Kircher and the mystery of the fourth hidden side of Obeliscus Panphili

L'Obelisco della Minerva

Obelisk of Minerva

In 1615 Pietro della Valle, roman knight  and patrician, found in Cairo an old Coptic-Arabic dictionary. He broght it to Rom.

In Rome, Nicolaus Fabricius, senator in Aquisgrana, asked Athanasius Kircher, his good friend, for translating it into Latin. Kircher accepted and pope Urbano VII called him in Rome to do the work. Kircher’s translations have always considered incorrect by scholars. In 1821 the french scholar Jean-François Champollion would interpret correctly hieroglyphic writing.

La Stele di Rosetta (British Museum di Londra)

Rosetta’s Stone

Kircher method for interpreting hieroglyphic writing was completely different from what nowadays considered correct: Kircher believed that each symbol had infinite meanings, revealed directly from God to writer.

Nonetheless, in 1665,  a fact happened hard to explain:

Dominican monks discovered in their garden, in Santa Maria sopra Minerva, a little obelisk, in excellent condition. Kircher, director of the near Collegio Romano is the top-expert in hieroglyphic writing and they called him. He couldn’t go and examine the obelisk because he was going to have his yearly retreat at Mentorella’s shrine.

Padre Giuseppe Petrucci, a Jesuit and his personal collaborator went, agreeing to inform the director. When he came to the Dominican garden, the obelisk lay still down and only three of its four sides were visible. He drew the three sides of the obelisk and sent the drafts to his director.

When  Padre Petrucci, some weeks later, received Kircher’s answer, got astounded: Kircher had sent him a sketch of the forth side of obelisk and was absolutely corresponding to the just unveiled one.

I quattro lati dell'obelisco disegnati da Athanasius Kircher

The four sides of Obelisks Panphili by Athanasius Kircher

Kircher managed to imagine hieroglyphic symbols of forth side of obelisk after seeing the other three. Is it so granted that Kircher’s magical and strange method to interpret hieroglyphic writing couldn’t permit him to deeply understand the sacred Egyptian writing?

Annunci

Kircher e il mistero del quarto lato dell’Obelisco impossibile da tracciare

L'Obelisco della Minerva

L’Obelisco della Minerva

Alla fine del 1615, Pietro Della Valle, cavaliere e patrizio romano, durante un viaggio in Egitto trova nella città del Cairo un antico vocabolario copto-arabo. Questo vocabolario, secondo le sue parole, era «nascosto tra uomini le cui menti ignoranti erano incapaci di apprezzarlo». Lo riporta a Roma, dove è sicuro sarà un valido aiuto per riscoprire la lingua degli antichi egizi.

A Roma, Nicolaus Fabricius, senatore reale di Aquisgrana, vuole tradurlo in latino: per farlo contatta Athanasius Kircher, suo buon amico. Malgrado la ritrosia iniziale, non sentendosi all’altezza dell’operazione, alla fine egli accetta. Quando poi la notizia della traduzione arriva alle orecchie di Papa Urbano VIII, Kircher è richiamato a Roma per eseguire lì l’operazione.

Malgrado l’autore si auguri nell’introduzione di essersi «acquistato da una posterità riconoscente qualche ringraziamento quando a tempo debito avrà tratto tutti i frutti del nostro lavoro», l’accademia ricorda Kircher solo come aneddoto storico. La sua traduzione dei geroglifici egizi è ritenuta errata e si dovrà attendere la scoperta della Stele di Rosetta nel 1799 da parte dell’esercito napoleonico e il 1821 per un’interpretazione definitiva dei geroglifici ad opera di Jean-François Champollion.

La Stele di Rosetta (British Museum di Londra)

La Stele di Rosetta (British Museum di Londra)

Kircher adottò un metodo di interpretazione dei geroglifici radicalmente diverso da quello ritenuto corretto oggi: Kircher pensava che ogni simbolo racchiudesse in sé una molteplicità infinita di significati, rivelati dalla divinità direttamente a chi li aveva scritti.

