Larqueòleg: De Montserrat a Terra Santa perseguint un somni (Clàssica) (Catalan Edition)


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We find various descriptions of these columns given in the Christian Scriptures. The references are 1 Kings, vii, 15; 2 Kings, xxv, 17; 2 Chron.

I therefore thought it best to take the trouble to make a clairvoyant investigation, the result of which is given in Plates VI and VII. The second is an enlarged drawing, of the same character, of the capital or, as it is called in the Bible, the chapiter to show the detail of its somewhat complicated workmanship. There is also a small ground-plan Fig. Figure 7. It will be seen that they were not within the porch, but just outside it.

These pillars are described in the Bible as of brass, but their appearance is much more that of what we today call bronze. As the cubit is usually calculated to have been eighteen inches, this gives us the total height of the pillar and its capital as 33 feet 9 inches.

Its circumference is given as twelve cubits or eighteen feet, which would make its diameter just under six feet.

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The pillars were hollow, and the thickness of the metal of which they were composed is usually supposed to have been three inches, though it has sometimes been given as four. At the back of each pillar, so that they were not seen at all from the front, were three small doors, one above the other, so that part of the pillar may be thought of as divided into safes, in which archives, books of the Law and other documents were kept.

Plate VI. The chapiters which fit on to the top of the pillars like caps are the most interesting part of these remarkable castings. The ornamentation of these capitals will best be understood from the illustration. The whole chapiter swells upwards in a somewhat urn-like form, with a flat circular disc resting upon it. The upward curve of the urn is continued through the disc, and makes a projection above the disc which is a segment of a sphere, though this was of course not visible to anyone looking up from the foot of the pillar.

It would be more correct to say that the form suggested is not actually a sphere but rather an oblate spheroid, and in the original stone pillar which occupied a similar place in the Egyptian temple, the symbology of which was copied by the Tyrian artificer, this somewhat unusual form was undoubtedly intentional, and was adopted in order to give an idea of the true shape of the earth, which was perfectly well known in ancient Egypt. As will be seen in a later chapter, the Egyptians were quite familiar with the exact measurements of the earth, but in the indication of it in the spheroid of the pillar the polar depression is naturally greatly exaggerated, as otherwise the difference could hardly have been visible.

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It is known that these pillars were intended to represent the terrestrial and celestial spheres respectively; and in some modern attempts to reproduce them they are crowned with these two globes. In the originals, however, there were no such globes, as the rounded chapiters sufficiently represented them. It will be seen from the illustration that the surface of the chapiter below the disc is covered with a network, and that the lower ends of the network coalesce into a kind of fringe, from which depend a number of little balls.

The Bible account tells us quite accurately that these balls were intended to represent pomegranates, and that there were two hundred of these pomegranates upon each pillar. Superimposed upon the network is a rather curious decoration of chains, hanging in festoons, and there are seven rows of these festoons one below the other. Each loop of chain consists of seven links, and in each case the central link of the chain is much the largest and heaviest, and the links diminish in size and weight as they rise towards the ends of the loop. Along the edge of the disc runs a line of lilies, and from this four chains of the same flowers are represented as hanging straight down the chapiter on the north, east, south and west respectively.

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These flower-chains, however, do not hang loose in the air, but cling closely to the outline of the chapiter. Between them two palm-leaves are crossed through the middle link of the central chain in each space. This consists of a triple row of lilies; the central row, which exactly covers the edge of the chapiter, is composed of fully opened flowers facing outwards from the pillar, with leaves between them, while there is an upper row of tightly-closed buds standing up between the flowers of the middle row and giving an effect not.

Plate VII. The lilies of the third row hang gracefully downwards from the middle row upon curved stems, and face in various directions. All this, we are told, was the work of H. Undoubtedly this man was a true artist, for he took an almost inconceivable amount of trouble to carry out his design exactly as he wanted it. So far as the investigators were able to see, his work was based entirely upon a traditional account of the stone Egyptian pillars, which had been handed down from the time of Moses.

It did not appear that he had any clear idea of the meaning of all these strange decorations, though Moses knew perfectly well the whole system of symbology which lay behind it. Many experiments were tried before this ancient artificer was satisfied, and he adopted various ingenious methods to attain his object. He was anxious to make the whole chapiter and all its decorations as nearly as possible in one casting, and with the primitive appliances at his command this gave him an immensity of trouble. His lilies may perhaps be considered as somewhat conventional; at least they do not exactly correspond to any varieties with which I happen to be acquainted.

