Archangel Michael

Amen exposes the foundation of all religious myths and conspiracy theories that are based on the existence of a global and Divine Plan for mankind. Amen reveals the truth about the Knights Templar, the Baphomet, Jesus, the Great Mother, the Dragons and the Grail Bloodline.

In wandering my internal "alleyways" I once found myself in a cardboard-box factory of old Tilly-sur-Seulles, a bit of dust on the worn floorboards, and an interesting array of consecrated "hosts" with blood-dappled sigils, affixed to blue silk, near a window open to a very tall elm tree. "The Oratory in Eugene Vintras' factory!" I recognized with surprise — intrigued that I had landed there, in view of the actual TREE where his predicted Madonna had appeared in Her spangled-blue belt upon a pink cloud. Of course, Eugene's Saint Michael ALSO first knocked on his door in this honest workaday environment; a rather downcast old man, curiously confiding, "I am very TIRED, everywhere I present myself, they look at me with

Now, in the etheric human heart, Michael finds his dwelling place, and unites in the human heart with the indwelling ‘I’ of Christ. Heavenly-earthly fulfilment and joy are experienced when this meeting commences, to use rather trivial earthly words, because Michael and Christ were separated from each other after the Christ left the sun before the Mystery of Golgotha. Christ has lived on earth since Golgotha and Michael remained in the sun until the end of the nineteenth century, when he began his descent to earth to fulfil his role in his new age. When human beings meet the etheric Christ and receive the ‘I’ of Christ into their hearts through the light of the modern Grail, spiritual science, they invite Michael to dwell in the sun forces of their hearts as well, and the two cosmic sun beings meet again—on earth—for the first time since their separation.

Epigraphic as well as archaeological evidence testify to the dangers involved in rounding cape Malea , not to mention a number of miscellaneous sources from different times. This nautical fact resulted in a rich cultic and literary tradition, which appears to be well developed as early as in Homer: in the Odyssey, as well as in other ancient sources, cape Malea seems to work like Alice's tiny door. The unsuccessful attempt to round the dangerous cape suddenly triggers a series of adventures often mapped on a fantastic or magical geography, with an episode of divine revelation occurring right at the centre of a marine wonderland. This is the case with Homer's Odysseus and Menelaus, as well as with Jason, the first captain ever, as discussed by Herodotus (4.179). These stories seem to be connected to some kind of archetypal narrative pattern, surfacing over and over again in ancient sources, whereby the successful rounding of the cape may result in destruction (cf. the story of Agamemnon) whereas unsuccessful attempts bring about ultimate salvation through some kind of divine experience (cf. Jason, Odysseus, Menelaus, Aeneas and others).
This narrative pattern has also a cultic dimension, in that the cape, as I argue, is associated with divinatory deities such as Silenus and Apollo. The reconstruction of this cultural background, in turn, allows one to understand an exceptionally rich, if underexplored, literary tradition, which includes famous poems such as Virgil's Aeneid as well as little known texts, such as, for example, an elegy by the 5th century poet and sophist Evenus of Parus . A number of other literary texts, both in prose and in verse, reveal new meanings in the light of this tradition, and in turn cast new light on the tradition itself: these include Philostratus' Life of Apollonius of Tiana, Heliodorus' Aethiopian Stories and especially the anonymous poem known as Orphic Argonautica .
    The concluding section of the paper explores later legends and folklore related to Cape Malea, which became a cult site devoted to Archangel Michael and was called "Ali di San Michele". A number of data suggest that pagan and Christian cults, under certain respects, form an intriguing continuum.