Eppure, nel 1665 accade un fatto difficilmente spiegabile con questi presupposti.

Nell’orto dei Padri Dominicani di Santa Maria sopra Minerva viene riportato alla luce un obelisco di piccolo dimensioni. Padre Kircher, direttore all’epoca del vicino Collegio Romano, è naturalmente incuriosito dal ritrovamento ma sta partendo per il suo annuale ritiro spirituale alla Mentorella. Lascia al padre gesuita Giuseppe Petrucci, suo collaboratore personale, il compito di tenerlo informato. Con queste parole padre Petrucci racconta quanto accadde:

“Scavandosi nell’orto dei Reverendi Padri della Minerva, portò il caso che fosse ritrovato un obelisco, il quale quanto appariva inferior nella grandezza a tutti gli altri, altrettanto appariva più perfetto e più intero. Al Padre Atanasio Kircher, competente su queste faccende, fu chiesto che ne desse piena contezza; ma capitava che dovendo compiere la sua annuale missione alla Madonna della Mentorella, lasciò a me l’incarico che, appena fosse stato completamente scoperto, ne inviassi un disegno a Tivoli, dove egli si sarebbe fermato. Accadde che solamente tre lati si potessero disegnare, per cui essendo io impaziente di non ritardare la missione affidata, inviai copia soltanto di quelli. Nella risposta fattami dal Padre, con grande meraviglia di chi vide, e di molte persone di dottrina non ordinaria, mi mandò il quarto lato, disegnato di proprio pugno.

I quattro lati dell'obelisco disegnati da Athanasius Kircher

I quattro lati dell’obelisco disegnati da Athanasius Kircher

 

A vista cotanto inaspettata, stupefatto e curioso corsi subito a vedere se corrispondeva con l’originale, e rinvenni essere il medesimo contenuto, senza segno di variazione alcuna, anzi in quei luoghi done non v’erano scolpite figure, Egli supplì, con espormi ciò che mancava […]”

Kircher riuscì ad immaginare l’iscrizione geroglifica sulla quarta faccia dell’obelisco semplicemente conoscendone le altre tre. Di sicuro Kircher non utilizzava il metodo di Champollion per interpretare i geroglifici. Ma è altrettanto sicuro che il metodo magico, ritenuto dagli storici ‘fantasioso’, utilizzato da Kircher non gli permettesse la piena conoscenza della scrittura sacra egizia?

Papa Alessandro VII Chigi incaricherà Gian Lorenzo Bernini di collocare l’obelisco nella piazza antistante la chiesa di Santa Maria Sopra la Minerva e Athanasius Kircher collaborerà alla progettazione dell’opera.

POOR DEVILS OR GODS OF PAST ASTROLOGICAL AGES

The Mith of Transition from the Age of Taurus to the Age of Aries

The Mith of Achelous , the Bull God, symbol of the age of Taurus (4000 b.C. – 2000 b.C.) defeated by Hercules (the Sun) and the coming of Zeus Ammon, the Ram God (2000 b.C. – 0 C.E.).

The god of the river Achelous which was the greatest, and according to tradition, the most ancient among the rivers of Greece. He with 3000 brother-rivers is described as a son of Oceanus and Thetys (Hes. Theog. 340), or of Oceanus and Gaea, or lastly of Helios and Gaea. (Natal. Com. vii. 2.)

Achelous, the Bull God

Achelous, the Bull God

 

Rising of Sun at Vernal Equinox in Taurus Constellation (4000 b.C. – 2000 b.C.)

 

The origin of the river Achelous is thus described by Servius (ad Virg. Georg. i. 9; Aen. viii. 300): When Achelous on one occasion had lost his daughters, the Sirens, and in his grief invoked his mother Gaea, she received him to her bosom, and on the spot where she received him, she caused the river bearing his name to gush forth. Other accounts about the origin of the river and its name are given by Stephanus of Byzantium, Strabo (x. p. 450), and Plutarch. (De Flum. 22.) Achelous the god was a competitor with Heracles in the suit for Deïaneira, and fought with him for the bride. Achelous was conquered in the contest, but as he possessed the power of assuming various forms, he metamorphosed himself first into a serpent and then into a bull. But in this form too he was conquered by Heracles, and deprived of one of his horns, which however he recovered by giving up the horn of Amalthea. (Ov. Met. ix. 8, &c.; Apollod. i. 8. § 1, ii. 7. § 5.)

