Afterword


At the present time, when millions of people have read The Da Vinci Code, by Dan Brown, it seems that the awareness that man’s true history has been hidden is growing apace with the thirst for the truth. In this book, The Secret History of the World, I have dealt with many tributaries of the “hidden stream” of knowledge that have periodically emerged into the world during recorded history.

 

These traditions include the Eleusinian Mysteries, the Orphic Tradition, Gnosticism, Gurdjieff’s Fourth Way or “Esoteric Christianity”, Catharism, which went underground as the stories of the Holy Grail emerged, and Alchemy, linking them to the most ancient traditions from pre-history, including Siberian Shamanism, the “Archaic Techniques of Ecstasy”, as Mircea Eliade refers to the matter.

 

Thus, it is only fair that I warn the reader that this series of remarks will be comprehensible only to individuals well versed in studies of esoteric history and comparative religions, including Gnosticism, Sufism, the Holy Grail, Alchemy, (particularly the mysteries surrounding the French alchemist known as Fulcanelli), and hermeticism in general. This article plunges directly and immediately into the great mystery. Those who are immersed in Fourth Way Work and who have actually begun to “see” may also recognize the deeper implications of Gurdjieff’s work.


Plate 6 - The Burial of Christ - is from a photograph I made in Auch Cathedral (Gers – 32). This Cathedral is dedicated to the Black Virgin.


These two words, suggesting initiation, hide a spiritual reality that is very much alive in the world today. The “Black Virgin” is a hidden presence that can guide the seeker to rebirth. The inscription of dedication of Auch Cathedral is engraved in black marble over the central door, and reads, “To Mary, the Virgin who is to give birth to God”.


Significantly, it reads “who is to…”, not “who did…”.


There are two representations of the Black Virgin in the Cathedral, suggested by certain details. In chapel 13, as the Sibyl of Samos, (below right) her costume and her face are brown, she is pregnant, and she holds a cradle in her hands. The other representation is found in the choir stalls, in the canopies, immediately after the panel representing Adam and Eve. It is named Charity. There are two children standing at her feet, waiting and stretching their hands towards her.

 

A retired priest, Raymond Montané, who has spent his life studying the remarkable esoteric art in Auch Cathedral has written as follows:

It is above all the windows of Arnaud de Moles that deserve our attention. Produced between 1507 and 1513, they are esteemed as the finest of the Renaissance. The famous art critic Emile Male wrote: “For the breadth of thought, no work of this period equals the windows of Auch.”

 

This extraordinary set includes a series of 18 windows.

 

They are presented as a rich decoration, in which a crowd of characters of every origin meet each other. Most come from the Bible, but some of them, like the Sibyls, come from pagan religions. The themes of these story windows have been chosen with the greatest care. To discover the themes, we need to find the golden thread creating an invisible link between heterogeneous characters, apparently strangers to each other. The visit of these windows must be made from the left to the right, going from the transept, beginning with chapel 11.[…] [See Plate 7.]


An idea brings them together. What is it? The key to this mystery is in the hands of the Sibyl. The object she carries gives us the key to the enigma. This symbolic biblical object concerns each of the characters in a window in some way. It brings them together for a single idea. The artist provoked these encounters to clarify a theme, to illustrate a story...


These windows are not a gallery of merely famous characters. Among the most illustrious, some of them are not there, but some lesser known characters occupy a place of choice. What counts first of all is not the character itself, but the story it evokes, the destiny it attempts to direct. Like the sibyls, each is dedicated to serving a story. They find themselves at the heart, the very crucible [...]


They come from everywhere, they are from all classes, from every origin. They come willingly like celebrity artists, finding themselves in a gigantic gala, not for their own benefit, but for the benefit of a social and humanitarian task. These celebrity characters of Arnaud de Moles’ windows contribute, in their own way, to the illustration of the greatest epic, the unfolding of a HISTORY. Now, a question is asked: What was the real role of Arnaud de Moles, the master glazier, in the realization of the opus that bears his signature?


Arnaud de Moles showed himself truly as a master for the realization of the kind of screenplay entrusted to him. He was a clever workman formed at the school of the Compagnons - a school that was marked by the techniques of the Middle Ages and the Gothic period. His companions were like him, earnest, available, and applied to their task.


The 18 windows of Arnaud de Moles are therefore an exceptional piece of work. What is truly unique - in this ensemble as well as the choir stalls - is the message that is revealed. Arnaud de Moles was the artist, not the inspiration. The thought was given by unknown patrons. […]


What first strikes the attentive mind is the wealth and variety of details. The source of this inspiration draws not only on the Bible and the lives of the Saints, but on nature, mythology, pagan religions, the Holy Grail and chivalry. […] This remarkable set is not mere art! Like the windows, it contains thought, a message.


When we carefully observe the details, in the stalls, something immediately appears to our eyes: Demons and snakes, malevolent animals and monsters of all species swarm there. This invasion contributes to give to this whole a tragic aspect that also agrees very well with the profound movement of history that is narrated to us.


This tragic aspect is complementary and has to be placed in relationship to the windows of Arnaud de Moles. The windows and stalls constitute a whole. The two masterpieces were designed at the same time. The same story is told. Its theme was proposed to the glaziers and the sculptors. This theme evokes the same reality: the reality of man in general.


One would almost think about Dante’s Inferno. But this obvious tragedy is not hell - it is the history of humanity on earth. Charity - empty handed - walks right before the monsters and demons, sustained by one same hope, going alone, but courageous, to face evil, the malevolent snake. At the end of the cycle, she becomes triumphant Strength. Her mission is accomplished because we see all malevolent snakes crushed under her feet or finally mastered in her hands.
Since this history is told and relived in retrospect, our artists knew in advance that this dramatic adventure had to bring us to Life.