Healing springs presented a special problem in the Christianization of the Roman Empire. As pagan sanctuaries, these springs required a Christian response, but they could not be smashed like idols, dismantled like temples, or cut down like holy trees. How did the Christians deal with the pagan legacy of spring sanctuaries? An answer is provided by two case studies recently investigated through archaeological fieldwork, one at Miletus, on the west coast of Asia Minor, the other at Germia, on the central Anatolian High Plateau. The former was closed in late antiquity, whilst the latter was relocated and prospered throughout the Byzantine period.
Their contrasting fates confirm, as is argued in parts one and two of the paper, that the pagan legacy was considered a problem. At first glance, the Christian strategies seem to be informed by the strictest separation of the pagan and Christian. Only when the enigmatic figure of the archangel Michael is taken into consideration in part three of the paper does it become apparent that some Christian healing cults may in fact have emanated directly from or developed in close analogy to their pagan predecessors. Thus, St. Michael seems to have been a particularly popular dedicatee of healing springs in Anatolia, where angels had already been invoked in antiquity, leaving the Christian archangel to appear as a credible agent for the unbroken continuation of healing cults.

This is the first in a series of articles that addresses what is necessary for the development of a new community of the Grail, a spiritual knighthood such as that pointed to by both Rudolf Steiner and Valentin Tomberg. Such a community would be the guardians of modern grail wisdom both protecting and sharing such knowledge under the guidance of the modern time spirit. This article seeks to enumerate the prerequisites for spiritual knighthood exploring the idea that its members must "remain true to the spirit" remaining independent of teachers and teachings, of groups and organizations by rising to independent thinking that is social nevertheless and based on a profound inner knowledge of the Christ.

This fourth in a series of articles seeking a better knowledge of the Archangel Michael will be devoted exclusively to the elusive imperative being taught in the school of Michael in our time: to free thought from language.  All of the studies we have taken up in the last three articles have been presented with the intention of cutting through the natural human tendency to trivialize spiritual matters. When we approach a topic from an overly abstract point of view without concretizing our ideas by bringing them down to earth, we trivialize. When our studies survey spiritual scientific ideas handling those ideas with only earthly sentiments and logic, we also trivialize. In both cases we fail to enliven and spiritualize concepts and therefore fail to address our originality and authenticity that can and ought to be developed in the present age of Michael, in which our own independent, spiritualized, thinking and judgment should guide us to a knowledge of truth in reality. The topic of our present study, which is how to develop the ability to free our thinking from language, is presented as a path to authenticity and as a bulwark against trivialization. It is also presented as an impetus towards the collaboration in spiritual work that must begin to develop in our time to produce the universal spiritual understanding that will culminate in the middle of the sixth cultural epoch.

A document from the early Gnostic monks' era of Christianity, written right after the book of Revelations in AD 78. The Coptic month of Hathor, named after the consort of the Egyptian sun god, "the Golden One", is basically the month of November. The 12th day of Hathor corresponds to November 8th.

The book appears to correspond with chapter 4 of the book of Revelation.

In this fifth in a series of articles in quest of a better knowledge of the Archangel Michael we will leave off, for the time being, discussing the imperatives that students of the Michael School seek to carry out. In the previous four articles we covered: questioning or what Rudolf Steiner called the “Parsifal Mood,” cosmopolitanism, universal individualism, seeing the highest in the other, fashioning human intelligence from cosmic intelligence, Michael’s silence, spiritualizing our knowledge of space, and lastly, freeing thought from language. Instead, we will seek here to penetrate the meaning and purpose of the sword of Michael and discover how it is that we can find, forge, and wield the sword ourselves.

In this present exploration we will plunge deeper into the question signified in the formula of Sophia over Michael times Christ equals Community; we will look into “the circle of the new spiritual knighthood” that Tomberg alludes to. Perhaps it is obvious, but we will say it nevertheless:  the circle he is referring to is not the sort of circle that can be defined succinctly nor clearly (that is scientifically). Were that the case, one might presume to have an answer of a few sentences—such as a geometer might give to describe a circle. On the contrary, this circle is an Arcanum—a subject of study and meditation that has no finite conclusion. Knowledge of the circle can only be elaborated as an activity, a living force. It must unfold for each individual like a memory that dawns upon one as a timeless, self-evident fact that previously remained hidden, but that when apprehended seems as if one always knew it to be true at some level. Only knowledge that arises for us like a memory can serve as building blocks to an understanding of the lofty idea of a grail and a knighthood devoted to it. In seeking knowledge we need to be dealing with concepts and pictures, but knowledge of the sort we are seeking is deeper than concepts and pictures. So what will be presented here may be considered only a slight nudge in the direction of understanding a vast and unfathomable subject; it will consist of concepts and pictures but also serve as a stimulus to activities and further research by my readers.

