Captain Leale Martelli - The Odyssey in the Realms of Time

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.
 
LITTLE DOCTOR said:
Now is the right moment to continue to talk about the role of the brotherhoods which continues to hinder the captain's mission. It would be time for all the commendations and the archconfraternites to cease their activities. For this reason, I have decided to reveal and divulge the mysteries the confreres are seeking for years to discover and understand. If this attempt did not sort the expected results, I will not hesitate to divulge the names of all affiliates and indicate their respective meeting venues. I also recommend to the latest aggregates belonging to the "Levantini " families to return to their half-moon lands since they will never have enough faith to observe Istanbul from the ancient mills.
Let's start with the first enigma that interests all the confraternities, one of the most important mysteries of this story: the church of San Jacopo in Acquaviva.
It is useless to continue searching and digging inside the church, what you all look for is within the naval academy, precisely under the floor of the "official circus". Hardly the military navy will allow to dig in its jurisdictional area, this will also preserve Roberto da Volterra's will for a long time. Anyway, I may be aware of Roberto da Volterra's latest will and share my knowledge with all those who will abandon their brotherhoods to join the ranks of the Knights Templar. The latter will soon settle their commendation near the Valle Benedetta.
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Hello,
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::

upload_2017-12-30_23-21-49.png
Livorno had, in the terrible years of the Second World War, a true and great "friend of museums and monuments". His name was Giuseppe Costagliola, he was a simple official of the Municipality of Livorno, but it was also thanks to his interventions, largely voluntary, that the artistic heritage of the city was almost entirely saved, so much so that the first post-war mayor, Furio Diaz , was able to cite the reorganization of the Civic Museum as a symbol of the rebirth of Livorno, "with the intact and superb collections of our great Fattori". The "Giovanni Fattori" Civic Museum, which until the Second World War had been located in Piazza Guerrazzi, in the area of the city center of Livorno most drastically affected by war events, was unfortunately destroyed during the bombings of 1944, succumbing to TNT and phosphorus . But Costagliola, obscure but heroic custodian of the Civic Museum, worked amid a thousand risks to secure a large part of the works and verified over the years, even under the constant danger of sudden bombings, the state of conservation of what remained in the halls of Guerrazzi Square. This person, and those dramatic periods, are remembered in an article written about ten years after the war by Piero Sampaolesi, then director of the Monuments and Galleries Superintendency for the provinces of Pisa, Livorno, Lucca and Massa-Carrara. Sampaolesi between 1943 and 1944 took care of protecting the heritage of the Tuscan provinces that had been entrusted to him, and among these Livorno. In 1940 on the initiative of the director of the Fine Arts office of the Municipality of Livorno Costanzo Mostardi and with the decisive help of the museum custodian, Costagliola, in fact, twelve crates had left for the municipal school of the Valle Benedetta, containing all of Fattori's paintings, etchings and drawings. Together with them, the three paintings by Silvestro Lega, the watercolor by Telemaco Signorini, a painting by Terreni, two portraits by Angiolo Tommasi, some works of ancient art and sixteen canvases by Enrico Pollastrini were also transferred. Presumably Fattori's largest canvases, Cecconi's Cenciaiole from Livorno and Bicci's Crucifixion of Neri were taken to the Valle Benedetta refuge without crates, because they were too large. On 23 June 1940 the transport of the most important materials from the archaeological collection of the Civic Museum was prepared, but most of the objects remained in their place. Only in '43, when events were about to precipitate a second choice of paintings and sculptures was saved. In that circumstance, unfortunately, the work "Gli esuli di Siena" by Enrico Pollastrini remained in his place and ended up destroyed in the bombings. Paintings and sculptures from the Civic Museum, hospitalized in the elementary school of Valle Benedetta, were left in the care and supervision of a teacher, Maestra Guidi, and under the voluntary supervision of Costagliola. Costagliola, who had been exempt from service in 1941, in fact continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovering the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building in which the works were located. On November 18, 1943, in one day In that circumstance unfortunately the opera "Gli esuli di Siena" by Enrico Pollastrini remained in its place and ended up destroyed in the bombings. Paintings and sculptures from the Civic Museum, hospitalized in the elementary school of Valle Benedetta, were left in the care and supervision of a teacher, Maestra Guidi, and under the voluntary supervision of Costagliola. Costagliola, who had been exempt from service in 1941, in fact continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovering the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building in which the works were located. On November 18, 1943, in one day In that circumstance unfortunately the opera "Gli esuli di Siena" by Enrico Pollastrini remained in its place and ended up destroyed in the bombings. Paintings and sculptures from the Civic Museum, hospitalized in the elementary school of Valle Benedetta, were left in the care and supervision of a teacher, Maestra Guidi, and under the voluntary supervision of Costagliola. Costagliola, who had been exempt from service in 1941, in fact continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovering the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building in which the works were located. On November 18, 1943, in one day Paintings and sculptures from the Civic Museum, hospitalized in the elementary school of Valle Benedetta, were left in the care and supervision of a teacher, Maestra Guidi, and under the voluntary supervision of Costagliola. Costagliola, who had been exempt from service in 1941, in fact continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovering the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building in which the works were located. On November 18, 1943, in one day Paintings and sculptures from the Civic Museum, hospitalized in the elementary school of Valle Benedetta, were left in the care and supervision of a teacher, Maestra Guidi, and under the voluntary supervision of Costagliola. Costagliola, who had been exempt from service in 1941, in fact continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovering the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building in which the works were located. On November 18, 1943, in one day in fact, he continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovery of the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building where the works were located. On November 18, 1943, in one day in fact, he continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovery of the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building where the works were located. On November 18, 1943, in one day

