Afterword
At the present time, when millions of people have read
The Da Vinci
Code, by Dan Brown, it seems that the awareness that man’s true
history has been hidden is growing apace with the thirst for the
truth. In this book, The Secret History of the World, I have dealt
with many tributaries of the “hidden stream” of knowledge that have
periodically emerged into the world during recorded history.
These
traditions include the Eleusinian Mysteries, the Orphic Tradition,
Gnosticism, Gurdjieff’s Fourth Way or “Esoteric Christianity”, Catharism, which went underground as the stories of
the Holy Grail emerged, and Alchemy, linking them to the most
ancient traditions from pre-history, including Siberian Shamanism,
the “Archaic Techniques of Ecstasy”, as Mircea Eliade refers to the
matter.
Thus, it is only fair that I warn the reader that this
series of remarks will be comprehensible only to individuals well
versed in studies of esoteric history and comparative religions,
including Gnosticism, Sufism, the Holy Grail, Alchemy, (particularly
the mysteries surrounding the French alchemist known as Fulcanelli),
and hermeticism in general. This article plunges directly and
immediately into the great mystery. Those who are immersed in Fourth
Way Work and who have actually begun to “see” may also recognize the
deeper implications of Gurdjieff’s work.
Plate 6 - The Burial of Christ - is from a photograph I made in Auch
Cathedral (Gers – 32). This Cathedral is dedicated to the Black
Virgin.
These two words, suggesting initiation, hide a spiritual reality
that is very much alive in the world today. The “Black Virgin” is a
hidden presence that can guide the seeker to rebirth. The
inscription of dedication of Auch Cathedral is engraved in black
marble over the central door, and reads, “To Mary, the Virgin who is
to give birth to God”.
Significantly, it reads “who is to…”, not “who did…”.
There are two representations of the Black Virgin in the Cathedral,
suggested by certain details. In chapel 13, as the Sibyl of Samos,
(below right) her costume and her face are brown, she is pregnant,
and she holds a cradle in her hands. The other representation is
found in the choir stalls, in the canopies, immediately after the
panel representing Adam and Eve. It is named Charity. There are two
children standing at her feet, waiting and stretching their hands
towards her.
A retired priest, Raymond Montané, who has spent his
life studying the remarkable esoteric art in Auch Cathedral has
written as follows:
It is above all the windows of Arnaud de Moles that deserve our
attention. Produced between 1507 and 1513, they are esteemed as the
finest of the Renaissance. The famous art critic Emile Male wrote: “For the breadth of thought, no
work of this period equals the windows of Auch.”
This extraordinary set includes a series of 18 windows.
They are
presented as a rich decoration, in which a crowd of characters of
every origin meet each other. Most come from the Bible, but some of
them, like the Sibyls, come from pagan religions. The themes of
these story windows have been chosen with the greatest care. To
discover the themes, we need to find the golden thread creating an
invisible link between heterogeneous characters, apparently
strangers to each other. The visit of these windows must be made
from the left to the right, going from the transept, beginning with
chapel 11.[…] [See Plate 7.]
An idea brings them together. What is it? The key to this mystery is
in the hands of the Sibyl. The object she carries gives us the key
to the enigma. This symbolic biblical object concerns each of the
characters in a window in some way. It brings them together for a
single idea. The artist provoked these encounters to clarify a
theme, to illustrate a story...
These windows are not a gallery of merely famous characters. Among
the most illustrious, some of them are not there, but some lesser
known characters occupy a place of choice. What counts first of all
is not the character itself, but the story it evokes, the destiny it
attempts to direct. Like the sibyls, each is dedicated to serving a
story. They find themselves at the heart, the very crucible [...]
They come from everywhere, they are from all classes, from every
origin. They come willingly like celebrity artists, finding
themselves in a gigantic gala, not for their own benefit, but for
the benefit of a social and humanitarian task. These celebrity
characters of Arnaud de Moles’ windows contribute, in their own way,
to the illustration of the greatest epic, the unfolding of a
HISTORY. Now, a question is asked: What was the real role of Arnaud
de Moles, the master glazier, in the realization of the opus that
bears his signature?
Arnaud de Moles showed himself truly as a master for the
realization
of the kind of screenplay entrusted to him. He was a clever workman
formed at the school of the Compagnons - a school that was marked by
the techniques of the Middle Ages and the Gothic period. His
companions were like him, earnest, available, and applied to their
task.
The 18 windows of Arnaud de Moles are therefore an exceptional piece
of work. What is truly unique - in this ensemble as well as the
choir stalls - is the message that is revealed. Arnaud de Moles was
the artist, not the inspiration. The thought was given by unknown
patrons. […]
What first strikes the attentive mind is the wealth and variety of
details. The source of this inspiration draws not only on the Bible
and the lives of the Saints, but on nature, mythology, pagan
religions, the Holy Grail and chivalry. […] This remarkable set is
not mere art! Like the windows, it contains thought, a message.
When we carefully observe the details, in the stalls, something
immediately appears to our eyes: Demons and snakes, malevolent
animals and monsters of all species swarm there. This invasion
contributes to give to this whole a tragic aspect that also agrees
very well with the profound movement of history that is narrated to
us.
This tragic aspect is complementary and has to be placed in
relationship to the windows of Arnaud de Moles. The windows and
stalls constitute a whole. The two masterpieces were designed at the
same time. The same story is told. Its theme was proposed to the
glaziers and the sculptors. This theme evokes the same reality: the
reality of man in general.
One would almost think about Dante’s Inferno. But this obvious
tragedy is not hell - it is the history of humanity on earth. Charity - empty handed -
walks right before the monsters and demons, sustained by one same
hope, going alone, but courageous, to face evil, the malevolent
snake. At the end of the cycle, she becomes triumphant Strength. Her
mission is accomplished because we see all malevolent snakes crushed
under her feet or finally mastered in her hands. Since this history is told and relived in retrospect, our artists
knew in advance that this dramatic adventure had to bring us to
Life.
What breadth! What perspective comes forth from the woodwork of the
choir of Auch! Some connoisseurs are not afraid to compare the
extraordinary work of these stalls with the frescoes of
Michelangelo.
[Raymond Montané]
I would like to make a note of the fact that, after spending some
time trying to find out who Arnaud de Moles actually was, the
information I was able to obtain suggests that it was a name given
to a group, The Companions Devoted to Liberty,414 or, perhaps an
anagram. In terms of Green Language clues, the name “De Moles” is
rich with meaning, ranging from the possibility of homophonic
pronunciation “de Molay”, as in the last Grand Master of the
Templars, as well as the meaning of “mole”, which, in French means
“stone”, or a jetty: a breakwater.
In English, the Green Language
leads us to a creature that lives underground, or the “going
underground” of a tradition. And then, of course, it can also say
“Mea Deus Leonard”. A reader may find a better solution. There is
more, but I don’t want to divert onto that subject at the moment
because I have a story to tell. In 2003, we decided for various
reasons to re-locate to France.
Having previously worked in France
at a number of research centers with a number of French scientists
who were enthusiastic about the possibility of Ark’s return to
Europe, we decided to pursue these mutual research interests.
We longed very much for a peaceful, country life, where we could
work, continue our research, and feel safe from the intensifying
pressures of various sources that threatened not only our peace of
mind, but our very lives.415
414
http://www.cassiopaea.org/cass/Laura-Knight-Jadczyk/column-lkj-28-07-03.htm
415
In my partial autobiography,
Amazing Grace, I have discussed, at
some length, many of the surpassingly strange events that began
shortly after I was born, and which have continued to the present
day, that give evidence of the fact that there is, indeed, within
mysterious groups, some sort of extraordinary interest in my
existence and work. It is clear from the objective evidence that
some of these groups do not wish to kill me, but most definitely
wish to control me, while others wish to protect
me and ensure that I succeed in
some “mission” of which I have very little conscious awareness, but
apparently, am discovering in a satisfactory way “one step at a
time.”
After weeks of studying detailed maps of
France, demographics, and so forth, I decided that the area around Auch was
where I wanted to be, mainly because it was rural and agricultural.
And so, we informed our friends in France of this choice and the
search for a house was begun.
When we arrived in France, numb with fatigue and anxiety over so
great a change in our lives, I made a mental note of the cathedral
next to the real estate agency where we signed the lease for the new
place. I was casually pleased to see such an interesting old church
would be so close, but I didn’t bother to go inside and look at it.
After all, I had been to Notre Dame in Paris!
Wasn’t Fulcanelli’s
book,
Le Mystère de Cathedrales focused on the edifices in Paris,
Amiens, and Bourges? What could a cathedral in Auch have to offer?
However, after a question by a visitor from the U.S. (thank you
Charlotte), made me curious to see “the famous statues” that I had
never heard of, I took the time to go and look. Once I had seen the
windows by Arnaud de Moles and the choir, I was so stunned by the
clear esoteric import of Auch Cathedral that I could not understand
why Fulcanelli had failed to mention it.
It was a puzzle, and it was only over time, as more clues were
revealed, as I will explain here, that I realized that it must have
been omitted intentionally for the simple reason that it was quite
obviously the cathedral with the keys.
Fulcanelli was hardly going
to give away the keys to the greatest secrets of reality so cheaply
that they could be figured out in a year or two by a dilettante.
Additionally, according to Fulcanelli, without divine assistance -
which we most certainly had via the
Cassiopaean transmissions -
there could be no hope of solving the mystery. This is one of the
precepts of esoteric work that is often overlooked by those who
promote themselves as esotericists. The Great Sufi Shaykh, Ibn
al-’Arabi points out that one seeker may stand at the door and knock
his entire life, and it will never open to him, and another may be
admitted with a single request.
In studying the matter we learn
that, among the rules that must direct the process of understanding,
are the following, each of which leads, in a natural progression, to
the next:
1) The Soul must acquire greater powers not only for conception but
also for retention, and therefore if we wish to obtain still more
knowledge, the organs and secret springs of physical life must be
wonderfully strengthened and invigorated. “The Soul must acquire new
powers for conceiving and retaining...”
2) In order to respect the
principle of hermetism adopted by the Tradition, we must understand
that esoteric teachings are given in a sibylline form. St Isaac the Syrian points out that: The Holy Scriptures state many
things by using words in a different sense from their original
meaning. Sometimes bodily attributes are applied to the soul, and conversely,
attributes of the soul are applied to the body. The Scriptures do
not make any distinction here. However, enlightened men understand. 3) “Like attracts like.” When a candidate has developed virtue and
integrity acceptable to the adepts, they will appear to him and
reveal those parts of the secret processes which cannot be
discovered without such help. Those who cannot progress to a certain
point with their own intelligence are not qualified to be entrusted
with the secrets which can subject to their will the elemental
forces of Nature.
As I continued to marvel at Auch Cathedral, I began to realize
fully, for the first time, that the Cassiopaean Transmissions was
just such an “appearance of the adepts”.
It finally began to dawn on
me that the process I had followed, instinctively, had been quite
accurately described by Eugene Canseliet in his Preface to the
second edition of Fulcanelli’s
Dwellings of the Philosophers:
According to the meaning of the Latin word adeptus, the alchemist
has then received the Gift of God, or even better, the Present, a
cabalistic pun on the double meaning of the word, underlining that
he thus enjoys the infinite duration of the Now.[...]
In the Kingdom of Sulpur (cabalistically: Soul Fire) there exists a
Mirror in which the entire World can be seen. Whosoever looks into
this Mirror can see and learn the three parts of Wisdom of the
entire World.
July 14, 1996
Q: (L) In other words, as long as we are in the pigstye, we are in
the pigstye, and until we get out of it, we are in it? A: Until you reach that point on the learning cycle. [...] “Passion”
does not set
one “free”, quite the opposite! Q: (L) But what if your passion is for knowledge? A: That is not passion, it is soul questing. Q: (L) What is it that gives some people this drive, this
steamroller effect that they are determined to get to the absolute
bottom of everything and strip away every lie until there is nothing
left but the naked truth? What is the source of this desire? A: Wrong concept. It is simply that one is at that point on the
learning cycle. At
that point, no drive is needed. Q: (L) So, you more or less are there because some critical mass has
been reached that ‘jumps’ you to the point where seeking truth is
simply who you are? It defines the parameters of your being.
After thirty years of study and two years of dedicated
experimentation, detailed in my autobiography, Amazing Grace, the Cassiopaean communications began: I began to look into the Mirror in
which the entire world can be seen.
“We are you in the Future”, they
said. “We transmit ‘through’ the opening that is presented in the
locator that you represent as Cassiopaea, due to the strong radio
pulses aligned from Cassiopaea, which are due to a pulsar from a
neutron star 300 light years behind it, as seen from your locator.
This facilitates a clear channel transmission from 6th density to
3rd density... [in] “Zero” time [utilizing Electromagnetics and
gravity which are interconnected, or you could say “unified”.
Space and time are selective and flexible. ...] You see, when one
utilizes zero time, there is zero space as well.”
In short, the Cassiopaean Transmission was initiation preparatory to
receiving the “Gift of the Present”.
After living in the Gers for 11 months, we found a more permanent -
and safer - house with all the features we needed for our work. We
moved in and shortly discovered that one of our neighbors was
Patrick Rivière, a noted historian of religions and author of many
books on the subject of comparative religions, alchemy and the Holy
Grail. He is also an expert on the “Rennes-le-Chateau” phenomenon.
Patrick, as an alchemist (Adeptus) also happened to be a student of
Eugene Canseliet, the disciple of Fulcanelli. We dispatched a note
to him and were very happy to receive a call a couple of days later
suggesting a meeting. It seems that Patrick had been “waiting” for
us. His own studies and lifelong work had brought him to the point
where, as an adept, he knew that, “The Sybil Would Appear when the
time was right”.
This was the beginning of our collaborations. I was
very anxious to query Patrick about any clues to the true identity
of Fulcanelli. I had read many theories about this, but due to a
particular clue that was dropped almost casually by Eugene Canseliet
in his description of his visit to the “enclave of the alchemists”
in Spain, I was convinced that Fulcanelli was a single individual,
not a “committee” as some materially-minded thinkers propose, and
that he had, indeed, achieved the “Great Work”. Patrick agreed and
responded that he knew the identity of Fulcanelli, and that he had
written a small book on the subject in French that was not yet
available to English speaking audiences, Fulcanelli in the “Qui
suis-je?” series. [Red Pill Press will be bringing out Patrick’s
work in English soon.]
We spent many pleasant hours with Patrick at a table going over his
process of discovery, his reasoning, and looking at the
documentation he had collected over the years. This man has truly
devoted his entire life to this work. In the end, I was convinced
that Patrick is quite right: the true identity of Fulcanelli was
Jules Violle, a famous French physicist of the 19th century. As
noted, Patrick’s own work on this subject is being translated and I
will leave it to him to describe his process of discovery. It was
what we discovered together, after receiving this clue, that is most
important to discuss here. It is, in fact, I believe, the solution
to the “Da Vinci Code”.
Jules Violle was a graduate of the École Normale Supérieure at
Paris, he taught at the University of Lyon (1883), then at the École
and, from 1891, at the Conservatoire des Arts et Métiers, Paris. He
made the first high-altitude determination of the solar constant on
Mont Blanc in 1875. The “violle” is a unit of light intensity equal
to a square centimeter of platinum, glowing at its melting
temperature of 1769 °C (3216 °F). It was the first unit of light
intensity that did not depend on the properties of a particular
lamp.
When I read this, my mind immediately went back to an excerpt from
the Cassiopaean Transmissions:
June 21, 1997
A: Alfalfa fields in Rhineland yield as of yet undreamed of
treasures. Q: Where are these alfalfa fields? A: Near tracks well worn. Q: [...] Do you mean Rhineland as in Germany proper? A: We do not mean Rhinelander, Wisconsin... Or do we?!? Who is to
tell? Q: Who? A: The searcher, the sepulcher, the one who carries the staff in
constant search
for greener pastures. Q: Oh my! You are being very obscure tonight! [...] any additional
clues for me or Ark? A: Last clue for tonight: Look for the vibratory frequency light.
Good Night.
I suddenly realized that the funny remark about “Rhinelander,
Wisconsin” pointed directly at France - the land of a Thousand
Cheeses - because, to the American mind, Wisconsin is “the land of
Cheese”. I later learned that the Garonne River was referred to as
“The Rhine of France”.
And then, of course, there are “rhinds” on
cheeses. But the icing on the cake was, of course, “look for the
vibratory frequency of light”, and the Violle: the first unit of
light intensity that did not depend on the properties of a
particular lamp.
As I began to dig into the background of Jules Violle, I discovered
another significant clue: he was closely associated with Camille
Flammarion, French astronomer and popular author. Flammarion was the
founder of the French Astronomy Society, and he served for many
years at the Paris Observatory and the Bureau of Longitudes.
Flammarion set up a private observatory at Juvisy (near Paris) in
1883 and his studies were particularly focused on double and
multiple stars - a particular focus of the Cassiopaean Transmissions - and of the moon and Mars. It is easy to see that Violle and
Flammarion had a lot in common, particularly their interest in
stars. Double and multiple Stars gives Fulcanelli’s dedication “To
The Brothers of Heliopolis” an all new level of meaning!
When
examining the life and associations of Camille Flammarion,
additional clues began to finally fit together: he was an associate
of, and greatly influenced by, Allan Kardec, the French Pedagogue,
medical student, linguist and researcher of “spirit communications”.
In the spring of 1858, Kardec founded the Societe Parisienne des
Etudes Spirites. In the late 1850s and early 1860s, small Spiritist
groups began to proliferate throughout France, especially in Paris,
Lyon and Bordeaux.
Camille Flammarion remarked:
“I have no
hesitation in saying that he who states that spiritist phenomena are
contrary to science does not know what he is talking about. Indeed,
there is nothing super-natural in nature. There is only the unknown:
but what was unknown yesterday becomes the truth of tomorrow”.
Victor Hugo, another advocate of scientific spiritualism said:
“Turning a blind eye to the spiritist phenomena is turning a blind
eye to the truth”.
The Societe Parisienne was similar to the
Society
for Psychical Research in London, a body devoted to unbiased
inquiry. Kardec’s efforts were largely focused on promoting the
impartial and rational study of spiritual matters. The Spiritist
views of Kardec were scientific, not mystical; and he promoted
objective discovery over intuitive insight, just as the Cassiopaean
Transmissions and our own work does.
Turning now to the comments on millenarialism in the works of
Fulcanelli, it is interesting to note that Kardec’s final book, La
Gazette selon le Spiritisme, appearing in 1868, strongly reflected
the millenialist view. The work closed with a series of
communications and commentaries declaring that “the time chosen by
God has come”, stating that a new generation of highly-evolved souls
was in the process of being incarnated on Earth.
This is precisely what Fulcanelli stated in
the mysterious Hendaye
chapter of Mystery of the Cathedrals as well as in the final
chapters of
Dwellings of the Philosophers. We also note that Fulcanelli emphasized the role of science in the so-called “End
Times” as being crucial. Not only was Jules Violle a scientist, but
my husband, Ark is a scientist: an expert in Hyperdimensional
Physics, Nonlinear Dynamics and Complex Systems.
Finding a well established link between Flammarion and Jules Violle,
followed by a well established link between Flammarion and Kardec,
gives an entirely new perspective on the work of Violle as
Fulcanelli. It also leads us to the very important question: Is it
possible that Fulcanelli made use of “superluminal communication
techniques” as I had myself?