Part III of this series, subtitled Spiritualizing the Knowledge of Space, addresses the admonition given my Rudolf Steiner in his last address wherein he encourages us to take up the Michael Power and the Michael Will to penetrate the whole of life to meet the challenges of our time. The crux of the matter revolves around puzzling out the enigmatic statement of Gurnemanz to Parsifal taken from Wagner's opera libretto for Parsifal, in which he characterizes the environs of the grail castle: "You see, my son, here time becomes space." Penetrating to the meaning of time as it is used in this context we see that it refers to a quite particular disposition of knowledge to the aspiring inititiate that comes by way of an actual meeting with the Time Spirit himself, Archangel Michael.

I found myself facing this question at the beginning of my 20’, after the Christ experience, when I began to study anthroposophy. This question became my intensive concern: how does the etheric Christ enter anthroposophy? The new Damascus event, about which Rudolf Steiner spoke, was a fact of experience. But how can this be integrated with anthroposophy? The Christ experience without spiritual science, remains a personal experience. Anthroposophy without the Christ impulse remains lifeless body of knowledge. Both need each other. Therefore, I dedicate the first part of my spiritual life, unite wed them together.

‘The human being Anthroposophia’ is, therefore, the sister of the divine-human child born of the marriage of Christ and Sophia, officiated by Michael, as the high priest of Christ, actualized through the deeds of freedom and love inspired by the Philosophy of Freedom. We participate in this marriage, because the indwelling ‘I’ of Christ, active in our spiritualized ‘I’, is the elder brother of Anthroposophia, and both live together creatively and joyfully in so far as we make freedom and love real in our physical life. As Rudolf Steiner said to W. J. Stein in The Hague in 1922, ‘Anthroposophia is a human being. She is that human being, created out of the deed of freedom.’...

In a previous article, Part I of Archangel Michael: How Can We Know Him, we examined various aspects of the being sometimes called The Fiery Thought King of the Universe, in an attempt to grasp his nature and know him ourselves. Our discussions were aimed at bringing abstract definitions and descriptions down to earth showing how we might recognize the working of this lofty being in everyday life. In Part II we will continue our investigation with the question: why is it in our time that Archangel Michael remains silent?  We will be inquiring into what we might call the word-less aspect of the activity of the being of Michael. Contrary to what we might think, addressing the word-less requires a rather convoluted path of words since we must overcome what is ordinary in our language, a language that is best suited to the sense world around us, to arrive at a spiritual understanding. Although a more direct path can be taken through Art—such as what can be expressed succinctly in a poem, for instance, in taking a scientific approach to what typically defies definition one must deal with the convolutions of the human thinking process, in order to become aware of and by-pass the many obstacles that lie on the path to spiritual knowledge, so that we may reach our goal.

Archangel Michael and Emperor Paul I:

The legend about appearance of archangel Michael in St. Petersburg in 1796 has the nearest analogies among European medieval narratives and first of all - in the tale, which is connected with the Mont-Saint-Michel abbey. Representation of this tale by the Russian emperor Paul I was not a simple adoption of a plot from European Christian folklore. The guard, who is mentioned in the Petersburgian legend as a visionary, was a real person and thus he took some part in formation of archangel Michael’s cult by Paul I. Probably in the primary report of that guard the identification of an apparition was absent and Paul identified it himself on the base of European narratives. Further development of the imperial cult of archangel Michael during the reign of Paul I determined the choice of the name for his youngest son in 1798.