What breadth! What perspective comes forth from the woodwork of the choir of Auch! Some connoisseurs are not afraid to compare the extraordinary work of these stalls with the frescoes of Michelangelo.

[Raymond Montané]

I would like to make a note of the fact that, after spending some time trying to find out who Arnaud de Moles actually was, the information I was able to obtain suggests that it was a name given to a group, The Companions Devoted to Liberty,414 or, perhaps an anagram. In terms of Green Language clues, the name “De Moles” is rich with meaning, ranging from the possibility of homophonic pronunciation “de Molay”, as in the last Grand Master of the Templars, as well as the meaning of “mole”, which, in French means “stone”, or a jetty: a breakwater.

 

In English, the Green Language leads us to a creature that lives underground, or the “going underground” of a tradition. And then, of course, it can also say “Mea Deus Leonard”. A reader may find a better solution. There is more, but I don’t want to divert onto that subject at the moment because I have a story to tell. In 2003, we decided for various reasons to re-locate to France.

 

Having previously worked in France at a number of research centers with a number of French scientists who were enthusiastic about the possibility of Ark’s return to Europe, we decided to pursue these mutual research interests.


We longed very much for a peaceful, country life, where we could work, continue our research, and feel safe from the intensifying pressures of various sources that threatened not only our peace of mind, but our very lives.415

 

414 http://www.cassiopaea.org/cass/Laura-Knight-Jadczyk/column-lkj-28-07-03.htm 

415 In my partial autobiography, Amazing Grace, I have discussed, at some length, many of the surpassingly strange events that began shortly after I was born, and which have continued to the present day, that give evidence of the fact that there is, indeed, within mysterious groups, some sort of extraordinary interest in my existence and work. It is clear from the objective evidence that some of these groups do not wish to kill me, but most definitely wish to control me, while others wish to protect me and ensure that I succeed in some “mission” of which I have very little conscious awareness, but apparently, am discovering in a satisfactory way “one step at a time.”

 

After weeks of studying detailed maps of France, demographics, and so forth, I decided that the area around Auch was where I wanted to be, mainly because it was rural and agricultural. And so, we informed our friends in France of this choice and the search for a house was begun.


When we arrived in France, numb with fatigue and anxiety over so great a change in our lives, I made a mental note of the cathedral next to the real estate agency where we signed the lease for the new place. I was casually pleased to see such an interesting old church would be so close, but I didn’t bother to go inside and look at it. After all, I had been to Notre Dame in Paris!

 

Wasn’t Fulcanelli’s book, Le Mystère de Cathedrales focused on the edifices in Paris, Amiens, and Bourges? What could a cathedral in Auch have to offer?


However, after a question by a visitor from the U.S. (thank you Charlotte), made me curious to see “the famous statues” that I had never heard of, I took the time to go and look. Once I had seen the windows by Arnaud de Moles and the choir, I was so stunned by the clear esoteric import of Auch Cathedral that I could not understand why Fulcanelli had failed to mention it.


It was a puzzle, and it was only over time, as more clues were revealed, as I will explain here, that I realized that it must have been omitted intentionally for the simple reason that it was quite obviously the cathedral with the keys.

 

Fulcanelli was hardly going to give away the keys to the greatest secrets of reality so cheaply that they could be figured out in a year or two by a dilettante. Additionally, according to Fulcanelli, without divine assistance - which we most certainly had via the Cassiopaean transmissions - there could be no hope of solving the mystery. This is one of the precepts of esoteric work that is often overlooked by those who promote themselves as esotericists. The Great Sufi Shaykh, Ibn al-’Arabi points out that one seeker may stand at the door and knock his entire life, and it will never open to him, and another may be admitted with a single request.

 

In studying the matter we learn that, among the rules that must direct the process of understanding, are the following, each of which leads, in a natural progression, to the next:

1) The Soul must acquire greater powers not only for conception but also for retention, and therefore if we wish to obtain still more knowledge, the organs and secret springs of physical life must be wonderfully strengthened and invigorated. “The Soul must acquire new powers for conceiving and retaining...”

2) In order to respect the principle of hermetism adopted by the Tradition, we must understand that esoteric teachings are given in a sibylline form.
St Isaac the Syrian points out that: The Holy Scriptures state many things by using words in a different sense from their original meaning. Sometimes bodily attributes are applied to the soul, and conversely, attributes of the soul are applied to the body. The Scriptures do not make any distinction here. However, enlightened men understand.
3) “Like attracts like.” When a candidate has developed virtue and integrity acceptable to the adepts, they will appear to him and reveal those parts of the secret processes which cannot be discovered without such help. Those who cannot progress to a certain point with their own intelligence are not qualified to be entrusted with the secrets which can subject to their will the elemental forces of Nature.

As I continued to marvel at Auch Cathedral, I began to realize fully, for the first time, that the Cassiopaean Transmissions was just such an “appearance of the adepts”.

 

It finally began to dawn on me that the process I had followed, instinctively, had been quite accurately described by Eugene Canseliet in his Preface to the second edition of Fulcanelli’s Dwellings of the Philosophers:

According to the meaning of the Latin word adeptus, the alchemist has then received the Gift of God, or even better, the Present, a cabalistic pun on the double meaning of the word, underlining that he thus enjoys the infinite duration of the Now.[...]

In the Kingdom of Sulpur (cabalistically: Soul Fire) there exists a Mirror in which the entire World can be seen. Whosoever looks into this Mirror can see and learn the three parts of Wisdom of the entire World.

