The Mechanics of the Trinity. Part I

Elvis Presley: more than we ever knew…

9th October 2024

The Holy Trinity is an Absolute, perfect, pure, potent and unique, we have not realised how potent or how unique, yet.

The mechanics of this gravitational working pattern are to be found in the presence within certain triangular constructs like the Davidic Star – but not in two dimensions. In the frequencies involved within the planes of the triangles there can exist a defined gravitational pull; at some frequencies there is an absence of it! The pyramids were constructed through an absence of gravity in putting them together, the upward movement could only be made through a force that is anti-gravity, which works, in the right hands, with the most dangerous of energies: that which goes back on itself. Pyramids were also constructed with the use of sound.

We have only to think of the wondrous creations made through the Trinity process to realise that there is a world within them that is not visible. When we see an Egyptian pyramid we see only the top half, the rest, the subterranean, energetic, mirror image, is the design gravitational anchor.

Beneath the Democratic Republic of Congo lies the seat of gravity for the WHOLE of Africa; if we can consider this, then the idea of the anchor below the Pyramids begins to come alive. Whoever made these wonderful triangular structures also put in what could not be seen: the top extends beneath the stone structures so that the shape is mirrored below the surface, energetically. It has recently been discovered that the Great Pyramid at Giza has two planes on its surface joints, planes which can only be seen from the air – the effect is one of it having precisely and invisibly mitred edges, creating no end of possibility in composition.

The first Egyptians knew about Trinitisation, they were highly evolved. The process starts with thought:

When thought is elevated and focus acute, Possibility is all, we are removed from the framework of suspicion of the unseen and into the sublime reality of Potency.

Above a certain frequency the rules of Physics modify (think of electromagnetic plasma) and matter loses its weight and density. If a current is projected towards weighty matter at a certain frequency the former is overcome by the latter and movement is swift. Movement in weightlessness ensues, intention notwithstanding.

Since the weight mass is built in such a way as to disturb the currently perceived laws of Physics, it will have certain other properties, not yet identified by our Science. When we are mature enough to lift ourselves out of the impasse between Science and Spirit, we shall be able to work with this miracle in an everyday and respectful manner.

In structures like the Tetrahedron, a working miracle of triangular possibility exists; but a triangle, even in a complex shape as this latter, is not a Trinity.

The Holy Trinity is an Absolute, perfect, potent and unique, to access this Absolute was in the path of the Renaissance Medici who consciously drew its great energy towards them. The brilliant friend of the Medici, Giovani Pico della Mirandola, was powerful on this head, a scholar and thinker, he realised that the Trinity was about more than the controversy which had surrounded it:

‘…whatever is in any of the worlds is at the same time

contained in each, and there is no one of them in which

is not found whatever is in each of the others.’ [i])

Pico was a Cabalist; he not only taught the Kabbalah but also believed that the world could not go forward in peace until the Jews accepted the Christ Yeshua.

The Chapel of the Magi (Florence, Palazzo Medici Riccardi) arose out of and is dedicated to the Trinity, a concept so important that it caused fierce dissent between the Roman and Greek churches in the mid-fifteenth century. This schism motivated the Council of Florence of 1439 in which Cosimo de’ Medici was instrumental as host and which sparked the Renaissance. It was not simply a question of guarding Florence defensively, because the Council created the crucible for the Renaissance. An Embassy came from Constantinople to the meeting, and they brought with them someone of brilliance and vision, Gemistos Plettone, or Pleton, a Greek man from Mistra and the last known Magus. The Magi knew how to spin frequency at a very high level, and they were frequently killed for this gift. The Christ was killed because He was not only a great leader, teacher, healer and Administrator of Love, He is a Master of Frequency.

The Medici, led by their great father, Cosimo, were given a far-reaching gift of perception beyond the earth planes as they galvanised the Renaissance; they did this through Meditation, Contemplazione, an art-science which necessitates huge focus on and into the Divine if it is to be accurate and potent. The players involved in the founding of that which took place in the purpose-built Chapel of the Magi – a masonry cube within a masonry cube in the Palazzo Medici - were of this lived belief. Those who met there were the brilliant nucleus of the Confraternity of the Star, the Compagnia dei Magi. Cosimo, who had already made preparation for his Chapel through the Convent of San Marco and Benozzo Gozzolì’s painting The Adoration of the Kings, in his cell there, had long been more than an aesthete. The Kings, or Magi, came with more than has been considered: they made sure that every part of the great change of consciousness that was the Renaissance was put together, in the minutiae, like a perfect floor.

