Master
(Part 1 of 2)
Victor. Arturo. Cabello. Reyes.
“... for I know that there are many who, like dogs that always bark at strangers, so they too often condemn and hate things they do not understand."
There is an Ancient Order of the Fleur-de-Lis that manages to preserve the authentic manuscripts about the spiritual work of master stone makers.
Those that for many centuries have been preserved and carefully copied in temples of Light by educated clerics and characters of 'high lineage' among Abbeys and Convents.
(1113-La Ferté, 1140-Saint-Denis, France)
However, from centuries before the Italian Renaissance, great artists, painters, sculptors, musicians, poets, architects, and builders belonged to guild-fraternities and brotherhoods of builder-monks where the ancient "Occult Knowledge" was jealously preserved.
In fact, the Order of the Cistercian and St. Bernard or St. Benedict and their monk builders, monks of the Cluny are skilled reformers of architectural styles.
Lucid page within the process of ancestral knowledge.
It should be clarified that already in San Bernardo the lapidary art and "sacred virtues of multicolored gems and stones" corresponded to cosmic sympathy within a beautiful sacred ornamentation in concordances of an astrological nature-mathesis=learning=(Lapidaries)
In this way, at that time the tradition followed the 'ascending spiral scale' or Golden Chain, almost without interruption for centuries.
Together with the Citeaux-Cistercian and Cluny they spread across Europe, Prelude to the Gothic.
In the same way, Bernard of Clairvaux is the patron saint of Cistercian art, of a vibrant wisdom that is received from above to be captured in Fontaney in the twelfth century.
The vision of the Master Builder Gauzon in the apparition of the Apostle Saint Peter giving him the architectural plans of the temple of Cluny III among the geometric-spiral floral motifs of the decoration of the Santes Creus is striking.
A style carried by the nomadic brotherhoods of builders in that 'Coming and Going' to San Galgano, Fossanova or Casamari in Italy.
It should be clarified that at that time, through the establishment of 'Rules and Ordinances' of feudality, the master builders of Abbeys and Monasteries covered their expenses through the power of royalties and tributary contributions of common defense, since Carolingian times and even earlier.
Thus, the sacred stone is made in a Sacred Square by means of spiritual virtue sculpting in a geometric-mathematical human way and model.
In fact, it is a 'Cosmic Model' that the Master Architect of the thirteenth century, Villard de Honnecourt, well recognized when he exclaimed: "Vesci une glize D'Esquarie, ki fu esgardee a faire en L'ordene de Cistaus'' = Here is a square church designed by the Cistercian Order.
The art of the Cistercian that comes from the very essence of a feudal society that has a very special predilection for the Divine Mother SOPHIA and Virgin Mary = Feminine Divinity.
Mother of the Fleur-de-Lis! She is WISDOM.
In the same way, present-day Freemasonry is the repository of the medieval tradition through educated monks and their close collaboration=(scriptorium) with the ancient and erudite Tradition of the past.
For the work of the operative stone there are rigorous Rules of the Craft and close ties with sacred and hermetic metallurgical Science.
In ancient manuscripts=Hermes is the Father of Freemasonry.
(Regius MS., Cooke MS.)
They are floral constructive forms in cross castles, mathematical pattern and harmonious play in stained glass prisms. (1)
Emissions of high solar chromotherapy that create "subtle light vibration" between monks and visitors to the church.
Part of the architectural legacy of Gothic cathedrals and churches that will preserve substrates of millenary wisdom of master-architects and masons who carved the 'rough stone'.
Masters of The Flower who clearly knew that behind the construction and decoration lies a Hermetic Veil of Arcane Wisdom. (2)
In Santa Maria Novella, the artistic legacy is deeply enriched thanks to the guilde de Arte Di Calimala and the construction wisdom of the master architect Arnolfo di Cambio.
Gently reaching Rosslyn Chapel in Scotland where the famous 'apprentice's column' brings together designs of The Rose-Flower-Rose that only a Rose-Master and Phoenix can teach as Wisdom of the Kabbalah Life Tree.