July 14, 1996


Q: (L) In other words, as long as we are in the pigstye, we are in the pigstye, and until we get out of it, we are in it?
A: Until you reach that point on the learning cycle. [...] “Passion” does not set one “free”, quite the opposite!
Q: (L) But what if your passion is for knowledge?
A: That is not passion, it is soul questing.
Q: (L) What is it that gives some people this drive, this steamroller effect that they are determined to get to the absolute bottom of everything and strip away every lie until there is nothing left but the naked truth? What is the source of this desire?
A: Wrong concept. It is simply that one is at that point on the learning cycle. At that point, no drive is needed.
Q: (L) So, you more or less are there because some critical mass has been reached that ‘jumps’ you to the point where seeking truth is simply who you are? It defines the parameters of your being.

After thirty years of study and two years of dedicated experimentation, detailed in my autobiography, Amazing Grace, the Cassiopaean communications began: I began to look into the Mirror in which the entire world can be seen.

“We are you in the Future”, they said. “We transmit ‘through’ the opening that is presented in the locator that you represent as Cassiopaea, due to the strong radio pulses aligned from Cassiopaea, which are due to a pulsar from a neutron star 300 light years behind it, as seen from your locator. This facilitates a clear channel transmission from 6th density to 3rd density... [in] “Zero” time [utilizing Electromagnetics and gravity which are interconnected, or you could say “unified”. Space and time are selective and flexible. ...] You see, when one utilizes zero time, there is zero space as well.”

In short, the Cassiopaean Transmission was initiation preparatory to receiving the “Gift of the Present”.


After living in the Gers for 11 months, we found a more permanent - and safer - house with all the features we needed for our work. We moved in and shortly discovered that one of our neighbors was Patrick Rivière, a noted historian of religions and author of many books on the subject of comparative religions, alchemy and the Holy Grail. He is also an expert on the “Rennes-le-Chateau” phenomenon.

 

Patrick, as an alchemist (Adeptus) also happened to be a student of Eugene Canseliet, the disciple of Fulcanelli. We dispatched a note to him and were very happy to receive a call a couple of days later suggesting a meeting. It seems that Patrick had been “waiting” for us. His own studies and lifelong work had brought him to the point where, as an adept, he knew that, “The Sybil Would Appear when the time was right”.

 

This was the beginning of our collaborations. I was very anxious to query Patrick about any clues to the true identity of Fulcanelli. I had read many theories about this, but due to a particular clue that was dropped almost casually by Eugene Canseliet in his description of his visit to the “enclave of the alchemists” in Spain, I was convinced that Fulcanelli was a single individual, not a “committee” as some materially-minded thinkers propose, and that he had, indeed, achieved the “Great Work”. Patrick agreed and responded that he knew the identity of Fulcanelli, and that he had written a small book on the subject in French that was not yet available to English speaking audiences, Fulcanelli in the “Qui suis-je?” series. [Red Pill Press will be bringing out Patrick’s work in English soon.]

 

We spent many pleasant hours with Patrick at a table going over his process of discovery, his reasoning, and looking at the documentation he had collected over the years. This man has truly devoted his entire life to this work. In the end, I was convinced that Patrick is quite right: the true identity of Fulcanelli was Jules Violle, a famous French physicist of the 19th century. As noted, Patrick’s own work on this subject is being translated and I will leave it to him to describe his process of discovery. It was what we discovered together, after receiving this clue, that is most important to discuss here. It is, in fact, I believe, the solution to the “Da Vinci Code”.


Jules Violle was a graduate of the École Normale Supérieure at Paris, he taught at the University of Lyon (1883), then at the École and, from 1891, at the Conservatoire des Arts et Métiers, Paris. He made the first high-altitude determination of the solar constant on Mont Blanc in 1875. The “violle” is a unit of light intensity equal to a square centimeter of platinum, glowing at its melting temperature of 1769 °C (3216 °F). It was the first unit of light intensity that did not depend on the properties of a particular lamp.


When I read this, my mind immediately went back to an excerpt from the Cassiopaean Transmissions:

June 21, 1997


A: Alfalfa fields in Rhineland yield as of yet undreamed of treasures.
Q: Where are these alfalfa fields?
A: Near tracks well worn.
Q: [...] Do you mean Rhineland as in Germany proper?
A: We do not mean Rhinelander, Wisconsin... Or do we?!? Who is to tell?
Q: Who?
A: The searcher, the sepulcher, the one who carries the staff in constant search for greener pastures.
Q: Oh my! You are being very obscure tonight! [...] any additional clues for me or Ark?
A: Last clue for tonight: Look for the vibratory frequency light. Good Night.

I suddenly realized that the funny remark about “Rhinelander, Wisconsin” pointed directly at France - the land of a Thousand Cheeses - because, to the American mind, Wisconsin is “the land of Cheese”. I later learned that the Garonne River was referred to as “The Rhine of France”.

 

And then, of course, there are “rhinds” on cheeses. But the icing on the cake was, of course, “look for the vibratory frequency of light”, and the Violle: the first unit of light intensity that did not depend on the properties of a particular lamp.


As I began to dig into the background of Jules Violle, I discovered another significant clue: he was closely associated with Camille Flammarion, French astronomer and popular author. Flammarion was the founder of the French Astronomy Society, and he served for many years at the Paris Observatory and the Bureau of Longitudes.