They were on the whole more like the lotus than like an ordinary lily; but on the other hand the leaves were by no means lotus leaves. On Tat, the left-hand pillar, each link of each chain symbolized what in our Oriental studies we call a branch-race, and the links as they descended became larger and thicker to indicate a deeper descent into matter, until the fourth was reached, when the life-force begins to draw inward and upward, and so its embodiment becomes less material.

Each loop of seven links therefore typified a sub-race, and the seven loops which extended round the pillar, making one festoon, correspond to one of the great root-races, such as the Lemurian, the Atlantean or the Aryan. The whole set of seven festoons hanging one below the other denoted one world-period, one occupation of this planet of ours.


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Underneath the chain-work a beautifully executed system of fine network will be seen, and this was employed by the priests of old to elucidate yet another side of the marvellous mystery of evolution. When the Holy Spirit has brooded over the face of the waters of space, and has impregnated and vivified primordial matter, the activity of the Second Aspect of the Logos begins, and innumerable streams of His divine life pour down into the field prepared for them. From their interaction result the manifold fruits of evolution which we see exemplified in our pillars by the rows of pomegranates which depend from the fringe of the network, the pomegranates being chosen for this symbolism because each fruit contains a prodigious number of separate seeds, thus illustrating the amazing fecundity of nature and the vast variety of her types.

In Tat the lilies represented always the flower of humanity. Arranged in line round the edge of the disc they indicated the Great White Brotherhood the jewels in the crown of mankind, hovering above the human race and directing its evolution. The crossed palm-leaves between them typified the four Devarajas, the principal agents through whom the decrees of the Sons of the Fire-Mist are carried out.

The three bands of lilies which are arranged to hide the junction of the chapiter with the pillar were taken to represent the initiates of the three stages of the Egyptian Mysteries.


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The buds of the upper row, pointing upwards, typified the initiates of the Mysteries of Isis, who were full of aspiration, reaching upwards and in that way raising the general average of human thought. These three grads of initiates seem to correspond in a general way to three other divisions or grades of the occult life which I have described at length in The Masters and the Path.

There are first those on the probationary path, who are aspiring to enter the Path proper, and are doing everything in their power to purify themselves, to develop their character, and to serve humanity with unselfish love under the guidance of the Masters. Then come those who have been initiated into the Great White Brotherhood, and have thus entered on the Path proper; their lives are dedicated entirely to the service of humanity; in them the bud of human life has opened into flower, and their consciousness has risen into the buddhic principle, which has been described as the truly human expression of man.

Thirdly come the Arhats, those who have taken the fourth great Initiation; they are not compelled to reincarnate; if they do so it is quite voluntary; they dip down into human life on this plane simply in order to help. On Tattu, the right-hand pillar, we take up the tale of evolution where we left it on the other.

A single link here betokens one world-period, and therefore includes the whole set of seven festoons on Tat. The two pillars taken together correspond exactly to the table of evolution and the diagram which I give in the sixth section of The Inner Life , and almost the whole of the information contained in that section was taught by the Egyptian priests to their neophytes, and illustrated by means of this elaborate system of chapiter decoration.

It would be out of place to repeat here the whole of the explanation included in that book, but I would refer to it those students who wish to pursue further this most interesting subject. In Tattu the crown of flowers round the edge of the disc seems to have been taken to symbolize the hosts of the Dhyan Chohans, including perhaps the Planetary Logoi. The crossed palm-leaves here indicate the Lipika, the Lords of Karma, who work through the four Kings of the elements symbolized by similar leaves on Tat.

They are unconnected with the rest of the design because they represent forces not confined to our planetary scheme, or even to our solar system; they administer a Law which rules the whole universe, which Angels and men alike obey. The upper segment of the spheroid, beyond the disc, was left entirely bare of ornament, in order to indicate that beyond all that could be symbolized there was yet something more, out of manifestation, and therefore entirely inexpressible.