The Divine Ghiberti (1378-1445) in his design of the Doors of the Baptistery of Florence gives to Humanity (after the competition of 1401) the grandeur of the biblical-symbol Rosal.
Artistic heritage of the Florentine guilde. Golden Ratio System that is received from Roman tradition and preserved, used and transmitted by Master Painters.
(Duccio, Cimabue)
And, through the direct teaching of architects = Alberti, Bramante and Palladio.
In the opinion of the sculptor Nicola Pisano, his way of working is based on the principle = "All'antica" = "Nothing New".
Many of them (not by chance) among the great artists were architects, painters and extraordinary sculptors.
It taught to address and look -obligatorily- towards the past.
Among the trunks of antiquity are hidden Alchemical secrets of the Phoenix = Ardet ut Vivat.
There is no doubt that among the ruins of Imperial Rome are the Flowery Masters, the Arcane Wisdom, among Hermetic symbols and mythological riches that hide the Hermetic-Mythological.
The masters Brunelleschi and Alberti recognize the same Vitrubial Geometric Pattern.
(Marcus Vitruvius Pollio-Roman architect: De architectura Libri Decem: Third Book)
Model of majestic constructions of the time.
(Vatican)
In this way it is a mathematical proportion that does not forget the Great Mother or the Feminine Divinity = Pistis Sophia hidden among virgins and madonnas = mater-womb-matron-wombs.
The SOPHIA Mater is herself Athanor of the Fire of the Phoenix Bird.
She dwells between the elusive mythology of rose-flowers and the hidden iconography of 'tantra-shell'.
(Boticcelli-Birth of Venus: 1484-Uffizi Gallery)
In the majestic Siena inside the Capella della Piazza is offered to the Beautiful Feminine Divinity who protected during the terrible Black Death = (Black Death 1348).
It is impossible not to mention Duccio di Buoninsegna, the fine master of Feminine Goddesses with his Virgin-Feminine Maesta (1311); integrating the wisdom of Byzantine art, Gothic figures and beautiful Florentine colors.
Feminine Divinity = fundamental for the energetic balance of the Master Builder Painter-Musician.
For Giorgio Vasari, the artist Paolo Ucello was so immersed in the perspective of painting that it is grounded in his thoughts of purity and harmony.
So much so, that it was 'proportion and the perspective of the chalice' within the mathematical-geometric context, which Ucello himself takes -sweetly- to the 'bed with his wife' in his mode of "Sweet Mistress, Perspective".
León Battista Alberti writes in Treatise on the Theories of Perspectives.
"There is no complete harmonic proportion without the female forms."
A model known to the sublime Leonardo da Vinci and a copy of Vitruvius' Man-Temple Proportion.
And Brunelleschi wisely associates and identifies as a mathematical problem = Forty-seventh 47 Euclidean that governs perspective.
'Geometric projections had long been the Hallmark of the medieval masons' system of construction'. (3)
We observe countless churches with the patron saint of La Cruz, Santa Croce. The architectural mathematical proportional harmonic is in a Basic Proportional Radius 1:2, 1:5, and 2:5.
(Inocentes Florencia Hospital)
Francesco di Giorgio illustrates and associates Vitruvius' measure inherent in the human body.
And the Masters of the Order of the Phoenix knew that this proportion is Golden Ratio-Golden-Solar+Floral = Geometry of the Human Body combined with floral bonds emanating from the Sun in Christalic laces of pulsating cosmic musical effluvia between mathematical-geometric proportions.
(They reach the water as well as the crystals and stones)
Master Builders of the Fleur-de-Lis
(Part 1 of 2)
Victor. Arturo. Cabello. Reyes
Bibliography:
1. The Art of the Italian Renaissance pag. 116 by Rolf Toman)
2. Stillson, Henry Leonard and William James Hughan, History of the Ancient and Honorable Fraternity, 1909.
3. Chronicles of the Renaissance: P. Furtado, p. 70.
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