 

Flammarion set up a private observatory at Juvisy (near Paris) in 1883 and his studies were particularly focused on double and multiple stars - a particular focus of the Cassiopaean Transmissions - and of the moon and Mars. It is easy to see that Violle and Flammarion had a lot in common, particularly their interest in stars. Double and multiple Stars gives Fulcanelli’s dedication “To The Brothers of Heliopolis” an all new level of meaning!

 

When examining the life and associations of Camille Flammarion, additional clues began to finally fit together: he was an associate of, and greatly influenced by, Allan Kardec, the French Pedagogue, medical student, linguist and researcher of “spirit communications”.


In the spring of 1858, Kardec founded the Societe Parisienne des Etudes Spirites. In the late 1850s and early 1860s, small Spiritist groups began to proliferate throughout France, especially in Paris, Lyon and Bordeaux.

 

Camille Flammarion remarked:

“I have no hesitation in saying that he who states that spiritist phenomena are contrary to science does not know what he is talking about. Indeed, there is nothing super-natural in nature. There is only the unknown: but what was unknown yesterday becomes the truth of tomorrow”.

Victor Hugo, another advocate of scientific spiritualism said:

“Turning a blind eye to the spiritist phenomena is turning a blind eye to the truth”.

The Societe Parisienne was similar to the Society for Psychical Research in London, a body devoted to unbiased inquiry. Kardec’s efforts were largely focused on promoting the impartial and rational study of spiritual matters. The Spiritist views of Kardec were scientific, not mystical; and he promoted objective discovery over intuitive insight, just as the Cassiopaean Transmissions and our own work does.

Turning now to the comments on millenarialism in the works of Fulcanelli, it is interesting to note that Kardec’s final book, La Gazette selon le Spiritisme, appearing in 1868, strongly reflected the millenialist view. The work closed with a series of communications and commentaries declaring that “the time chosen by God has come”, stating that a new generation of highly-evolved souls was in the process of being incarnated on Earth.


This is precisely what Fulcanelli stated in the mysterious Hendaye chapter of Mystery of the Cathedrals as well as in the final chapters of Dwellings of the Philosophers. We also note that Fulcanelli emphasized the role of science in the so-called “End Times” as being crucial. Not only was Jules Violle a scientist, but my husband, Ark is a scientist: an expert in Hyperdimensional Physics, Nonlinear Dynamics and Complex Systems.


Finding a well established link between Flammarion and Jules Violle, followed by a well established link between Flammarion and Kardec, gives an entirely new perspective on the work of Violle as Fulcanelli. It also leads us to the very important question: Is it possible that Fulcanelli made use of “superluminal communication techniques” as I had myself?

 

Was this why Fulcanelli insisted as follows:

“Furthermore, in our opinion, it seems insufficient to know how to recognize and classify facts exactly; one must still question nature and learn from her in what conditions and under the control of what will her manifold productions take place. Indeed, the philosophical mind will not be content with the mere possibility of identifying bodies. It demands the knowledge of the secret of their elaborations. To open ajar the door of the laboratory where nature mixes the elements is good; to discover the occult force, under whose influences her work is accomplished, is better.”[…]


“Alchemy is obscure only because it is hidden. The philosophers who wanted to transmit the exposition of their doctrine and the fruit of their labors to posterity took great care not to divulge the art by presenting it under a common form so that the layman could not misuse it. Thus because of the difficulty one has of understanding it, because of the mystery of its enigmas and of the opacity of its parables, the science has come to be shut up among reveries, illusions and chimeras.” […]


“With their confused texts, sprinkled with cabalistic expressions, the books remain the efficient and genuine cause of the gross mistake that we indicate. For, in spite of the warnings... students persisted in reading them according to the meanings that they hold in ordinary language. They do not know that these texts are reserved for initiates, and that it is essential, in order to understand them, to be in possession of their secret key. One must first work at discovering this key.”


“Most certainly these old treatises contain, if not the entire science, at least its philosophy, its principles, and the art of applying them in conformity with natural laws. But if we are unaware of the hidden meaning of the terms - for example, the meaning of Ares, which is different from Aries - strange qualifications purposely used in the composition of such works, we will understand nothing of them or we will be infallibly led into error.”
 

“We must not forget that it is an esoteric science. Consequently, a keen intelligence, an excellent memory, work, and attention aided by a strong will are NOT sufficient qualities to hope to become learned in this subject.”

 

“Nicolas Grosparmy writes: ‘Such people truly delude themselves who think that we have only made our books for them, but we have made them to keep out all those who are not of our sect.’”


“Batsdorff, in the beginning of his treatise, charitably warns the reader in these terms: ‘Every prudent mind must first acquire the Science if he can; that is to say, the principles and the means to operate. Otherwise he should stop there, without foolishly using his time and his wealth. And so, I beg those who will read this little book to credit my words. I say to them once more, that THEY WILL NEVER LEARN THIS SUBLIME SCIENCE BY MEANS OF BOOKS, AND THAT IT CAN ONLY BE LEARNED THROUGH DIVINE REVELATION, HENCE IT IS CALLED DIVINE ART, or through the means of a good and faithful master; and since there are very few of them to whom God has granted this grace, there are also very few who teach it.’”

[Fulcanelli, The Dwellings of the Philosophers, Boulder: Archive Press 1999, pp. 49, 65, 84]

In view of this question, it might be useful to look at excerpts from an article written by Camille Flammarion, the friend and associate of Jules Violle and Allan Kardec which reflects our views exactly:

Spiritism is, in general, in bad repute, and deserves to be. Most of its disciples are unmethodical; they are often lacking in mental poise, are often dupes of illusions. They prefer a belief and a religion which merely console, to the impartial and critical investigation without which we can be sure of nothing. These are bad conditions for research; adequate safeguards are lacking.

 

In Allan Kardec’s time (in the course of the speech which I made at his grave on April 2, 1869) I believed it helpful and even necessary to proclaim, at this very grave, that “spiritism is not a religion but a science”, and to add that “we are now at the dawn of an undiscovered science”. During the fifty years which followed the utterance of these words, the continued progress of our research has lent them greater and greater emphasis, confirmed them more and more fully. It is by the scientific method alone that we may make progress in the search for truth. Religious belief must not take the place of impartial analysis. We must be constantly on our guard against illusions.


Apart from deliberate deception, dishonest and inexcusable, there is autosuggestion leading to involuntary deception. [...]


There are also dishonest exploiters of credulity, who give “séances”, promising apparitions and posthumous manifestations to the simpletons who listen to them. Those who have been gulled then complain, laughably, of having been robbed! The human race, supposedly intelligent, is truly strange. One must have a great deal of courage to work perseveringly, surrounded by these impostors; one must be sustained by the conviction that there are truths to be discovered. […]416

416 Camille Flammarion’s Death and Its Mystery - After Death. Manifestations and Apparitions of the Dead; The Soul After Death Translated by Latrobe Carroll (1923, T. Fisher Unwin, Ltd. London: Adelphi Terrace.

 

Flammarion makes a profound distinction between “spiritualism” and “spiritism”. By “spiritualism” he means the general doctrine that departed spirits hold intercourse with mortals. By “spiritism” he means mediumistic research. As we continued to examine and discuss the documents Patrick Riviere had collected, including many that he only reveals in his book on the identity of Fulcanelli, the talk naturally turned to the third book of Fulcanelli that was withdrawn: Finis Gloria Mundi.

 

This book has been the subject of much speculation, and I hear that someone has actually published a volume claiming to be the “real deal”. It’s clear from the evidence that this is not the case, that the book in question is a fraud.


The title of this Third Book of Fulcanelli, Finis Gloria Mundi (The End of the Glory of the World), certainly reflects the millennialist perspective, which I discuss at some length in The Secret History of The World. As we went over the notes and outline that were in the possession of Eugene Canseliet at his death, we came to the realization that my own book, The Secret History of The World, may be quite close in content and structure to the actual Finis Gloria Mundi though it is certainly, again, a strange coincidence.

 

Certainly, all of the chapter headings of that book cover the subjects in Secret History, only I believe I have actually gone further given the new data available in the intervening years.

 

I would like to highlight a portion of the Preface that Patrick has written for this volume:

This book of revolutionary importance is essential reading. [...]


Throughout her exposé, Laura Knight-Jadczyk refers to two powerful works of the scientist-alchemist Fulcanelli: The Mystery of the Cathedrals and Dwellings of the Philosophers. She applies her vast knowledge to the continuation of his work. Thus, following in the footsteps of Fulcanelli (citing Huysmans) when he denounces the constant lies and omissions from official History over the course of time, Laura Knight-Jadczyk, citing numerous examples, exposes the manipulations in the official history of ancient civilizations of which humanity is the victim.

 

She strives to re-establish the truth, and her answers are often enlightening. According to Laura Knight-Jadczyk, the mysteries of the Holy Grail and the Ark of the Temple refer to a particular, very advanced “technology” - with the aim, for example, of teleportation and changing between space-time dimensions - a secret and sacred science of which only a few great “Initiates” have remained custodians.

 

Christ Jesus was the surest guarantor of this precious legacy, and, although it might displease Dan Brown (author of The DaVinci Code), the genealogical lineage of the “Sangréal” (the “Sang Royal” or “Holy Blood”), is not at all as he believes it to be! The reader of this important work by Laura Knight-Jadczyk will realize that there are completely different conclusions to that mystery. Her erudition cannot but impress the reader during the course of an assiduous reading of this quite astonishing book.


As to her inspiration, what can we say, and, from whence could it come, if not the Light of the stars?

Rivière has hypothesized in our conversations that Fulcanelli withdrew the book because he did not have proof of certain scientific elements concerning the pole shift and, as a scientist, did not wish to promote ideas for which there was no evidence at the time. While I consider this to be a valid argument, with the hyperdimensional perspective factored in, we both agreed that Fulcanelli withdrew the book because he knew it was not yet time.

 

Those who have received the Gift of God, the Present, can certainly “see the unseen” including future probabilities. Another interesting clue was discussed among us. At one point, we were discussing Canseliet’s visit to Seville where he encountered Fulcanelli as a young girl. The issue of our discussion was: what was the meaning of this event and was it intended to convey a message? And if so, to whom? It certainly was the one thing that conveyed to me reams of information about the nature of the Great Work.

 

In 1995, the Cassiopaeans had described some of the effects of a “4th density bleed-through” on 3rd density humans in the following way:

4th density frees one from the illusion of “time” as you WILL to perceive it. Picture driving down a highway, suddenly you notice auras surrounding everything.... Being able to see around corners, going inside little cottages which become mansions, when viewed from inside... Going inside a building in Albuquerque and going out the back door into Las Vegas, going to sleep as a female, and waking up male... Flying in a plane for half an hour and landing at the same place 5 weeks later... Picture driving to reach New Mexico by car and “skipping” over and arriving in San Diego instead, or... driving to the grocery store in Santa Fe, and winding up in Moscow, instead.

As we examined every aspect of the event, it came out that the incident occurred when I was 2 years old, exactly at the time that, as I have described in my autobiography, I disappeared and then reappeared in a very strange manner that is still inexplicable to this day. Then, of course, there is the mysterious “Hendaye Chapter”, which was included in the Second Edition of Mystery of the Cathedrals concomitant with the withdrawal of Finis Gloria Mundi.