When we speak about the present Christ experience to the learned ‘Pharisees and doctors of spiritual science’, we find ourselves in the same situation of Paul, when he spoke to the Pharisees in Jerusalem and the philosophers in Athens. A century ago, modern spiritual science was given to humanity to prepare the Second Coming, as in the time of Christ’s first coming Jerusalem and Athens prepared the first coming. And yet, when we speak 2000 years after Paul about the modern Damascus event, a whole century after the death of Rudolf Steiner, we find very little understanding, not to mention fierce opposition. We realize that the living Christ is as unknown today as He was to the people of ancient Greek and Judea in the time of Jesus and Paul.

‘Out of the dark- gloomy foundations of the Cosmic mysteries, will come forth the figure of Christ Jesus, which will draw near to us and give us the strength and force in which we shall then live. The Christ will guide us, standing beside us as a brother, so that our hearts and souls may be strong enough to grow up to the necessary level of the tasks awaiting humanity in its further development.’

On the one hand we might think it presumptuous to recommend a conscious relationship with such an exalted being as an Archangel as the title suggests. But on the other hand our own thoughts are something with which we are intimately familiar, and the fact that the being who has been called The Fiery Thought King of the Universe weaves in and out of our thought-world might make a relationship with him not quite so difficult to imagine. As is often the case, once we begin to explore something new and start to gather concepts or inner pictures connected to it, we discover facts with which we already have a certain familiarity, and are thus able to find a certain foothold on our new path of exploration. So the natural thing would be to investigate some of the facts that spiritual science presents us with concerning the being we usually call Archangel Michael in an effort to begin, or to further, our conscious connection with him. My intention in writing this series of articles is not to be comprehensive, dealing in depth with the multitude of aspects that might be noted in connection with the being of Michael (that would take many books), but to explore just a few salient points, each in a series of articles on the subject, in a lively manner that may stimulate us to a fresh awareness and further exploration. I expect much of this to be familiar to those who are students of spiritual science, and I offer it simply as a reflection aimed to stimulate and enliven our thinking.

The paintings on the south aisle of Santa Maria of Taüll located in the second bay, just after the
bell tower, concentrate several themes related to the Eucharist : the appearing of Gabriel to
Zechariah, the Divine Lamb, a nimbed figure dressed in liturgical garments and two fish flanking a
cross. The first theme is particularly significant since it includes two clues that clarify the thinking
of the designer : a chalice stands on the altar and it is the archangel who holds the censer and not
the father of John the Baptist.
As in several other Catalan churches, it is therefore the censing of the Oblates that refers to the
sacrifice of the Mass. We can therefore assume that an altar was erected near these images and
that it was dedicated to the angels, because the paintings above the appearing of Gabriel represent
warrior angels and that this scene is adjacent to the bell tower.
As in many elevated places of worship dedicated to Saint Michael or to the angels, two themes have
therefore been connected with these winged beings. There are consequently high probabilities that
the singular iconographic program of Taüll was intended to accompany the cult of the angels
celebrated in the nave, in the tower or in both places.

‘The secret of esoteric Christianity: the assimilation of death into life’, which was Paul’s most significant discovery 2000 years ago, is also the fundamental discovery made in the present etheric Christ experience. Overcoming the death forces inherent in our modern Ahrimanic intellect is indeed the starting point for the knowledge drama of the Second Coming, presented in chapter 5 of the New Experience of the Supersensible, outlined below. And the source of the forces of resurrection that make the overcoming of death possible, is found in the appearance, words, and deeds of the etheric Christ. Therefore, this is also the source of our search for a ‘Pauline method’ to bring the present Christ event into spiritual science. For this purpose, we must direct our observation, as Paul did, to the being of Christ Himself.

THE RIBES CANOPY: A PICTORIAL INCUNABULUM FROM THE RIPOLL WORKSHOP

The Altar Canopy of Ribes is one of the earliest examples of Romanesque panel painting in Catalonia and is considered by most scholars show an extraordinary mastery of the technique. The master who painted this work exhibits such an understanding of the practice of manuscript illumination that he must have been trained in the medium, as can be seen in the use of a variety of expensive pigments in quantity, such as lapis lazuli, and in his particular interest in creating shining colours. In addition, the pictorial and thematic composition of the paintings is comparable (in terms of style, iconography and calligraphy) to 11th and 12th-century Catalan illumination, especially with manuscripts made in the scriptorium of Ripoll, such as the Rodes Bible (Paris, BN, Ms. 6, vol. I) or a copy of Saint Paul’s Epistles (Città del Vaticano, ms. 5730).  For that reason, it is very likely that the Canopy of Ribes was produced by a large panel-painting workshop located in the abbey of Ripoll in the 12th century and run by cleric-artists. 

Its provenance from the church of Santa Maria de Ribes de Fresser (El Ripollès) has been always controversial. Nevertheless, it can be argued that it was painted in the period (1119 to 1134), during which Guillem de Salsa claimed the County of Cerdanya, when Ribes acted as a stronghold within his territory. Although this artwork is today fragmentary (only 60% of the ceiling panel of a ciborium is conserved), it is possible to reconstruct its original iconographical programme. It consisted of seven or eight archangels accompanying Christ, which might be interpreted as a Glorification of the Lord with his heavenly hosts. This subject, known as a Synaxis of Archangels (or Angels) is related, though the captions, to both Genesis and the Apocalypse.

""English Summary.
This study deals with a topic that is not sufficiently studied in Byzantine iconography, the Assembly of the Archangels. The first part of it gives a detailed list of monuments that involve the representation of the Assembly, which are divided into two different cycles. The first cycle regards the monuments where the depiction is placed among the narrative cycle of the miracles of the Archangels and consists of twenty-one monuments. The second cycle regards the monuments in which pictorial representation is part of the program as an independent and single scene, without being part of an iconographic cycle. In this case they were located sixteen examples. The second part of this study examines initially the sources and the origin of the subject, which is part of an old occult literary tradition, entitled Revelation of Moses. Afterwards they are analyzed the individual features that are composing the representation, which are the Imago Clipeata, Christ Emmanuel and the court costume of Archangels. All these are linked together through the fermentation taking place during the turbulent period of iconoclasm, after which we believe that takes shape the iconographical subject of the Assembly of the Archangels. In the relative with the Triumph of Orthodoxy chapter, it becomes effort to parallel the subject of the Assembly of the Archangels, according to which the Archangels stand paraded round the Imago Clipeata with Christ Emmanuel, with a scene of court etiquette where senior eunuchs spatharokouvikoularioi stand paraded round himself the Byzantine emperor. It is becoming an attempt to compare an established ritual of the official imperial standard with a religious scene, that of the Assembly of the Archangels, according to an argumentation that is discussed in the relevant chapter. In the next chapter are analyzed the two cycles within which we meet the subject of the Assembly and are pointed out certain representations that constitute iconographical exceptions.The most important of these are the depictions of St. Mark's in Venice, the church of Agia Triada in Kranidi of Argolida, the Saviour Christ in Veria, the church of the Archangels in Desfina and the temple of Christ the Saviour in Calendžixa Georgia. Finally follow the conclusions and annex with textual and literary references on the origin of the sublect. The study is accompanied by 66 tables with drawings, photographs and representations of the monuments that are examined. ""

32 Messages from Mary, 20 years before Medjugorje.

The following lines were penned by religious Sister, Mary Ephrem (Mildred Neuzil), from her cloister cell. She was professed as a religious Christian in 1933. Exteriorly she was much like any other Sister in the Community, trying to be faithful to the Rule and the religious practices of the Community. She received her assignments to work in various houses, mostly in domestic work.

