Discussion in 'Time Travel Discussion' started by steve69, Sep 1, 2015.
Thats Nice Tourist
It is imperative to state that the brotherhood of the cemetery is born from the ashes of the ancient brotherhood called the company of the most holy sacrament. One of the chiefs was the Livornese Giuseppe Castagliola. This ancient fraternity composed of esoteric and necromancers had as its primary objective to bring back to life the Augustinian monk known as the Preacher. To be able to tell this story it is necessary to go back in time and precisely to March 17, 1282, the day when, at the age of 117, the Preacher died. This monk was also the rector of the cemetery of San Jacopo still missing. The Preacher was a very influential religious at the time, almost venerated as a prophet, but was badly seen by the leaders of the Catholic Church because of its unconventional past. It is also said to be a powerful exorcist. For this reason he remained confined to his lodgings in a hermitage near the church of San Jacopo until the end of his days. We do not know the causes of death, despite the advanced age, he enjoyed excellent health. A natural death was diagnosed. He was found one morning in his bed as if he were sleeping. He seemed to have fallen into a deep sleep, almost a lethargy. The body showed no signs of decomposition even after many days. Even the religious noticed that the beard of the Preacher continued to grow and had to be cut at least twice a year. This fact led the prior of the time, certainly Galgano, not to bury the body of the Preacher and place it in a glass case. After this decision and precisely in November 1282 Galgano mysteriously disappeared ...
The body of the Preacher remained intact for many centuries protected by its crystal case under the crypt of San Jacopo. All this lasted until after the war when Giuseppe Castagliola discovered the body of the Preacher and informed his friend Piero Sampaolesi, superintendent of cultural heritage in order to obtain the clearance for the removal of the body as he was intent on bringing the Predicatore back to life. He firmly maintained that the body of the Preacher would come back to life if transported to a specific place in the Valle Benedetta. And so it was done. With the help of Sampaolesi the body was loaded onto a pickup truck and taken to the Valle Benedetta. Unfortunately, the Castagliola did not take the necessary precautions and the Romitone transformed the body into a skeleton with a beard. The Romitone did not like the presence of the Preacher because he knew that one day he would come back to life when the prophecy of the thirty Templars had been fulfilled and the Preacher would be in command of the Templars who would bring the Romitone back to Egypt. The Romitone has no intention leaving the village of the Valle Benedetta because if he returned to Egypt he would be only a custodian, in contrast to the Valle Benedetta where it is free, he feels the master.
At that point Castagliola and Sampaolesi reported the skeleton body in the crypt of San Jacopo. Since the Preacher's crystal case was destroyed, the body was placed in an uncovered coffin. It is still possible to glimpse this coffin from a crack inside the crypt. Scholars and religious still can not give a logical explanation to why that corpse was not buried.
Perhaps this comment from pg. 40 was unnoticed/forgotten.
Maybe LD would like to make a short review of 2017 posts and or a last message to all readers. It is always nice to remember the year passing by and i notice it was never done since the beginning of this discussion.
Have an happy time in the last days of 2017.
Hi All, just to advise that the correct surname of Giuseppe is C O STAGLIOLA and not C a stagliola - below a little newspaper clipping for a hint to study in deep about this great Little Doctor 's topic::
Livorno ha avuto, negli anni terribili della seconda guerra mondiale, un vero e grande “amico dei musei e dei monumenti”. Si chiamava Giuseppe Costagliola, era un semplice funzionario del Comune di Livorno, ma fu anche grazie anche ai suoi interventi, in larga misura volontari, se il patrimonio artistico della città si salvò quasi per intero, tanto che il primo sindaco del dopoguerra, Furio Diaz, poté citare come simbolo della rinascita di Livorno proprio il riordinamento del Museo Civico, “con le intatte e superbe collezioni del nostro grande Fattori”. Il Museo Civico “Giovanni Fattori”, che fino alla seconda guerra mondiale aveva avuto sede in piazza Guerrazzi, nella zona del centro cittadino di Livorno più drasticamente interessata dagli eventi bellici, andò purtroppo distrutto sotto i bombardamenti del 1944, soccombendo al tritolo e al fosforo. Ma Costagliola, oscuro ma eroico custode del Museo Civico, si adoperò tra mille rischi per mettere al sicuro una gran parte delle opere e verificò negli anni, anche sotto il pericolo costante di improvvisi bombardamenti, lo stato di conservazione di quanto rimasto invece nelle sale di piazza Guerrazzi. Questa persona, e quei periodi drammatici, vengono ricordati in un articolo scritto una decina di anni dopo la guerra da Piero Sampaolesi, allora direttore della Soprintendenza al Monumenti e Gallerie per le Province di Pisa, Livorno, Lucca e Massa-Carrara. Sampaolesi fra il 1943 e 1944 si occupò di proteggere il patrimonio delle province toscane che gli erano state affidate, e fra queste Livorno. Nel 1940 per iniziativa del direttore dell’ufficio Belle Arti del Comune di Livorno Costanzo Mostardi e con il determinante aiuto del custode del Museo, appunto Costagliola, erano partite per la scuola comunale della Valle Benedetta dodici casse, contenenti tutti i dipinti, le acqueforti e i disegni di Fattori. Insieme ad essi vennero trasferiti anche i tre dipinti di Silvestro Lega, l’acquerello di Telemaco Signorini, un quadro di Terreni, due ritratti di Angiolo Tommasi, alcune opere d’arte antica e sedici tele di Enrico Pollastrini. Presumibilmente le tele più grandi di Fattori, le Cenciaiole livornesi di Cecconi e la Crocifissione di neri di Bicci furono portati nel rifugio di Valle Benedetta senza casse, perché troppo grandi. Il 23 giugno 1940 fu approntato il trasporto dei più importanti materiali della collezione archeologica del Museo Civico, ma la maggior parte degli oggetti rimase al suo posto. Solo nel ’43, quando gli eventi stavano per precipitare si riuscì a mettere in salvo una seconda scelta di dipinti e sculture. In quella circostanza purtroppo l’opera “Gli esuli di Siena” di Enrico Pollastrini rimase al suo posto e finì distrutta nei bombardamenti. Quadri e sculture del Museo Civico, ricoverati nella scuola elementare di valle Benedetta, furono lasciati alle cure e alla sorveglianza di una maestra, la maestra Guidi, e al controllo volontario di Costagliola. Costagliola, che nel ’41 era stato esentato dal servizio, continuava infatti ad occuparsi delle opere in maniera volontaria, e fu anche protagonista del rocambolesco episodio di recupero del materiale ricoverato a valle Benedetta, messo in pericolo dalla presenza di un reparto di militari tedeschi nella palazzina nella quale si trovavano le opere. Il 18 novembre 1943, in una giornata
umida di pioggia, Sampaolesi e Costagliola, con una fuga fra spari di petardi e bombette a mano, riuscirono a caricare alcune “piccole ma deliziose” tavolette dei macchiaioli e a condurle in salvo nella Certosa di Calci. I più importanti dipinti del Fattori vennero ricoverati a Poggio a Caiano con un viaggio lungo e tortuoso, nel tentativo ben riuscito , come avrebbe più tardi ricordato un cronista della Gazzetta, di far perdere le tracce dei preziosi carichi a garanzia contro il saccheggio o contro i furti. Le altre opere che si trovavano a Valle Benedetta in quegli stessi giorni, furono prese in consegna dalla Soprintendenza e messe a riparo a Poggio a Caiano, dove si trovavano già i bronzi dei Quattro Mori, il monumento più celebre di Livorno, anche questo messo in salvo grazie all’opera decisiva di Costagliola. Perfino nell’ottobre del 1944, quando Livorno era stata liberata, l’ufficio di Pubblica Istruzione si rivolse a Costagliola per mettere in salvo dalle intemperie e dai furti le non molte opere superstiti che erano rimaste all’interno del museo bombardato. E nel 1947, sempre dopo un intervento del solito e prodigo Costagliela a Calci, finalmente le opere d’arte livornesi ritornarono a Livorno, collocate prima nel palazzo detto “Le Quattro stagioni” in corso Amedeo, successivamente a Villa Fabbricotti, essendo la sede storica del Museo Civico non più utilizzabile. Il grande rimpianto di questa persona che si può definire il grande “amico dei musei e dei monumenti livornesi” fu quello di non aver salvato gli “Esuli di Siena” del Pollastrini. Il Soprintendente Sampaolesi, nell’articolo citato in apertura di questo intervento, ricorda che “il 27 gennaio 1944, un giorno invernale, grigio e desolato, Giuseppe Costagliola insieme a lui e a due professori tedeschi che gli avevano rinnovato il permesso di entrare nella “zona nera”, si soffermò e sospirò di fronte all’imponente tela del Pollastrini, troppo lunga e pesante per essere rimossa e portata in salvo”.
“La lasciammo lì- scrive il Soprintendente- vittima di un evento in qualche modo paragonabile a quello che vi aveva rappresentato il pittore”. L‘ultimo terribile bombardamento infatti avrebbe di lì a poco ferito ancora più a fondo la città, devastando tra gli altri il palazzo del Museo.
(Tratto dallo studio di Irene Amadei “Il Museo Civico livornese dalla Seconda Guerra Mondiale alla fine degli anni Cinquanta”)
Bearing in mind about the "Throne and the Romitone" , this unusual item for us, it had been brought here in Sais in an ancient time.
It comes from a planetary system that we can just now observe in the dark over our heads- we see his sun red colour...........
Considering the isotopic weight in our planetary system this "Entity" can manifests itself only by a terrestrial appearance : human, animal, atmospheric event ,............ cause every magnetic system has own atomic weight
and each galaxy has its own isotopic weight in own planetary (magnetic) systems.
Soul tipology belongs to own specific system only.
Thanks All for the wishes I read.
happy new year to all.
Tourist you seem to know a lot about the Romitone for not being affiliated to a brotherhood and being just a tourist passing by... Someone said you reached places that noone can, you a church guy? Send my best wishes to the Hunter that helped you now and then.