One evening, as we discussed Fulcanelli around the fire in Patrick’s charming farm-house, alchemical laboratory, warming our glasses of amber Armagnac in our hands, Patrick mentioned “Hendaye”. My brain suddenly snapped to attention.

“What did you say?”

He repeated the word, and I suddenly understood something quite profound. You see, the word “Hendaye”, pronounced by a native French speaker, sounds very much like “Onde”, which is French for “Wave”. I had begun The Wave Series 417 in 1999 and worked on it well into 2000 before an offer was made to translate it into French, at which time I learned the French word “Onde”. But I had never heard it properly pronounced before.


So, with this sudden realization, put together with the other clues that were, one by one, revealing themselves to us, we began to speculate on the real reason for Fulcanelli to have written this piece which, essentially replicates most of the same information he includes in his final chapters of Dwellings of the Philosophers. Could the reason have been purely “Green Language”, to relate The Wave to Onde via Hendaye?

 

Was it a clue specifically for us, at that moment in space/time, when the “right people” with the right keys were all brought together in the peaceful French countryside overlooking the Garonne River, the “Rhine of France”? Undreamed of Treasures indeed!

 

417 http://www.cassiopaea.org/cass/waveindex.htm
 

In any event, the title of Fulcanelli’s Third Book was taken from a painting that is found in Seville. We began to discuss a proposed trip to Seville to visit the place where Canseliet had this meeting with Fulcanelli and to view the painting. It was at this point that I noted the interesting fact that, following the rules of language changes, the word “Seville” was very similar to Sibyl. Another “Green Language clue” just for us? That brings us back to Auch Cathedral and its many Sibyls which led to even more discoveries - even, in fact, the True “Da Vinci Code”.

 

A single Sibyl is first mentioned about 500 B.C. by Heraclitus:

“The Sibyl, with frenzied mouth uttering things not to be laughed at, unadorned and rough, yet reaches to a thousand years with her voice by aid of the God".

Later, there were more Sibyls; Christians in the late middle ages recognized as many as twelve. The most famous sibyls were the Erythraean and the Cumaean. There is some confusion as to whether they were always young and virginal, or old hags. The Cumaean sibyl was alleged to have lived for nearly a thousand years, at the end of which, all that was left of her was her voice, kept in an empty jar.

 

One has to wonder about this in terms of the images of Mary Magdalene and her “alabaster jar” and the possible Green Language clues there. In any event, the fame of the Cumaean sibyl was due to Virgil’s use of her in the Fourth Eclogue to foretell the birth of a saviour (40 B.C.) and as Aeneas’ guide to the underworld in Book Six of the Aeneid.

 

This, curiously, leads us back to Fulcanelli.


Canseliet writes in his first preface to Mystery of the Cathedrals:

I know, not from having discovered it myself, but because I was assured of it by the author more than ten years ago, that the key to the major arcanum is given quite openly in one of the figures, illustrating the present work. And this key consists quite simply in a colour revealed to the artisan right from the first work. In his introduction to the Second Edition, Canseliet tells us that Basil Valentine was Fulcanelli’s initiator - and makes the point of distinction between “first initiator”, and “true initiator”.

 

That could certainly indicate the difference between a “human” teacher” and a “hyperdimensional” teacher. He then discusses a letter that was left by Fulcanelli after he “died”, and which he says was obviously received by Fulcanelli’s master from some unknown individual, and which Canseliet said was the “written proof of the triumph of his true initiator”, which provides a “powerful and correct idea of the sublime level at which the Great Work takes place”. This letter has a number of remarkable references which suggest to me that it may not be a letter to Fulcanelli’s master, but was to Fulcanelli himself, and may have referred to his attempts to communicate with Basil Valentine directly via techniques learned from Kardec via Flammarion.

The references that suggest this to me are:

This time you have really had the Gift of God; it is a great blessing and, for the first time, I understand how rare this favour is.[…]
When my wife told me the good news… I was only briefly informed about the matter…[…]
You have extended generosity to the point of associating us with this high and occult knowledge, to which you have full right and which is entirely personal to you. […]

My wife, with the inexplicable intuition of sensitives…


One can almost say that he, who has greeted the morning star, has forever lost the use of his sight and his reason, because he is fascinated by this false light and cast into the abyss… Unless, as in your case, a great stroke of fate comes to pull him unexpectedly from the edge of the precipice.


For me, this “great stroke of luck” that pulled me from the precipice418 was the Cassiopaean Transmissions. They have done it more than once! I would like to
point out that the “familiarity” of the remark, “You have extended generosity to the point of associating us with this high and occult knowledge, to which you have full right and which is entirely personal to you”, struck me in a profound way in regard to this. The reader might wish to read Ark’s comments on “Reductio ad Absurdum” 419 to understand exactly what this phrase can refer to, not to mention The Adventures Series 420 which describes a period in which I was perilously close to being entrapped in a pit.


418 http://www.cassiopaea.org/cass/mirror.htm
419 http://www.cassiopaea.org/cass/swerdlow.htm
420 http://www.cassiopaea.com/cassiopaea/adventureindex.htm

Returning to Canseliet’s preface to the second edition of Mystery of the Cathedrals, we find that he continues on with a discussion of the “star” in question asking:

Does not this phrase apparently contradict what I stated twenty years ago… namely that the star is the great sign of the Work; that it sets its seal on the philosophic matter; that it teaches the alchemist that he has found not the light of fools but the light of the wise; that it is the crown of wisdom; and that it is called the morning star? […]

It may have been noted that I specified briefly that the hermetic star is admired first of all in the mirror of the art or mercury, before being discovered in the chemical sky… Our star is single and yet it is double. Know how to distinguish its true imprint from its image and you will observe that it shines with more intensity in the light of day than in the darkness of night.


