His major work is Le Mystère des Cathédrales (The Mystery of the Cathedrals), written in and published in Paris in Fulcanelli suggests that, just like. In the fabled alchemist Fulcanelli left his remarkable manuscript concerning the Hermetic Study of Gothic Cathedral Construction with a student. He than. From this work, it appears that Fulcanelli cannot have inferred his Laura Knight -Jadczyk discusses Mystery of the Cathedrals and the subject.
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Who was the masterly author of the Mystery of the Cathedrals and of the Dwellings of the Philosophers, whose depth remains considerable still nowadays, at the beginning of the 21st century. Indeed, a great number of his reports and communications were retained cathedals the Academy of Science. It is thus by no means surprising that he was in contact, according to the own testimony of Eugene Canseliet, with the scientists of his time, such as the elderly Chevreul, Marcellin Berthelot or even Pierre Curie, but also with the popular politicians of his time, whom he was meeting at his friend’s Ferdinand de Lesseps, the man at the origin of the famous Suez Canal!
This pseudonym indicated his hermetic concerns indeed just as it indicated his scientific research, which allowed him to reach After having claimed, at the beginning, that he was himself, as Paul le Cour thoughtthe eminent founder of the Atlantis magazinethe authors Jules Boucher, Robert Ambelain, Robert Amadou and more recently Genevieve Dubois 1 did not hesitate to proclaim that he could be only the painter Jean-Julien Champagne, unless he was R.
Jobert who, passioned by Alchemy, would have performed in public, inan authentic transmutation into gold. It is necessary to then know moreover, that Pierre Pelvet, in a PhD.
But, he was really none of these, the truth being quite different as catnedrals will discover it. In our book “L’Alchimie: De Vecchi, Pariswe had already examinedthe “final ecu” which closes the Mystery of the Cathedrals and whose anagram – except for a letter filcanelli indicates F-u-l-c-a-n-e-l l -i! According to Robert Ambelain in “La Tour Saint-Jacquesthe motto “Uber Campa Agna” would have quite simply pointed to Champagne the painter fulcanellj first name, for the circumstance, would have been borrowed from his father: Hubert; this first name appearing after those of Jean-Julien on the death certificate of the artist and his sister used it in a letter addressed to R.
Moreover, it is fulcanslli singular to notice that the hippocampus was synonymous with “the horn of the Egyptian god Amon”for the hermetists and that it was used to thus indicate their ” Salt of Harmony” governing the realization of the alchemical Great Work. Perhaps, is this for this reason – as entrusted us Serge Hutin – that the symbolic “sea horse” was with in honor in the family of Lesseps to which the famous Ferdinand, who had built the Suez Canal, belonged?
No doubt, this blazon with the hippocampus was used as ” the chosen ecu ” to the prestigious family! And if, on another point of view, ” uber ” were to be taken in the direction of ” rebus “, the blazon of the Master being read like such? Then, nothing would oppose to consider the tail of the hippocampus to indicate the letter “J” like the initial of a catheddals name Jean, Jacques, Joel?
Moreover, ” the J ” penetrating the heraldic champagne 5seemed to “violate” phonetically purple it. Moreover, the or champagne shaping the letter ” V “, one could guess here the initial of the foreword! A last assumption remains: But then, why would he have signed his Hypotypose in the Mutus Liber, of the pseudonym of Magophon literally. Such an inconsistency is badly explained indeed!
However, a cabalistic element will hold all our attention: However, cwthedrals word ” Valois ” provides the anagram ” violas “, Latin accusative of viola, indicating Besides, Eugene Canseliet added, in connection with this singular work, the hermetic interpretation that the poet with ” the sealed star ” gave to it.
Andre Breton, indeed, questions himself in “Fronton Virage”, about ” a secrect ” of large scale dissimulated by whom he regards as ” the biggest magnetiser of the modern Times “, whose work is marked out with cabalistic ” processes” calling upon the language of the Birds which veils enigmatic truths: The author of La Doublure in addition attended there J-J Champagne for which he nourished a great esteem.
After having consulted the ” Directory of the streets of Marseilles ” of the time, it appears cwthedrals that at the number 4 dwelled a certain Ch. Did his qualification referred to the famous sentence of the Mutus Liber of the alchemists: However the man “could only have interest in the old books ” as his cleaning lady had presented him in these terms to Eugene Canseliet as he was a student at the Arts school, place Carli.
But was this fabulous meeting between the Master and the disciple more of history or of legend, in its etymological meaning: The question ineluctably remained asked when one knows at which point the hermetists are set on the phonetic cabal. After having reviewed a certain number of eminent scientists, of which members of the Institute, expressing their interest for Alchemy, such as Raspail, the elderly Chevreul, Jean-Baptiste Dumas, Marcellin Berthelot These are, perhaps, superfluous advices, because they require, in their practical implementation, the application of an obstinate will whose mean ones are unable to have.
We know what it costs to exchange the diplomas, the seals and the parchments against the humble coat of the philosopher. We had to drink empty, at twenty-four years old, this chalice with its bitter breuvage. The heart injured, ashamed of the errors of our youth, we had to burn our books, to cathedrala our ignorance and, modest neophyte, to decipher another science on the benches of another school The acknowledgement of the Master is here obvious.