Red stars are too small and have not enough light in order to be seen with the naked eye.
The closest planetary system to us with a red dwarf is Alpha Centauri.
Proxima Centauri - Wikipedia
Alpha Centauri system, closest to sun | EarthSky.org
In this website we find a connection between the phoenicians and the sphynx that resemble a centaur.
The Centaurs: Half Men and Half Horse Sons of God | GnosticWarrior.com
The Lion of the Sphynx has always been a symbol of the tribe of Judah and here we are talking of the Throne of Judah.
Thank you Tourist
A little off topic but i hope you can see it sort of connected, what was the spirit or demon that held Hitler for most of his years?
who knows mayhem. The author of the italian fictional book "Black Camelot" says it's a dragon whispering in Hitler's ears, maybe it's just stuff to sell books.
Going back to the topic of the symbols on LD's Avatar.
I found the templar alphabet:
The secret alphabet of the templars
LD's Avatar says Magdalena, maybe the same Magdalena name spelled on the entrance? From pg. 27.
I open a parenthesis if anyone is interested.
By chance, i stumbled upon an ancient language that has the same triangles but not all of the kind represented on his img. This language has also an history with the templars.
Here the 90 foot stone that is to be found on Oak Island (South East Canada, Nova Scotia).
From minute 14:00 a researcher tells where they could come from.
Another researcher guesses what languages could have been used. From min. 21.
Please correct me if i write something wrong.
21% old nagath? (1700 b. c.) pharaonic period, 39% thalmudic (1500 bc 800 bc), 45% dispersed ona oasis of north arabia (africa) (1000 bc 1080 bc) tholomeic period, 53% phoenician hebrew aramaic proto language (1700 bc 800 bc),
It seems like languages that could be relevant also for understanding LD story.
Alternatively the researcher supposes that this is not an alphabet but it is made by 66% ancient egyptian alchemy symbols.
This last researcher also argues on how modern senseless treasure hunters made disappear a lot of ancient stuff that could have been used to research the mysteries of Oak Island. Now the researchers ended up having to negotiate these artifacts with the people that keep them at home. This is the world we live in.
Another guy thinks these could just be Math. Symbols.
Oak Island 90 foot Stone and the Kempton Cipher: Are the symbols mathematical symbols?
If anyone is interested following researcher gives a more interesting translation of the stone relating it to the hebrew religion.
Giuseppe Costagliola and Piero Sampaolesi formed a well-affiliated team, tending to follow in the footsteps of Captain Leale Martelli, convinced they could access priceless finds. The two art lovers divided the tasks, the Costagliola took care of the whole area adjacent to the Valle Benedetta, the Sampaolesi addressed his research in Florence until arriving in Turkey. The Livornese Costagliola established his headquarters in a room at the elementary school of the Valle Benedetta he knew for having used it during the Second World War. From the municipal school ex Villa Trumpy you could enjoy a beautiful view and Costagliola spent a lot of time watching the village of the Valle Benedetta and the church that seemed to have been built by magic. In one of these moments Costagliola noticed almost by accident a structure emerging from the lawns owned by the church. This linear structure of bricks formed like arches and ran across the lawn. In some places it was clearly visible. Intrigued Costagliola wanted to see that structure closely and was surprised to find that it was an ancient aqueduct. This aqueduct was flanked by a second tunnel and both seemed to lead to Villa Huygens. Costagliola was convinced that inside the tunnel he could find the tomb of Antonio Huygens and with it his immense treasures. According to Costagliola's studies, the tunnel started from the Stone Garden of Villa Huygens, while the aqueduct started from inside the hill from a place called Poggio Lecceta.
At one point the two structures joined together until they reached the church. On the top of the hill where Angelica Palli once lived, there is a very old well with iron ladders leading into the well. Thanks to these stairs it was possible to access the aqueduct and the tunnel. With the passage of time the land that ran alongside the school became a building land and at the beginning of the 90s a complex of buildings was built that covered the aqueduct. Although the builders had seen the tunnel, the work continued without warning the authorities. However, all was not lost. Just behind that housing complex, it is still possible to access a secondary entrance to the ancient aqueduct. This entrance, hidden for centuries, has been brought to light during some maintenance work done by the inhabitants of the condominium. This entrance is still in excellent condition and has been secured without being explored. In the surrounding area, in some points, the ground collapses causing large holes that the inhabitants of the area covered with sheets of iron for fear of falling into it.
Piero Sampaolesi's research was much more complex. Thanks to his position as superintendent of Florence he could have access to all the places and documents that could interest him. Sampaolesi wanted to find the house where Captain Martelli lived, an apartment that according to Sampaolesi had to be found in a street called Via della Forca. Sampaolesi never managed to find the captain's relatives, almost as if he had never existed.
When he spoke to the descendants of the Martelli family he had no confirmation, and he was kicked out badly. Sampaolesi made it clear that around the life of Leale Martelli there was a wall of silence. Later Sampaolesi's research moved to Turkey, after an exponent of the ancient Levantini family confided to Sampaolesi of a possible presence of the capoitano in the city that once was called Constantinople ...
Thankd Little Doctor!
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