In Search of a Solar Hero

In Search of a Solar Hero “The hero of our time is the man who can reconcile all sides of life in one all-embracing view; wh

Operating as usual

“Si tomamos el ejemplo de una mariposa, entonces el hombre es aproximadamente una oruga. Y la gran mayoría de las personas mueren como 'orugas'. Pero de las masas de orugas emerge constantemente un pequeño porcentaje de seres en transformación. Estos seres en evolución son, para nosotros, personas de mente superior. Podemos saber de su existencia por las huellas de su actividad en la historia, principalmente en el arte y en las religiones.”

– Ouspensky

A letter written by Rodney Collin January 3, 1953

“I remember Ouspensky speaking very interestingly once in New York about sincerity. We think we have only to decide to be and we can be. But sincerity has to be learnt, slowly and painfully. Takes long long time. And when one finds sincerity on one level, one realises that there is another completely different level of sincerity hidden beneath. At Ouspensky's last meetings at Colet Gardens in '47 he reached the deepest level I ever met in living man.”



There are many “I’s” and each “I” has a different wish. Try to verify this. You wish to change, but which part of you has this wish? Many parts of you want many things, but only one part is real. It will be very useful for you to try to be sincere with yourself. Sincerity is the key which will open the door through which you will see your separate parts, and you will see something quite new. You must go on trying to be sincere. Each day you put on a mask, and you must take it off little by little.

~ George Ivanovich Gurdjieff - Георгий Иванович Гурджиев, 1877-1949. Views From the Real World. P 240.

Painting by - Veronica Winters


« Questo sembra il compito precipuo degli uomini predisposti dalla natura superiore ad amare la verità: come hanno tratto vantaggio dalla fatica degli antichi, così debbono dedicare le loro energie ai posteri, affinché questi ultimi abbiano a loro volta di che arricchirsi.
Pertanto non dubiti di essere molto lontano dal proprio dovere chi, istruito nelle dottrine di pubblico interesse, non si cura di dare il suo apporto alla comunità; egli non è infatti “l'albero che, piantato lungo il corso dell'acqua fruttifica nella stagione opportuna”, ma, piuttosto, una perniciosa voragine che inghiotte sempre e non restituisce mai quello che inghiotte. »

Dante Alighieri, “Monarchia”


To marvel at nothing is just about the one and only thing that can make a man happy and keep him that way.


A te minuna de nimic este exact acel lucru și singurul care ne poate face fericiți și să ne mențină astfel.



Η τέταρτη κατάσταση συνειδητότητας στον άνθρωπο, αντιπροσωπεύει µια εντελώς διαφορετική κατάσταση του "είναι".
Είναι αποτέλεσµα εσωτερικής ανάπτυξης και µακρόχρονης και δύσκολης εργασίας πάνω στον εαυτό.

Αλλά η τρίτη κατάσταση συνειδητότητας αποτελεί το φυσικό δικαίωµα του ανθρώπου έτσι όπως είναι, και αν ο άνθρωπος
δεν την κατέχει, αυτό οφείλεται αποκλειστικά στις κακές συνθήκες της ζωής του. Μπορούµε να πούµε, χωρίς καµιά υπερβολή, ότι στην εποχή µας η τρίτη κατάσταση συνειδητότητας δεν εµφανίζεται στον άνθρωπο παρά µόνο πολύ σπάνια, µε τη µορφή αναλαµπών και ότι µπορεί να γίνει περισσότερο ή λιγότερο µόνιµη µέσα του µόνο µε ειδική εκπαίδευση.

Αυτό που πρέπει να χάσει κανείς είναι η φαντασία. Οτιδήποτε είναι πραγματικό δεν αποτελεί εμπόδιο για την αφύπνιση. Είναι τα φανταστικά πράγματα που μας κρατούν κοιμισμένους και πρέπει να τα εγκαταλείψουμε.