This statement corroborates and completes the no less categorical and solemn one made by Basil Valentine (Douze Clefs):

‘Two stars have been granted to man by the Gods, in order to lead him to the great Wisdom; observe them. Oh man! And follow their light with constancy, because it is Wisdom.’[…]

There are, then, two stars which, improbable as it may seem, are really only one star. The star shining on the mystic Virgin - who is at one and the same time our mother (mère) and the hermetic sea (mer) - announces the conception and is but the reflection of that other, which precedes the miraculous advent of the Son. For though the celestial Virgin is also called stella matutina, the morning star; it is possible to see on her the splendor of a divine mark; though the recognition of this source of blessings brings joy to the heart of the artist; it is no more than a simple image, reflected by the mirror of Wisdom.


Canseliet continues to give clues for the seeker to figure out what he is talking about, followed by a story designed to confuse those who are more materially minded.

 

In short, he introduces a deliberate obfuscation. Canseliet then says:

The reader may be surprised that I have spent so much time on a single point of the Doctrine… However, it must be obvious how logical it was for me to dilate on this subject which, I maintain, leads us straight into Fulcanelli’s text. Indeed, right from the beginning my Master has dwelt on the primary role of the star, this mineral Theophany, which announces with certainty the tangible solution of the great secret concealed in religious buildings…

The remark: “Mineral Theophany” struck another spark with the Cassiopaean Transmissions where I had asked a few brief questions about a dream I had. But first, let me recount the dream from my journal:

There was a “high priest” who appeared in my dream wearing a skirt like the Cretan depictions of the Goddess with the many tiered skirt... only this was a man. He showed me how the different tiers could be “rotated” so that certain “symbols” aligned which then gave a message. The symbols were zodiacal and the star names were of great significance. The trick was, to align them properly. The same dream then morphed. I was holding a vase that appeared to be onyx or something like that.

 

Others had tossed it on a junk heap, and I picked it up and was examining a lot of “scratch” marks all over it. I could see that it was engraved all over, but that all the grooves were filled with dirt and it was coated with grime. I began to clean it with Q-tips and water very carefully going into all the little cracks and tracing out all the lines. As I did so and the dirt came away, I was awestruck at the beauty of this thing. It was not only cunningly worked with some great mythical scene being enacted, but it was inlaid with amazing veneers of various colored stones... and, it was also translucent so that the “blackness” turned out to be really a deep, translucent purple as though there was a light within.

 

The dream morphed again: Ark and I were walking and it seemed to be a sort of “park” or “recreation” area of some sort with mountains and cliffs and so forth. We were walking about looking at rock formations and shrubbery - it was very dry and needed water - and he was walking along a path and I decided to hide in a bush and see how long it took for him to notice I was missing... just playing... but I suddenly found myself standing on the path ahead of him... and he asked “how did you do that?”. So, I said... well, I ducked into this bush and there was a cleft in the rock, and I started to squeeze into it and something happened and here I am! He insisted that I go back and show it to him. So, we went back, and there was a small cave entrance... looking rather like the broken cleft of the tomb in the Arcadian Shepherd’s painting. He said that it was impossible... too small ... I told him “try it”.

 

So, he stooped down and entered the cave... meanwhile, I decided to stay busy by cleaning all the cracks in the rocks around the cave entrance... there was a trickle of water, and I was using some sort of cloth... and as I did, the water kept increasing its flow until it was a veritable fountain! At this point, Ark came stumbling out of the cave, holding his eyes, crying tears and laughing at the same time saying “I believe! I believe! I’ve seen it with my own eyes!”, and that sort of thing.

 

So, we started to leave the park and as we were walking out the entrance, I glanced up at the cliff face, and there was a huge mosaic set in the rock... on the right were seven sharks... the bottom one was pale, and they got darker as they went up... stacked, exact same images... and on the left was a huge whale depicted in the act of “whipping around” with his mouth opening, his eye on the sharks and preparing (by implication of the frozen posture) to devour them all at one bite. I told myself that I needed to remember this dream and woke up.

 

July 19, 1997


Q: I had a dream the other night. As Ark and I were leaving [a large park area] in my dream, I looked up and saw a mosaic on the side of the mountain. It had seven sharks, one above the other, the lowest being pale almost to the point of transparency, and the highest being very dark and intense in color. There was a huge sperm whale to the upper left, he was in the posture of whipping around, his eye had caught the sharks, and his mouth was open and he was going to swallow them all in a single gulp. What was the meaning of the whale and the sharks?
A: Logic.
Q: Are you telling me to use logic, or that the meaning is logic?
A: Logic says to you: examine!
Q: The other part of the dream was that I disappeared and reemerged from a cleft in a rock. I was cleaning... [Ark] went to investigate [the cleft which was just a slit and impossible to enter or exit from]... [while he was gone,] I continued to clean out all the little cracks and crevices in the rocks on the ground] and he returned and was crying and all this water was flowing out of there like a spring that seemed to have resulted from my cleaning efforts... What was the significance of this?
A: Trace minerals interact with deeply held secrets.
Q: The other night you said something about what I had found as being one leg of the table. How many legs does the table have?
A: Search for answer. When found in literature, profound meanings enclose compartment.

