemplazione della Melanconia I noi possiamo osservare nell'espressione del loro volto oscuro non tutta la potenza della loro arte magica e/o negromantica che finirebbe per abbagliarci e renderci ciechi bensì quel tanto che può sopportare la nostra vista assai limitata. Quell'ombra essendo costituita dalla produzione di energia magnetica dovuta alla densità, alla condensazione, all'ispessimento della materia pensante, che sola può verificarsi in una straordinaria concentrazione mentale.

Una tale ipotesi interpretativa tuttavia per quanto verosimile non esclude il fatto che in the Resurrection of Lazarus we are witnessing, in a sort of deliquium solis, constituted a sort of eclipse from the darkness of Christ's face caused by the presence of a "invisible" that lies behind it. It is this figure that we have found the thirteenth character of the painting belonged to another reality of being. A character whose only face than all the other characters is portrayed by Caravaggio in a very nuanced and changing colors to a greater or lesser overexposure of light that causes it to appear in the first case without any difficulty to the viewer as precisely in a photographic reproduction and the second can also hide a sharp eye and careful. This is the optical effect Caravaggio introduces a totally unique in the history of painting and on which there appeared to have been never investigated by even the greatest experts in the field.

thirteenth But who is this character? Who is? How did we find it?

to these questions will try to answer as simply through observation. When we look at it this thirteenth character looks like an old wrinkled face is right next to Christ, but behind him, so coming up, counting from the left side of the picture painted in the fourth figure in the composition of quadro. Se il quattro tuttavia non è nel computo cabalistico che la somma del 13 ossia di 1+ 3 e se il numero tredici indica, come abbiamo detto un passaggio ad un nuovo e superiore stato ontologico, questa figura di vegliardo non può non avere a che fare con il Grande Spirito Invisibile. L'aggettivo grande infatti deve essere inteso come in francese ad esempio nel termine grand-pére (nonno) nel senso per l'appunto di anziano. L'Anziano infatti di cui qui parliamo non è altro che Dio, il biblico vegliardo di cui parla Daniele (Dn, 7,9; 7,13; 7,22;).

È all'epifania di questo Dio biblico o di questo tredicesimo spirito (δαίμον) che guardano in particolare i due necrofori who open the hatch of an underground tomb and a third figure behind the two, represented in the picture? Why just the necrofori among all the other characters in the painting would look to the epiphany of the Great Invisible Spirit? What a strange connection, there is correspondence between these manifestations of the supernatural order and the abyss to which they are throwing open the next? What people have seen the latter at the bottom of the abyss, which prompted them to look back in a sudden?

prefer not to answer these questions, except to say that only the resurrection of Lazarus is feverish work with the cross of light comprises only a corpse, that di Lazzaro, ed un'oscurità sepolcrale che sembra poi condensarsi in maniera particolare sul volto ombroso di Cristo. Un'oscurità questa che non trova pertanto una completa e soddisfacente soluzione rimanendo per noi il grande dipinto messinese una delle opere più inquietanti ed enigmatiche di quell'ultimo Caravaggio, che più volte - ci sembra - durante la sua vita aveva letteralmente perso la testa scommettendola forse con il Diavolo.

Quella stessa testa, staccata dal tronco, che il maestro lombardo rappresentò in un altri celebri dipinti del suo Davide e Golia in diverse versioni, la prima delle quali è quella del museo del Prado (1596-/7) e l'ultima la più virulenta è quella (1609) della Galleria Borghese, showing his dramatic self-portrait, first performed by him with a feeling of horror and disgust.

Notes

1) read about the anxiety of Caravaggio in The Weekly Bagheria No. 277, January 6, 2008

2) "V. Sacca (1906-1907), detected in the blood of the signing of the Baptist Caravaggio , we propose a self-portrait of the saint in the head." Quote from the catalog of the exhibition "Caravaggio. The image of God." Ed. RomArtificio, Rome, 2007 to pag. 253.

3) La lettura del numero 22 che noi abbiamo preferito dare è tratta dal libro La Magia Nera di Richard Cavendish, ediz. Mediterranee, Roma, 1972

4) È assai strano che del reato per il quale Caravaggio fu imprigionato nelle carceri di Malta non si trovi alcun documento presso l'archivio dell'Ordine di Malta, custodito presso la Biblioteca di La Valletta. Due documenti riguardanti il primo un procedimento per l'espulsione dell'artista dall'Ordine di Malta (20 novembre 1608) che si conclude con la sua effettiva espulsione dall'Ordine (1 dicembre 1608) ed un secondo riguardante un incarico affidato dal Gran Maestro dell'Ordine a due confratelli for the search of Caravaggio after his escape to be found in Liber Conciliorum Vol 103, c. 32, c. 33-34 and c. 13 at 's Stock Order of Malta Library, Valletta.