Κάτι λείπει από το σύστημα. Εάν ο άνθρωπος είναι γραφτό να θυμάται τον εαυτό του, θα πρέπει να υπήρχε κάποια απλή μέθοδος. Αλλά έχει χαθεί. Δεν μπόρεσα ποτέ να τη βρω. Κάποτε στην Ινδία, άκουσα έναν απόηχο μιας τέτοιας μεθόδου. Αν βρείτε τη μέθοδο τότε ίσως μπορείτε να βρείτε την Πηγή."

⚜️ Πήτερ Ουσπένσκυ


/ Leonardo da Vinci /
"Knowing is not enough; we must apply. Being willing is not enough; we must do."
Leonardo di ser Piero da Vinci was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor and architect. While his fame initially rested on his achievements as a painter, he also became known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and paleontology. Leonardo's genius epitomized the Renaissance humanist ideal, and his collective works compose a contribution to later generations of artists matched only by that of his younger contemporary, Michelangelo. Born out of wedlock to a successful notary and a lower-class woman in, or near, Vinci, he was educated in Florence by the Italian painter and sculptor Andrea del Verrocchio. He began his career in the city, but then spent much time in the service of Ludovico Sforza in Milan."
Born:Leonardo di ser Piero da Vinci, April 15, 1452, (Anchiano?) Vinci, Republic of Florence
Died: May 2, 1519, Clos Lucé, Amboise, Kingdom of France
Education: Studio of Andrea del Verrocchio
Known for: Painting, drawing, engineering, science, sculpture, architecture
Notable work: Virgin of the Rocks (c. 1483–1493), Lady with an Ermine (c. 1489–1491), The Vitruvian Man (c. 1490), The Last Supper (c. 1492–1498), Mona Lisa (c. 1503–1516)
Leonardo Da Vinci (2015). “Thoughts on Art and Life: "Behind the Genius"


“I beg you, to have patience with everything unresolved in your heart and to try to love the questions themselves as if they were locked rooms or books written in a very foreign language. Don’t search for the answers, which could not be given to you now, because you would not be able to live them. And the point is to live everything. Live the questions now. Perhaps then, someday far in the future, you will gradually, without even noticing it, live your way into the answer.”
― Rainer Maria Rilke, Letters to a Young Poet

Art by Jake Baddeley


Today, the word evolution [...] is even distorted into a kind of manufacturer's guarantee that every individual octopus shall one day develop into a Buddha, and that without any effort or intention on their part all men shall inevitably become wise.
This is as fantastic as to believe that by letting his canoe drift down some river, a traveler will inevitably be carried to the summit of the highest mountain. The process of growth is indeed a vast cosmic river, flowing eternally from the Creator. Relying upon its current alone, there is only one direction in which man can go - that is, downwards. For to remount the stream needs a different understanding, a different energy and a different effort.
~Rodney Collin~


You are indeed carrying within yourself the potential to visualize, to design, and to create for yourself an utterly satisfying, joyful, and pure lifestyle. Discipline yourself to attain it, but accept that which comes to you with deep trust, and as long as it comes from your own will, from your own inner need, accept it, and do not hate anything. ~Rainer Maria Rilke

(Book: Letters to a Young Poet


"To me, every hour of the day and night is an unspeakably perfect miracle."
- Walt Whitman


"Cuando estés con otras personas, en el trabajo o en algún otro lugar, présteles toda tu atención. Ya no estarás allí principalmente como persona, sino como campo de conciencia, de Presencia despierta."



" The educated man sees
with both
'heart and mind';
the ignorant sees only
... with eyes. "

- Imam Ali ibn Abi Talib


" The Beloved
is with us
day and night,
O Hafiz;
He is the very life
that flows
.... in our veins."

