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The Basilica of Collemaggio Church



At the foot of the Gran Sasso mountain, in the valley of the Aterno river protected by an imposing mountain range, lies the city of Aquila. The city was originally founded by Frederick II, even though its official establishment was ordered by Conrad IV in 1254, after his father’s death in 1250.


One might ask if the secret inspirer of this city was actually a very famous person of the times, a man who was ‘casually’ eliminated from official history. This man was Brother Elias, the successor of Francis of Assisi, who led the Order of Friars Minor Conventual. He was an architect and expert in the alchemic arts and an intimate friend and adviser of both Saint Francis and Frederick II himself, advising him on the construction of castles and churches, indicating the most suitable places, which were often on ancient classical remains, such as the Basilica of Assisi, erected in 1228 to safeguard the body of Saint Francis under the knowledgeable guide of the free masons of the times.[1]


Brother Elias, philosopher, alchemist, astrologer and a master of Ars Regia (Hermetic Royal Art) and the construction of scared buildings, also intervened on Castel del Monte (Castle of the Mount) in Apulia, which was built over an ancient Roman fort, designed by Vitruvius.


After the fall of Pasqua in 1244, the inspirational idea was to make Aquila a spiritual centre of Christianity, just like Jerusalem, of which he reproduced the plan in the most extraordinary manner. 

On 29 August 1294, the anniversary of the beheading of Saint John the Baptist, Pietro Angeleri, who had been living for years as a hermit on Mount Morrone, was chosen for the papal thrown, taking the name of Pope Celestine V, after entering the city of Aquila on the back of a donkey, as Jesus did in Jerusalem.

On 29 August 1294, the anniversary of the beheading of Saint John the Baptist, Pietro Angeleri, who had been living for years as a hermit on Mount Morrone, was chosen for the papal thrown, taking the name of Pope Celestine V, after entering the city of Aquila on the back of a donkey, as Jesus did in Jerusalem.

quila in groppa ad un asino, come Gesù a Gerusalemme.

He accepted and asked to be crowned in the Basilica of Santa Maria di Collemaggio church, which was built while he was still a monk with the technical and financial aid of the Order of the Templar, the greatest exponents of which he met in Leon, during the Council of Pope Gregory X in 1274, where he managed to avoid the suppression announced by his congregation, precisely thanks to the support of the Knights Templar, who offered him hospitality and were often the occult inspirers and financers, of the gothic ‘revolution’.

For the ancient builders, the choice of the site where they built a sacred temple was of extreme importance. It had to have a rich supply of underground water and a specific ‘vibration’, tied to the earth’s magnetism, which concentrates in a particular point. The city of L’Aquila is definitely one of these, being positioned on an energetic line that starts at Giza, passing through Castel del Monte, Aquila, Chartes and Stonehenge, and then all the way to Newfoundland and the Templar. All of the Cistercians knew that the ancient people were aware of these ‘roadways’, and the points, which, on a groundwater level, would guarantee the right energetic impulse for a temple that would convey both religious and scientific messages. This energetic force was provided by the superimposition of the paths of the underground waters that are alternated with aquifers, serving as conductors for the Earth’s energy.

On individualising (as with the Chartres Cathedral in France) a site capable of amplifying the geomagnetic energies (ley lines), also due to the presence of an underground river, with extremely pure and charged waters, and which, after analysis, seems to possess

the same energetic properties of the waters of Lourdes and Međugorje, it was decided to erect a cutting-edge energetic centre, fruit of the studies and research of  some of the best architects, physicists, mathematicians, astrologers and Comacine masters of the ancient Arte Regia tradition.

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Following precise calculations and procedures, and with attention to even the most minute of details (from the shape of the tiles to the octagonal-shaped pillars, to the >888< symbol reproduced on the floor), they used the same techniques and symbolism that can be found at Castel del Monte and the Al-Aqsa Mosque in

Jerusalem that is built over the ancient ruins of Solomon’s Temple.

Indeed, both these buildings are octagonal, which corresponds - as with many of the constructions built by the Cistercians, Frederick and the Templar orders - to the symbol of the resurrection; the rhythm of harmony and happiness that comes from the attainment of Paradise, which can be reached via an energetic bridge that provides passage between the heavens and the Earth. And because the figure eight is of extreme symbolic importance, it is not by chance that the Islamic paradise is octagonal, because the octagon is the intermediate figure between the square of matter and the circle of the spirit.


In Neo-Platonism and Neo-pythagoreanism, whose doctrine influenced Islamic culture, and in turn Christianity, the Earth was believed to have been created by two squares rotating at 45°. This is where the figure eight originates from, and it is one of the key esoteric symbols in art, Christian and Islamic tradition, in so far as it represents ‘the intermediate world’ between the sky and the square mass of the Earth, symbolically marking the point where human manifestation ends, from where it is always possible to depart for the ‘divine level’ towards the infinite, portrayed as a figure eight lying on the ground that is waiting for mankind to put it back in its upright position.


