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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:
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.
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