- Hafez


"The man who never alters his opinions is like standing water, and breeds reptiles of the mind."
- William Blake


Today marks 75 years since Ouspensky’s death 10/02/1947. In honor of this great teacher we share this:

A letter from Rodney Collin, written on August 1, 1953 from the book The Theory of Conscious Harmony

“To smoke or not to smoke can be an inter-
esting experiment. In discovering the enormous power of motor mechanicalness we discover a great secret. At a certain
moment at the time of Ouspensky's death I felt, among many other experiences, that I was like a mechanical toy condemned to go on moving till the spring had run down. Then immobility, death. Moving centre seemed to me to be the root of our mechanicalness, and I realised that all beginning of consciousness depends upon a certain 'stop', as described in In Search of the Miraculous.
At this same time I noticed one day that Ouspensky was showing us an exercise that would demonstrate this mechanicalness, and give us the means of overcoming it. But he did the exercise without words or explanations; it was almost invisible.
The exercise was as follows: One sits comfortably in a chair. Then for a definite time—say half an hour—one moves, slightly
and naturally. But without stopping for a single moment. For example, one puts out one's right hand to take a cigarette, one lights it, crosses one's legs, rubs one's cheek, turns one's head, knocks the ash off the cigarette into the ashtray etc. etc. But all in slow but continuous movement.
After half an hour of this one begins to realise the true nature of movement. And at the end, for a short time, one has the possibility of remaining completely still without any movement at all. From this immobility further realisations can come.”


“Be patient toward all that is unsolved in your heart and try to love the questions themselves, like locked rooms and like books that are now written in a very foreign tongue. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps you will then gradually, without noticing it, live along some distant day into the answer.”

~Rainer Maria Rilke


In 1842, at age 33, Abraham Lincoln sent two letters to the local Springfield newspaper, criticizing a political opponent. Calling the man, among other things, a fool and a liar, he signed the letters “Rebecca.” Lincoln was courting young Mary Todd at the time, and she was aware of Lincoln’s letters. Thinking such a thing to be great fun, Mary began sending her own “Rebecca” letters to the paper, poking fun at the man mercilessly and ridiculing him for being unmarried. In due course the man felt things had gone too far and he stormed into the newspaper office demanding to know if Abraham Lincoln was the author of the letters. When told that the letters had indeed come from Lincoln, the man challenged Lincoln to a duel.

The man Lincoln had been prodding was not a man to be trifled with. James Shields was a fiery-tempered Irishman, who was serving as the Illinois state auditor. He would go on to serve as a general in the Mexican American War (where he was twice wounded) and is the only man in American history to have been elected to the U.S. Senate from three different states. His challenge put Lincoln in a bind. He couldn’t admit to writing the letters Mary Todd had sent, but to pass the blame to a young woman would make him appear to be a coward. So, he reluctantly accepted Shields’ challenge.

As the challenged party, Lincoln got to choose the weapons and set the rules for the duel. Duels were normally fought with pistols, but Lincoln knew that he would likely be killed if he fought Shields with pistols. So instead, he chose broadswords as the weapons, and he set rules that assured he would win the fight. Under Lincoln’s rules, he and Shields were to stand on opposite sides of a board, ten feet from each other. If either man stepped closer than that, the penalty was death. Being seven inches taller than Shields, Lincoln’s rules assured that he would be able to reach Shields with his sword, but that Shields would be unable to touch Lincoln. While Lincoln’s conditions were unsporting, he was within his rights to set them.

Shields saw of course that Lincoln had set conditions designed to make it impossible for Lincoln to lose the fight. But Shields was no coward and on the morning of the duel he arrived ready to go forward, whatever the consequences.

As was the norm in such affairs, the men the combatants had chosen as “seconds” tried to negotiate an honorable resolution before the duel began. Exactly why Shields relented is unclear. By some accounts, while the seconds were negotiating Lincoln reached up and lopped off a large branch of a tree in a single swipe, convincing Shields that he ought to compromise. By other accounts, Lincoln’s second intimated to Shields’s man that Lincoln had been forced into the duel to protect the honor of a young lady, causing Shields to be satisfied with a toned-down apology. Whatever the reason, Lincoln agreed to admit writing the first letter, adding that he never intended to harm Shields’s character, a sort-of apology that Shields accepted. The duel was called off before Lincoln’s long arms had to go into action.