Zeus Ammon

Zeus Ammon

 

Rising of Sun at Vernal Equinox in Aries Constellation (2000 b.C. – 0 C.E.)

Hiding The Truth in Plain Sight (“The Vatican Heresy”)

[…] Let me quickly get to the point: it is often stated by historians of art and architecture that the Piazza St. Peter’s at the Vatican was designed to represent “the open arms of Mother Church.” This, in fact, is indeed claimed by Gian Lorenzo Bernini himself, the architect responsible for the design.

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We believe it to be a truth, but not the whole truth. Truth often comes in many layers. Revealing only one layer yet dissimulating another will make this partial truth seem to be something very different indeed. This is why today a person on the stand in a court of law will be sworn in to tell not only the truth, but rather the whole truth. We believe that there is another, far more important layer in which rests the whole truth behind Bernini’s grandiose design. This whole truth he, nonetheless, took to his grave, for it was such an unspeakable truth, such a taboo, such a forbidden fruit in his time that the mere mention of it might have brought down the whole edifice of Mother Church— that is to say, the Vatican itself. Yet the amazing daringness of Bernini’s ploy was to hide the truth in plain sight for all to see. Indeed, so well did he do this that everyone who looked—and there have been millions since—did not see it all.

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And when finally some did see it, so outrageous, so fantastic was its implication that they simply preferred to dismiss it as mere coincidence.

Bernini clearly intended it to be a sort of intellectual time bomb meant to be detonated not in his time but when the time was right, when its revelation would not bring down the Vatican, but do, instead, the opposite. To fully appreciate the magnitude of this revelation, and to make our case worthy of the most serious consideration, we had to undertake a chase across nearly two millennia of history, from Greco-Roman Alexandria to Renaissance Rome, sometimes moving at breakneck speed, making Dan Brown’s Angels & Demons seem like a Sunday stroll in the park. It was a thrilling undertaking and, most of all, an amazing eye-opener. No matter what one may think of it, one thing is certain: Christianity and Western culture will never seem the same again.

Zicari - Bauval

Zicari & Bauval at Piazza St Peter’s

But enough said. The die is cast. You have the evidence in your hands. No need to tarry.

We are ready to present our case . . .

 

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The Jesuit and the Uroboros

Dettaglio dell'obelisco kircheriano per Cristina di Svezia

Detail of Kircher’s obelisk for Christina of Sweden

Detail of the Uroboros on the Obelisk designed by jesuit priest Athanasius Kircher for queen Christina of Sweden (1626-1689) in 1654. “Great Christina, Isis Reborn, erects, delivers and consecrates this obelisk on which the secret marks of Egypt are inscribed.”(‘Visconti’ College’s museum in Rome – Jesuit Collegium Romanum before).

In October 1633 the German Jesuit scholar and Egyptologist Athanasius Kircher, now aged thirty-two, arrived in Rome. Soon after his arrival in Rome, Kircher joined the famous Collegio Romano as a teacher of mathematics, astronomy, and Hebrew. Kircher would become a close friend of Bernini and would collaborate with him on some architectural projects, including a fountain in Piazza Navona involving ancient Egyptian obelisks.

Christina, in 1654, would shock the whole of Protestant Europe by converting to Catholicism, then abdicating and going to Rome to live under the protection of Pope Alexander VII. Christina was a living encyclopedia and, to occult-minded scholars such as Kircher, an incarnation of ‘Divina Sapienza’ (Divine Wisdom). Christina is one of the only two women to be buried in St. Peter’s Basilica at the Vatican.

 

(From “The Vatican Heresy – Bernini and the Building of the Hermetic Temple of the Sun”, 2014)