Therefore, these sites were constructed with the aim of creating the perfect forms for the space and the mind, in a relationship between completeness and emptiness, which were supposed to encourage specific interior reactions with the effect of strengthening and potentialising vital processes and energetic-spiritual development,

altering the normal capabilities of the senses and the perception of time and space, allowing one to go beyond the boundaries of existence and interact, through the purified astral body, with the other worlds around us.

Collemaggio was constructed with the same criteria, already experimented in other sites, but it would never have been able to reach its required potential had it not been for the fact that these constructers and modern electronic engineers adopted a number of fundamental and necessary precautions.

Indeed, experience proved how necessary it was to create ‘filters’ capable of absorbing these more subtle energies, which, once they have been ritually consecrated, concentrate in certain places, in order to dose the energy and render it assimilable and humanly sustainable.


A number of images or symbols carved on crucial points of the columns and the floor, as well as ornaments placed in specific places on the walls, served to collect and correctly circulate the telluric energy within and around the site. But these already tried and tested elements in stone, iron or glass were totally unsuitable for supporting the very different and special cosmic energy, which on an atomic level was attracted to and concentrated on those who were inside the Basilica during ceremonies and sacred rites, especially and above all when someone, consciously or unconsciously, decided to walk along the polychrome walkway on the floor and go beyond the seven portals, activating the special electromagnetic circuit.


While at Castel del Monte an octagonal site was built, an example of careful mathematic studies centred around the number eight,
at Collemaggio the symbolic importance of the number eight was represented by six concentric centres and an > 888< symbol. 

The semi-octagonal Basilica, has a rectangular architectural plan that stretches all the way to the apse; a central aisle and two lateral aisles that proceed for the entire length of the Church.

On the right and left of the apse are two chapels that contain the mausoleums of Pope Celestine V and Giovanni Bassando da Besançon.



The central isle is lined by two series of orthogonal columns, as well as two other larger bilobate-shaped columns to the left and right, which fell, together with the roof, during the earthquake on 6 April.

The floor is divided into seven spaces, marked with red lines, beyond which lie six concentric centres that form the >888< symbol.




The arrangement of the corridor, the chromatic superimposition of the pavement and the position of the tiles, which change pattern and shape at the end of each series of orthogonal columns, appear to redesign and trace the position and composition of the underground water table.





A ‘circuit’, which is constantly activated by the energetic currents of the Earth, has been designed on the stone. When a human walks over it, our erect stature acts as an antennae that transmits and receives, creating a perfect bridge between us and the cosmic vibrations, allowing the person who walks over it – if they chose to do so – to proceed on the path to progressive purification.


Indeed, at Collemaggio there is a heliocentric system - equally as effective as today’s superconductors – that is devised in such a manner as to concentrate the biopsychic energy of those who desired to take the path of spirituality, helping them to progressively free themselves from the interior blocks that held them ba

Well, this source is extremely powerful and a unique acceleration centre for human cells, devised to allow anyone who is ready and willing to receive this special and extremely powerful cosmic energy. However, it has been intentionally switched off and closed away in its casket for centuries.



The ceiling has been lowered, the octagonal columns have been covered over, the >888< symbol has been intentionally concealed by the pews, and the labyrinth has been dismantled and partially hidden by Baroque decorations.

It was only in 1970 that the Baroque structure was removed, thanks to the perseverance of fine art conservator, Mr. Moretti, who was forced to suspend the works and died of a broken heart due to the incredible resistance of an ambient that was little inclined to allow the restoration of the original structure.

This clumsy attempt, along with other more recent ones, have all been foiled. Despite disregard for the historic and spiritual importance of the Basilica of Collemaggio, so little known by the public, the church holds secrets that the church of Rome takes good care to conceal, avoiding any diffusion of the images of the ‘labyrinth’, which is always covered by pews, together with many attempts to dismantle it.




One only has to look at the publications provided to the visitors of the Basilica, which show the photographs of the inside of the nave before and after restoration.




Even the films on the net do not pay even the slightest attention to the > 888 < symbol, showing only a very brief glimpse of the labyrinth - some do not even show it at all. It is only by carefully looking through these sites that one finally comes across a photograph that finally clearly shows the three eights, and we can do nothing but thank the author of this web site.


But possibly, the most important secret is hidden and confused with a ceremony, the Pardon, that takes place every year and has assumed a folkloristic character rather than the highly spiritual one that its illustrious and forgotten creator originally intended.



From ‘Heart’ to ‘Heart’

avv.Giovanni Salvati

A man cannot change the world
but he can spread a
message
that can change the world
.