Was this why Fulcanelli insisted as
follows:
“Furthermore, in our opinion, it seems insufficient to know how to
recognize and classify facts exactly; one must still question nature
and learn from her in what conditions and under the control of what
will her manifold productions take place. Indeed, the philosophical
mind will not be content with the mere possibility of identifying
bodies. It demands the knowledge of the secret of their
elaborations. To open ajar the door of the laboratory where nature
mixes the elements is good; to discover the occult force, under
whose influences her work is accomplished, is better.”[…]
“Alchemy is obscure only because it is hidden. The philosophers who
wanted to transmit the exposition of their doctrine and the fruit of
their labors to posterity took great care not to divulge the art by
presenting it under a common form so that the layman could not
misuse it. Thus because of the difficulty one has of understanding
it, because of the mystery of its enigmas and of the opacity of its
parables, the science has come to be shut up among reveries,
illusions and chimeras.” […]
“With their confused texts, sprinkled with cabalistic expressions,
the books remain the efficient and genuine cause of the gross
mistake that we indicate. For, in spite of the warnings... students
persisted in reading them according to the meanings that they hold
in ordinary language. They do not know that these texts are reserved
for initiates, and that it is essential, in order to understand
them, to be in possession of their secret key. One must first work
at discovering this key.”
“Most certainly these old treatises contain, if not the entire
science, at least its philosophy, its principles, and the art of
applying them in conformity with natural laws. But if we are unaware
of the hidden meaning of the terms - for example, the meaning of
Ares, which is different from Aries - strange qualifications
purposely used in the composition of such works, we will understand
nothing of them or we will be infallibly led into error.”
“We must not forget that it is an esoteric science. Consequently, a
keen intelligence, an excellent memory, work, and attention aided by
a strong will are NOT sufficient qualities to hope to become learned
in this subject.”
“Nicolas Grosparmy writes: ‘Such people truly
delude themselves who think that we have only made our books for
them, but we have made them to keep out all those who are not of our
sect.’”
“Batsdorff, in the beginning of his treatise, charitably warns the
reader in these terms: ‘Every prudent mind must first acquire the
Science if he can; that is to say, the principles and the means to
operate. Otherwise he should stop there, without foolishly using his
time and his wealth. And so, I beg those who will read this little
book to credit my words. I say to them once more, that THEY WILL
NEVER LEARN THIS SUBLIME SCIENCE BY MEANS OF BOOKS, AND THAT IT CAN
ONLY BE LEARNED THROUGH DIVINE REVELATION, HENCE IT IS CALLED DIVINE
ART, or through the means of a good and faithful master; and since
there are very few of them to whom God has granted this grace, there
are also very few who teach it.’”
[Fulcanelli, The Dwellings of the
Philosophers, Boulder:
Archive Press 1999, pp. 49, 65, 84]
In view of this question, it might be useful to look at excerpts
from an article written by Camille Flammarion, the friend and
associate of Jules Violle and Allan Kardec which reflects our views
exactly:
Spiritism is, in general, in bad repute, and deserves to be. Most of
its disciples are unmethodical; they are often lacking in mental
poise, are often dupes of illusions. They prefer a belief and a
religion which merely console, to the impartial and critical
investigation without which we can be sure of nothing. These are bad
conditions for research; adequate safeguards are lacking.
In Allan Kardec’s time (in the course of the speech which I made at
his grave on April 2, 1869) I believed it helpful and even necessary
to proclaim, at this very grave, that “spiritism is not a religion
but a science”, and to add that “we are now at the dawn of an
undiscovered science”. During the fifty years which followed the
utterance of these words, the continued progress of our research has
lent them greater and greater emphasis, confirmed them more and more
fully. It is by the scientific method alone that we may make
progress in the search for truth. Religious belief must not take the
place of impartial analysis. We must be constantly on our guard
against illusions.
Apart from deliberate deception, dishonest and inexcusable, there is
autosuggestion leading to involuntary deception. [...]
There are also dishonest exploiters of credulity, who give
“séances”, promising apparitions and posthumous manifestations to
the simpletons who listen to them. Those who have been gulled then
complain, laughably, of having been robbed! The human race,
supposedly intelligent, is truly strange. One must have a great deal
of courage to work
perseveringly, surrounded by these impostors; one must be sustained
by the conviction that there are truths to be discovered. […]416
416
Camille Flammarion’s Death and Its Mystery - After Death.
Manifestations and Apparitions of the Dead; The Soul After Death
Translated by Latrobe Carroll (1923, T. Fisher Unwin, Ltd. London:
Adelphi Terrace.
Flammarion makes a profound distinction between “spiritualism” and
“spiritism”. By “spiritualism” he means the general doctrine that
departed spirits hold intercourse with mortals. By “spiritism” he
means mediumistic research. As we continued to examine and discuss
the documents Patrick Riviere had collected, including many that he
only reveals in his book on the identity of Fulcanelli, the talk
naturally turned to the third book of Fulcanelli that was withdrawn:
Finis Gloria Mundi.
This book has been the subject of much
speculation, and I hear that someone has actually published a volume
claiming to be the “real deal”. It’s clear from the evidence that
this is not the case, that the book in question is a fraud.
The title of this Third Book of Fulcanelli, Finis Gloria Mundi (The
End of the Glory of the World), certainly reflects the millennialist
perspective, which I discuss at some length in The Secret History of
The World. As we went over the notes and outline that were in the
possession of Eugene Canseliet at his death, we came to the
realization that my own book, The Secret History of The World, may
be quite close in content and structure to the actual Finis Gloria Mundi though it is certainly, again, a strange coincidence.
Certainly, all of the chapter headings of that book cover the
subjects in Secret History, only I believe I have actually gone
further given the new data available in the intervening years.
I
would like to highlight a portion of the Preface that Patrick has
written for this volume:
This book of revolutionary importance is essential reading. [...]
Throughout her exposé, Laura Knight-Jadczyk refers to two powerful
works of the scientist-alchemist Fulcanelli: The Mystery of the
Cathedrals and Dwellings of the Philosophers. She applies her vast
knowledge to the continuation of his work. Thus, following in the
footsteps of Fulcanelli (citing Huysmans) when he denounces the
constant lies and omissions from official History over the course of
time, Laura Knight-Jadczyk, citing numerous examples, exposes the
manipulations in the official history of ancient civilizations of
which humanity is the victim.
She strives to re-establish the truth,
and her answers are often enlightening. According to Laura
Knight-Jadczyk, the mysteries of the Holy Grail and the Ark of the
Temple refer to a particular, very advanced “technology” - with the
aim, for example, of teleportation and changing between space-time
dimensions - a secret and sacred science of which only a few great
“Initiates” have remained custodians.
Christ Jesus was the surest
guarantor of this precious legacy, and, although it might
displease Dan Brown (author of The DaVinci Code), the genealogical
lineage of the “Sangréal” (the “Sang Royal” or “Holy Blood”), is not
at all as he believes it to be! The reader of this important work by
Laura Knight-Jadczyk will realize that there are completely
different conclusions to that mystery. Her erudition cannot but
impress the reader during the course of an assiduous reading of this
quite astonishing book.
As to her inspiration, what can we say, and, from whence could it
come, if not the Light of the stars?
Rivière has hypothesized in our conversations that Fulcanelli
withdrew the book because he did not have proof of certain
scientific elements concerning the pole shift and, as a scientist,
did not wish to promote ideas for which there was no evidence at the
time. While I consider this to be a valid argument, with the
hyperdimensional perspective factored in, we both agreed that Fulcanelli withdrew the book because he knew it was not yet time.
Those who have received the Gift of God, the Present, can certainly
“see the unseen” including future probabilities. Another interesting
clue was discussed among us. At one point, we were discussing
Canseliet’s visit to Seville where he encountered Fulcanelli as a
young girl. The issue of our discussion was: what was the meaning of
this event and was it intended to convey a message? And if so, to
whom? It certainly was the one thing that conveyed to me reams of
information about the nature of the Great Work.
In 1995, the Cassiopaeans had described some of the effects of a “4th density
bleed-through” on 3rd density humans in the following way:
4th density frees one from the illusion of “time” as you WILL to
perceive it. Picture driving down a highway, suddenly you notice
auras surrounding everything.... Being able to see around corners,
going inside little cottages which become mansions, when viewed from
inside... Going inside a building in Albuquerque and going out the
back door into Las Vegas, going to sleep as a female, and waking up
male... Flying in a plane for half an hour and landing at the same
place 5 weeks later... Picture driving to reach New Mexico by car
and “skipping” over and arriving in San Diego instead, or... driving
to the grocery store in Santa Fe, and winding up in Moscow, instead.
As we examined every aspect of the event, it came out that the
incident occurred when I was 2 years old, exactly at the time that,
as I have described in my autobiography, I disappeared and then
reappeared in a very strange manner that is still inexplicable to
this day. Then, of course, there is the mysterious “Hendaye
Chapter”, which was included in the Second Edition of Mystery of the
Cathedrals concomitant with the withdrawal of Finis Gloria Mundi.
One evening, as we discussed Fulcanelli around the fire in Patrick’s
charming farm-house, alchemical laboratory, warming our glasses of
amber Armagnac in our hands, Patrick mentioned “Hendaye”. My brain
suddenly snapped to attention.
“What did you say?”
He repeated the word, and I suddenly understood
something quite profound. You see, the word “Hendaye”, pronounced by
a native French speaker, sounds very much like “Onde”, which is
French for “Wave”. I had begun
The Wave Series 417 in 1999 and worked
on it well into 2000 before an offer was made to translate it into
French, at which time I learned the French word “Onde”. But I had
never heard it properly pronounced before.
So, with this sudden realization, put together with the other clues
that were, one by one, revealing themselves to us, we began to
speculate on the real reason for Fulcanelli to have written this
piece which, essentially replicates most of the same information he
includes in his final chapters of Dwellings of the Philosophers.
Could the reason have been purely “Green Language”, to relate The
Wave to Onde via Hendaye?
Was it a clue specifically for us, at that
moment in space/time, when the “right people” with the right keys
were all brought together in the peaceful French countryside
overlooking the Garonne River, the “Rhine of France”? Undreamed of
Treasures indeed!
417
http://www.cassiopaea.org/cass/waveindex.htm
In any event, the title of Fulcanelli’s Third Book was taken from a
painting that is found in Seville. We began to discuss a proposed
trip to Seville to visit the place where Canseliet had this meeting
with Fulcanelli and to view the painting. It was at this point that
I noted the interesting fact that, following the rules of language
changes, the word “Seville” was very similar to Sibyl. Another
“Green Language clue” just for us? That brings us back to Auch
Cathedral and its many Sibyls which led to even more discoveries -
even, in fact, the True “Da Vinci Code”.
A single Sibyl is first
mentioned about 500 B.C. by Heraclitus:
“The Sibyl, with frenzied
mouth uttering things not to be laughed at, unadorned and rough, yet
reaches to a thousand years with her voice by aid of the God".
Later, there were more Sibyls; Christians in the late middle ages
recognized as many as twelve. The most famous sibyls were the
Erythraean and the Cumaean. There is some confusion as to whether
they were always young and virginal, or old hags. The Cumaean sibyl
was alleged to have lived for nearly a thousand years, at the end of
which, all that was left of her was her voice, kept in an empty jar.
One has to wonder about this in terms of the images of Mary
Magdalene and her “alabaster jar” and the possible Green Language
clues there. In any event, the fame of the Cumaean sibyl was due to
Virgil’s use of her in the Fourth Eclogue to foretell the birth of a saviour (40 B.C.) and as Aeneas’ guide to the underworld in Book Six
of the Aeneid.
This, curiously, leads us back to Fulcanelli.
Canseliet writes in his first preface to Mystery of the Cathedrals:
I know, not from having discovered it myself, but because I was
assured of it by the author more than ten years ago, that the key to
the major arcanum is given quite openly in one of the figures, illustrating the present
work. And this key consists quite simply in a colour revealed to the
artisan right from the first work. In his introduction to the Second
Edition, Canseliet tells us that Basil Valentine was Fulcanelli’s
initiator - and makes the point of distinction between “first
initiator”, and “true initiator”.
That could certainly indicate the
difference between a “human” teacher” and a “hyperdimensional”
teacher. He then discusses a letter that was left by Fulcanelli
after he “died”, and which he says was obviously received by
Fulcanelli’s master from some unknown individual, and which
Canseliet said was the “written proof of the triumph of his true
initiator”, which provides a “powerful and correct idea of the
sublime level at which the Great Work takes place”. This letter has
a number of remarkable references which suggest to me that it may
not be a letter to Fulcanelli’s master, but was to Fulcanelli
himself, and may have referred to his attempts to communicate with
Basil Valentine directly via techniques learned from Kardec via
Flammarion.
The references that suggest this to me are:
This time you have really had the Gift of God; it is a great
blessing and, for the first time, I understand how rare this favour
is.[…] When my wife told me the good news… I was only briefly informed
about the matter…[…] You have extended generosity to the point of associating us with
this high and occult knowledge, to which you have full right and
which is entirely personal to you. […]
My wife, with the inexplicable intuition of sensitives…
One can almost say that he, who has greeted the morning star, has
forever lost the use of his sight and his reason, because he is
fascinated by this false light and cast into the abyss… Unless, as
in your case, a great stroke of fate comes to pull him unexpectedly
from the edge of the precipice.
For me, this “great stroke of luck” that pulled me from the
precipice418 was the
Cassiopaean Transmissions. They have done it more than once! I would
like to
point out that the “familiarity” of the remark, “You have extended
generosity to
the point of associating us with this high and occult knowledge, to
which you have
full right and which is entirely personal to you”, struck me in a
profound way in
regard to this. The reader might wish to read Ark’s comments on
“Reductio ad
Absurdum” 419 to understand exactly what this phrase can refer to,
not to mention
The Adventures Series 420 which describes a period in which I was perilously close
to being entrapped in a pit.
418
http://www.cassiopaea.org/cass/mirror.htm
419
http://www.cassiopaea.org/cass/swerdlow.htm
420
http://www.cassiopaea.com/cassiopaea/adventureindex.htm
Returning to Canseliet’s preface to the second edition of Mystery of
the Cathedrals, we find that he continues on with a discussion of
the “star” in question asking:
Does not this phrase apparently contradict what I stated twenty
years ago… namely that the star is the great sign of the Work; that
it sets its seal on the philosophic matter; that it teaches the
alchemist that he has found not the light of fools but the light of
the wise; that it is the crown of wisdom; and that it is called the
morning star? […]
It may have been noted that I specified briefly that the hermetic
star is admired first of all in the mirror of the art or mercury,
before being discovered in the chemical sky… Our star is single and
yet it is double. Know how to distinguish its true imprint from its
image and you will observe that it shines with more intensity in the
light of day than in the darkness of night.
This statement corroborates and completes the no less categorical
and solemn one made by Basil Valentine (Douze Clefs):
‘Two stars have been granted to man by the Gods, in order to lead
him to the great Wisdom; observe them. Oh man! And follow their
light with constancy, because it is Wisdom.’[…]
There are, then, two stars which, improbable as it may seem, are
really only one star. The star shining on the mystic Virgin - who is
at one and the same time our mother (mère) and the hermetic sea
(mer) - announces the conception and is but the reflection of that
other, which precedes the miraculous advent of the Son. For though
the celestial Virgin is also called stella matutina, the morning
star; it is possible to see on her the splendor of a divine mark;
though the recognition of this source of blessings brings joy to the
heart of the artist; it is no more than a simple image, reflected by
the mirror of Wisdom.
Canseliet continues to give clues for the seeker to figure out what
he is talking about, followed by a story designed to confuse those
who are more materially minded.
In short, he introduces a deliberate
obfuscation. Canseliet then says:
The reader may be surprised that I have spent so much time on a
single point of the
Doctrine… However, it must be obvious how logical it was for me to
dilate on this
subject which, I maintain, leads us straight into Fulcanelli’s text.
Indeed, right from
the beginning my Master has dwelt on the primary role of the star,
this mineral
Theophany, which announces with certainty the tangible solution of
the great secret
concealed in religious buildings…
The remark: “Mineral Theophany” struck another spark with the
Cassiopaean Transmissions where I had asked a few brief questions
about a dream I had. But first, let me recount the dream from my
journal:
There was a “high priest” who appeared in my dream wearing a skirt
like the Cretan depictions of the Goddess with the many tiered
skirt... only this was a man. He showed me how the different tiers
could be “rotated” so that certain “symbols” aligned which then gave
a message. The symbols were zodiacal and the star names were of
great significance. The trick was, to align them properly. The same
dream then morphed. I was holding a vase that appeared to be onyx or
something like that.
Others had tossed it on a junk heap, and I
picked it up and was examining a lot of “scratch” marks all over it.
I could see that it was engraved all over, but that all the grooves
were filled with dirt and it was coated with grime. I began to clean
it with Q-tips and water very carefully going into all the little
cracks and tracing out all the lines. As I did so and the dirt came
away, I was awestruck at the beauty of this thing. It was not only
cunningly worked with some great mythical scene being enacted, but
it was inlaid with amazing veneers of various colored stones... and,
it was also translucent so that the “blackness” turned out to be
really a deep, translucent purple as though there was a light
within.
The dream morphed again: Ark and I were walking and it seemed to be
a sort of “park” or “recreation” area of some sort with mountains
and cliffs and so forth. We were walking about looking at rock
formations and shrubbery - it was very dry and needed water - and he
was walking along a path and I decided to hide in a bush and see how
long it took for him to notice I was missing... just playing... but
I suddenly found myself standing on the path ahead of him... and he
asked “how did you do that?”. So, I said... well, I ducked into this
bush and there was a cleft in the rock, and I started to squeeze
into it and something happened and here I am! He insisted that I go
back and show it to him. So, we went back, and there was a small
cave entrance... looking rather like the broken cleft of the tomb in
the Arcadian Shepherd’s painting. He said that it was impossible...
too small ... I told him “try it”.
So, he stooped down and entered the cave... meanwhile, I decided to
stay busy by cleaning all the cracks in the rocks around the cave
entrance... there was a trickle of water, and I was using some sort
of cloth... and as I did, the water kept increasing its flow until
it was a veritable fountain! At this point, Ark came stumbling out
of the cave, holding his eyes, crying tears and laughing at the same
time saying “I believe! I believe! I’ve seen it with my own eyes!”,
and that sort of thing.
So, we started to leave the park and as we
were walking out the entrance, I glanced up at the cliff face, and
there was a huge mosaic set in the rock... on the right were seven
sharks... the bottom one was pale, and they got darker as they went
up... stacked, exact same images... and on the left was a huge whale
depicted in the act of “whipping around” with his mouth opening, his
eye on the sharks and preparing (by implication of the frozen
posture) to devour them all at one bite. I told myself that I needed
to remember this dream and woke up.
July 19, 1997
Q: I had a dream the other night. As Ark and I were leaving [a large
park area] in my dream, I looked up and saw a mosaic on the side of
the mountain. It had seven sharks, one above the other, the lowest
being pale almost to the point of transparency, and the highest
being very dark and intense in color. There was a huge sperm whale to the upper left, he was in
the posture of whipping around, his eye had caught the sharks, and
his mouth was open and he was going to swallow them all in a single
gulp. What was the meaning of the whale and the sharks? A: Logic. Q: Are you telling me to use logic, or that the meaning is logic? A: Logic says to you: examine! Q: The other part of the dream was that I disappeared and reemerged
from a cleft in a rock. I was cleaning... [Ark] went to investigate
[the cleft which was just a slit and impossible to enter or exit
from]... [while he was gone,] I continued to clean out all the little
cracks and crevices in the rocks on the ground] and he returned and
was crying and all this water was flowing out of there like a spring
that seemed to have resulted from my cleaning efforts... What was
the significance of this? A: Trace minerals interact with deeply held secrets. Q: The other night you said something about what I had found as
being one leg of the table. How many legs does the table have? A: Search for answer. When found in literature, profound meanings
enclose
compartment.