From 1951 to 1954 she taught kindergarten classes in a parish school and enjoyed working with the little ones. About 1938 she began to have what seemed like mystical experiences. They may be described as flights of the spirit, interior locutions, etc. Having these did not disturb nor overawe her in any way. In fact, by her own admission she thought they were a common thing to all religious people.

Juan Eusebio Nieremberg glosó una historia legendaria de un rey Dacio en De la devoción y patrocinio de san Miguel (Madrid, 1643), cuya fuente original se halla en el Llibre dels àngels de Francesc Eiximenis. La historia aparecerá en la Nueva España en una edición pirata. Al texto del jesuita se le unirá una tradición textual hagiográfica postridentina de gran aceptación trasatlántica en donde también se desarrolla el imaginario de lo transilvano y lo húngaro, tal y como se observa en las inserciones de santos oriundos de ese territorio europeo en obras como el Flos sanctorum (1599-1609) de Pedro de Ribadeneira y en Ideas de virtud en algunos claros varones de la Compañía de Jesús (1643-1667), también de Nieremberg. Así pues, la presencia del exotismo de lo transilvano y lo húngaro ––territorios propicios para la recreación literaria del triunfo del catolicismo sobre los infieles–– se infiltrará y formará parte del imaginario de la élite intelectual jesuita criolla de la Nueva España y sus intereses locales de construir y proponer un territorio novohispano tan digno de santidad como el territorio europeo. Como ejemplo de esta cuestión se revisará el caso de la Narración de la maravillosa aparición que hizo el arcángel san Miguel (Sevilla, 1692) de Francisco de Florencia, obra inspirada en la mencionada obra de Nieremberg de 1643.

The present study analyses in detail the iconographical cycle of the Archangels from the early 18th century Stavropoleos Monastery in Bucharest. It identifies as literary source of the iconographical program a chapter of the Θησαυρóς by Damaskinos Studitis.

Piercing the Veil of Language: How to Achieve Intuitive Knowledge in Meditative Reading, Part I, is the first of two articles, in which a groundwork is laid upon which intuitive knowledge may be achieved.

Two prerequisites are discussed: a courage to face ambiguity, paradoxes and the like; and the ability to make a distinction between merely abstract ideas, what often masquerades as higher perception, and the "real thing."

Following this, eight suggestions are offered towards understanding what meditative reading involves.

The conversion of the Nubian Kingdoms, by the missions sent from
Constantinople in the sixth century, was followed by Byzantine influence on Nubian art. One of the most obvious examples of this process was representing archangels dressed in loroi. This paper aims to present the evolution of loroi in Nubian art. In Byzantium, they were ceremonial stoles worn on special occasions by the emperors or the highest dignitaries. The archangels were also clad in loroi, acting as high officials at the celestial court. Interestingly, loroi were adopted only for the images of archangels in Nubia, not for the images of Nubian kings. At the end of the 10th century, the lower end of the loroi was expanded to a broader segment resembling the Byzantine thorakion, typical of female images. This could have added splendor to their garments, but could it have also highlighted the vague gender of the archangels?

This essay analyses a number of early Spanish representations of purgatory, focusing on the devotional and intercessory concerns of makers and viewers. As I argue, within the elaborate “accountancy of the afterlife”, the cult of the saints could operate as a crucial circuit breaker, a way of getting out of jail free. I explore how this was believed to work by examining representations of souls being liberated from purgatory. These include one of the earliest monumental depictions of purgatory in the Iberian peninsula, in Salamanca cathedral (1342), along with 14th- and 15th-century liturgical manuscripts and panel paintings featuring a saintly intercessor--the archangel Michael (Elne, Cruilles , Seu d’Urgell, Terrassa) or Nicholas of Tolentino (Miralles). This analysis sheds light on the differing agendas of angelic and saintly cult.