Lincoln later told a confidant that he felt confident he could have disarmed Shields, and that he no intention of killing him. He found the whole episode profoundly embarrassing and for the rest of his life refused to discuss it. When asked by an army officer years later if the rumor that he had once nearly dueled James Shields was true, Lincoln replied that he would not deny it, but that if the officer wished to remain his friend, he would never speak of it again.

Lincoln and Shields patched up their differences and had a cordial relationship afterwards. During the Civil War, Shields was a general in the Federal army and his commander in chief was the man he once nearly fought with broadswords on an island in the Mississippi.

Abraham Lincoln and James Shields met on Bloody Island, Missouri on the morning of September 22, 1842, one hundred eighty years ago today, to fight a duel, which fortunately was averted.


“Whatever you are, be a good one.”
― Abraham Lincoln


'St. Paul Preaching at Athens' by William Blake (1803)

What is astonishing about this image I think are the pulsing lines of light emanating from the column-like figure of Paul at the centre of the scene. I say 'of light' but what makes these lines so unusual is that they are largely black - a very striking blue-black wash that Blake has created here. Especially if you see it on an enlarged, full-screen, version the effect is rather over-powering - a blast of energy and electricity emanating from the central figure, and his preaching.

Perhaps the dark light is appropriate, as Blake had ambivalent feelings towards Paul - responding on the one hand to his mighty rhetoric about the centrality of love and compassion, and of wrestling "not against flesh and blood, but against principalities, against powers" but also highly critical of his (repressive) attitudes towards s*x and the legacy of the 'church militant' that he bequeathed (the "Religion hid in War" that Blake so hated).

The image is also striking not only for the symmetry of the composition - Paul figured as a sort of electrical conductor or transmitter of the Word - but for how he gazes out - not at his audience, but at us. As one commentator noted, "Distinctive of Blake’s style is the hieratic composition and strict frontality of St. Paul as he preaches to the diminished figures below, representing the Ages of Man. Blake focused on the rapt intensity of the apostle’s face and on his arms outstretched in exaltation. His application of stippled watercolor creates an aura of radiating spiritual power around St. Paul."


Fra Angelico, 1395-1400 ca./ 1455
Madonna with Child 1445
Tempera Grassa on panel 71,5 cm x 105 cm
Galleria Sabauda , Turin

This Madonna painted by Beato Angelico looks like an oriental princess, seated on a red cushion embroidered with gold; covered by a blue cloak, lined with green and edged in gold, with soft and elegant folds, with a delicate gesture she holds the baby Jesus, who seems to be made of porcelain as much as she is, combed with curls in the fashion of the fifteenth century dandy. In this painting, which is the reworked central panel of a polyptych, Angelico blends two traditional but different ways of portraying the Virgin: the humility of Mary, seated on the ground, and her royalty, usually represented by a throne, in this case amplified by the architecture of a room that looks like an ancient temple, sumptuously furnished, illuminated from the front by gold - used in profusion, punched and graffitied -, in the background by natural light, which smears in through a window on the left. Here more than anywhere else, Angelico, who was a Dominican friar, his real name was Giovanni da Fiesole, tries to mediate between the most fashionable painting, which made extensive use of gold and ornamentation, and the luminous and perspective novelties of the Renaissance. .


“Let everything happen to you: beauty and terror. Just keep going. No feeling is final.”

“Lasă totul să ți se întâmple: frumusețe și teroare. Doar continuă. Niciun sentiment nu este definitiv.”

Reiner Maria Rilke


Peter Paul Rubens,
Christ's Charge to Peter, c. 1616
Wallace Collection, London







Be the first to know and let us send you an email when In Search of a Solar Hero posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Contact The Museum

Send a message to In Search of a Solar Hero:



Nearby museums


Other History Museums in Edinburgh (show all)

Bents & Stoneyburn Village Project Friends of Macclesfield Silk Heritage Torre Abbey Timezone Tours The Fairground Heritage Trust fifefolkmuseum_official The Regency Cook Canolfan Dreftadaeth Cemaes Heritage Centre