I hope that this contributes to the reader’s understanding of
Canseliet’s remark:
“this mineral Theophany, which announces with certainty the tangible
solution of
the great secret concealed in religious buildings…”
Feb 19, 2000
Q: Diodorus Siculus, writing in the 1st century B.C., said that
“certain sacred offerings wrapped in wheat straw come from the
Hyperboreans into Scythia, whence they are taken over by the
neighboring peoples in succession until they get as far west as the
Adriatic. From there they are sent south, and the first Greeks to
receive them are the Dodonaeans. Then, continuing southward, they
reach the Malian gulf, cross to Euboea, and are passed on from town
to town as far as Carystus. Then they skip Andros, the Carystians
take them to Tenos, and the Tenians to Delos. That is how these
things are said to reach Delos at the present time.” So, from very ancient times, there was this practice of the
Hyperboreans sending sacred offerings to the Island of Delos. Now,
the Island of Delos is supposedly the birthplace of Phoebus Apollo,
whose mother was Leto. Supposedly he was born on Mt. Cynthus. This
is a very curious thing. This is contrary to the old view that the
cultural flow was from the Mediterranean to the North, that
civilization began in the Near East. It implies a cultural flow from
the North to the South. What were these ancient Hyperboreans sending
to the Island of Delos? A: Leaves bearing cryptic codes. Q: What was the connection between the Hyperboreans, including the
Celts of Britain, I believe, and the people of Delos? A: Northern peoples were responsible for civilizing the
Mediterranean/Adriatic
peoples with the encoded secrets contained within their superior
extraterrestrially based genetic arrangement. Practice of which you
speak was multitrans-generational habit. Q: Is it the case that some of them communicated with higher density
beings via Stonehenge, and that these communications they
received... A: Stonehenge used to resonate with tonal rill, teaching the other
wise unteachable
with wisdoms entered psychically through crown chakra transceiving
system.
This brings us back in a curious way to my profound understanding of
the previously mentioned comment made in the letter left by
Fulcanelli:
“You have extended generosity to the point of
associating us with this high and occult knowledge, to which you
have full right and which is entirely personal to you”.
If the
reader has had a look at “Reductio ad Absurdum” and related links,
then this exchange will not only fill in a few blanks, it will
reveal the terrible struggle that must be sustained by one seeking
truth. “Frank” is a pseudonym for the individual who embarked with
me on the experiment that led to the Cassiopaean Transmissions.
He
was present at nearly every session (but not all, and certainly, the
experiment has continued with even greater clarity and more profound
discoveries for the past five years), and the experiences we had
with him and subsequent events, only clarified Fulcanelli’s tactics
for us.
Jan 10, 2002
Q: As you know, we have become aware this evening of Frank’s
extraordinary conversion to the dark side. Is that an accurate way
of perceiving it? A: Close enough. Q: Quite a few years ago, there were several remarks made on two or
three occasions regarding Frank’s battle with the Dark Forces, and
the issue of whether or not he would be able to resist their
domination. Was it always known that he would fail? A: He is not a failure. Q: What do you mean? A: From the perspective of [the forces of Entropy] he is a success. Q: Why was it that we were able to [receive creative] material, with
Frank being so borderline regarding this ultimate choice between
[Entropy and Creation]? A: He was programmed for the specific purpose of “downloading” from
you
secrets coded into you before birth of your present body. He failed
because you were incorruptible. He is now charged with the mission,
in concert with Vincent Bridges, of destroying your ability to
accomplish your mission. Q: Well, that means that there is a strong possibility that the
material that came through while Frank was a participant was very
likely corrupted. Is that why you gave the figure of 72 percent
purity of the material regarding those sessions? A: Yes.
Q: So, are you saying that Frank’s presence produced that 30
percent
corruption? A: Yes. Q: What was the form that most of that corruption took? Can we
identify it? A: Predictions and terror tactics.
It was certainly only after the exit of Frank, and after the
exposure of Vincent Bridges 421 as an “esoteric poseur”, to
understate the matter, that the Work moved to it’s present level of
intense work and gathering of support from around the world.
421
http://www.cassiopaea.com/archive/most.htm
So, let me return now to the remarks about stars made by Canseliet
made 20 years apart, that, juxtaposed, reveal something quite
marvelous:
From the FIRST edition: I know, not from having discovered it
myself, but because I was assured of it by the author more than ten
years ago, that the key to the major arcanum is given quite openly
in one of the figures, illustrating the present work. And this key
consists quite simply in a colour revealed to the artisan right from
the first work.
I suspect that the reader has, by now, figured out that Canseliet
and Fulcanelli were very tricky. And so, we look at this clue and
try to think of what Canseliet is saying. He says that the clue is
in a “figure illustrating the present work”, that it is revealed
“right from the first work” and in the preface to the second
edition, adds the clue that the subject of the star “leads us
straight into Fulcanelli’s text” saying that “right from the
beginning my Master has dwelt on the primary role of the star…”.
We turn to the very beginning of Fulcanelli’s text where he writes:
The strongest impression of my early childhood - I was seven years
old - an impression of which I still retain a vivid memory, was the
emotion aroused in my young heart by the sight of a gothic
cathedral. I was immediately enraptured by it. I was in an ecstasy,
struck with wonder, unable to tear myself away from the attraction
of the marvellous, from the magic of such splendour, such immensity,
such intoxication expressed by this more divine than human work.
Never does he mention a star. He mentions no color. He makes no
reference to an illustration.
Or does he?
What he does talk about is his emotional state, his ecstasy, and his
age: Seven. It occurred to me as I meditated upon this matter, that
a number is also a figure, and that the use of an “impression of
childhood” is certainly an “illustration”. So, there is, indeed, a
“figure illustrating” something that might be a “key” to the “major
arcanum.” Seven and Ecstasy.
What to do with the number Seven?
I simply turned to chapter Seven and began to read.
Varro, in his Antiquitates rerum humanorum, recalls the legend of
Aeneas saving his father and his household Gods from the flames of
Troy and, after long wanderings, arriving at the fields of
Laurentum, the goal of his journey.
Fulcanelli inserted a footnote to the word
Laurentum, at the
beginning of chapter Seven of Le Mystere telling us that “Laurente
(Laurentium) is cabalistically l’or enté (grafted gold)”. And so
indeed, we have been led to a color! Not only that, but a color that
reflects my very name.
There is another interesting reference to the
number seven in the Cassiopaean Transmissions:
July 26, 1997
Q: ... Now, when the Templars were arrested, they were accused of
worshipping a head, or skull, and also the God Baphomet. Were these
spurious accusations designed to defame them? A: Skull was of pure crystal. Q: What is the definition of the
God ‘Baphomet’, if they did,
indeed, worship such? A: The holder of the Trent. Q: What is THAT? A: Seek. Q: What is the meaning of ‘The Widow’s Son?’ The implication? A: Stalks path of wisdom incarnate. Q: Why is this described as a Widow’s son? This was the appellation
of Perceval... A: Perceval was knighted in the court of seven. Q: The court of seven what? A: Swords points signify crystal transmitter of truth beholden.
August 22, 1998
Q: (L) ... You once said that Perceval was ‘knighted in the Court of
Seven’ and that the sword’s points signify ‘crystal transmitter of
truth beholden’. Do these seven sages relate to this ‘Court of
Seven’ that you mentioned? A: Close. Q: (L) When you said ‘swords points signify crystal transmitter of
truth beholden,’ could you elaborate on that remark? A: Has celestial meaning.
And, as I mentioned, it was only when we arrived at Auch, in the
clear skies of the French Countryside, that I SAW Cassiopaea as if
for the first time: right at the end of the Milky Way, the Chemin de
St. Jacques de Compostela.
July 12, 1997
Q: Okay, what is this P-S related to that appears on the stone slab
from the Rennes le Chateau churchyard? Everybody is talking about
the “Priory of Sion”. But, what does this P-S mean? Is that it? A: Look into ancient tongues... Q: Ancient tongues? Get me a little closer to it! A: Swords, daggers pierce... Q: Is this P-S something about “Percy?” Swords, daggers, pierce...
Damascus?
Damascus steel? A: Search for learning. [...] Q: ... we have this Prae-cum which is above the spider image. Why is
the arrow pointing from the P-S down to the spider? What is the
spider? A: You know of the spider! Q: Well, yes, but I know what I know, but I don’t know if I am
getting anywhere! A: You will when you connect “the dots.” Q: Connect the dots... My
God! Swords, daggers.... I GET IT! A: It is the “destiny!” [...]
[Ark had written to me that day:
Some thoughts:
Before I go on to study all these Celts and Cathars and Templars and
grails and bloodlines and DNA and gold and mercury and oaks and ... Before all this let me try to formulate my present view of the
situation. It will be a kind of a bird’s eye view; from a distance
when details are unimportant. So I will pick up SOME themes that
seem to me important.
There will be several of these themes and they
will be discussed separately.
1. I take it as a hypothesis which perhaps is true and perhaps not,
but I take it to be true unless proven otherwise: that for you and
for me nothing happens by mere accident. All that happens has a
meaning and purpose. It is hard work for us to find out what is this
purpose exactly and to an extent we are also the creators of this
purpose.
Thus it is not an accident that you are who you are. It is not an
accident that I am a physicist. It is not an accident that we are
separated for a while. It is not an accident that we have had our
lives the way we had. It could be little bit different, or it is a
little bit different in some parallel realities, but we are now
concerned about our reality, our present and our future.
2. Thus every book that you ever read was not an accident and every
conversation that you ever had; even those silly books and
conversations were lessons. The same with me.
3. We are both searching for something and it was clear that we
would never find it in this lifetime while alone. There was ONE who
you saw somehow in your imagination. There was also my thoroughly
repressed idea of having an “American wife”. Somehow it was coming
to my head, but I was instantly repelling it as a completely silly
thought. But it was knocking. This way I was being “prepared”
because otherwise I was/am very conservative.
Anyhow we have found each other and there is purpose in that. I take
it as possible that you/me - we are connected to the Creator and are
distant parts of it so that we are His tools and we are responsible
for something, this something being the whole universe and its fate.
This is not a crazy idea. It can be explained in completely plain
terms. You/me - we can discover something, a formula or an idea that
will change the future development of humanity - even if a little,
it will magnify after years and years so that world will be “saved”
by it. This is what we learned from the concepts of chaotic
mechanics. There are systems, if sufficiently complex, such that a
little change now leads to a dramatic change after a time.
Now the universe is not only a complex system but also it has
intelligence in it. It may well be that an “intelligent” change that
we do now will change completely the fate of the universe. Instead
of dying a thermal death it will flourish forever.... My whole life
I have lived with this feeling of responsibility. It was a recurring
theme in my journal. If we accept the hypothesis that nothing
happens to US by chance then there is a purpose in this feeling too.
4. So we you/me are responsible. We accept it. That is clear. Now,
from C’s we know you have “all the keys”. In a sense we find it in
Pleiadians or in the Bible that everybody has the keys. But in too
many these keys are broken, destroyed, desynchronized, detuned and
hard or impossible to make them work. We do not know how many people
there are on this earth who have keys and how many of them are
already using these keys or assisting other people in using them.
And for a while it does not matter. All is lesson - we accept it -
and we have our homework. Neither you nor me have a wish “to be
told”.
5. So you have the keys and we were brought together. Now, I am a
physicist and know the math which is the universal language. On the
other hand you know and like all these funny stories that merge
history/alchemy/whatever. These are all words while math is all
logic. While physics is testable and helps us to build technologies,
this stuff of grail and Templars and Rennes is somewhat unsharp and
for those who have no math, can lead nowhere...
But NO! If nothing with us happens accidentally, then the fact that
you are interested in what you are interested is also not an
accident. So what can be a purpose of all that? A purpose can be
that the KNOWLEDGE is not just math and equations but it is also
intelligence and consciousness and mind and idea. Because equations
DO NOTHING alone. So we need both. There were many that perhaps
followed the path of technology and are working underground doing
“great physics” or “great math”. But this is not what we are about.
We do not want to sell our souls like Faustus. We do not serve to
the dark.
Therefore we need knowledge. And the more knowledge we
have the more protected we are. This point is again easily
understood in plain terms. Once we play not only with TDARM’s and
time machines and gold making but also with ouija boards and history
and templars and Arcadian shepherds and all this funny stuff - we
are not considered as dangerous because we clearly are not after
power. Neither do we want to take power FROM somebody.
Our goal is all different. We have our personal mission to fulfill:
External dark forces being dispersed by multiplicity of our
frequencies - so to say. 6. But why ARE all these Templars and
Rosicrucians important? Because it is all knowledge. Pieces of
knowledge from here and there. We are not going to use or try to use
this knowledge. But somehow it is necessary for us to know this so
as to find out the best possible use of this knowledge.
6. I think this IS true that the only limits that we find are those
imposed by our own minds and thinking habits. Thus we must be more
and more bold in our thinking. On the other hand we need always to
go step by step. Otherwise there is danger.
7. Is the life sufficiently long? We take it as a working hypothesis
that yes, it is. Because it depends only on us how long it is going
to
be. There is a great work that is in front of us and this work
includes rethinking and rearranging our cellular structure. We
believe it can be done even with the presently known (secret) technology. The fountain of youth,
and such things, but also what we know from C’s and Pleiadians and
alchemical texts etc. all point to it. It is possible. But the point
is of course what purpose one is using it for. If just for
prolonging one’s own life - well.... But we have something different
in mind because we are service-men here for the Creator, to whom we
return.
8. So we continue. I do my math but also I have to learn a lot of
stuff. Not only I NEED TO LEARN, BUT ALSO I NEED TO HELP YOU AND WE
ARE SUPPOSED TO ACT TOGETHER! ]
Returning now to the session in question with the clue that later
proved to be so important, I asked about Ark’s message quoted above.
Q: Okay, here is Ark’s first question: if the general view of the
situation that I wrote you, “bird’s eye view” is correct? A: Why not? The thought would not be so “nagging” if were not so! Q: (L for Ark) Or, perhaps, I am missing some important point(s),
and if so what is(are) this point(s)? A: When one is on a quest for true learning and higher knowledge,
there are no
“missing points,” only those not yet discovered! Q: (L for Ark) How “long” will they still be able to use the
Cassiopaean transmitter, should we start to take some steps thinking
of the future when the transmission point will have to be moved? Or,
perhaps, this is not something we have to worry about in advance? I
would like to know.... I do not like to be taken by surprise.... A: No need to worry! ... “If one has the will of a Lion, one does
not have the
fate of a mouse!” Q: Very cute! I liked that one! But, now, you took the wind out of
my sails with the answer about the destiny. But, in my perception of
this arrangement on this stone, is it that the two sides need to be
united, is that correct? Or is the Arrow from the P-S pointing at
the spider a divider of two opposing groups? A: Open for your discovery! Q: Oh, you guys are BAD to me tonight! A: No, we be berry berry goood to Lawra!
Of all the many odd things that have come through the Cassiopaean
Experiment in “code”, this last was one of the strangest. “We be
berry berry goood to Lawra.” And it was transcribed exactly as they
gave it, with the extra “o” in the word “good” and the peculiar
spelling of my name.
One of the first things that we noted when the temporary house was
found for us near Auch was that the name of the domain was “En
Laurenc”. That’s close and interesting, but there was to be much,
much more. In fact, the “more” actually came via the
Rennes-le-Chateau link.
I have read and studied this “mystery” for some time and have
written a series about it that can be read on the web422. The
careful reader will realize that I do agree that there is a mystery
at Rennes-le-Chateau, but it is not at all what the dozens of
theorists may suppose. The greatest mystery of Rennes-le-Chateau was
that of Abbe Boudet’s book, “The True Celtic Language”.423 It was on
our visit to Alet-les-Bains, where Berengar Sauniere had formerly
been the cure, that we learned that this was the true birthplace of
Nostradamus, not St. Remy. As you will see, this may be significant.
422
http://www.cassiopaea.org/cass/grail.htm
423 The reader may enjoy my expose of Rennes-le-Chateau published on
the web at:http://www.cassiopaea.org/cass/grail_5f.htm. For our own
photos of the place and commentary, see:
The Quantum Future Group Goes to Rennes-le-Chateau:
http://www.cassiopaea.org/Rennes-le-Chateau/
Getting back to “we be berry berry goood to Lawra!” coming from a
discussion of Rennes-le-Chateau, along with Canseliet’s “key from
the key to the major arcanum is given quite openly in one of the
figures, illustrating the present work. And this key consists quite
simply in a color revealed to the artisan right from the first
work.
The first words of Mystery of the Cathedrals, lead us to
chapter SEVEN, where we read:
“Varro, in his Antiquitates rerum
humanorum, recalls the legend of Aeneas saving his father and his
household Gods from the flames of Troy and, after long wanderings,
arriving at the fields of Laurentum, the goal of his journey”.
Fulcanelli’s footnote: “Laurente (Laurentium) is cabalistically l’or
enté (grafted gold)”, and En Laurenc near Auch Cathedral, I knew I
was being given a complex puzzle to solve.
Knowing that Abbe Boudet,
the most interesting figure in the whole Rennes-le-Chateau
phenomenon, had written quite a strange book about the “True Celtic
Language”, giving something like Green Language clues about places
and names in France, I decided to see what he had to say about Auch.
The Gascons - The Occitanians
The Auqitains and
their tribes. - Auch. Bordeaux
The Celts imposed upon the descendants of the Tubal certain
designations wherein are revealed customs that the centuries have
been unable to wipe away. ... It is not a question of considering
the names of all the Iberian tribes; we must, however, make an
exception for the Vascons or Gascons.
“According to history, the Basques had the privilege of forming the
avant-garde of the Carthaginian armies, and to measure themselves
first against the enemy. Their reputation of indomitable courage was
so well establish that Caesar didn’t dare cross Vaconia, so much did
he dread them, going instead to Spain to avoid meeting them by the
Aspe valley in the Bearn.”
The Gascons gave their name to our French Gascony. We can hardly say
that their establishment in Aquitaine was an invasion because the
Aquitains were their brothers, and the Gascons had come to their aid
to fight the yoke of domination that Clovis sought to impose upon
them. We see them first under the children of Clovis, established on
the right bank of the Adour, and, later, around 626 AD, occupying
the entire Novempopulanie that from then on was called Gascony. They
received their strange name from the unique shoe they had adopted
and that their descendants have hardly abandoned. Gaskins, in the
Celtic language, means large, ancient shoe. It is the sandal that in
Languedoc we call spardillo, in Catalan, spadrilla, and that the
Basques call spartinac.
The word spartinac is far from meaningless: it is composed of the
verb to spare, the prelude to combat, and the adjective thin
(thinn), délié, clair-semé, peu nombreux. This light shoe permitted
the Basques to engage in fighting by ambushes: with rare agility, we
might even say elusive agility, they advanced in small groups,
beginning the combat with deadly and isolated strikes that must have
singularly surprised their enemies. This term spartinac shows us the
genius, warrior character of the Basques: they were long ago what we
call today guerrillas.
After giving us the meaning of the names of the Iberian tribes, the
Celtic language explains just as easily those of the Aquitain
tribes. In this part of Gaul, the Celtic family left larger and
stronger traces than in its mix with the Iberian family. All authors
have recounted the different character traits that separate the
Iberians and the Celts: the Celts were gay, light, ardent, loved to
fight and were quick to attack; the Iberians, on the contrary, were
grave, serious, almost somber, loved war as well and defended it
with an invincible stubbornness.
When the two people met, the shock
must have been terrible.
After having fought for the possession of their country, reports
Diodorus of Sicily, the Celts and the Iberians lived there together,
by virtue of a peace treaty, and they mixed through alliances. From
this mix came the Celtiberian nation in which Iberian blood remains
predominant. The Aquitains, who, according to their traditions, were
not issued from the Celts, belong to the Celtiberian family, because
if they were very close to the Iberians by their traits and their
customs, they nonetheless adopted the habits and institutions of the
Celts.
We offer as proof the institution of the soldures, which
appear to us to be absolutely Celtic, although one generally
attributes it to the Iberian nation.
“An institution that is particular to (Aquitaine), and that is a
stranger to the Gauls,” says the highly esteemed author of the
History of Gasconny, Abbé Monlezun, “is that of the solduriens, or,
rather, saldunes (of Escualdunal, zaldi or saldi, horse; salduna,
one who has a horse, horseman, l’eques romain); one names in this
way soldiers who make a vow to a chief, to forever share their
destiny or rather to identify so strongly with him that there is no
example of one who ever survived. As soon as the chief succumbed, we
saw them looking for a glorious death in battle, and if they could
find it, they came back and pierced themselves on the bodies of one
who had their faith.”
We can observe that in the account of the war against the Aquitains,
Ceasar speaks only of the institution of the soldurii, without
affirming elsewhere that the soldures existed in the other parts of
Gaul. The term soldures, that in the Basque language brings no idea
to mind, presents, on the contrary, in the language of the
Technosages, a meaning perfectly in accord with the institution
itself. It is the soldier devoted to his chief, and the accidents of
war will not separate them; the life of the soldura
will not outlast that of his chief. - Soul (sôl), life, âme. - to
dure (dioure), durer. - In our day, are not they called soldiers in
the Anglo-Saxon ? From whence comes this soldier, if not from
soldure (soldioure), and how would this term exist in the
Anglo-Saxon if the institution of the soldurii was unique to the
Iberians?
This institution that, it seems to us, is common to the
Celts and the Celtiberians, indicates to us how, on Aquitain soil,
the fusion operated between the two families. The name of Occitania
was used to designate Aquitain. [...] The author of the Mémoires de
l’Hitoire du Languedoc wishes, because of the first syllable of
Occitania, to apply this term to the Languedoc, but this expression,
broken down and interpreted by the Celtic language, demonstrates
with the latest evidence that the Occitani were the inhabitants of
the maritime coasts that surrounded the Gulf of Gascony, that is to
say, the Aquitains and the Cantabrians.
The reputation of the
Basques and the Cantabarians as intrepid mariners has never been
contested, and it is not without reason that they attribute to
themselves the honour of being the first to hunt whales. For the
rest, if the whales fell rarely under their blows, it wasn’t the
same for the porpoise, and this regular hunting of porpoises earned
them their name of Occitani - hog-sea (hogsi), porpoise, - to hit,
frapper, - hand, la main - hogsihithand. - The term Occitani was
thus the general name designating the fishermen of the Gulf of
Gascony.
The Celtiberians of the interior of the country between the Ocean,
the Pyrénées, and the Garonne, received another designation, general
as well, the Aquitains. It is said the Basques called their language
Escualdunac: it is the language of horsetamers, tamers with a somber
and cool face - scowl (skaoul), somber air, cool, - to down (daoun),
tame - hack, horse. - The title of horse-tamers does not only belong
to the Basques, it was shared with the Aquitainians, and this
commonality of tastes and customs seems to us a remarkable trait of
affinity that one should not neglect. It was difficult for the
Aquitains to be poor horsemen because their country was rich with
famous horses.
The Benedictine savant, Dom Martin, from whom modern authors
borrowed the
most curious details on the morals, the government, and the religion
of the Celts, understood that this production of magnificent horses had a great
influence on the
name given to Aquitaine. He also puts forward that this country was
first called Equitaine, from the Latin, equus, horse. The remarkable shrewdness
of the religious
scholar was hardly in fault, because they were still hardy tamers of
horses, these
Aquitaini. - hack, horse, - to cow (kaou), intimidate, - to hit,
frapper, - hand, main, - hackcowhithand. - Aquitaine.
Has the passion for horses disappeared from the heart of modern
Aquitains? It is certain that, in spite of the changes brought on by
the centuries to their habits, it still retains the same vivacity:
the horse exercises of any circus suffice, in effect, to excite in
the soul of the Aquitains and the Gascons an interest and an
enthusiasm that cannot be reined in.
There were about forty tribes living in the Aquitaine, of which the
nine main ones inspired the Romans to call the country
Novempopulanie. We will examine the names of some of these tribes
with those of several cities, and it will be notice that they all
belong to the Celtic language. [...]
The Auscii formed the most powerful tribe in Aquitaine. Ancient
geographers gave their principal city the name of Climberris. We
think it was an error on their part; they did not correctly capture
the exact meaning of this term, distinctive to the entire country,
because Auch has never seen its name vary, a name taken from the Auscii. For the rest, it seems to us
that we can discover the truth by the meaning of Climberris, which
should apply to the entire country, the city of Auch as well as that
of Eluse. All of this country produces berries and grain - clime,
region, country, - berry, berry, grain, - Climeberry - .
Why would they have attributed to one city the production of grain
and grapes, when it is the production of the entire region? And we
shouldn’t be surprised to see the berries of the vine, grapes, enter
into the composition of Climberris because vines existed in the
Gauls in a wild state. A considerable time may have passed without
thinking of its cultivation, and history seems to honour the Greeks
with having taught the Celts how to make wine, a fact that seems
highly dubious to us, as the Celts were as advanced as the Greeks in
material civilization, and superior to the sons of Javan in
philosophical and religious sciences.
We have already said that Auch took its name from the Auscii and was
their main city. In looking to give Auch a Celtic pronunciation, we
are forced to say Aouch, and it is probably the real name of this
town, written in Anglo-Saxon as Ouch, et pronounced Aoutch.
Ouch signifies a golden necklace, a setting for a precious stone,
and Auscii designates skillful workers, applied to working with
precious metals and making these magnificent golden necklaces with
which the warriors decorated their breasts on the joyous days which
were, for them, the days of combat - ouch (aoutch), necklace of
gold, - hew (hiou), to cut.
The Auscii easily became skillful in working in gold; this metal was
almost like a weed in their region, and diverse historians say that
the avid Greek and Phoenician merchants, coming back to their
countries, used the gold gathered in the Pyrénées for ballast in
their vessels. [...] 424 “We be berry, berry goood to Lawra” indeed!
Varro, in his Antiquitates rerum humanorum, recalls the legend of
Aeneas saving his father and his household Gods from the flames of
Troy and, after long wanderings, arriving at the fields of
Laurentum, the goal of his journey. [...] “Laurente (Laurentium) is
cabalistically l’or enté (grafted gold)”.
424 Translation, Henry See
I will let this passage
along with the other clues I have revealed stand here for the reader
to contemplate Auch Cathedral as the Cathedral of the Mysteries of
Fulcanelli.
This brings us back to the subject of the Sibyls. (Fulcanelli warned
his readers that having a good classical education was essential to
read his subtextual meaning.) As already noted, the Cumaean sibyl
was made famous by Virgil to foretell the birth of a saviour and as
Aeneas’ guide to the underworld. As we continue to read chapter
seven, we see that Fulcanelli is discussing this very matter and we
note again his particular reference to Varro.
The best known and most quoted catalogue of the sibyls (although the
original is lost) is that of the Roman scholar cited by Fulcanelli,
Varro (116-27 B.C.), whose ten named sibyls are known from the
Divinae Institutiones written by Lactantius (ca. 250 – after 317).
It was the first book printed in Italy (Subaico, 1465). The Sibyl
remained for the Christians who were, at heart, still attached to
their pagan roots, a direct witness to the gesta Dei, or signs of God.
In the Hellenistic period Jewish forgeries appearing in Alexandria
were passed off as Sibylline oracles and used as propaganda.
Supposedly genuine Sibylline oracles located in the temple of
Capitoline Jupiter in Rome were extant in Rome until the end of the
empire. The collection we know now is a rather chaotic compilation
called the Oracula Sibyllina and is full of religious propaganda and
apocalyptic predictions. The Greek text was recovered from antiquity
and published in 1545 in Basel.
The Sibyls were popular figures in medieval and Renaissance art, the
most famous occurrence being Michelangelo’s Sistine Chapel. We are
reminded that Raymond Montané compares the work at Auch with the
work of Michelangelo. The subject of Sibyls disappeared almost
entirely in Christian art after the Council of Trent concluded in
1563. The dedication of Auch Cathedral took place on February 12th,
1548, at which time the 18 windows of Arnaud de Moles and the 113
stalls in the choir were completed and which feature the Sibyls
prominently.
So, the fact that these Sibyls appear there at all is
an oddity in itself. The Sibyls uttered their prophecies in a state
of ecstasy, which the reader of this volume has learned is related
to the function of the ecstatic ascent or descent of the Shaman,
originally a function of women exclusively - Sibyls. This takes us
right back to Fulcanelli’s description of his own state of ecstasy
upon viewing his first Gothic cathedral and certainly leads us to
his appearance near Seville as “a woman” and a “young girl” at the
very time I disappeared.
As the reader can tell by this time, solving the greatest mystery of
our world is, on the one hand, quite simple and in plain sight, and
on the other hand, circuitous, like a maze.
The end of chapter seven
of Mystery of the Cathedrals brings us to the subject of the Virgin
saying:
In symbolic iconography, the star is used to indicate conception, as
well as birth. The Virgin is often represented with a nimbus of
stars. The Virgin at Larmor (Morbihan) forms part of a fine
triptych, representing the death of Christ and the suffering of Mary
(Mater dolorosa). In the sky of the central composition can be seen
the sun, moon and stars and the scarf of Iris. The Virgin holds in
her right hand a large star - maris stella - an epithet given to her
in a Catholic hymn.
This small passage is pregnant with meaning and
clues that lead in several directions at once. First, it suggests
that we consider the relation of the Virgin to the subject of stars,
which leads us to the Camino de Santiago Compostela, known in France
as the Chemin de St. Jacques de Compostella.
The word Compostela is most obviously interpreted “campus stellae”
or field of the star. The whole Camino de Santiago, from San Juan
pied de port until Compostela, is populated with villages, places
and mountain passes that are named after stars, as if to suggest
that the whole Camino is a stellar route, the Milky Way, a route
that leads to a special point: the field of the star.
We are again
reminded of the clue given in the Cassiopaean Transmissions:
A: Alfalfa fields in Rhineland yield as of yet undreamed of
treasures. Q: Where are these alfalfa fields? A: Near tracks well worn. Q: ... Do you mean Rhineland as in Germany proper? A: We do not mean Rhinelander, Wisconsin... Or do we?!? Who is to
tell? Q: Who? A: The searcher, the sepulcher, the one who carries the staff in
constant search
for greener pastures. ... Last clue for tonight: Look for the
vibratory frequency light. Good Night.
“Near tracks well worn” can certainly be considered to be a
reference to the Camino de Santiago Compostela.
Fulcanelli gives us a clue:
The Route of Saint James is also called the Milky Way. Greek
mythology tells us that the Gods followed this route to go to the
palace of Zeus and the heroes as well followed it to enter Olympus.
The Route of Saint James is the stellar route, accessible to the
chosen ones, to the courageous, persevering and wise mortals.
Another interpretation comes from an alchemical term: compost. This
refers to the subject of Canseliet’s prefaces: the appearance of a
white star indicating the accomplishment of the first part of the
Great Work.
Fulcanelli notes:
Pure Matter, of which the hermetic star consecrates the perfection:
it is now our compost, the blessed water of Compostela ( from the
Latin albastrum a contraction of alabastrum, white star). And it is
also the vase filled with perfume, the vase of alabaster (Latin
alabastrus) and the bud that comes out from the flower of knowledge,
the hermetic rose.
The operation is achieved when there appears on the surface a
shining star formed by the rays coming from one center, the
prototype of the great rose windows of our gothic cathedrals. This
is the sure sign that the pilgrim has happily reached the end of his
first journey. He has received the mystical blessing of Saint James,
confirmed by the luminous imprint that shone, they say, over the
tomb of the apostle. The humble and common shell that he wore on his
hat has become a shining star, in a halo of light.
It was only after I moved to France that I was able to understand
the importance of the relationship of the Virgin, the star, the
Chemin or Camino, the Milky Way, and my own path. It had been years
since I was able to clearly see the stars from our home in Florida.
There is so much light pollution that only the brightest stars can
be seen on a clear night.
I hadn’t seen the Milky Way since I was a
child. In rural France, the skies are a delight for star gazing. We
went out one night and the Milky Way was so clear and shimmering
that it was like fingers of light plucking the strings of some great
atmospheric harp. And there, right at the very end of the Milky Way,
nestled like the final destination, the Palace of Zeus, Olympus, the
“luminous imprint that shone over the tomb”, was Cassiopeia: a
gigantic letter M or W depending on the season of the year.
Certainly, Cassiopaea is similar in configuration to the Shell of
St. Jacques.
The Shell is a star, and the star is the vase of
alabaster, the hermetic rose, the Star in the hand of the Virgin.
Cassiopeia is an enthroned woman, at whose right hand is a
star-crowned King Cepheus holding his sceptre toward her. Ancient
writings describe her as his wife, and she is also
referred to in other ancient sources as, “The Bride, the Lamb’s
wife”.
Cassiopeia was the daughter of Arabus (whose name was given to
Arabia), a son of Hermes. Supposedly, according to the “Stalinized”
myths of the Greeks, Cassiopeia was prideful and willful, and it was
because of this that her daughter was made to suffer. It was said
that Poseidon put Cassiopeia in the heavens as a punishment - yet,
this is an honor that is generally a “reward”. How do we explain
this confusing element?
Cassiopeia is seated in a chair that turns upside down in each
twenty-four hours and this is supposed to be the “punishment”.
However, all the constellations are “upside-down” from one
perspective or another within every 24 hour period. When considering
the concepts of the “Triple Goddess”, Cassiopeia could be viewed as
the maternal element of the triad with Andromeda, the virgin, and
Medusa, the crone or destructive element of the story. Cassiopeia is
often represented holding a palm frond, a symbol of fertility which
compares her to Demeter giving grain to Triptolemus. We note that
the Sibyl of Samos, depicted in the windows of Arnaud de Moles, held
a palm frond.
Julius Schiller (1627) saw Cassiopeia as
Mary Magdalene, and some
have seen a parallel between Cassiopeia and Bathsheba.
The Celts called this constellation
Ilys Don, or the “house of Don”,
known as “Tuatha de Danaan”. In this role of Danae, she was the
mother of Perseus. Thus we may see the combining of the two women,
and the hieros gamos (sacred marriage) of Perseus to his sister,
Andromeda as an expression of the androgyne of alchemy, achieving
the “Great Work”.
In terms of the myths and stories of the search for the Holy Grail,
or, in our modern metaphor - the escape from the Matrix - most of
the figures appearing in the Greek constellations were said to have
been placed there by one of the Gods to honor and perpetuate their
memory. The constellation figures of Cepheus and Cassiopeia are
unusual in that they were not granted their positions as an honor,
but are there to complete the story of Perseus, Andromeda and Cetus.
This is a group of five constellations that is unusual in that it is
the only classical myth to be so fully depicted.
Can it be that this is a clue that this myth - including the
important role of Cassiopaea - is a sort of “message in a bottle” to
mankind? Cassiopaea, the field of the Stars:
The operation is achieved when there appears on the surface a
shining star formed by the rays coming from one center, the
prototype of the great rose windows of our gothic cathedrals. [See
Plate 8.] This is the sure sign that the pilgrim has happily reached
the end of his first journey. He has received the mystical blessing
of Saint James, confirmed by the luminous imprint that shone, they
say, over the tomb of the apostle. The humble and common shell that
he wore on his hat has become a shining star, in a halo of light.
Cassiopaea: the shining star formed by the rays coming from one
center... the sure sign that the pilgrim has happily reached the end
of his first journey. He has received the mystical blessing of Saint
James...
“We are you in the Future”, they said. “We transmit ‘through’ the
opening that is presented in the locator that you represent as
Cassiopaea, due to the strong radio pulses aligned from Cassiopaea, which are due to a pulsar from
a neutron star 300 light years behind it, as seen from your locator.
This facilitates a clear channel transmission from 6th density to
3rd density... [in] “Zero” time. [utilizing Electromagnetics and
gravity which are interconnected, or you could say “unified”. Space
and time are selective and flexible. ... You see, when one utilizes
zero time, there is zero space as well.”]
Julius Schiller, who reinterpreted the constellations in Christian
terms, called Andromeda “Sepulchrum Christi”, or “the tomb of
Christ”. There is also the Freudian analogy which associates a cask
with the female. The fertility implications are obvious: Christ was
in a tomb, waiting to rise again - the seed ready to emerge in
Spring.
This connects us back, of course, to what
Fulcanelli has
said:
“He has received the mystical blessing of Saint James,
confirmed by the luminous imprint that shone, they say, “over the
tomb of the apostle”,” together with the clue from Cassiopaea:
“Who
is to tell? ... The searcher, the sepulcher, the one who carries the
staff in constant search for greener pastures.”
The Phoenicians saw
a “threshing floor” in the constellation of Andromeda which is an
interesting connotation when one thinks of the ideas of “reaping”
and “separating the wheat from the tares”.
Also, the word
“tribulation” is connected to “threshing”, or the separating of the
grain from the chaff.
The horse, mare, mer, mere, sea, mother
- the Virgin where the star appears
- the Prima Materia
Sirrah, the star that flashes from
Andromeda’s head, is also one of the four
stars that make up the square in the
constellation of Pegasus - the steed of Perseus - who was born from the spurting
blood of the decapitated gorgon, Medusa.
This star in the head of Andromeda is also
known as the “navel” of Pegasus - the
horse, mare, mer, mere, sea, mother.
Pegasus was the offspring of Poseidon, with whom Medusa mated in Athena’s
temple, violating the Goddess’ sacred
space. This violation was a grievous
offense, since Athena prided herself on being a virgin, and “Parthenon” means,
“the place of the virgin”.
Pegasus’ name may come from the Greek
“pege”, or “spring”, and is thereby another
connection to the idea that the beheading of
the Gorgon is also a restoration of the
waters of the virgins of the wells of Grail
myths, thereby being operative in healing
the wasteland.
There are many winged horses in Middle
Eastern art, and these all may be related to
this myth. Some say that the early Aryans
claimed that this constellation represented
Asva, the sun, and it was actually Chiron’s daughter, Thea.
She was a companion
of Artemis and was seduced by Aeolus, the God of the wind. Poseidon
helped her by turning her into a horse. The long and well known
association of horses with the Celts and with the Perseids should be
considered here also.
The Egyptians identified this constellation as “The Servant”, and
some of its stars as a jackal. The Arabs called its quadrangle Al
Dalw, or “water bucket”, which has also been identified as the urn
in the zodiacal constellation Aquarius, my own birth sign.
I think that the picture above will make it clear. The brain is the
“horse of God” which the seeker “schools” in order to arrive at his
destination, and we note the striking resemblance to the Omega
symbol.
The Greeks identified the four stars in Pegasus as the gate to
paradise. The Hebrews called it “Nimrod’s horse”. Christians saw it
as the ass that carried Christ into Jerusalem which suggests hidden
worship of the Goddess as the true rite expressed allegorically as
the crucifixion. We must not forget that there is the image of the
Templars - two men on a horse. What could this represent but a
duality, spirit and matter, unified via “riding the horse”? Certain
alchemical symbols depict either two men, or a two-headed man,
mounted on a horse which climbs a ladder, or tree.
Whatever variation of the story we find, the essential element seems
to be that of a hero who accomplishes some impossible deed and
thereby obtains a “flying horse”, and who then rides the horse and
accomplishes more impossible tasks having to do with “freeing”
others. In the course of all this, he wins the maiden of his
choosing, and - in the case of Perseus - lives happily ever after.
In Freudian terms, the winged horse is associated with the potent
phallus with which it is possible for the hero to overcome all
obstacles. There are many representations of winged phalloi in
ancient Greek art.
This element of sexuality may refer to both
actual genetic principles as well as the subject of “polar
opposites” that is discussed in this book, an ancient Gnostic
tradition revealed by Boris Mouravieff.
One story tells us that Perseus built a ship called
Pegasus that was
said to sail as swiftly as the horse that flies. This is the
prototype of the story of the Argonauts which is also related by
virtue of the “flying ram” which later becomes the Golden Fleece,
keeping in mind that the constellations under discussion are all
found in the sign of the Ram. In this story, the brother and sister
are rescued by the flying ram, but the sister falls into the sea.
Did she then become Andromeda? Do we begin to see the difference
between Ares and Aries?
We should also note that the subject of the Argonauts was a
particular theme of Fulcanelli’s, and that he referred to this as a
Green Language way of saying: “Art cot”, or the art of light.
We
find ourselves again considering Jules Violle and the measure of
light, the “violle”. Fulcanelli also associated Perseus with Jason
of the Argonauts, and I am convinced that this was a deliberate
“mistake”. Another important point: of all the ancient heroes of
myth and legend, Perseus stands out as being supremely successful;
so many others started out with good intentions, had numerous
successes, but then fell from glory due to hubris or trickery or
temptation.
We find an interesting relationship between Cassiopeia and Danae in
that they both are the “root” of the problem that leads to the main
action of the story.
Perseus is exposed to great danger in his efforts to “rescue” his
mother, and Andromeda is similarly exposed to great danger as a
“sacrifice” for her mother. For some reason, Danae cannot tell
Polydectys “no” - he has power over her - and the much maligned
Cassiopeia speaks for her daughter and the daughter’s beauty and
this gets them both into hot water.
In the same terms, Cassiopeia may have known what she was doing when
she caused her daughter to become bait for the Sea Serpent, Cetus.
As an “Oracle”, she would have known that Perseus, like Neo, could
overcome all obstacles to save others; and that this was the extra
‘something’, the proper perspective of serving others that was
needed to ensure success.
The result was, of course, that Perseus killed the sea serpent and
married Andromeda. They set off together as a team: righting wrongs,
freeing the oppressed, turning the bad guys into stone, and lived,
as far as is known, happily ever after.
Thus, as a symbol of gaining Freedom from the Matrix, we find,
first, that Perseus is the Hero of choice, and, second, that the
dynamics of the only myth that is fully represented in the Sky over
our very heads are those which suggest to us our path of “tracking”
the clues that will enable each participant to not only cut off the
head of their own Medusa, thus releasing the Truth in the form of
the Winged Horse, Pegasus, but also, with the aid of this Truth, to
participate in the Freeing of Andromeda. We believe that no more
important task is before us on the Earth today.
Getting back to the present, when we moved to our current house, we
found that we lived now in a village that is called “Belcassé”. This
name interested me because it reminded me of “Beautiful Cassiopaea”.
We learned that the name meant “Beautiful Oaks”.
I began tracking
words and meanings and finally came to the realization that
Cassiopeia can mean, literally, the “Voice of the Oak”, the Sibyl,
the Great Mother, the Virgin. Things became a bit more interesting
when I learned that the oldest name of the village was “Lampe
Adagio”, or “Slow Light”. Hmmm.. “Look for the Frequency of light.”
This region, only a short distance from Agen where Nostradamus spent
many years of his life (we will come to that), was quite a center of
Catharism, as was Alet-les-Bains, the birthplace of Nostradamus.
The
interesting thing was that even the Catholic monks were “infected
with the heresy”, so to say, and there are stories of Cathars being
protected in local religious houses. The Abbey Belleperche, for
example, sited right on the Garonne river, and which I can view from
my office window, used to own all the land leading right up to our
Chateau. They were famous for their horses. Many fields that now
produce wheat, rapeseed, sunflowers, etc, were used to pasture
horses... “Alfalfa fields in Rhineland”?
At the beginning of this
article is an image of the Burial of Christ. It is found in Chapel
17 in Auch Cathedral which formerly was called the “royal chapel”
and is also known as the chapel of the Trinity. It is on this site
that the foundation stone of the cathedral was laid on July 4th,
1489. (I found this to be synchronous also since it was on July 4th
that Ark first wrote to me from Florence where Leonardo da Vinci
spent so much of his life.)
It is also in the crypt directly under
Chapel 17 where the burial, or “sepulcher” stands, that another
strange coincidence was noted. On my first visit (I’m now such a
regular that the caretaker just gives me the key
instead of taking me down himself), as I stood under the burial of
Christ just looking around in an unfocused way to see if there was
anything that caught my eye, I finally looked at the floor under my
feet. There was a grave there, an Archbishop, and the dates of his
appointment and death - one date at the toes of each of my feet -
were my birthday and my husband’s (Ark) birthday.
The Cathedral was
also dedicated on my birthday: February 12.
We discussed the strange date synchronicities with mathematician
Robert Coquereaux 425, and he admitted that our more or less “random
choice” for the area of our new home having a cathedral dedicated on
my birthday, with the foundation stone laid on the anniversary of
the date Ark first wrote to me, and then including a grave stone in
the crypt above the foundation stone with both our birthdays on it
was stretching “coincidence” a bit. But, being a true scientist, he
proposed that we should have to do many “trials” to be “scientific”
about drawing any conclusions.
425 See “The Cave Beneath the Sea”:
http://www.cassiopaea.org/cass/Laura-Knight-Jadczyk/article-lkj-18-10-03.htm
Returning to the burial of Christ,
which is in the chapel over the grave of Pierre-Henri Gerault de
Langalerie [See Plate 9.], we find an excellent description of the
piece in the writings of Raymond Montané:
The Burial assembles eight traditional characters together in a very
unusual way. There is Jesus laid out on a cloth and, arranged behind
him, Mary the mother of Jesus, two additional women, St. John the
Apostle, and Mary Magdalene standing at Jesus’ feet with her
alabaster jar. Joseph of Arimathea and Nicodemus hold the shroud at
each end.
Each character in the tableau is identifiable by attitude, details
of costume, position in relation to Jesus, or by the object in his
or her hand. The woman standing next to Jesus’ mother is shown in a
very special way: she actually occupies the central place of honor,
and holds the crown of thorns - a “star”, perhaps?
She is wearing
the head covering of a married woman, and her place of honor depicts
her as the wife of Jesus. But, this wife is not Mary Magdalene who
is clearly positioned at the feet. Mary Magdalene is depicted in
such a way that you cannot mistake who she is with her long hair on
display and holding the alabaster jar. Her headdress, in fact, is
that of an unmarried girl. In fact, if you look at Mary Magdalene up
close, she looks more like a daughter of the family gathered about
the body.
[See Plate10.]
Father Raymond Montané tells us:
The canopy, of flamboyant style, is decorated with an original
Trinity. It is the “showing” of Christ on the Cross, by God the
Father himself. The Holy Spirit, symbolized by a dove, is placed
between the Father and the Son. This theophany is truly in relation
with the Burial of Christ, and even more with the theological basis
of the Passion, but not with the text properly said to be of the
Gospels.
He notes in passing that the monument was inspired by Margaret of
Austria. Margaret’s husband, Philibert de Savoie was a cousin of one
of the bishops that was involved in the commissioning of the work of
the cathedral, Francois de Savoie, and this was the family in
possession of the Shroud of Turin. It is also noted in the history
of Auch that Marguerite of Navarre, the second cousin of Margaret of
Austria, was closely associated with Auch Cathedral. We will be
delving further into the people associated with the Cathedral
Ste-Marie at Auch in another book dedicated to its mysteries, but
allow me to give the reader some clues.
Marguerite of Navarre takes us right back to
Fulcanelli.
In the early 1520s, Marguerite became involved in the movement for
the reform of the church, meeting and corresponding with the leading
reformers of the period. In 1527, apparently by her own choice,
(rare in those days), Marguerite married Henri d’Albret, King of
Navarre (though most of his kingdom was in Spanish hands). Henri
d’Albret was the son of Catherine de Foix, descended from a famous
Cathar family.
Around 1531, Marguerite allowed a poem she had written to be
published, Miroir de l’ame pecheresse (Mirror of the sinful soul).
Marguerite gave a copy of Miroir to one of her ladies in waiting,
Anne Boleyn, and it was later translated into English by Anne’s 12
year old daughter, Elizabeth, later to become the greatest monarch
England has ever known. As it happens, Anne Boleyn had previously
been the lady in waiting to Margaret of Austria, so the two ladies
undoubtedly communicated with one another and shared a Lady in
Waiting. It also makes one wonder about the possibility that there
was a great mystery surrounding Anne Boleyn?
A fascinating article entitled The Holbein Code has recently been
published in Fortean Times (FT 202), written by David Hambling, a
well respected journalist. He suggests that the painting The
Ambassadors by Holbein was intended to deliver a specific message.
He writes:
There is no contemporary record of the painting, and the two sitters
were not identified for centuries. In 1890, Sir Sidney Colvin
suggested that the man on the left was Jean de Dinteville, French
ambassador to the court of Henry VIII, because of the presence of
Polisy, Dinteville’s chateau, on the terrestrial globe visible in
the painting. In 1900, Mary Hervey did some historical detective
work, visiting Polisy and sifting through 17th century documents,
including a 1653 inventory of possessions. She confirmed that the
painting had originally hung there, and identified the second sitter
as George de Selve, bishop of Lavour and sometime French ambassador
to the Holy Roman Empire.
The picture, then, shows French ambassadors on a mission to London
at a crucial point in history. Henry VIII was about to discard the
Spanish Catherine of Aragon and declare Anne Boleyn his new queen.
Anne had spent her formative years at the French court...
The driving force of the Renaissance was the new concept of
Humanism, “the spirit of intellectual freedom by which man asserted
his independence from the authority of the Church”.” In the
mediaeval view, the Church could pronounce on everything, from the
nature of God to the motion of the stars and the shape of the Earth.
Humanism challenged the existing order.
There were new sources of information available from outside the
Christian world: pagan Greek philosophers... Humanists tried to
integrate all this into a single whole. A new spirit of inquiry was
stirring. Copernicus had just published his theory that the Earth
was not the centre of the Universe, and Martin Luther nailed his 95
theses to the door of the church...
The Church resisted, sometimes violently. Luther’s proposed reforms
were seen as heretical; so was Copernicus’s theory. And anyone
experimenting with Alchemy, Astrology, Cabalism or novel religious
views learned to keep quiet or face burning. We know Anne Boleyn
supported the Evangelical cause. The writings of poet Nicholas
Bourbon, who fled to England under her protection, give us an
indiscreet glimpse of the group surrounding her. There were Thomas
Cromwell and Thomas Cranmer, as well as Evangelical Bishop Hugh
Latimer, Nicholas Kratzer, William Butts - and the painter Hans Holbein. [...]
The members of this small, close-knit cabal that engineered Anne
Boleyn’s rise had two things in common: they were self-made men
rather than aristocrats, and they held views which could be
dangerous. Hence, their actions to turn England down a new road and
make it safe for those threatened by the established church,
kickstarting the Reformation in the process.
Dinteville was an ally of Anne Boleyn. He was a patron of the
humanist Jacques Lefevre, and Mary Hervey notes that he was also
rumoured to be an enthusiast for the “secret sciences” of alchemy
and astrology. Holbein’s painting might indicate religious
sympathies...
The most detailed study of the painting has been carried out by
Professor John North, emeritus professor of the History of
Philosophy and the Exact Sciences at the University of Groningen in
the Netherlands. His book, The Ambassadors’ Secret, contains a
wealth of detail... 426
426 David Hambling, Fortean Time, FT 202
As it happens, the instruments depicted in
the painting indicate an exact time and date: 4 p.m. on 11 April
1533. This date was Good Friday, the day and hour of the alleged
death of Jesus if he had actually been crucified 1,500 years earlier
in AD 1.
North is not given to theorizing without a solid base of evidence.
Like others, he considers the possible influence of the great
Renaissance magus Cornelius Agrippa of Nettesheim, a figure at the
French court who may have been an acquaintance of Dinteville,
Holbein or Kratzer, but he finds the sheer volume and complexity of
symbolism used by Agrippa makes it impossible to be certain of
correspondences. [...]
The Ambassadors is not just a portrait of two French dignitaries,
but was intended as an instrument to - quite literally - change
history. 427
427 Ibid.
Here, I will give the “other side of the story” that
may suggest an entirely different explanation for the “Holbein
Code”, and how it may very well mesh with the so-called “Da Vinci
Code”. What does seem to be true is that a desperate attempt was
being made to transmit knowledge, to propagate Gnosis, but it failed
when the headsman came to remove the head of Anne Boleyn because she
could not produce a male heir for Henry.
But then, perhaps it did not fail after all? Perhaps it was just not
yet time?
Getting back to Marguerite of Navarre, the mistress and
teacher of Anne Boleyn, Sorbonne theologians condemned her poem, Miroir, as heresy. A monk said Marguerite should be sewn into a sack
and thrown into the river Seine, and students at the College of
Navarre satirized her in a play as “a fury from Hell”. But her
brother, Francis I, King of France, forced the dropping of the
charge and an apology from the Sorbonne.
Marguerite was one of the most influential women in France. Her
salon became famously known as the “New Parnassus”.
The writer, Pierre Brantôme, said of her:
“She was a great princess. But in addition to all that, she was very
kind, gentle, gracious, charitable, a great dispenser of alms and
friendly to all”, The Dutch humanist, Erasmus, wrote to her, “For a
long time I have cherished all the many excellent gifts that God
bestowed upon you; prudence worthy of a philosopher; chastity;
moderation; piety; an invincible strength of soul, and a marvelous
contempt for all the vanities of this world. Who could keep from
admiring, in a great King’s sister, such qualities as these, so rare
even among the priests and monks?”
As a generous patron of the arts, Marguerite befriended and
protected many artists and writers, among them François Rabelais.
Fulcanelli refers us frequently to Francois Rabelais. As it happens,
his Gargantua-Pantagruel series, Le Tiers Livre des faicts et dicts
héroïques du bon Pantagruel (1546), was dedicated to Marguerite of
Navarre.
Another of Marguerite’s associates and correspondents was
Jules
Cesar Scaliger who was a close friend and associate of Nostradamus.
Nostradamus, as mentioned, was born in Alet-le-Bains, in Foix lands - Cathar country. Nostradamus also attended school with Rabelais.
In 1525 Nostradamus settled in Agen, not far from Toulouse and Auch.
In 1534, it is said he married a woman of “High Estate”, who gave
him two children. This woman has never been identified, but
considering his highly probable association with Marguerite of
Navarre, it is likely that there was some connection there. It is said that, in 1538, his wife and children died of the
plague. Around the same time, he had a falling out with Scaliger,
and he was accused of heresy by the Inquisition because of a
statement made in earlier years.
Nostradamus’ biographers tell us that he left Agen and “wandered
around Southern France”. It was only in 1546, two years before the
consecration of Auch Cathedral, that Nostradamus settled in the
village of Salon de Craux which has laid claim to his glory for all
these many years. To sum up the mystery we find here, Nostradamus
lived in Agen for 13 years, and there are 8 years that no one knows
exactly where he was or what he was doing. It is quite likely that
he took refuge with Marguerite of Navarre who was the patron and
protector of such as Nostradamus. One wonders what influence
Nostradamus may have had on the history depicted in Auch Cathedral?
Scaliger, we should note, is the “author” of the accepted historical
chronology that is coming more and more into question in the present
day. It is possible that the falling out between him and Nostradamus
related, in part, to disagreements regarding how history should be
viewed and taught.
In 1550, one year after Marguer ite’s death, a tributary poem,
Annae, Margaritae, Ianae, sororum virginum heroidum Anglarum, in
mortem Diuae Margaritae Valesiae, Nauarrorum Reginae,
Hecatodistichon, (yes, long title!) was published in England. It was
written by the nieces of Jane Seymour (1505-37), third wife of King
Henry VIII. So, certainly, all these ladies were in contact with one
another, and it is likely that secrets were shared among them.
Thus
we see, in the person of Marguerite of Navarre, an individual who is
central to the mystery of Auch Cathedral, whose associations suggest
to us that she was well acquainted with esotericism and possibly
even secrets passed down from the time of the Crusades against the
Cathars - and more. Fulcanelli points us to Rabelais, and Rabelais
leads us to Marguerite, and so we arrive at Auch Cathedral where the
great mystery awaits the attentive seeker.
The next photograph is a close-up of the Burial of Christ said to
have been inspired by Margaret of Austria, kinswoman of Marguerite
of Navarre, showing the four women of the eight figures. [See Plate
11.] Notice the headdresses of the four women. That of the woman in
the position of wife is distinctively different from those of Mary,
the mother, and the woman to the right of the “wife”. Plate 12 is a
close-up of the woman standing in the place of honor of the wife of
the deceased, holding the crown of thorns. In Plate 13 you will see
a Sibyl from the windows of Arnaud de Moles holding a palm branch of
Hope/Fertility. Note carefully the spiral insignia over their
breasts. Note also the unusual turban of the wife, identical to the
turban of the Sibyl.
Now, let’s take a look at one of the carvings in the Choir of Auch
Cathedral that depicts the Gifts of the Magi to the Infant Christ.
[See Plate 14.] Notice, in particular, the hats of the “Three
Kings”. The one at far right still has his on, the one kneeling has
laid his on the ground, and the one in the center of the tableau has
lifted his in such a way that it seems it covered the chalice he
holds in his other hand. Again, we note the similarity of the head
coverings: turbans that are associated today with the Arabs. We
wonder what relationship the “wife” of Jesus had to the “Magi”?
There are two other images I would like to show the reader because
they are typical of the esoterica displayed in this marvelous
Cathedral. [See Plate 15 and 16.] Both of them represent a similar
theme that will be easy to discern in imagery, but requires some
interpretation to bring the symbol to understanding. Now, what are
these figures trying to tell us? In Plate 16, something is being
done to the head of the central figure. It looks as though the
attendants are trying to dislodge something from the head of the
seated man by force. In Plate 15, we see an individual being held
down with his (or her) head placed on an anvil while the three
associated figures are depicted as hammering the head! Is this some
terrible Medieval torture being depicted?
No, it is a depiction of initiation. And, in fact, in one of the
windows of Arnaud de Moles, Jesus is depicted as the central figure - identical to the carving at left - having something done to his
head. The figure is meant to indicate Jesus because the head is
shown with a “crown of thorns”.
A
Shaman is, as Historian of Religion,
Mircea Eliade describes, a
Technician of Ecstasy. This is an essential qualification and/or
result of contact with the Divine. More than that, in order to be in
direct contact with the Divine, the human being must be able to “see
the unseen”. This Seeing is the capacity of human beings to enlarge
their perceptual field until they are capable of assessing not only
outer appearances, but also the essence of everything in order to
access the level of being that enables them to make choices that are
capable of initiating a new causal series in the world.
It has
nothing at all to do with “hallucinations” or mechanical means of
altering brain perceptions: it is a “soul” thing, so to say. The
word “shaman” comes to us through Russian from the Tungusic saman.
The word is derived from the Pali samana, (Sanskrit sramana),
through the Chinese sha-men (a transcription of the Pali word).