Another reason for the placing of these two pillars at the entrance of the temple was that the man who would enter the higher world of the Lodge from the common world of every-day life must pass between them; and from this point of view they typified the overcoming in his own lower nature of the turbulence of the personal emotions and the Waywardness of the personal mind. Only then is the man established in strength, having the power to execute and the wisdom to direct. The pillars also represent once more the two great laws of progress, karma and dharma, the former providing the environment or material world, and the latter the direction of the self within; by the union or harmonious working of these two laws a man may attain the stability and strength required for the occult path, and map thus reach the circle within which a M.

Also the pillars were used in the teaching of the priests to illustrate the great doctrine of the pairs of opposites - spirit and matter, good and evil, light and darkness, pleasure and pain, etc. A treatise named The Gates of Light is quoted by Bro. Waite in this connection as follows:. He who knows the mysteries of the two Pillars, which are Jachin and Boaz, shall understand after what manner the Neshamoth , or Minds, descend with the Ruachoth , or Spirits, and the Nephasoth , or Souls, through El-chai and Adonai by the influx of the said two Pillars.

And again:. By these two Pillars and by El-chai the living God the Minds and Spirits and Souls descend, as by their passages or channels. In the French working two large pillars are placed inside the Lodge on either side of the door, in the West, and the W. This arrangement is derived from the Chaldaean system.

Under the following conditions:

Several writers have made persistent attempts to attach a phallic signification to these two pillars; I can only say that in the course of a prolonged investigation by means of the inner sight we found no trace of the attribution of any such meaning. The ornaments are the mosaic pavement, symbolizing spirit and matter; the blazing star, ever reminding us of the presence of God in His universe, and the indented border, the Guardian Wall.

The three ornaments all belong to the middle of the Lodge.

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The mosaic pavement is the beautiful floor, which is composed of squares alternately black and white, and is explained in the Craft ritual as the diversity of objects which decorate and ornament creation, the animate as well as the inanimate parts thereof. Its alternate squares, however, symbolize not only the mingling of living and material things in the world, but even more the intermingling of spirit and matter, or life and matter, everywhere.

The double triangles interlaced indicate the same great fact in nature. Throughout nature there is no life without matter, and no matter without life. Some of his conclusions have been stated in brief and effective form in Dr. He arranged apparatus to measure the stimulus applied, and to show in curves, traced on a revolving cylinder, the response from the body receiving the stimulus.

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He then compared the curves obtained in tin and in other metals with those obtained from muscle, and found that the curves from tin were identical with those from muscle, and that other metals gave curves of like nature but varied in the period of recovery. Tetanus, both complete and incomplete, due to repeated shocks, was caused, and similar results accrued, in mineral as in muscle.

Fatigue was shown by metals, least of all by tin. Chemical re-agents, such as drugs, produced on metals similar results to those known to result with animals - exciting, depressing, and deadly. A poison will kill a metal, inducing a condition of immobility, so that no response is obtainable.

After many centuries there came a ruler who was influenced by a foreign princess, whom he had espoused, to cast aside the Aryan traditions and establish lower forms of worship; but the clan drew together and, by strictly marrying only among themselves, preserved the old customs and religion as well as their purity of race. Nearly four thousand years after the arrival of the Indians, there arose in Egypt certain prophets who foretold a great flood, so the clan in a body took ship across the Red Sea and found a refuge among the mountains of Arabia.

In 9, B. Even when everything settled down, the country was a wilderness, bounded on the west no longer by a peaceful sea but by a vast salt swamp, which as the centuries rolled on dried into an inhospitable desert. Of all the glories of Egypt there remained only the pyramids towering in lonely desolation - a state of. But long before this half-savage tribes had ventured into the land, fighting their primitive battles on the banks of the great river which had once borne the argosies of a mighty civilization, and was yet to witness a revival of those ancient glories, and to mirror the stately temples of Osiris and Amen-Ra.

Larqueòleg: De Montserrat a Terra Santa perseguint un somni (Clàssica) (Catalan Edition)
Larqueòleg: De Montserrat a Terra Santa perseguint un somni (Clàssica) (Catalan Edition)
Larqueòleg: De Montserrat a Terra Santa perseguint un somni (Clàssica) (Catalan Edition)
Larqueòleg: De Montserrat a Terra Santa perseguint un somni (Clàssica) (Catalan Edition)
Larqueòleg: De Montserrat a Terra Santa perseguint un somni (Clàssica) (Catalan Edition)
Larqueòleg: De Montserrat a Terra Santa perseguint un somni (Clàssica) (Catalan Edition)

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