According to Pseudo-Dionysius Areopagite, archangels occupied the eighth place in the nine-orders celestial hierarchy. This low position was due to the fact that as intermediaries between God and human beings, they were closer to the earth then others  (appart from angels).
However, in Nubia archangel Michael took a towering place enjoying an enormous veneration. He was the Archistrategos and the governor of the heavens, protecting not only the individual human beings, but the whole nation.
Many aspects of his activities show that he was treated as the Old Testament prefigure of Christ. For example, his mission of saving the Three Youths from the fiery flames, was the announcement of the Anastasis.
The special position of Michael was underlined in some images , e.g. the painting  of his coronation by the Holy Trinity after defeating of Mastema (in the Northwest Annex of the Monastery on Kom H in Old Dongola). As the tamer of Mastema, Archangel Michael became the protector of the mankind against demons.
The purpose of my speech is to present these Nubian paintings in which the high position of the Archangel Michael is particularly exposed. I would also try to define the reasons for this phenomenon, among each there were: the influence of the local pre-Christian iconography on Nubian mediaeval art, the apocryphal sources and the  mentality of the Nubians, who created their own system of the celestial hierarchy. This mentality of people living under constant fear of evil forces demanded creating a powerful protector in their close surroundings.

The Nativity scene from the Faras Cathedral is based on the principles of the ideological hierarchy.
It concerns the celestial hierarchy as well. Several angels and three archangels are presented in this scene: Michael, Gabriel and Raphael. The function of each of them is underlined by their clothes and attributes. Archangels are presented with bigger splendour than the average angels. Therefore it seems that each figure in this scene has a clearly defined position in the celestial hierarchy.

A notre époque, le rythme de vie est de plus en plus e réné, stressant, déstabilisant. La force de Michaël vous permettra de trouver un équilibre dans votre vie quotidienne, de vous ressourcer, de renouer le contact avec votre âme. Découvrez la valeur d'une tradition millénaire durant 4 jours inoubliables. « Ce n'est pas pour moi ! » Cette Sagesse est accessible à tous et apporte une grande force, une stabilité et favorise la chance, le bien-être, la protection au quotidien. 4 fois par an, durant 4 jours, les Esséniens et leurs amis se réunissent pour vivre l'année au rythme des saisons et des intelligences sacrées qui la régissent. Nous vous invitons à goûter des moments d'échanges authen-tiques, à pro ter de techniques qui enrichiront votre vie tout en-tière, à pro ter de méthodes ancestrales adaptées à notre époque moderne, à vivre la puissance de l'énergie des Archanges et des esprits de la Nature. La Grande Fête de l'automne est faite pour vous ! Les 7 bonnes raisons de venir nous rencontrer. Ces 4 jours vous apporteront une force, une clarté, un enthousiasme dans votre vie. Vous pourrez ainsi : • Equilibrer votre vie intérieure personnelle et spirituelle. • A ronter votre quotidien avec plus de stabilité et de maîtrise. • Découvrir des techniques pratiques pour renouer avec vous-même et vos aspirations profondes. • Apprendre à vivre réellement avec votre âme. • Développer la concentration, le discernement et la détermination pour atteindre vos objectifs. • Donner un sens à votre vie en défendant un idéal supérieur. • Harmoniser votre vie jusque dans le corps, l'âme et l'esprit. « C'est trop cher ! » Pour vous une o re découverte exceptionnelle : 270 euros* tout compris (hébergement en gestion libre) pour les 4 jours de séminaire dans un cadre agréable et chaleureux Il su t de nous contacter au : +41(0)797 107 770 pour la Suisse, +33(0)633 729 199 ou +33(0)612 559 182 pour l'Europe et par mail à contact@essenia-europe.org. Nous répondrons avec plaisir à toutes vos demandes ou questions. 4 fois par an, durant 4 jours, les Esséniens et leurs amis se réunissent pour vivre l'année au rythme des saisons et des intelligences sacrées qui la régissent. Nous vous invitons à goûter des moments d'échanges authen-tiques, à pro ter de techniques qui enrichiront votre vie tout en-tière, à pro ter de méthodes ancestrales adaptées à notre époque moderne, à vivre la puissance de l'énergie des Archanges et des esprits de la Nature. La Grande Fête de l'automne est faite pour vous ! Il su t de nous contacter au : +41(0)797 107 770 pour la Suisse, +33(0)633 729 199 ou +33(0)612 559 182 pour l'Europe et par mail à contact@essenia-europe.org. Nous répondrons avec plaisir à toutes vos demandes ou questions. La Ronde des Archanges, ce n'est vraiment pas compliqué… Comprenant les conférences, les chants, les danses, les rituels de protection, les temps de méditation autour de la présence sacrée de l' Archange Michaël, les moments de rencontre et de convivialité et l'hébergement en gestion libre. Les clés de la Maîtrise D u 0 3 a u 0 7 O c t o b r e e n E s p a g n e à 1 h d e l a f r o n t i è r e f r a n ç a i s e * Offre valable uniquement pour une première participation à un séminaire avec Olivier Manitara. Ce prix comprend la participation ainsi que l'hébergement en gestion libre. Pour plus de renseignements : www.Nation-Essenienne.org • www.Archange-Michael.com