In the same way, it appears logical that he should be sought fulcqnelli the chemists, even the eminent physicists of his time! On another side, it would be advisable not to forget that, if allusions to the color violet were frequent in the work of Raymond Roussel: If one refers to the idea that the blazon of the Master must be analyzed such as a “rebus”, the letter “J” formed by the tail of the hippocampus would then seem to “violate” the champagne of the ecu, this one being able to suggest moreover the letter “V”.
We examined with a lot details and intrusions in the universe of the Institute of France, all the possible assumptions which bring back to us to only one and single solution which is clarified in our book: During the Fifties, Eugene Canseliet carried out a quite curious tour in Spain, from which he secretly entrusted his friend the writer Claude Seignolle.
This one wished to publish this quite strange history in a collection of more or less gulcanelli testimonies but in which was to appear the name of their authors.
Claude Seignolle however gave up to the temptation to publish this story, on the condition of remaining in most strict anonymity. The journalist Henri Rode interviewed him on this subject in the first issue of the magazine Le Grand Albert: I smelled immediately Fulcanelli in the environment. A pony and cahhedrals greyhounds accompanied them.
But, after one of these long nights of work which I am used to, the discovery that I made still appeared more persuasive me: All that very sharp, very luminous.
The young woman made me a hot sign with head, and I was sure that Fulcanelli blew me: What can one deduce?
The mystery of the Gothic cathedrals
That she was a close relative of the Adept, appeared thus in such a clothing? Neville Spearman, Jerseythat it was about an “initiatory” phenomenon as during a chamanic trance and symbolizing moreover here perfectly the hermetic archetype of the Androgynate! At all events, the extraordinary character covered by these experiments reported by Eugene Canseliet deserves well a cathedeals interest. Besides he provides other details during various later talks.
He says on this subject in Le Feu du Soleil with R. It is on the earth, but it is the terrestrial Paradise.
FULCANELLI- The Mystery Of The Cathedrals « eye of the cyclone
What does he do now? I did not see anything. It came to see me where I worked, at the laboratory, and I saw him once, I saw him twice. It catehdrals still necessary to add to that, a posthumous fulcanflli which was provided this time by late the Jean Laplace.
I am impressed so much by what this worthy relic represents, that I do not dare to reveal the existence What to do about it? It would be regrettable to volitilize forever the masterly spirit fixed on the plate sensitive to everything that irradiates.
Then, in a footnote: I speak here about fulcanelil face which kept from the common run of people only the human form and which is enriched by an indescribable expression. It is precisely what the sensitive plate of the camera must should have seized and which Jean Laplace, now dead, sincerely tried to make us believe!
Here the famous Philosopher Dwelling, near Seville, where E Canceliet found Fulcanelli in and where we were led, by the biggest of the chances! It is fulcznelli hacienda hacienda indicating h fortune in Spanish. The matter, like one suspects it, was to be cathedraks Besides Eugene Canseliet did not hesitate to evoke it in the following way: At the time of his stay in Andalusia, Eugene Canseliet was aroused by the expression of this macabre jewel.
One can indeed see there in the foreground the corpse of a bishop in advanced decomposition, at the bottom of his coffin.
Le Mystère des Cathédrales
Vis-a-vis him, head-digs, a knight lays in his coffin – in whom E. Canseliet believed to see a member of the Order of Calatrava, successor of the Templars – this one by no means affected by the putrefaction and whose open eyes and the freshness of the dye imply that he rests peacefully and thus escapes any wear of time.
In the second plane, a hand carrying the mark of the crucifixion, but curiously female, leaves the clouds, carrying the beam of a scale of which each plate is underlined fulcznelli the inscriptions nimas “neither more”nimenos “nor less”! On the left, at the entry of the crypt, an owl stands in hieratic posture, symbol of wisdom, seeming to weigh the situation seriously.
In the background one guesses skeletons and dispersed bones cathedeals participate to the already quite macabre character of this scene entitled Finis Gloriae Mundi, as shown by the phylactery attached to the first so worrying coffin since it seems well that the Church is here forever deposed to the advantage of the initiatory awakening symbolized by the death-simulating knight.
Moreover, the other painting facing this one, does not leave any doubt on this subject since it presents the death with her scythe – the skeletal foot pressing the world symbolized by the terrestrial sphere seeming to scorn the pontifical attributes, such as the tiara and the papal cross, besides as the riches of the temporal power figured by jewels and swords.
The skeleton indicates with the index of the its right hand the Latin phrase In ictu oculi “in a wink” ; what added to the preceding sentence gives us:. Before his death, alas too early, Jean Laplace had the good fortune to discover, as we precised previously, within the famous hard-bound folder sheltered in the house of Savignies, the components of the synopsis of what should have been the third book of the Master.
On this subject, it is to be stressed that a forged Finis Gloriae Mundi, not following in anything this synopsis, appeared a few months ago, among the general indifference.
Masterly showing that it was about a “coarse forgery”, J-P Thomas indicated then in his critic entitled “Finis Cathedrrals Mundi or the history of a characterized imposture”: