by Laura Knight-Jadczyk

February 19, 2005

from Cassiopaea Website




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 my book, The Secret History of the World, I deal with many branches of the "hidden stream" of knowledge that have periodically emerged into the world during recorded history as,

  • 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 and Alchemy, etc,

...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 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" will also recognize the deeper implications of Gurdjieff’s work.

For the novice, wishing to gain a foundational understanding, to avoid the glaring misrepresentations of such populist works as The Da Vinci Code, please refer to my other articles: The Grail Quest, particularly the sections that discuss,


The image above - The Burial of Christ - is from a photograph I made in Auch Cathedral.

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 says “To Mary, the Virgin who is to give birth to God.”

Significantly, it says “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, (image below) 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, where 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...

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.

Detail of Moses with horns from one of the Windows of Arnaud de Moles' in Auch Cathedral.


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 put 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! that comes out of the thought of 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, 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 and 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 from various sources that threatened not only our peace of mind, but our very lives.[1]


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.


Among our French friends we notified about our choice of location were the Bogdanoff Twins, French TV stars who took a number of years off from their successful careers to obtain their doctorate degrees in mathematics and physics. They were quite excited by the choice since they owned an ancient Chateau near to Auch and had grown up in the region.

When we arrived in France, numb with fatigue and anxiety over so great a change in our lives, I certainly 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 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.

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.

Open mindedness, curiosity, and awe of the fact of existence is fundamental my nature and it was, in fact, these very qualities that led me to undertake "Cassiopaean Experiment." A few remarks on this subject are necessary at this point.

After years of working with people’s heads via hypnotherapy, I didn’t much care whether such things as "past lives" actually existed or not. I only cared that the therapeutic modality worked and gave people relief. My own theory was that it gave them a drama to explain things, to work things out; a way to achieve a resolution by changing the script of the drama. Same with "spirit release therapy."

I incorporated that process in a couple of cases where nothing else worked in the late 80s. I was quite astonished at the results (and was very careful to not contaminate my subjects), and wondered just what the heck was going on?


Again, I just explained it to myself that it was a self-created drama that allowed the person to sort themselves out. It didn’t matter to me; I wasn’t invested in believing any of it. I only cared that it relieved suffering. And it did, every time. It was even a rather simple formulaic process which is why I was so surprised that it worked. Could it be that easy?

My working hypothesis at the time, considering the boring regularity with which subjects from all walks of life came up with the same images, the same types of dramas, the same dynamics in the subconscious mind, was that there was some sort of "field of images," or archetypes to which all human beings were connected in some way. Well, let me make that more precise: people sorted into groups according to which images and dynamics were dominant in their particular case. Jung’s work was helpful, but didn’t go far enough to explain what I was witnessing.

So, I decided that it would be interesting to access this pure field. That’s actually what started the whole thing. Well, how does one access such a theorized field of symbols and dynamics that seems to have some "rule" over people’s lives?


The obvious answer was some form of "channeling." BUT, there was a catch: I didn’t trust anything - and I mean ANYTHING - that would just come into somebody’s head - not even my own. I also wasn’t interested in talking to alleged "dead dudes" anymore because, by this time, I’d had quite enough of that and if anybody knows they don’t have much of interest to say, it was me, (assuming that it is anything other than a drama in the head of the subject).

One of the more interesting theories I came across regarding so-called "channeling" was developed by Barbara Honegger, said to be the first person in the United States to obtain an advanced degree in experimental parapsychology. Honegger suggested that automatism was the result of "stimulation" of the right hemisphere of the brain so that it could overcome the suppression of the left hemisphere. Automatism, as you might know, relates directly to utilizing a device such as automatic writing or a Ouija board type instrument.


It was never entirely clear what was doing the stimulating, however and I could obtain no further information on her research. Whether or not the information was supposed to come from the subconscious of the individual or "spirits," was not clearly spelled out. But my thought was that, if it was true that some form of automatism could assist in synchronizing the right and left hemisphere of the brain, that even if it did not result in any real "contact," it was still a worthy exercise.

As I have said, there was an open possibility in my mind that such things as "spirits" were merely fragments of the personality of an individual, sort of like little broken off circuits in the brain running in repetitive loops, created by trauma or stress. Perhaps an individual, when faced with a difficulty, entered a narcissistic state of fantasy, created a "dream," which was imprinted in the memory of the brain.


If they then emerged from this state back into dealing with their reality, but not having dealt with the issue itself, it might become locked away in a sort of cerebral file drawer, sitting there, waiting to be triggered by the electricity or neurochemicals of the brain in some random unconscious scan.


The same could be said for so-called past life memories; they were merely self-created memory files generated in a state of narcissistic withdrawal due to stress. Such neurological files could then be downloaded and read by using the conscious bypass method of either automatism or simply allowing the conscious mind to "step aside" as in hypnosis. For that matter, simple psychotherapy could be considered channeling in these terms.

Trance channeling is more problematic because it suggests a definite pathological condition. In such cases, the "alter" ego, as either an alternate personality or whatever, is strong and well entrenched enough to establish a far stronger hold on the body of the host than those which can only manifest via automatism or trance. If you don’t know what you are dealing with, that’s a dangerous experiment to make.

My theory was that whatever the theorized "source" of whatever might be accessible, the method of automatism could be more safely utilized to access the field of archetypal symbols and dynamics that seemed to be the pool from which all people drew in the creation of their personal dramas, leaving aside the question of whether or not those dramas represented anything factual or not.


My idea was that if this field could be accessed directly, after playing out and thereby eliminating via feedback, any personal thought loops or memory files, that a great deal of information about the human condition at large might be available.

I continued to dig and read cases and find out everything I could about the subject. That’s when I came across one of the first clues about the role of the "standard religions" in suppressing the human ability to access whatever it was - whether it was the subconscious, an archetypal field, or whatever.

It seems that all "primitive" or preliterate cultures had some form of codified communication between "spirits" and the living. Again, let me reiterate that I consider this nomenclature to be simply convention. This phenomenon seems to be universal in the ancient world, and only came under condemnation with the inception of monotheism around 1000 BC.


When Yahweh spoke through his channels, they were called prophets and the activity was "divine inspiration". When anybody else did it, it was necromancy or demonic possession, or even just out and out deception.


This was because, obviously, since Jehovah/Yahweh was the only god, those other "gods" did not exist, therefore, anyone who claimed to be channeling them was lying. Of course that begs the question as to why people were put to death for lying about communicating with gods that were claimed not to exist? And, if they did actually exist, and were actually communicating, as Yahweh was also, then what status does that suggest about Yahweh, since he was the one who claimed to be the only god and that this was true simply because Yahweh said so via channeling? Most curious.

In the sixth century BC the Thracian Dionysiac cults were known to be using shamans as trance channels to communicate with the spirits, or what were then known as theoi or gods that were said to be discarnate immortal beings with superhuman powers. Some scholars suggest that rationalist philosophy was born out of the Dionysiac, Orphic, and Eleusinian mystery cults devoted to the channeling of these gods; certainly much ancient Greek philosophy, especially that of Pythagoras, Heraclitus, and Plato, was saturated with these mysteries.


In Plato’s Theagetes Socrates confesses,

"By the favour of the Gods, I have since my childhood been attended by a semi-divine being whose voice from time to time dissuades me from some undertaking, but never directs me what I am to do."

The most interesting item of all is the fact that Pythagoras used something like a Ouija board as early as 540 BC: a "mystic table" on wheels moved around and pointed toward signs that were then interpreted by the philosopher himself, or his pupil Philolaus.


Even down to the present day, the mysteries of the Pythagoreans are subjects of intense interest to scientists and mystics alike. And here there seems to be evidence that the advanced knowledge of Pythagoras may have been obtained via a Ouija board!

This brings us back to the question, of course, as to how "channeled" information could have been the basis of the Rationalist philosophy that there was nothing to channel? Could it be merely a progression of the idea of Yahweh/Jehovah that there was only one god, and he was it? Just another step in stripping away any spiritual support from the lives of human beings? By the time the Romans had conquered Greece, the rationalist movement was turning against spirit-channeling. My guess is that this was generally a good idea because, without sufficient knowledge and preparation, it can be dangerous.

Cicero, the Roman rationalist whom the early Church Fathers highly revered, railed against spirit-channeling or necromancy on the grounds that it involved ghastly pagan rituals. Perhaps, by that time, it did. Just look at the whole New Age/Spiritualist movement today. What a morass.

What seems to have happened is that, eventually, rationalism bit the hand that fed it and began to devour its father, monotheism, by further extending the argument to the idea that there is no god, there are no spirits, nothing survives the death of the physical body, so there is really nobody for us to talk to on the "other side," so why bother? Science took the view that the whole thing was a con game, and that’s pretty much the current mainstream scientific opinion of the phenomenon today.

Nevertheless, as I noted: I thought it would be interesting to try to access the "pure field of archetypes." I knew it would take time to run out all the loops - whether spirits or just subconscious dramas - and that patience and persistence was important. And so, I settled down to do it, and it took over two years.

Ark writes:

The name Cassiopaea was given by a consciously "channeled source" which Laura accessed in 1994 after two years of experimental work. The source identified itself by saying "we are you in the future."


Modern physics does not provide us with practical means for this type of communication, and theories on this subject are not well developed; they are, in fact, inconclusive and controversial.

When interpreting "we are you in the future" in an oversimplified way, we are faced with causal paradoxes.


On the other hand, from the theoretical papers published in physics journals we can learn that, with a proper and careful interpretation, and taking into account quantum uncertainties, communication into the past cannot be dismissed as impossible. Improbable perhaps is the right word, but there are many things that are improbable and yet happen. The more improbable is a given phenomenon, the more information is carried by its occurrence, the more we can learn by its study.


That is why we did not dismiss the "we are you in the future" as impossible and therefore ignorable. Instead we decided to continue the "communications" as a form of a controlled experiment in "superluminal thought transfer" – even if it was clear that the term should be considered as a tentative indication of only one out several possible interpretations.

The information received from this experiment is presented in the context of broad ranging historical, scientific and other metaphysical material and offers the clues that have led to the world view and inferences presented by us in our numerous publications on this website and in print.


Perhaps it is only our own "subconscious mind" that presents itself as a "source," but even if it is so, does that tell us more? Do we really know what "unconscious mind" is and of what is it capable?

Returning now to the subject at hand: 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 The 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 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 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 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 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 coure, 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 millenarianism 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. […]
[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.


Patrick has written about my own book as follows:

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?

[Patrick Rivière’s Preface to The Secret History of the World]

Rivière has speculated in our conversations that Fulcanelli withdrew the book because he did not have proof of certain scientific elements 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, it seems more likely 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 Frence speaker sounds very much like "Onde," which is French for "Wave." I had begun The Wave Series 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!

In any event, the title of Fulcanelli’s Third Book was taken from a painting that is found in Seville.



Fin de la gloria del mundo.

1672. Oleo sobre lienzo. 220 x 216 Hospital de la Caridad Sevilla



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 precipice 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" to understand exactly what this phrase can refer to, not to mention The Adventures Series which describes a period in which I was perilously close to being entrapped in a pit .

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; though it is possible to see on her the splendour of a divine mark; though the recognition of this source of blessings brings joy to the heart of the artist; yet 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.