The word shaman, may be related to
Sarman.
According to John G.
Bennett , Sarmoung or Sarman:
“The pronunciation is the same for either spelling and the word can
be assigned to old Persian. It does, in fact, appear in some of the
Pahlawi texts... “The word can be interpreted in three ways. It is
the word for bee, which has always been a symbol of those who
collect the precious ‘honey’ of traditional wisdom and preserve it
for further generations.
“A collection of legends, well known in Armenian and Syrian circles
with the title of The Bees, was revised by Mar Salamon, a Nestorian
Archimandrite in the thirteenth century. The Bees refers to a
mysterious power transmitted from the time of Zoroaster and made
manifest in the time of Christ.”
“‘Man’ in Persian means the quality transmitted by heredity and
hence a distinguished family or race. It can be the repository of an
heirloom or tradition.
The word sar means head, both literally and in the sense of
principal or chief. The combination sarman would thus mean the chief
repository of the tradition...” “And still another possible meaning
of the word sarman is... literally, those whose heads have been
purified.”428
428 John G.
Bennett, Gurdjieff: Making of A New World
Those whose heads have been purified! What an
interesting idea! The central theme of Shamanism is the “ascent to
the sky” and/or the “descent” to the underworld. In the former, the
practitioner experiences Ecstasy, in the latter, he battles demons
that threaten the well being of humanity.
There are studies that
suggest evidence of the earliest practices is in the cave paintings
of Lascaux with the many representations of the bird, the tutelary
spirits, and the ecstatic experience (ca. 25,000 BC). Animal skulls
and bones found in the sites of the European Paleolithic period
(before 50,000 - ca. 30,000 BC) have been interpreted as evidence of
Shamanic practice.
The “ecstatic experience” is the primary phenomenon of Shamanism,
and it is this ecstasy that can be seen as the act of merging with
the celestial beings. Merging results in Forced Oscillation that
changes Frequency.
Continued interaction with Celestial beings is a
form of Frequency Resonance Vibration.
January 14, 1995
Q: (L) We have some questions and the first one is: You have told us
in the past that you are us in the future and that you are moving
this way to merge with us. A: Yes. Q: (L) As we measure time, how far in the future are you us? A: Indeterminate as you measure time. [...] What is “future”,
anyway? Q: (L) The future is simultaneous events, just different locales in
space/time, just a different focus of consciousness, is that
correct? A: Yes, so if that is true, why try to apply linear thinking here,
you see, we are
merging with you right now!
The idea that there was a time when man was directly in contact with
the Celestial Beings is at the root of the myths of the Golden Age
that have been redacted to the Grail stories of the 11th and 12th
centuries. During this paradisiacal time, it is suggested that
communications between heaven and earth were easy and accessible to
everyone. Myths tell us of a time when the “Gods withdrew” from
mankind. As a result of some “happening”, i.e. “The Fall”, the
communications were broken off and the Celestial Beings withdrew to
the highest heavens.
But, the myths also tell us that there were still those certain
people who were able to “ascend” and commune with the Gods on the
behalf of their tribe or family. Through them, contact was
maintained with the “guiding spirits” of the group. The
beliefs and practices of the
present day shamans are a survival of a profoundly modified and even
corrupted and degenerated remnant of this archaic technology of
concrete communications between heaven and earth such as the Cassiopaean Transmissions.
The
shaman, in his ability to achieve the ecstatic state
inaccessible to the rest of mankind, due to the fusion of his
emotional center via suffering, generally, (witness the metaphor of
the Crucifixion), was regarded as a privileged being. More than
this, the myths tell us of the First Shamans who were sent to earth
by the Celestial Beings to defend human beings against the “negative
Gods” who had taken over the rule of mankind.
It was the task of the
First Shamans to activate, in their own bodies, a sort of
“transducer” of cosmic energy for the benefit of their tribe. This
was expressed as the concept of the “world tree”, which became the
“axis” or the Pole of the World and later the “royal bloodlines”.
It does seem to be true that there is a specific relationship
between this function and certain “bloodlines”. But, as with
everything that has been provided to help mankind, this concept has
been co-opted by the forces seeking to keep mankind in darkness and
ignorance.
The true and ancient bloodlines of the First Shamans have
been obscured and hidden by the false trail of the invented
genealogies of the Hebrew Old Testament supposedly leading to
certain branches of present day European royal and/or noble
families, which seek to establish a counterfeit “kingship” that has
garnered a great deal of attention in recent times. I devote some
attention to this subject in The Secret History of the World. As we
have already noted, before the Fall, every human being had access to
communication with the higher densities via the “Maidens of the
Wells” of ancient Celtic legend.
After the Fall, it seems that a specific genetic variation was
somatically induced by the incarnation of certain higher density
beings who “gave their blood” for the “redemption of man”. That is
to say that they changed the body and DNA by Forced Oscillation. It
is likely that this was done through the female incarnations because
of the role of the mitochondrial DNA, but I don’t want to get ahead
of myself here, so we will leave that for the moment.
Nevertheless, the presence of this DNA, depending upon the terms of
recombination, makes it very likely that there are many carriers of
this bloodline/Shamanic ability on the earth today, though very few
of them are carrying the “convergent” bloodlines.
The Sufis have kept the “Technician of Ecstasy” concept alive in
their tradition of the “Poles of the World”. The kutub or q’tub
(pole of his time) is an appointed being, entirely spiritual of
nature, who acts as a divine agent of a sphere at a certain period
in time. Each kutub has under him four awtads (supports) and a
number of abdals (substitutes), who aid him in his work of
preserving and maintaining the world. The interesting thing about
this idea is that the individual who occupies the position does not
even have to be aware of it! His life, his existence, even his very
physiology, is a function of higher realities extruded into the
realm of man.
That this has a very great deal to do with
“bloodlines”, as promulgated in recent times is true, but not
necessarily in the ways suggested. In the present time, it seems
that those with the “bloodline” are awakening. It is no longer
feasible to be a “Pole of the World” who is asleep, because there
are some very serious matters of choice and action
that may be incumbent upon the awakened Shaman. The first order of
business seems to be to awaken and accumulate strength of polarity.
Shamans are born and made. That is to say, they are born to be made,
but the making is their choice. And, from what I have been able to
determine, the choice may be one that is made at a different level
than the conscious, 3rd density linear experience. Those who have
made the choice at the higher levels, and then have negated the
choice at this level because they are not able to relinquish their
ordinary life, pay a very high price, indeed.
A shaman stands out because of certain characteristics of “religious
crisis”. They are different from other people because of the
intensity of their religious experiences. In ancient times, it was
the task of the Shamanic elite to be the “Specialist of the Soul”,
to guard the soul of the tribe because only he could see the unseen
and know the form and destiny of the Group Soul.
But, before he
acquired his ability, he was often an ordinary citizen, or even the
offspring of a shaman with no seeming vocation (considering that the
ability is reputed to be inherited, though not necessarily
represented in each generation.) At some point in his life, however,
the shaman has an experience that separates him from the rest of
humanity. The Native American “vision quest” is a survival of the
archaic understanding of the natural initiation of the shaman who is
“called” to his vocation by the Gods.
A deep study of the matter reveals that those who seek the
magico-religious powers via the vision quest when they have not been
called spontaneously from within by their own questing nature and
feeling of responsibility for humanity, generally become the Dark
Shamans, or sorcerers; those who, through a systematic study, obtain
the powers deliberately for their own advantage.
The true Shamanic initiation comes by dreams, ecstatic trances
combined with extensive study and hard work: intentional suffering.
A shaman is expected to not only pass through certain initiatory
ordeals, but he/she must also be deeply educated in order to be able
to fully evaluate the experiences and challenges that he/she will
face. Unfortunately, until now, there have been precious few who
have traveled the path of the Shaman, including the practice of the
attendant skills of “battling demons”, who could teach or advise a
course of study for the Awakening Shaman.
In my own case, over
thirty years of study, twenty years of work as a hypnotherapist and
exorcist, and the years of “calling to the universe” that constitute
the Cassiopaean Experiment stand as an example of how the process
might manifest in the present day.
The future shaman is traditionally thought to exhibit certain
exceptional traits from childhood. He is often very nervous and even
sickly in some ways. (In some cultures, epilepsy is considered a
“mark” of the shaman, though this is a later corrupt perception of
the ecstatic state.) It has been noted that shamans, as children,
are often morbidly sensitive, have weak hearts, disordered
digestion, and are subject to vertigo.
There are those who would
consider such symptoms to be incipient mental illness, but the fact
is that extensive studies have shown that the so-called
hallucinations or visions consist of elements that follow a
particular model that is consistent from culture to culture, from
age to age, and is composed of an amazingly rich theoretical
content. It could even be said that persons who “go mad”, are “failed shamans” who have failed
either because of a flaw in the transmission of the genetics, or
because of environmental factors.
At the same time, there are many
more myths of failed Shamanic heroes than of successful ones, so the
warnings of what can happen have long been in place.
Mircea Eliade
remarks that:
“... The mentally ill patient proves to be an unsuccessful mystic
or, better, the caricature of a mystic. His experience is without
religious content, even if it appears to resemble a religious
experience, just as an act of autoeroticism arrives at the same
physiological result as a sexual act properly speaking (seminal
emission), yet at the same time is but a caricature of the latter
because it is without the concrete presence of the partner.”
Well, that’s a pretty interesting analogy! It even suggests to us
the idea that one who attempts to activate a Shamanic inheritance
within the STS framework of Wishful Thinking, has an “illusory”
partner as in the above-described activity, with similar results. In
other words, Sorcery is like masturbation: the practitioner
satisfies himself, but his act does no one else any good.
And, by
the same token, a Shaman who operates without knowledge is like the
proverbial “three minute egg”: he gets everybody all excited, and
then leaves them hanging! In both cases, such an individual has
satisfied only themselves, and it could be said that, in the latter
case, it is actually worse because another individual has been used
for that satisfaction.
But, such amusing vulgarities aside, (even if they DO make the point
remarkably well) the thing about the shaman is that he/she is not
just a sick person, he/she is a sick person who has been cured, or
who has succeeded in curing himself, at least spiritually!! The
possibility of achieving the Shamanic powers for Service to Self
also exists, so great care has to be used in trying to “see the
unseen”.
In many cases, the “election” of the shaman manifests through a
fairly serious illness which can only be cured by the “ascent to the
sky”. After the ecstatic vision of initiation, the shaman feels much
better! After the response to the calling of the Gods, the shaman
shows a more than normally healthy constitution; they are able to
achieve immense concentration beyond the capacity of ordinary men;
they can sustain exhausting efforts and, most importantly, they are
able to “keep a cool head” in the face of experiences that would
terrify and break an ordinary person.
Another point that should be
emphasized is that the Shaman must be able to be in full control of
himself even when in the ecstatic state! (Trance channeling with no
memory of what transpired is not the activity of a Shaman!) This
ability to “walk in two worlds simultaneously” demonstrates an
extraordinary nervous constitution. It has been said that the
Siberian shamans show no sign of mental disintegration well into old
age; their memories and powers of self-control are well above
average.
Castaneda’s Don Juan calls this state being “impeccable”. This idea
is also reflected in the archaic systems of the Yakut, where the
shaman must be “serious, possess tact, be able to communicate
effectively with all people; above all, he must not be presumptuous,
proud, ill-tempered”. The true shaman emanates an inner force that
is conscious, yet never offensive. At the same time, it should be
noted that a true shaman might evoke very negative responses from
those who are under the domination of the Entropic
forces. I have certainly experienced this more times than I care to
mention.
Getting back to the infirmities, nervous disorders, illness of
crisis and so forth that are the “signs of election”, it is also
noted that, sometimes an accident, a fall, a blow on the head, or
being hit by lightning are the signs from the environment that the
shaman has been elected. But, being “called” is not the same as
being “chosen”, or, more precisely, choosing. “Many are called; few
choose to respond.” This choosing is a process, and it is a process
of struggle and pain and suffering because, in the end, what is
being killed is the ego.
The pathology of the Shamanic path seems to be part of the means of
reaching the “condition” to be initiated. But, at the same time,
they are often the means of the initiation itself. They have a
physiological effect that amounts to a transformation of the
ordinary individual into a technician of the sacred. (But, if such
an experience is not followed by a period of theoretical and
practical instruction, the shaman becomes a tool for those forces
that would use the Shamanic function to further enslave mankind as
we have already noted.)
Now, the experience that transforms the
shaman is constituted of the well-known religious elements of
suffering, death and resurrection. One of the earliest
representations of these elements is in the Sumerian story of the
descent of Ishtar/Inanna into the Underworld to save her son-lover,
Tammuz. She had to pass through Seven “gates of Hell” and, at each
door or gate, she was stripped of another article of her attire
because she could only enter the Underworld Naked. While she was in
the underworld, the earth and its inhabitants suffered loss of
creative vigor. After she had accomplished her mission, fertility
was restored. The most well known variation of this story is the
myth of Persephone/Kore, the daughter of Demeter, who was kidnapped
by Hades/Pluto.
The Shamanic visions represent the descent as dismemberment of the
body, flaying of the flesh from the bones, being boiled in a
cauldron, and then being reassembled by the Gods and/or Goddesses.
This, too, is well represented in myth and legend, including the
myth of Jesus: Suffering, death, and resurrection.
In short, the
crucifixion - the Burial of Christ - is a symbol of the
Shamanic
Transformation:
A Yakut shaman, Sofron Zateyev, states that during this visionary
initiation, the future shaman “dies” and lies in the yurt for three
days without eating or drinking....
Pyotr Ivanov gives further details. In the vision, the candidate’s
limbs are removed and disjointed with an iron hook; the bones are
cleaned, the flesh scraped, the body fluids thrown away, and the
eyes torn from their sockets. After this operation all the bones are
gathered up and fastened together with iron.
According to a third shaman, Timofei Romanov, the visionary
dismemberment lasts from three to seven days; during all that time
the candidate remains like a dead man, scarcely breathing, in a
solitary place.429
429 Eliade, 1964, op. cit.
According to another Yakut account, the evil
spirits carry the future shaman’s soul to the underworld and there
shut it up in a house for three years (only one year for those who
will become lesser shamans). Here the shaman undergoes his
initiation.
The spirits cut off his head, which they set aside (for
the candidate must watch his dismemberment with his own eyes), and
cut him into small pieces, which are then distributed to the spirits
of the various diseases. Only by undergoing such an ordeal will the
future shaman gain the power to cure. His bones are then covered
with new flesh, and in some cases he is also given new blood.
According to another account, the “devils” keep the candidate’s soul
until he has learned all of their wisdom. During all this time the
candidate lies sick. There is also a recurring motif of a giant bird
that “hatches shamans” in the branches of the World Tree which is an
allusion to an “Avian bloodline” that is opposed to a Reptilian
heritage.
The following excerpts are from the available accounts
obtained in field research and should be read with the awareness
that we have now entered a world of pure symbolism:
“...The candidate ...came upon a naked man working a bellows. On the
fire was a caldron “as big as half the earth.” The naked man saw him
and caught him with a huge pair of tongs. The novice had time to
think, “I am dead!” The man cut off his head, chopped his body into
bits, and put everything in the caldron. There he boiled his body
for three years.
There were also three anvils, and the naked man forged the
candidate’s head on the third, which was the one on which the best
shamans were forged. ... The blacksmith then fished the candidate’s
bones out of a river in which they were floating, put them together,
and covered them with flesh again. ... He forged his head and taught
him how to read the letters that are inside it. He changed his eyes;
and that is why, when he shamanizes, he does not see with his bodily
eyes but with his mystical eyes. He pierced his ears, making him
able to understand the language of plants.
…The Tungus shaman Ivan Cholko states that a future shaman must fall
ill and have his body cut in pieces and his blood drunk by the evil
spirits. These throw his head into a caldron where it is melted with
certain metal pieces that will later form part of his ritual
costume.
...Before becoming a shaman the candidate must be sick for a long
time; the souls of his shaman ancestors then surround him, torture
him, strike him, cut his body with knives, and so on. During this operation the
future shaman remains inanimate; his face and hands are blue, his
heart scarcely beats.
...A Teleut woman became a shamaness after having a vision in which
unknown men cut her body to bits and cooked it in a pot. According
to the traditions of the Altain shamans, the spirits of their
ancestors eat their flesh, drink their blood, open their bellies and
so on.
...In South America as in Australia or Siberia both spontaneous
vocation and the quest for initiation involve either a mysterious
illness or a more or less symbolic ritual of mystical death,
sometimes suggested by a dismemberment of the body and renewal of
the organs.
...They cut his head open, take out his brains, wash and restore
them, to give him a clear mind to penetrate into the mysteries of
evil spirits, and the intricacies of disease; they insert gold dust
into his eyes to give him keenness and strength of sight powerful
enough to see the soul wherever it may have wandered; they plant
barbed hooks on the tips of his fingers to enable him to seize the
soul and hold it fast; and lastly they pierce his heart with an
arrow to make him tenderhearted, and full of sympathy with the sick
and suffering.
...If the alleged reason for the renewal of the organs (conferring
better sight, tenderheartedness, etc.) is authentic, it indicates
that the original meaning of the rite has been forgotten.
...Then the master obtains the disciple’s “lighting” or
“enlightenment”, for [this] consists of a mysterious light which the
shaman suddenly feels in his body, inside his head, within the
brain, an inexplicable searchlight, a luminous fire, which enables
him to see in the dark, both literally and metaphorically speaking,
for he can now, even with closed eyes, see through darkness and
perceive things and coming events which are hidden from others...
The candidate obtains this mystical light after long hours of
waiting, sitting on a bench in his hut... When he experiences it for
the first time, “it is as if the house in which he is suddenly
rises; he sees far ahead of him, through mountains, exactly as if
the earth were one great plain, and his eyes could reach to the end
of the earth. Nothing is hidden from him any longer; not only can he
see things far, far away, but he can also discover souls, stolen
souls, which are either kept concealed in far, strange lands or have
been taken up or down to the Land of the Dead.
...The experience of
inner light that determines the career of the Iglulik shaman is
familiar to a number of higher mysticisms. In the Upanishads, the
“inner light” defines the essence of the atman. In yogic techniques,
especially those of the Buddhist schools, light of different colors
indicates the success of particular meditations. Similarly, the
Tibetan Book of the Dead accords great importance to the light in
which, it appears, the dying man’s soul is bathed during his mortal
throes and immediately after death; a man’s destiny after death
(deliverance or reincarnation) depends on the firmness with which he
chooses the immaculate light. ...The essential elements of this
mystical vision are the being divested of flesh. ...In all these
cases reduction to the skeleton indicates a passing beyond the
profane human condition and, hence, a deliverance from it.
...Bone represents the very source of life. To reduce oneself to the
skeleton condition is equivalent to reentering the womb for a
complete renewal, a mystical
rebirth. ...It is an expression of the will to transcend the
profane, individual condition, and to attain a transtemporal
perspective.
...The myth of renewal by fire, cooking, or dismemberment has
continued to haunt men even outside the spiritual horizon of
shamanism. ...
The myth of rejuvenation by dismemberment and cooking has been
handed down in Siberian, Central Asian, and European folklore, the
role of the blacksmith being played by Jesus or other saints.430
430 Ibid.
The
reader may now have a better idea of what the strange images of work
being done on the initiate’s head, including the hammering of the
head on an anvil, must mean: the Shamanic Initiation, the Alchemical
Transmutation via Techniques of Ecstasy.
We now better understand
what Fulcanelli was trying to tell us:
The strongest impression of my early childhood - I was seven years
old - an impression of which I still retain a vivid memory, was the
emotion aroused in my young heart by the sight of a gothic
cathedral. I was immediately enraptured by it. I was in an ecstasy,
struck with wonder, unable to tear myself away from the attraction
of the marvelous, from the magic of such splendour, such immensity,
such intoxication expressed by this more divine than human work.