5) For a close examination of the comprehensive concept of soul and shadow refer the reader to the pages of Jung in "The Shadow" and "the syzygy: Anima and Animus." These pages are contained in the volume Aion. Research on the symbolism of the Self, ed. Boringhieri Bollati, Torino 1997.

6) fear of Caravaggio during his last period of his life have already discussed in our previous article entitled "Caravaggio's concern, citing a source" Life of 'painters Messina "by Francesco Susinno

7) F. Plum always in his book" The life of 'painters Messina "relates the following story on" unconventional life "by Caravaggio:" Having to buy a painter, so our gra fame guadagnansi also a lot of money that dissipated in valenterie and revelry, he was a daredevil and litigation, and what is worse, little was appearing pious. One day came with some decent people in the church of Our Lady of the pylorus, who became the first of these below most civilized in order to prepare holy water, he domandatogli to what was for, glifu responded to clear the venial sins do not need! Him said, because mines are tutti mortali. L'aver voluto altresì fuor della sua professione andar questionando le cose della nostra sacrosanta religione, gli dà taccia di miscredente, quando che gli stessi Gentili hanno mostrato una gran modestia ne' misteri di essa."

8) Nella figura del frate in ombra si è cercato comunemente di individuare fra' Leone. Tale individuazione ci sembra alquanto discutibile giacché nel dipinto tale figura è immersa completamente nell'ombra tanto da passare d'acchito inosservata. Sfugge invece ai critici il rapporto tra l'atteggiamento assorto, pensoso del piccolo frate e quel che in primo piano inequivocabilmente l'artista ha voluto dipingere come il contenuto di una visione mistica.

9) Secondo il vocabolario di lingua italiana, compilato da Nicola Zingarelli, l'estasi dal greco έκστασις indica l'escesso (l'uscita), l'essere fuori di sé. Quel che osserviamo in primo piano nel quadro in questione e che non può essere scambiato come una rappresentazione della realtà è per l'appunto una proiezione esterna o meglio estatica della mente del piccolo frate celato nel buio.

10) "... due figure d'un beato santo:/d'ugual bellezza presso al viso nostro / fatte per Giotto, dico, in diverse hore..." I sopraddetti versi si trovano nell'Acerba, un componimento poetico di Cecco d'Ascoli, poeta occultista medievale. Vedasi il libro di Anna Maria Partini e Vincenzo Nestler "Cecco d'Ascoli", ediz. Mediterranee, Roma, 2006 a pag. 48.

11) A riguardo si legga il capitolo decimo di Storia e segreti dell'alchimia di Paolo Cortesi, ediz. Newton&Compton, Roma, 2002. Ricordiamo qui brevemente che alchimisti furono i francescani Frate Elia da Cortona, Bonaventura D'Iseo, Giovanni da Rupescissa, Arnaldo da Villanova, Ruggero Bacone e Raimondo Lullo.

12) Sul Cristo-Lapis rinviamo il lettore in particolare al capitolo quinto di Psicologia ed, Alchimia di Jung, intitolato per l'appunto "Il parallelo Lapis. Cristo", pag 333-413 Selected Works of CG Jung, vol 12, Hogarth Press and Bollati, Torino, 2001.

13) The discovery of the Gospel of Judas is the most comprehensive book to Heberty Krosney, The Lost Gospel, Gruppo Editoriale L'Espresso, Rome, 2006.

14) "The actual meaning of the number twelve is true that God has placed twelve angels to rule the nether world, and thus represent the twelve disciples on earth, the number of their 'God' in heaven." Quote from The Gospel of Judas found Elaine Pagels, Karen L. King, ed. Mondadori, Milano, 2007

15) The Great Spirit Invisible refer a famous Gnostic text The Gospel of the Egyptians, assigned by Doresse this title and that according to an expert on the subject, which Louis Moraldi would have been better titled "The sacred book of the Great Invisible Spirit," taking the name from its colophon. The Gospel of the Egyptians is found in Gnostic texts by Luigi Moral, ed. UTET, Torino 1997.

16) The Op Art was in the mid 50 to 60 one of the trends in contemporary art. This trend created compositions in which, for example, obtained by moving the viewer different visual effects. The principle of "Gestalt ambiguity" on which these works were most often set consisted of possibility of "double or multiple reading" of the same visual pattern. This possibility of a different and changing modes of perception in some way inherent in the formal structure of the composition took Umberto Eco who coined the term for it to open work.

17) "In the temples of Egypt, where the candidate was about to pass the tests of initiation, a priest approached and whispered in his ear this mysterious phrase:" Remember that Osiris is a god black! " Quote from Fulcanelli, The Mystery of the Cathedrals, ed. Mediterranean, Rome, 1972, page. 89

18) Quotes from Giordano Bruno, De umbris mnemonics in idearum Works, ed. Adelphi, Milano, 2004.

taken from LINK

REBUS (tv) - An examination of the video masterpiece Caravaggio

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