Wet with rain, Sampaolesi and Costagliola, with a flight of firecrackers and hand bowls, managed to load some “small but delicious” Macchiaioli tablets and bring them to safety in the Calci Charterhouse. The most important paintings by Fattori were hospitalized in Poggio a Caiano with a long and tortuous journey, in a successful attempt, as a reporter from the Gazzetta would later recall, to make all traces of the precious cargoes lost as guarantees against looting or against the thefts. The other works that were in Valle Benedetta in those same days were taken over by the Superintendence and put away in Poggio a Caiano, where the bronzes of the Quattro Mori, the most famous monument in Livorno, were already except thanks to the decisive work of Costagliola. Even in October of 1944, when Livorno had been liberated, the public education office turned to Costagliola to save the few surviving works that had remained inside the bombed-out museum from bad weather and theft. And in 1947, again after Costagliela's usual and prodigal intervention in Calci, the Livorno works of art finally returned to Livorno, first located in the building called "Le Quattro Stagioni" in Corso Amedeo, then in Villa Fabbricotti, being the historic headquarters of the Civic Museum no longer usable. The great regret of this person who can be defined as the great "friend of Livorno's museums and monuments" was that of not having saved Pollastrini's "Siena Exiles". Superintendent Sampaolesi, in the article quoted at the beginning of this speech, recalls that "on January 27, 1944, a winter day,
"We left it there - writes the Superintendent - victim of an event in some way comparable to what the painter had represented there". In fact, the last terrible bombardment would soon have wounded the city even more deeply, devastating the museum building among others.

(Taken from Irene Amadei's study "The Livorno Civic Museum from the Second World War to the end of the Fifties")




TOURIST
 
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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.
TOURIST
 
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Hello,
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 itself marked the right front hoof of the Centaur, although little is known of its mythological significance, if any. Ancient Egyptians revered it, and may have built temples aligned to its rising point. In southern China it was part of a star group known as the South Gate.
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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
 
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Hello,
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.
7165.jpg

I found the templar alphabet:
templars_cipher02.jpg

The secret alphabet of the templars
LD's Avatar says Magdalena, maybe the same Magdalena name spelled on the entrance? From pg. 27.
LITTLE DOCTOR said:
Leale Martelli finally decided to seek the relics and decided to start from the most mysterious and hidden place that he had seen so far. It was a well, called "Templar well". This well presented on the edge incisions written in code indicating the name of Magdalena. These incisions were placed on either side of the well. it is important to emphasize that this pit was inside an underground tunnel which is accessed from within the Valle Benedetta church. Leale lowered himself into the well and remained there for 225 days !!! He undertook a long journey that led him to get out through a trap door in a villa called Villa lemon built on the remains of St. Andrew parish.
Before going out from the depths of the earth, Leale encountered a petrified ship, inside of which, lying on a cot in the cockpit, lay a dead body, but well preserved. The body was covered only by a transparent veil held in place by four phosphorescent stones that partially illuminated the body, almost as if it were a wake. In hand he clutched a scroll being destroyed when Leale tried to open it. The head of the body rested on a wooden tablet that looked newly engraved with phrases in Latin saying: "wanderer, when my house is ready, you will be able to pray and kneel at the altar dedicated to me. Look up to the Highest and you'll find the hands of the innocent that will hand you salvation. "
This is just a summary of what happened Leale in those 225 days. It takes too long to tell the whole adventure of Leale in the well and now I can not wait to tell the whole story of Leale. If someone will interest and I will be still alive I will try to shed light on this point. Since my time is running out I have to finish the story of Leale, otherwise you'll never know which destines had the captain.
But back to the moment when Leale emerged to the surface within a lemon villa room. Leale managed to get out of the house without being noticed and exhausted reached the village of Valle Benedetta. On reaching the church of San Gualberto, he knelt on a bench near the altar like to thank the Lord for the avoided danger.
Then he looked up attracted by the flame of a large candle and saw a figure that made him to mind the phrase written in Latin on the wooden tablet found under the body. Indeed Leale saw high above the main altar the figure of a cherub who handed him a cup, then he understood. Leale took a long ladder that was in the sacristy, climbed up to the cherub, and took the cup. This is in brief the story of how Leale came into possession of the sacred cup.
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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).
90%2BFoot%2BStone%2BReprodution.jpg

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.

oakisland03.gif


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.
 
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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 ...
 
Thank you. Poggio Lecceta? I think i have already heard of this place somewhere..

Astonishing that Martelli's descendents didn't want to have anything to do with him. Too many religious women at home? I can understand them ;p

Being serious, i am sorry for their situation. I can guess that Romitone's radiations weren't pleasant at all.

Via della Forca is now called Via Ferdinando Zannetti.
Casa Martelli: dimora fiorentina del Settecento
The old name is amazing, maybe the Romitone uses a fork? :p
I wouldn't be surprised if there was a tunnel between Casa Martelli and San Gallo's hospital...

Sampaolesi was an architect and gave lectures even at Istambul's University
Dal 1946 al 1959 insegna Architettura e composizione architettonica e per una breve periodo Tecnica urbanistica presso la Facoltà di Ingegneria l'Università di Pisa. Dal 1954 insegna Caratteri stilistici e costruttivi dei monumenti presso la Facoltà di Architettura di Firenze e nel 1959 Storia dell'architettura e rilievo dei monumenti all'Università di Istanbul.
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Piero Sanpaolesi - Wikipedia
 
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