These same ideas of death and re-birth are well represented in
Alchemical literature as the various processes of “chemical
transmutation”.
As we have quoted already:
In order to respect the principle of hermetism adopted by the
Tradition, we must understand that esoteric teachings are given in a
sibylline form.
St Isaac the Syrian points out that: The Holy Scriptures say many
things by using words in a different sense from their original
meaning. Sometimes bodily attributes are applied to the soul, and
conversely, attributes of the soul are applied to the body. The
Scriptures do not make any distinction here. However, enlightened
men understand.
We also now have a better understanding of the ancient image of the
skull and crossbones surrounded by little tongues of fire that is
prominently displayed in Auch Cathedral as shown in Plate 17.
Years ago I read the story promoted in the book Holy Blood, Holy
Grail, that Jesus had a wife and that she was Mary Magdalene. I
immediately consulted with friends in France who live in Marseille
about this so-called “well-known” legend. What I learned is that
yes, it was said that Mary Magdalene came to France accompanied by
other individuals. She was closely associated with St. Maximin, but
never, until the raft of books following Holy Blood, Holy Grail, was
she thought to have been the wife of Jesus.
Clearly, in 1548, and much, much earlier, it was known that Jesus
had a wife as is depicted in the statues of Auch Cathedral, but it
clearly wasn’t Mary Magdalene. We cannot even be certain that the
depiction of a “wife” means that literally, that it does not
indicate to us a process rather than an actual state of physical
marriage. So, the question is: who was the wife of Jesus and does
this depiction suggests a “physical” wife, or does it depict an
Initiatory process? I will deal with that question in a future volume, but for now, let
me share with the reader additional clues.
We come now to the intriguing link between Marguerite of Navarre and
Leonardo da Vinci who died in 1519, while he was a guest of
Marguerite and her brother Francis. A Venetian ambassador of the
time praised Marguerite as “knowing all the secrets of diplomatic
art”, and thus, a person to be treated with deference and
circumspection.
We see here a definite clue since Fulcanelli
repeatedly referred to the Green Language as “The Language of
Diplomacy”. By 1508, Leonardo’s career was drawing to a close though
it would yet be ten years before his death. Only two paintings
survive from that period; the Louvre’s Virgin and Child with St.
Anne and St. John.
Leonardo had made Milan, ruled by the French, his home for some
time. In 1512, an alliance of Swiss, Spaniards, Venetians and papal
forces drove the French out of Milan which was a minor issue of
history for France, but a major disaster for Leonardo. He was about
60 years old and had been treated by the French with understanding
and compassion. Now, he suddenly found himself without patronage or
income, verging on total poverty. His fame had faded and, while the
new rulers of Milan were not openly hostile toward him, he was
certainly not accorded any honor or comfort.
In February of 1513, Pope Julius II died and was succeeded by Leo X - made famous by saying “It has served us well, this myth of Christ” - a Medici. The Medici had never shown Leonardo any special favor,
but he apparently decided to throw himself on their mercy since they
were, after all, patrons of the arts. In September of 1513, the
aging Leonardo set off for Rome. Pope Leo X was persuaded to give
Leonardo a small commission - subject unknown - but the result was a
disaster.
When Leonardo started the project by compounding a special
preservative varnixh, the Pope reportedly threw up his hands saying,
“This man will never accomplish anything! He thinks about the end
before the beginning!”.
Leonardo’s notebooks record, around this
time:
“We should not desire the impossible”, and “Tell me if
anything was ever done...”
Not surprisingly, Leonardo became ill. The nature of his illness is
unknown, but it is thought from other clues that he suffered a mild
stroke affecting his right side. (He was left handed, fortunately.)
Leonardo’s self-portrait was apparently made during this time. His
last painting was completed in Rome, noted to have been done without
commission, but due to some inner compulsion. It is in the Louvre:
St John.
Sick and forgotten in Rome, Leonardo was not forgotten by the
French. Francis I, brother of Marguerite of Navarre, offered
Leonardo a manor house in France near the royal chateau of Amboise,
and any funds he might require for his needs, wants, and any project
he might, on his own, wish to undertake. Francis only wished the
pleasure of Leonardo’s company.
Leonardo set off for France taking with him his notes, his drawings,
his last two paintings: The St. John, The Virgin and Child with St.
Anne, and a portrait described as “a certain Florentine Lady”.
When Leonardo arrived at the royal castle at Amboise, he was given
the title: “Premier peinctre et ingenieur et architecte du Roy” not for
anything he was expected to do, but for what he had done already.
Francis always went to see Leonardo, taking the view that it was
easier for a vigorous 22 year-old king to make a call on an aging
artist than vice versa.
Leonardo must have made quite an impression on Francis because, 24
years later, Benvenuto Cellini, then in the French service also,
wrote:
King Francis being violently enamored of his great talents took so
great a pleasure in hearing him discourse that there were few days
in the year when he was separated from him... He said that he did
not believe that there had ever been another man born into the world
who had known as much as Leonardo, and this not only matters
concerning sculpture, Painting and Architecture, but because he was
a great Philosopher.
It was in 1517, while Leonardo was at Amboise, that Martin Luther
nailed his 95 theses to the door of the church at Wittenberg. Most
of his activities in France are unknown. He died on May 2, 1519.
Vasari, Leonardo’s biographer, raised a smoke screen around
Leonardo’s religious beliefs (or lack of them). In the first edition
of his “Lives of the Painters”, published in 1550, he wrote that,
“Leonardo was of such a heretical frame of mind that he did not
adhere to any kind of religion, believing that it is perhaps better
to be a philosopher than a Christian.”
In the second edition (1568),
he omitted the sentence, writing instead:
“He desired to occupy
himself with the truths of the Catholic faith and the holy Christian
religion. Then, having confessed and shown his penitence with much
lamentation, he devoutly took the Sacrament.”
Leonardo himself had
written about Christian funerals:
“Of the dead who are taken to be
buried: The simple folk will carry a great number of lights to
illuminate the journeys of all those who have wholly lost the power
of sight. O human folly! O madness of mankind!”
But it seems that Leonardo was not an atheist either. The name of
the Creator appears often enough in his writings and indicates that
he had an extraordinary conception of a divine power. Certainly, if
he had wished to be explicit about it in words, he was quite
capable. But he didn’t explain - except perhaps, in his art.
Before his death he wrote:
“See: one’s hopes and wishes to return to one’s homeland and origin - they are just as moths trying to reach the light. And the man who
is looking forward with joyful curiosity to the new spring, and the
new summer, and always new months and new years - and even if the
time he is longing forever comes, it will always seem to him to be
too late - he does not notice that his longing carries within it the
germs of his own death.”
“But this longing is the quintessence, the spirit of the elements,
which through the soul is enclosed in the human body and which
craves for return to its source. You must know that this very
yearning is the quintessence of life, the handmaid of Nature, and
that Man is a model of the world.”
As he aged, Leonardo’s dark view of mankind and his general
pessimism grew. He was reported to erupt into fury liberally laced
with scatological phrases that remind us of the diatribe about man
penned by Jonathan Swift:
“Men who can call themselves nothing more
than a passage for food, producers of dung, fillers up of privies,
for of them nothing else appears in the world, nor is there any
virtue in them, for nothing of them remains but full privies.”
Francis I had such great respect for Leonardo that he required
nothing of him at all - he just wanted to be able to drop in as
often as possible and talk to the Master. It was in France, an
“alien land”, that Leonardo gave his final trumpet blast in an
apocalyptic series of drawings called “The Deluge” which he
predicted would one day inundate the earth and end the world of Man.
These drawings, almost abstract in their abandonment of traditional
artistic styles, were obviously vivid exercises of his imagination.
His scientific knowledge is applied here with devastating effect,
showing how puny are the means of man when pitted against nature.
“Ah, what dreadful tumults one heard resounding through the gloomy
air!”, he wrote in the commentary to these drawings; “Ah me, how
many lamentations!”
His depictions of the deluge were terrifying:
“Let the dark, gloomy air be seen beaten by the rush of opposing
winds wreathed in perpetual rain mingled with hail... All around let
there be seen ancient trees uprooted and torn in pieces by the fury
of the winds... And let the fragments of some of the mountains be
fallen down into the depths of one of the valleys, and there form a
barrier to the swollen waters of its rivers, which having already
burst the barrier rushes on with immense waves...”
This was Leonardo’s Last Judgment on the World, his last message to
mankind. [See Plates 18 and 19.] Strange that it is the message of
Auch Cathedral, the message of Fulcanelli, Kardec, Nostradamus, etc.
And strange that they are all tied together via their connections to
Marguerite of Navarre.
Recall that the burial scene of Christ in Auch Cathedral was
inspired by Margaret of Austria, who married into the family that
was in possession of the Shroud of Turin. Margaret’s husband,
Philibert de Savoie was a cousin of one of the bishops that was
involved in the commissioning of the work of the cathedral, Francois
de Savoie, and that Marguerite of Navarre, the second cousin of
Margaret of Austria, was closely associated with Auch Cathedral.
Remember: Marguerite of Navarre takes us right back to Fulcanelli
via François Rabelais whose series, Le Tiers Livre des faicts et
dicts héroïques du bon Pantagruel (1546), was dedicated to her.
It was after the death of Leonardo that Marguerite became involved
in the movement for the reform of the church, meeting and
corresponding with the leading reformers of the period. In 1527,
Marguerite married Henri d’Albret, King of Navarre. Henri d’Albret
was the son of Catherine de Foix, descended from a famous
Cathar
family.
Recall also that another of Marguerite’s associates and
correspondents was Jules Cesar Scaliger who was a close friend and
associate of Nostradamus, that Nostradamus, as mentioned, was born
in Alet-le-Bains, in Foix lands, and that Nostradamus also attended
school with Rabelais.
Recall: It was around 1531, Marguerite allowed a poem she had
written to be published, Miroir de l’ame pecheresse (Mirror of the
sinful soul). Marguerite gave a copy of Miroir to one of her ladies
in waiting, Anne Boleyn, and it was later translated into English by
Anne’s 12 year old daughter, Elizabeth I. Recall as well that Anne
Boleyn had previously been the lady in waiting to Margaret of
Austria before she went to serve Marguerite of Navarre.
The connections are just simply too much to ignore, too much to
consider “coincidence” in my opinion. Therefore I believe it is only
in the brief context I have been able to present in this book, that
we can truly come to some understanding of the real “Da Vinci Code”.
After his death, Leonardo left his notebooks and manuscripts to his
companion, Francesco Melzi. He took them all to his home near Milan
where he guarded that “as though they were religious relics”. Until
Melzi’s death, they were in safe hands. On his death, he left them
to his son, a lawyer, trusting that he would honor them as well.
Apparently not.
The progress of dispersal began, and the manuscripts
and unbound sheets were sold, stolen, given away, and scattered over
half the planet. In more recent years, attempts have been made to
assemble at least facsimiles, but no one knows how much was lost. In
the late 19th century, a great number of pages in the possession of
the British Crown somehow disappeared, and the guess is that they
were hidden, not destroyed. One has to, of course, wonder why?
In any event, as mentioned, there are portions of his notebooks that
have been collected together, and a close study of his available
writings give us many clues as to what he wished to “speak” about in
his art.
For example:
The mind of the painter must resemble a mirror, which always takes
the colour of the object it reflects and is completely occupied by
the images of as many objects as are in front of it. Therefore you
must know, Oh Painter! that you cannot be a good one if you are not
the universal master of representing by your art every kind of form
produced by nature. And this you will not know how to do if you do
not see them, and retain them in your mind.
We know very well that errors are better
recognized in the works of
others than in our own; and that often, while reproving little
faults in others, you may ignore great ones in yourself. To avoid
such ignorance in the first place make yourself a master of
perspective, then acquire perfect knowledge of the proportions of
men and other animals, and also, study good architecture, that is so
far as concerns the forms of buildings and other objects which are
on the face of the earth; these forms are infinite and the better
you know them the more admirable will your work be.
The universal
practice which painters adopt on the walls of chapels is greatly and
reasonably to be condemned. Inasmuch as they represent an historical
subject on one level with a landscape and buildings, and then go up
a step and paint another, varying the point [of sight], and then a
third and a fourth, in such a way as that on one wall there are 4
points of sight, which is supreme folly in such painters.
We know
that the point of sight is opposite the eye of the spectator of the
scene; and if you would [have me] tell you how to represent the life
of a saint divided into several pictures on one and the same wall, I
answer that you must set out the foreground with its point of sight
on a level with the eye of the spectator of the scene, and upon this
plane represent the more important part of the story large and then,
diminishing by degrees the figures, and the buildings on various
hills and open spaces, and can represent all the
events of the history.
And on the remainder of the wall up to the
top, put trees, large as compared with the figures, or angels if
they are appropriate to the story, or birds or clouds or similar
objects; otherwise do not trouble yourself with it for your whole
work will be wrong.
When you have well learnt perspective and have by heart the parts
and forms of objects, you must go about, and constantly, as you go,
observe, note and consider the circumstances and behavior of men in
talking, quarrelling or laughing or fighting together: the action of
the men themselves and the actions of the bystanders, who separate
them or who look on.
When you compose a historical picture take two points, one the point
of sight, and the other the source of light; and make this as
distant as possible. Historical pictures ought not to be crowded and
confused with too many figures. Of composing historical pictures. Of
not considering the limbs in the figures in historical pictures; as
many do who, in the wish to represent the whole of a figure, spoil
their compositions. And when you place one figure behind another
take care to draw the whole of it so that the limbs which come in
front of the nearer figures may stand out in their natural size and
place.
The figure is most admirable which by its actions best expresses the
passion that animates it.
You must show a man in despair with a knife, having already torn
open his garments, and with one hand tearing open the wound...
A picture or representation of human figures, ought to be done in
such a way as that the spectator may easily recognize, by means of
their attitudes, the purpose in their minds. Thus, if you have to
represent a man of noble character in the act of speaking, let his
gestures be such as naturally accompany good words; and, in the same
way, if you wish to depict a man of a brutal nature, give him fierce
movements; as with his arms flung out towards the listener, and his
head and breast thrust forward beyond his feet, as if following the
speaker’s hands.
Thus it is with a deaf and dumb person who, when he sees two men in
conversation - although he is deprived of hearing - can nevertheless understand
from the attitudes and gestures of the speakers, the nature of their
discussion.
When you wish to represent a man speaking to a number of people,
consider the matter of which he has to treat and adapt his action to
the subject. Thus, if he speaks persuasively, let his action be
appropriate to it. If the matter in hand be to set forth an
argument, let the speaker, with the fingers of the right hand hold
one finger of the left hand, having the two smaller ones closed; and
his face alert, and turned towards the people with mouth a little
open, to look as though he spoke.
And if he is sitting, let him
appear as though about to rise, with his head forward. If you
represent him standing make him leaning slightly forward with head
towards the people.
These you must represent as silent and
attentive, all looking at the orator’s face with gestures of
admiration; and make some old men in astonishment at the things they
hear, with the corners of their mouths pulled down and drawn in,
their cheeks full of furrows, and their eyebrows raised... The motions of men must be such as suggest their dignity or their
baseness. Make your work carry out your purpose and meaning. That is
when you draw a figure consider well who it is and what you wish it
to be doing.
The limbs which are used for labour must be muscular and those which
are not much used you must make without muscles and softly rounded.
Represent your figures in such action as may be fitted to express
what purpose is in the mind of each; otherwise your art will not be
admirable.
Fame should be depicted as covered all over with tongues instead of
feathers, and in the figure of a bird.
Pleasure and Pain represent as twins, since there never is one
without the other; and as if they were united back to back, since
they are contrary to each other. This represents Pleasure together
with Pain, and show them as twins because one is never apart from
the other. They are back to back because they are opposed to each
other; and they exist as contraries in the same body, because they
have the same basis, inasmuch as the origin of pleasure is labour
and pain, and the various forms of evil pleasure are the origin of
pain.
Therefore it is here represented with a reed in his right hand
which is useless and without strength and the wounds it inflicts are
poisoned. In Tuscany they are put to support beds, to signify that
it is here that vain dreams come, and here a great part of life is
consumed. It is here that much precious time is wasted, that is, in
the morning, when the mind is composed and rested, and the body is
made fit to begin new labours; there again many vain pleasures are
enjoyed; both by the mind in imagining impossible things, and by the
body in taking those pleasures that are often the cause of the
failing of life. And for these reasons the reed is held as their
support. Evil-thinking is Envy or Ingratitude.
Envy must be
represented with a contemptuous motion of the hand towards heaven
[See Plate 20.], because if she could she would use her strength
against God; make her with her face covered by a mask of fair
seeming; show her as wounded in the eye by a palm branch and by an
olive-branch, and wounded in the ear by laurel and myrtle, to
signify that victory and truth are odious to her.
431
431 Leonardo’s quotes from: The Notebooks of Leonardo Da Vinci
compiled and edited from the
original manuscripts by Jean Paul Richter, Dover Edition, 1970,
first published in 1883 by Sampson
Low, Marston, Searle & Rivington under the title The Literary Works
of Leonardo da Vinci. Dover
Publications, New York
It is thus
strongly suggested that, in every painting he ever executed,
Leonardo da Vinci was conveying messages. Not only that, the
messages were somewhat codified. We can extract general principles
from his writings and utilize them in examining his works.
As time passed after the death of Leonardo, critics began to come
forward declaiming loudly that, “after all, Leonardo was only a man
and his paintings, like those of other artists, consisted simply of
colors applied to a surface”. This was John Ruskin’s general opinion
paraphrased, and he made it clear that he thought the Master was
greatly overrated. Renoir said: “Leonardo da Vinci bores me.” The
most dramatic attacks on Leonardo’s image came via Sigmund Freud.
Working with what he mistakenly thought were historical facts, he
produced an
essay, “Leonardo da Vinci, and a Memory of His Childhood”. He
suggested that Leonardo, lacking a father in the first years of his
life, had abnormally erotic relations with his mother and later,
when his father brought him into his household, that his stepmother
was “too affectionate”, perhaps even erotically so.
Freud’s biggest
blunder, however, was the emphasis he placed on a childhood dream of
fantasy recorded by the artist himself of a large bird alighting on
his shoulder. Freud coupled this with a remark made by Leonardo, to
wit: “The act of procreation and everything that has any relation to
it is so disgusting that human beings would soon die out if there
were no pretty faces and sensuous dispositions”, and concluded that
Leonardo was a latent homosexual. That smear has stuck pretty well
though there is absolutely no evidence that it is true.
Freud placed his reliance on a largely fictional work by
Dimitri
Merejkowski, The Romance of Leonardo da Vinci, which included the
passage by Leonardo about the bird encounter. Unfortunately, the
word had been rendered “vulture” which sent Freud off into raptures
of humorless psychoanalysis based on ancient Egyptian mythology and
sexual-religious beliefs concerning the vulture-headed Goddess named Mut.
Freud solemnly declaimed,
“We may question whether the sound
similarity to our word ‘mother’ is only coincidental?”.
The actual word that Leonardo used in describing his dream/fantasy
was “kite”, a bird of the hawk family common in Europe. In short,
Freud’s dissertation on Leonardo was irrelevant. But then, in my
opinion, Freud himself is irrelevant.
Nevertheless, the word “kite” caught my attention.
