In front of the fountain, next to the XII century BC Obelisk of Ramses II from Heliopolis, there is the easily visible
written by Umberto Di Grazia
One cannot escape it, it’s there, even if the heterogeneous wildlife around tries to distract you with sounds, flying Chinese games sold by North Africans and people without the sense of who they are and where they are, stunned, perhaps, by something they cannot let
emerge in their usual thoughts.
Something suspended, indeed, dominates, more than elsewhere, in this place that seems to have lost the sense of the ancient Sacred and always present.
It was not like that for our ancestors who had put a visible signal to everyone’s eyes and memory; according to the myth, that place had seen rising in the midst of light and thunder, King Romulus on the chariot of fire of Mars to rise together into the sky, beyond the human visible.
As well known (see the writings “Archaeological Routes” by prof. Romolo A.Staccioli, Newton Compton editings; so rare in beauty and source of information), thanks to his personal kinship (Augustus’ son-in-law and general.),
Agrippa achieved the tender to construct the first Pantheon in 27-25 BC, dedicated to all the gods and “ thus the first temple of
rectangular plan, oriented, as customary, southward was born but then changed its structure by Hadrian in 118-125 AD.
And from this moment on begins an unspoken and unheard story by anyone, properly said.
In fact, in its last transformation, and thanks to the information of sacred archeology gathered by Adriano all around the civil world of the time, it becomes the construction with the most repetition of echo in the world, even today.
A sound emitted inside is multiplied, depending on the climate, therefore also on the season and the point from which it is emitted, from 43 to 46 times.
The temple to evoke and, according to tradition, to let enter or exit, from the central hole at the top, the deities evoked, in addition to having a form it also has a right voice: the sound repeated as much as needed to have contact with unconscious forces, many would say …. or make the deity required appear and disappear for the simplest.
Rome, before the Indian cultural trends or the use of mantra and imported mandalas (shapes and sounds ..), had its Stargate, the first known gate, towards the stars, as described in rare passages of the book ” Egyptian of the dead ” when Horus talks about his possibility of reaching Seth, the hated enemy, in the most distant galaxies.
However, returning to the construction by Hadrian, we have, in front of the obelisk of Ramses II, a structure where inside can enter a sphere of 43.30 meters in diameter.
THE ODDITY OF CHOSEN MEASURES
Among many possible measures why just these?
It’s ‘the first thing I asked myself as well as being amazed for the choice of materials used for its foundations and for the solidity and elasticity of its walls using concrete mixtures with fragments of, from bottom to top: travertine and tuff, flakes of brick and tufa, flakes of bricks, flakes of brick and tuff, and for the dome, the flakes of tuff and volcanic slag.
But the measures really make you think since the 4 and 3 represent the visible matter and the energy that comes from a higher mind, not local to the human brain.
Moreover, the 4 and 3 is found by subtracting the diameters of our planet, present between the two poles and the two points opposite the equator, in fact we have 12.713 and 12.756 that give the number 43.
Analyzing other “little things” I realized that the sounds to be picked up in our subconscious and “over” must be repeated from 21 times up .. as if they had to overcome a barrier that hinders communication with a part hidden from the bad use of living; It is no coincidence that a prayer is repeated several times, also present in the various rosaries (the Christians ones have 21 grains) used by various religions.
Maybe “someone” knew and knows that repetition and resonance are decisive for hearing and communicating beyond the usual?
The 43 reappears in some Egyptian ships, in particular, although with some variations for the measures of the hull and a similar number we find in the “boats” that had to accompany the pharaoh in his last journey, the one towards a universe so real for many even if invisible.
RITES TO EXORCINE THE PANTHEON AND USE FOR CHRISTIAN OBJECTIVES.
Following the story, in 609 AD, the Byzantine emperor Phocas donates the area to Pope Boniface IV, who transformed the Pantheon into a Christian church and dedicated it to Santa Maria ad Martyres.
They began long and strange rituals to transform that pagan temple to receive the nascent Christian wave and to achieve this intent, as was customary, many wagons of remains of Christian martyrs, or presumed as such, for a minimum number of 12.000 bodies, were placed in the ground, in front of the moat that delimits the perimeter,
The experts of pagan rites said (and still claim) that everything was done to “bring the Genius of Rome” to use all its power for the benefit of the nascent Vatican in the disadvantage of the secular and pagan empire. Who knows… !!! Only this would deserve a separate chapter and not by chance with my friend Marco Baistrocchi, before he’s going to see for himself in the other dimension, we had started an active collaboration to collect material and testimonies useful to the understanding.
The fact is that the rites of the Holy Mass and the representations of the Ascension and Resurrection began with the statues of Jesus Christ and of the SS. Mary made to go up, beyond the central hole, with ropes and rains of flower petals, and this “went on recalling many devotees to the rites … until the beginning of the second half of the nineteenth centuries, far beyond the taking of Porta Pia.
… I came back, several times, inside the Pantheon trying to remember beyond the apparent and sometimes I have, to resent the echo-mantra, clapped hands provoking the most violent reactions of the guardians or priests or tourists present, for them, it is better to listen to the words of the guides or the descriptions engraved on the fitting appliances that say anything less than the very reason of that construction, of the choice of the place, of the ancient beliefs that still resonate with force in us provoking discomforts to the most sensitive, to those looking beyond the market of the True and deliberately hidden
*Note from researches by Umberto di Grazia
The drawings of the Pantheon are taken from one of the best texts to know Rome that we recommend: Romolo A. Staccioli, “Roma entro le mura”, published by Newton Compton editori
Translation by Giovanna Cacciatore and Marisa Menna
*Exactly from the research of Umberto Di Grazia
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