Une des spécificités de l'art sacré colonial tient à la fréquence des représentations angéliques. Dans l'ancien Empire des Indes, les anges furent légions. Ces êtres qui avaient peuplé la peinture ou la sculpture espagnole colonisèrent les représentations du Nouveau Monde, recouvrirent les voûtes des églises coloniales, campèrent à l'entrée des églises et se postèrent sur les autels. Innombrables sont les sculptures de Saint Michel ou les portraits d'archanges, dans les lieux sacrés comme dans les demeures privées. Merveilleux angélique à l' image d'un quotidien que la religion disciplinait. L'audience de Quito fut peut-être un cas extrême de ce que Bachelard aurait nommé « le complexe de l'aile » : ce privilège n'y appartenait plus aux seuls anges. Les saints, Saint Dominique, Saint François, mais aussi la Vierge, y devinrent des créatures ailées. L'extraordinaire diffusion, à Quito, et ailleurs, des tableaux et sculptures de Vierges apocalyptiques témoigne de cette particularité. Et souvent, face au saint, ou à la Purísima, comme leur pendant inversé, une créature monstrueuse, le dragon, simple serpent ou hydre puissante, essayait de défier l'ordre céleste. C'est le lien entre ce monstrueux satanique et le merveilleux ailé que nous interrogerons ici. Nous reviendrons d'abord sur la merveille et le monstre chrétiens, interrogerons la validité de ces concepts pour des civilisations non occidentales et essaierons de comprendre la nature et le rôle du merveilleux que les peintres ou les imagineros 1 de l'École quiteña conçurent entre la fin du XVII e siècle et la première moitié du XVIII e .

Peter Dinzelbacher: Vision und Magie. Religiöses Erleben im Mittelalter
Paderborn: Schöningh (Brill) 2019, 221 S., Abb., Register ---
The soberly arguing medievalist Dinzelbacher (University of Vienna) emphasizes that it is often not easy to distinguish disease phenomena from authentic religious experience. The teaching authority of the church, independently thinking theologians and philosophers, physicians and psychologists, but also artists and poets have dealt with these phenomena in many ways. Peter Dinzelbacher nevertheless pleads surprisingly strongly for reading a large part of medieval mysticism and visionary experiences as a kind of hallucination, delusion and spiritual confusion. The author does not hide the often creative and productive nature of many mystics. Obviously, psychopathological interpretations in the sense of a distanced scientific approach do not reach a more mental understanding of reality that appears here. Mystics of all times and all religious traditions have expressed through their soul experiences a deepened spiritual presentiment of a universal oneness that even visions only imperfectly reflect. Thus, Dinzelbacher succeeded in presenting the fascinating variety and the drama of visionary experiences in an exciting way, but mystical dreamers and visionaries remain inwardly far from him.