Here’s why:
June 20, 1998
Q: ... Okay, let me ask this, these guys who have researched this
Holy Bloodline business have sort of focused all the attention on a
particular line, purportedly the line of Jesus going into the
Merovingian kings... This guy,
Pierre Plantard, seems to have more
or less created a genealogy with their own validations... sort of
like describing x in terms of y and y in terms of x. Now, is this
Pierre Plantard a genuine carrier of the bloodline that we are
concerned with? A: Partially. Q: Then, that makes me think that the significant thing that we are
looking for is a convergence of the blood lines... These lines are
symbolized by the God figures, the children of Odin, and what we are
looking for is a place where these lines converge? A: Yes. Q: Well, what characteristics might an individual have who is a
product of this convergence? A: Fair skinned and cleft chin. Q: Well, Ark and F*** both have cleft chins, but C** and I don’t!
Does this mean... A: We aren’t saying that all with these features are of that blood
line! Q: So, you can have the bloodline and look quite different? A: Yes. Q: How many persons on the planet contain these ‘convergant’
bloodlines? A: 7367. Kites were used for cross communication between bloodline
members. Q: Kites?! What do kites have to do with it? What the heck... you
guys are driving me NUTS! Do you mean kites as in paper and string
or kites as in the bird? A: Yes, paper wood and string. Q: ...
(C) This is implying that such people know they have the
bloodline and keep in touch with each other? (L) Or, is this
something for the future when those of the bloodline wake up? A: Yes. [to the] Latter. Q: So, we need to go fly a kite...
(C) With a particular shape and
symbol... A: Research kites. Q: (C) The Japanese fly kites... and there are a lot of people who
hang banners outside their houses all the time... A: Want revelations? Prepare for “Treasure” Hunt. Q: Thanks a lot! A: These quests energize you, Laura! Q: Yes, they do. When I start finding things that connect, it is
like having little explosions of energy in the brain... (A) Well, I
don’t understand these kites. They don’t fly by themselves, they are
on a string. You cannot see them at great distances... only a few
miles... what is the point of communicating this way with someone
who is only a few miles away? A: Kites can be released, or left behind too! Q: (A) When you release a kite, it falls down! Well, maybe we ought
to wait and see where this clue goes before we get stuck on the
technical aspects. Maybe it is just sort of a marker... We don’t
know if it will relate to a literal kite, or a reference to a kite,
a drawing of a kite... a carving... something will appear that will
connect, I am sure. It always does.
Indeed, it did. Leonardo da Vinci’s The Kite and the Treatise upon
the Flight of Birds includes the following:
“This writing distinctly about the kite seems to be my destiny,
because among the first recollections of my infancy, it seemed to me
that, as I was in my cradle, a kite came to me and opened my mouth
with its tail, and struck me several times with its tail inside my
lips.”
(Codex Atlanticus)
The kite is a bird with a large wingspan, which uses air currents to
stay aloft while gliding. He studied the kite and other birds,
trying to learn how they flew so that he could successfully imitate
nature. Little is known about da Vinci’s private life, because he
usually never wrote about it in his journal. However, this is an
interesting exception because we see that Leonardo wrote that it was
his destiny to write about and study the kite, and also means that
he thought it was his destiny to build flying machines, and enable
men to fly.
When once you have tasted flight, you will forever walk the earth
with your eyes turned skyward, for there you have been, and there
you will always long to return.
[Leonardo]
Now, having assembled so many interesting clues, let’s go in a
slightly different direction. In 1483, Leonardo da Vinci painted The
Madonna of the Rocks. (Full title: The Virgin of the Rocks (The
Virgin with the Infant Saint John adoring the Infant Christ
accompanied by an Angel)) (Louvre) [See Plate 21.]. Between 1506
and 1508, he produced the second, or “London version”,
of the Madonna of the Rocks [See Plate 22.].
It is believed that the
first was done to fulfill a contract with the Milanese Confraternity
of the Immaculate Conception. Apparently, they didn’t like it, and
it passed into the hands of the French. The Confraternity
commissioned a second version in which Ambrogio da Predis was to
have a share of the work. Arguments and lawsuits between him and
Leonardo and the Confraternity followed, and twenty-five years
passed before the Confraternity finally got the version they wanted.
It is in comparing the two paintings that one gets the feeling that
the first version must have conveyed a message that the
Confraternity wanted to suppress, and in the second version,
apparently acceptable to them, Leonardo managed to deliver his
message anyway. Either that, or he had little to do with the second
version. The Louvre version is generally accepted as Leonardo’s, but
there is continuing doubt about the National Gallery version.
In any event, the compositional changes reveal to us, apparently,
what the Confraternity objected to. They obviously objected to the
angel, seated beside the infant Jesus, pointing at the infant John
the Baptist. They probably asked for halos to be included, but I
think Leonardo added the “reedy cross” across the shoulder of John
on his own initiative.
The paintings are about equal in size, but the figures in the second
version are brought closer to the viewer and made “heavier” and
“more idealized” as though they are made of stone. The colors of the
second version have been subdued to the point of actually looking as
though they are dead bodies - a corpselike pallor seems to
deliberately emphasize that the “message” of the painting is
“death”.
The item in the first painting that has received the most
comment is the strange, almost threatening hand of the Virgin. Let’s
look at the hands from the two versions side by side, keeping in
mind all of Leonardo’s comments about “telling a story” with his
paintings, the gestures of the hands, and so on.
I don’t think the
hand is threatening at all, as we will soon discover.
Now, let’s take a look at another of Da Vinci’s works: The Last
Supper... [See Plate 23.]
The Last Supper is said to be the “freezing of a moment in time”,
the moment when Christ has just spoken the words,
“One of you shall
betray me”, and the disciples all react to the words with
magnificent displays of poses and gestures, “revealing the
intentions of their souls”.
Leonardo undoubtedly made many studies
before he began to paint, but only two of them are left to us today.
One of them is hastily - even roughly - drawn and shows all of the
figures, even if they are not lined up in a row behind the table.
Unable to place all of them at the table because of the small size
of the page he was drawing on, he placed four of them at the bottom.
However, his intention was clear because he placed a repeated shoulder/arm of one of the disciples
at the left of the upper row. In the sketch, Leonardo was keeping to
the standard iconographic style, leaving Judas sitting alone on the
near side of the table.
What seems to be the case is that, beyond freezing this moment in
time, Leonardo also intended other, deeper meanings, as we can well
surmise from his commentaries on painting quoted above, compared
with the study [Plate 24] and the finished painting.
Many individuals have made much of the fact that this painting is
supposed to depict Jesus dining with his “wife”, Mary Magdalene next
to him. I certainly agree that the figure next to Jesus is obviously
a woman - a woman who is missing from the preliminary study unless
she is the one who has all but collapsed face down next to Jesus.
But is it Mary Magdalene? Or is it someone else? Or is the clue
meant to point to something else altogether?
But, before I go further, let me suggest, from Leonardo’s own words,
a possible meaning of the two figures, appearing almost as twins,
facing somewhat away from each other, yet joined by the proximity of
their draped arms resting side by side on the table, forming the “M”
that may take us one step deeper:
Pleasure and Pain represent as twins, since there never is one
without the other; and as if they were united back to back, since
they are contrary to each other. [...] This represents Pleasure
together with Pain, and show them as twins because one is never
apart from the other. They are back to back because they are opposed
to each other; and they exist as contraries in the same body... [See
Plate 25.]
Leonardo also had formulas for the hands that were to
“match” the nature of the discourse of the subject of the painting:
When you wish to represent a man speaking to a number of people,
consider the matter of which he has to treat and adapt his action to
the subject. Thus, if he speaks persuasively, let his action be
appropriate to it. If the matter in hand be to set forth an
argument, let the speaker, with the fingers of the right hand hold
one finger of the left hand, having the two smaller ones closed; and
his face alert, and turned towards the people with mouth a little
open, to look as though he spoke.
Considering the announcement that
Jesus is supposed to have just made in the Last Supper, the aspect
of his hands is most interesting. We notice the supplicating gesture
of the left hand, but the right hand is truly curious. It was only
after I had looked at it for a bit that I realized what it reminded
me of: The Virgin of the Rocks.
Let’s look at the hands side by
side:
Jesus hand, Last
Supper Mary’s hand, Louvre Mary’s hand, London
We actually see that the right hand of Jesus in the Last Supper
matches almost exactly the left hand of Mary in the Virgin of the
Rocks.
In other words, whatever was being “said” by the hands in
both paintings was the same thing. But, of course, in the Last
Supper, according to the “plot” of the story, Jesus was about to
take up a piece of bread and dip it in the bowl
together with Judas whose hand is also reaching in a strange way. Is
the implication that John the Baptist, in the Virgin of the rocks,
was a sort of “Judas”?
Another controversy about the Last Supper has to do with the two
“anomalous hands” in the painting. In the following image, I have
taken a high resolution scan of a professional photograph purchased
on site in Milan by a member of the Quantum Future Group. (No photos
are allowed to be taken by tourists.) I enlarged the photo and
circled each evident or partly evident hand in the painting. I have
placed a number above the head of each individual showing how many
hands THAT particular individual has showing. I then cut the image
so that I could fit it on the page in two parts. [See Plates 26 and
27.]
There are thirteen people at the table and, if we count the hands,
we have 25, because one hand is hidden: the one belonging to the man
with the upward pointing finger.
The figure whispering in the ear of the woman has been identified as
St. Peter. One of the hands that must belong to him is found making
a “cutting motion” at the throat of the woman seated next to Jesus.
It is obvious that Leonardo intended to convey a message because he
spoke clearly enough about completing bodies that are to be behind
other bodies so that the anatomy might be accurate. Plate 29 is the
only other study from the Last Supper known to be extant, next to
the arm of St. Peter from the painting: It is clear that the hand with the knife [Plate 28] and the hand
making the cutting motion at the neck of the woman both belong to
St. Peter.
Let’s look again at what Leonardo wrote:
The figure is most admirable which by its actions best expresses the
passion that animates it.
...when you place one figure behind another take care to draw the
whole of it so that the limbs which come in front of the nearer
figures may stand out in their natural size and place.
You must show a man in despair with a knife.... A picture or
representation of human figures, ought to be done in such a way as
that the spectator may easily recognize, by means of their
attitudes, the purpose in their minds. ...The motions of men must be
such as suggest their dignity or their baseness.
Make your work carry out your purpose and meaning.
That is when you
draw a figure consider well who it is and what you wish it to be
doing.... Represent your figures in such action as may be fitted to
express what purpose is in the mind of each... Envy must be
represented with a contemptuous motion of the hand towards heaven,
because if she could she would use her strength against God...
So,
most certainly, not only might we have “Twin Representations” in the
figures of Jesus and the woman to his right as the “Pleasure, Pain
Principle”, but also the hand holding the knife that emerges from
behind Judas Iscariot is holding a knife:
“You must show a man in
despair with a knife...”, and, if we suppose that the bread, the
Eucharist, is to represent “the body of Christ”, then the action of
the knife over the bread might very well be Envy making a
“contemptuous motion of the hand towards heaven”.
Put that together
with the head cutting motion and the whispering in the ear, conspiring, and a rather unpleasant
picture of St. Peter emerges. It seems that Peter is hiding his
actions behind Judas.
Curious.
As I continued to study this painting, I noted something else that
seems to be quite remarkable:
If you use the hand with the knife, the hand making the cutting
motion, the right hand of Jesus, his forehead, and the palm of his
left hand as “points”, you have exactly traced the constellation of
Cassiopeia mirrored. [See Plates 30 and 31.] Now, in order to
understand the possible implications of this strange figure that is
clearly evident in the painting, let me repeat again the somewhat
obscure information about this famous Star group cited earlier in
this article.
“The star’s name comes from a star picture envisioned
by the Arabic peoples that is very different from the Greek
conception of the constellation”, Teske explains.
“Despite this, its
Arabic name was inserted into the Greek conception of Cassiopeia
around 400 years ago.”
That would put the insertion of the Arabic names right around the
time of Da Vinci and the circle connected to Auch Cathedral. So,
certainly they were aware of the following:
The Arabic names of the main stars of Cassiopeia give some clues to
the esoteric meaning of the constellation, among them being
“breast”,(schedir-seder?) “hand”, “hump of the camel”, “knee”, and
“elbow”, all of which are esoteric symbols found in many arcane
works. The Arabs called the entire constellation the seder tree.
Earlier Arabs thought that this constellation was “the large hand
stained with henna”, the brightest stars being the fingertips.
Which reminds us again of the strange, large hand of the Virgin of
the Rocks, the hand that is the mirror image of the right hand of
Jesus in the painting of the Last Supper.
Cassiopeia is a beautiful constellation at the end of the Milky Way
Galaxy and is associated with what is known as the Perseus
Constellation Family. It is in the zodiacal sign of the Ram wherein
one finds the stars Shedir, “The Breast”, (the star on the forehead
of Jesus), Ruckbah, (knee) “The Enthroned”, (the star on the hand
making the cutting motion at the throat of the woman next to Jesus),
and Dat al-Cursa, “The Seated”.
The Chinese called Cassiopeia Ko
Taou, or a “doorway”. Some saw this constellation in the shape of a
key.
Hanging nearly overhead in November’s mid-evening sky is the
W-shaped constellation we know as Cassiopeia... Observers who face
north will see the star called “Caph”, meaning the palm of a hand,
on the left end of Cassiopeia’s upsidedown “W”.
Interesting that there is the “palm of the hand” and the “palm
branch”, located at the upturned palm of Jesus? Also strange that
Cassiopeia is referred to as being an “upside down W” rather than
the more obvious M - an attempt to “hide” a relationship?
In 1893, E. W. Bullinger wrote about Cassiopeia:
The captive delivered, and preparing for her Husband, the Redeemer.
In the last chapter we saw the woman bound (Andromeda); here we see
the same woman freed, delivered, and enthroned.
ULUGH BEY says its Arabic name is El Seder, which means the freed.
With the hands of the woman in The Last Supper clasped together as
though “bound,” and the cutting motion being made by St. Peter,
concealing his knife, we certainly can see a relationship here.
In the Denderah Zodiac (Egyptian) her name is Au-Set - Isis - which
means set up as Queen. ALBUMAZER says this constellation was
anciently called “the daughter of splendour.” This appears to be the
meaning of the word Cassiopeia, the enthroned, the beautiful. The
Arabic name is Ruchba, the enthroned. This is also the meaning of
its Chaldee name, Dat al cursa.
There are 55 stars in this
constellation, of which five are of the 3rd magnitude, five of the
4th, etc. This beautiful constellation passes vertically over Great
Britain every day, and is easily distinguished by its five brightest
stars, forming an irregular “W.” This brilliant constellation
contains one binary star, a triple star, a double star, a quadruple
star, and a large number of nebulae. In the year 1572 Tycho Brahe
discovered in this constellation, and very near the star k (under
the arm of the chair), a new star, which shone more brightly than
Venus. It was observed for nearly two years, and disappeared
entirely in 1574.
The brightest star, a (in the left breast), is named Schedir
(Hebrew), which means the freed. The next, b (in the top of the
chair), likewise bears a Hebrew name - Caph, which means the branch;
it is evidently given on account of the branch of victory which she
bears in her hand. She is indeed highly exalted, and making herself
ready.
Her hands, no longer bound, are engaged in this happy work.
With her right hand she is arranging her robes, while with her left
she is adorning her hair. She is seated upon the Arctic circle, and
close by the side of Cepheus, the King. This is “the Bride, the
Lamb’s wife, the heavenly city, the new Jerusalem”, the, “partakers
of the heavenly calling”.
Cassiopeia is visible all night and all year and neither rises or
sets, but instead circles endlessly around our northern Pole star
[Polaris]. The Big Dipper is located on the opposite side of the
pole to Cassiopeia.
The Lithuanians refer to the stars in Cassiopeia as “Rider”,
“Justandis” or “food carrier” - breast? - or “Abakukas” Star’ and
“Mary’s stars”. This brings us to what Sir John Rhys wrote about
Cassiopeia:
We have to look for help to enable us to identify the great ‘SHE’
persistently eluding our search in the syntax of the Welsh language.
Only two feminine names suggest themselves to me as in any way
appropriate: One is Tynghed, ‘fate or fortune’, and the other is
Don, mother of some of the most nebulous personages in Celtic
literature.
It is from Don that Gwydion, the bard and arch-magician, and
Gofannon the smith his brother, are called sons of Don; and so, in
the case of Arianrhod, daughter of Don, mother of Ilew, and owner of
the sea-laved castle of Caer Arianrhod, not far distant from the
prehistoric mound of Dinas Dinlle...
In Irish legend, we detect Don under the Irish form of her name,
Danu or Donu, genitive Danaan or Donaan, and she is almost singular
there in always being styled Divinity. From her the great mythical
personages of Irish legend are called Tuatha De Danaan, or ‘the
Goddess Danu’s Tribes’, and sometimes Fir Dea, or ‘the Men of the
Divinity’.
The last stage in the Welsh history of Don consists of her
translation to the skies, where the constellation of Cassiopeia is
supposed to constitute Ilys Don, or Don’s Court.432
432 John Rhys, Celtic Folklore
Was Leonardo da
Vinci indicating Cassiopeia in his painting of The Last Supper? Were
Marguerite of Navarre, Rabelais, Nostradamus, Francis I, Anne
Boleyn, and others, part of a group in contact with “Us in the
Future”?
So, let me return now to the remarks about stars made by Canseliet made 20 years apart, that, juxtaposed, reveal something
quite marvelous:
From the FIRST edition: I know, not from having discovered it
myself, but because I was assured of it by the author more than ten
years ago, that the key to the major arcanum is given quite openly
in one of the figures, illustrating the present work. And this key
consists quite simply in a colour revealed to the artisan right from
the first work.
I suspect that the reader has, by now, figured out that Canseliet
and Fulcanelli were very tricky. And so, we look at this clue and
try to think of what Canseliet is saying. He says that the clue is
in a “figure illustrating the present work”, that it is revealed
“right from the first work” and in the preface to the second
edition, adds the clue that the subject of the star “leads us
straight into Fulcanelli’s text” saying that “right from the
beginning my Master has dwelt on the primary role of the star…”
We
turn again to the very beginning of Fulcanelli’s text:
The strongest impression of my early childhood - I was seven years
old - an impression of which I still retain a vivid memory, was the
emotion aroused in my young heart by the sight of a gothic
cathedral. I was immediately enraptured by it. I was in an ecstasy,
struck with wonder, unable to tear myself away from the attraction
of the marvelous, from the magic of such splendour, such immensity,
such intoxication expressed by this more divine than human work.
Varro, in his Antiquitates rerum humanorum, recalls the legend of
Aeneas saving his father and his household Gods from the flames of
Troy and, after long wanderings, arriving at the fields of
Laurentum, the goal of his journey. “Laurente (Laurentium) is
cabalistically l’or enté (grafted gold)”. And so indeed, we have
been led to a color!
Abbe Boudet:
The Auscii easily became skillful in working in gold; this metal was
almost like a weed in their region, and diverse historians say that
the avid Greek and Phoenician merchants, coming back to their
countries, used the gold gathered in the Pyrénées for ballast in
their vessels.
Is the Da Vinci Code also the Mystery of the Cathedrals we have been
led to by Fulcanelli? Do they both point to the work of the
Cassiopaeans?
Patrick Rivière, alchemist, student of Eugene Canseliet, disciple of
Fulcanelli:
Throughout her exposé, Laura Knight-Jadczyk refers to two powerful
works of the scientist-alchemist Fulcanelli:
The Mystery of the
Cathedrals and
Dwellings of the Philosophers. She applies her vast
knowledge to the continuation of his work. [...]
As to her inspiration, what can we say, and, from whence could it
come, if not the
Light of the stars?
Back to
Contents
Previous
|