Premise: this article discusses etheric forces, also known as subtle energies. It does not concern tourism or official history.

Aquileia is a small town in Friuli. In ancient times, from Republican Rome until the fall of the Western Empire, it was perhaps the most important cultural and commercial center in the Northeast. Personally, I was surprised by the quantity and remarkable quality of the artifacts it houses. From open-air excavations, where splendid mosaics can still be partially admired, to museums rich in artifacts, statues, jewelry, etc.

When I visit a place so rich in history, especially in the presence of ancient and recent sanctuaries of some importance, I always analyze the environmental ether. I study the so-called subtle energies of the place. I could rely solely on sensations, but a complete measurement allows me to better understand what I am observing and what I can learn.

Let’s start with the Christian Baptistery (see photo). Its environmental ether is completely different from that of the nearby Basilica of Santa Maria Assunta. First of all, what stands out is its octagonal plan. This geometric shape stabilizes and strengthens the ether. But it is not the shape wave (the etheric effect created by the large forms in places) that amazes me. It is the strong resonance of the place with the heart and with feelings that I translate into words as grace and inspiration. I scan the place like a radar. I do not find any entity related to the deceased, masters, or angelic entities. Instead, the presence of a feminine force is palpable. Here I enter the realm of hypotheses. Not being well-versed in Christian matters, I suppose there is a Marian imprint. I try to follow the thread, the trace that rises from the baptistery toward the celestial dimensions. However, it is interrupted at the beginning of the third layer of the first dimension, what others call the Upper Astral. It is an akashic region characterized by elevated feelings.

“What is essential is invisible to the eye,” it is said in The Little Prince. The baptistery, located outside the Basilica and probably no longer in use, carries a heart imprint that elevates the faithful. On the contrary, the highly visible and monumental Basilica, still in use, appears etherically heavily polluted. It is saturated with the ether of the deceased and is decidedly uninspiring. The situation worsens as one approaches the crypt.

Now let’s move on to the archaeological area of the Domus of Tito Macro. It is a true wealthy Roman house, of which some mosaics survive. One in particular (see photo) clearly shows the effect of geometric shapes. This slightly shifts the environmental ether. The same applies to the River Port (see photo), immersed in nature. Here, as in other places, I find nothing except natural etheric forms. Their polarity is quite celestial, but still natural.

We then reach the Roman Forum, the ancient vital center of the city. Here, a suspicion is confirmed. When “scanning” the place, I find numinous, divine traces. In particular, an echo of the Gods Jupiter, Venus, and Juno. My traveling companion also suggests Isis. So, Divine aspects with a distinct feminine polarity.

But the real surprise was in the rich Archaeological Museum of Aquileia. Among statues, mosaics, and bas-reliefs, staying away from the tombstone area (ether of the deceased), right at the beginning of the path, there are stone busts of the Gods on circular frames. Here, I immediately feel something that I cannot immediately define. So, I analyze them one by one. Finally, I observe in Jupiter’s bust the still-present traces of Jupiter’s Divine force. This was the lost Latin art of animation. It consisted of ensuring that a true force of divine nature could dwell in the stone.

Note: To delve deeper into this topic and understand what I am discussing – without misunderstandings – read this series of articles (SORRY ONLY IN ITALIAN USE A TRANSLATION TOOL): LINK 1, LINK 2.

This, in itself, is the small true treasure of Aquileia. The other busts, instead, seem to only resonate with that of Jupiter, but without Numinous (Divine) traces. It appears that they were arranged in two rows, placed on the sides of a path. The eyes of the statues looked directly at those who were at the center of the passage.

And, to understand the clear difference between this practice and a simple thought-form, meaning a programming or intent created with the operator’s will, one can observe and test a black hard stone on the upper floor of the museum. It is possibly a garnet, part of a series of stones with “magical engravings.” If analyzed, one can detect a weak, extremely impure echo of the thought-form that had been placed there.

For me, these five experiences are worth a treasure. With some training in ether perception and measurement, using an adequate sensory map, they allow us to understand many things.