In 1462, Cosimo brought into his sphere a devoted priest and scholar, Marsilio Ficino (1433-99); when Plato’s works fell into the former’s hands, he employed the latter to make their first translation – into Latin. At this moment a dear friendship was born between the two men.

As the Medici household grew, Lorenzo de’ Medici took up the baton of his grandfather and the great river of change that was the Renaissance began to flow.

The Compagnia, whose titular head was Lorenzo’s brother, Giuliano, and Marsilio Ficino its actual head, began the dedicated task of teaching that which has still not been considered carefully enough or in proper context.

Giovanni Pico della Mirandola (1463-94) continued this unorthodox work as a man of immense intelligence; he and Ficino were powerful, philosophical underwriters of the Renaissance. Such teaching was in a sense lost or at best put into Christianity’s more obverse misunderstandings about Jesus.

ii)

If the Chapel of the Magi provided a beautiful and secret place for the induction of the Academy members into a precious means of communication with the Divine, then the Star Brethren, seen above, were those who brought the Renaissance into life. Since Contemplazione in its highest form took place in the Chapel, teaching continued at Ficino’s house near to Santa Maria Novella or at the villa that Cosimo had installed him in at Carreggi. The joy brought by the man was indescribable, his garden filled with flowers, fruit and love and his metaphorical garden of students filled with good men like Cristoforo Landino; the poet Angelo Poliziano; Lorenzo de’ Medici and brother Giuliano.

Ficino has been termed a Neo-Platonist and his followers Humanists, but they were mightily not, for they worshipped and conducted themselves within the Holy Spirit of original Christ teaching… and not that which has been decimated too many times to intuit.

Ficino’s focus was, as in the Chapel, the power of The Trinity, for it is the GATEWAY to higher Christ Consciousness. The Chapel was the perfect place of learning, with its absence of natural light, a place in which to learn the dedication and discipline and limitlessnes of Contemplazione. Those who had the privilege to learn with Ficino brought their hearts and became their hearts.

Cristina Acidini Luchinat was the Chapel of the Magi’s curator and renovator in the 1990s and she discovered a marble altar stone with the word ‘saghiata’ engraved upon it. Referring to this word, from the Mugello dialect of Florence, the Dottore realised that its modern equivalent would be saglire, ‘to rise up’. These words were not understood within the context of the Chapel at the time, but in a sacred place dedicated to the Trinity and filled with exponents of an equally sacred practice of constant elevation of their consciousness, such words are perfect. The fact that the whole process of elevation, made beneath the umbrella of the Renaissance and the greatest goal of the Trinity, only compounds such a view.

Every part of the beautifully decorated Chapel is explicit to the content of the teaching of The Way, in which the pilgrims walk a difficult path.

The warning above the chapel door is clear:

‘Do not set foot here, O profane crowd.’

That the Academy required its members to find out what Love is; to embody it; to spread that Love worldwide and to clear all detritus from their hearts along the Way, is as Christian as the original Christ message…

In orthodox Christianity the Three are a union of Father, Son and Holy Spirit, in the Christian liturgy the latter is referred to as masculine. In the focus of the Compagnia dei Magi, however, the fusion is one of Father and Son, but the Spirit is feminine, the Sacred Shekinah Presence, the great Female Progenitor. This sacred Feminine encompasses all aspects of Beauty, the dynamo of ‘Three in One-ness’, the dynamic weaving between the Godhead and us. This is what Pico della Mirandola communicated.

Through the Trinity each part of the whole may be accessed through appeal to one part of it, this is a distinguishing feature, one that creates inseparability between man and Love: HERE is All CONNECTION.

i) Giovanni Pico della Mirandola, Heptaplus, trans. by Douglas Carmichael in G. Pico della Mirandola, On the Dignity of Man, ed. Charles Glenn Wallis (The Bobbs-Merrill Company Inc.: New York, 1965) p. 77.
ii) The Chapel of the Magi: The Frescoes of Benozzo Gozzoli. [Gozzoli, Benozzo] Luchinat, Cristina Acidini, ed. ISBN 13: 9780500236918. Language: English, is the source of my illustration here.