I hope that this contributes to the reader’s understanding of Canseliet’s remark:

“this mineral Theophany, which announces with certainty the tangible solution of the great secret concealed in religious buildings…”
 

Feb 19, 2000


Q: Diodorus Siculus, writing in the 1st century B.C., said that “certain sacred offerings wrapped in wheat straw come from the Hyperboreans into Scythia, whence they are taken over by the neighboring peoples in succession until they get as far west as the Adriatic. From there they are sent south, and the first Greeks to receive them are the Dodonaeans. Then, continuing southward, they reach the Malian gulf, cross to Euboea, and are passed on from town to town as far as Carystus. Then they skip Andros, the Carystians take them to Tenos, and the Tenians to Delos. That is how these things are said to reach Delos at the present time.”
So, from very ancient times, there was this practice of the Hyperboreans sending sacred offerings to the Island of Delos. Now, the Island of Delos is supposedly the birthplace of Phoebus Apollo, whose mother was Leto. Supposedly he was born on Mt. Cynthus. This is a very curious thing. This is contrary to the old view that the cultural flow was from the Mediterranean to the North, that civilization began in the Near East. It implies a cultural flow from the North to the South. What were these ancient Hyperboreans sending to the Island of Delos?
A: Leaves bearing cryptic codes.
Q: What was the connection between the Hyperboreans, including the Celts of Britain, I believe, and the people of Delos?
A: Northern peoples were responsible for civilizing the Mediterranean/Adriatic peoples with the encoded secrets contained within their superior extraterrestrially based genetic arrangement. Practice of which you speak was multitrans-generational habit.
Q: Is it the case that some of them communicated with higher density beings via Stonehenge, and that these communications they received...
A: Stonehenge used to resonate with tonal rill, teaching the other wise unteachable with wisdoms entered psychically through crown chakra transceiving system.

This brings us back in a curious way to my profound understanding of the previously mentioned comment made in the letter left by Fulcanelli:

“You have extended generosity to the point of associating us with this high and occult knowledge, to which you have full right and which is entirely personal to you”.

If the reader has had a look at “Reductio ad Absurdum” and related links, then this exchange will not only fill in a few blanks, it will reveal the terrible struggle that must be sustained by one seeking truth. “Frank” is a pseudonym for the individual who embarked with me on the experiment that led to the Cassiopaean Transmissions.

 

He was present at nearly every session (but not all, and certainly, the experiment has continued with even greater clarity and more profound discoveries for the past five years), and the experiences we had with him and subsequent events, only clarified Fulcanelli’s tactics for us.

Jan 10, 2002


Q: As you know, we have become aware this evening of Frank’s extraordinary conversion to the dark side. Is that an accurate way of perceiving it?
A: Close enough.
Q: Quite a few years ago, there were several remarks made on two or three occasions regarding Frank’s battle with the Dark Forces, and the issue of whether or not he would be able to resist their domination. Was it always known that he would fail?
A: He is not a failure.
Q: What do you mean?
A: From the perspective of [the forces of Entropy] he is a success.
Q: Why was it that we were able to [receive creative] material, with Frank being so borderline regarding this ultimate choice between [Entropy and Creation]?
A: He was programmed for the specific purpose of “downloading” from you secrets coded into you before birth of your present body. He failed because you were incorruptible. He is now charged with the mission, in concert with Vincent Bridges, of destroying your ability to accomplish your mission.
Q: Well, that means that there is a strong possibility that the material that came through while Frank was a participant was very likely corrupted. Is that why you gave the figure of 72 percent purity of the material regarding those sessions?
A: Yes.

Q: So, are you saying that Frank’s presence produced that 30 percent corruption?
A: Yes.
Q: What was the form that most of that corruption took? Can we identify it?
A: Predictions and terror tactics.

It was certainly only after the exit of Frank, and after the exposure of Vincent Bridges 421 as an “esoteric poseur”, to understate the matter, that the Work moved to it’s present level of intense work and gathering of support from around the world.

 

421 http://www.cassiopaea.com/archive/most.htm

So, let me return now to the remarks about stars made by Canseliet made 20 years apart, that, juxtaposed, reveal something quite marvelous:

From the FIRST edition: I know, not from having discovered it myself, but because I was assured of it by the author more than ten years ago, that the key to the major arcanum is given quite openly in one of the figures, illustrating the present work. And this key consists quite simply in a colour revealed to the artisan right from the first work.

I suspect that the reader has, by now, figured out that Canseliet and Fulcanelli were very tricky. And so, we look at this clue and try to think of what Canseliet is saying. He says that the clue is in a “figure illustrating the present work”, that it is revealed “right from the first work” and in the preface to the second edition, adds the clue that the subject of the star “leads us straight into Fulcanelli’s text” saying that “right from the beginning my Master has dwelt on the primary role of the star…”.


We turn to the very beginning of Fulcanelli’s text where he writes:

The strongest impression of my early childhood - I was seven years old - an impression of which I still retain a vivid memory, was the emotion aroused in my young heart by the sight of a gothic cathedral. I was immediately enraptured by it. I was in an ecstasy, struck with wonder, unable to tear myself away from the attraction of the marvellous, from the magic of such splendour, such immensity, such intoxication expressed by this more divine than human work. Never does he mention a star. He mentions no color. He makes no reference to an illustration.

Or does he?


What he does talk about is his emotional state, his ecstasy, and his age: Seven. It occurred to me as I meditated upon this matter, that a number is also a figure, and that the use of an “impression of childhood” is certainly an “illustration”. So, there is, indeed, a “figure illustrating” something that might be a “key” to the “major arcanum.” Seven and Ecstasy.


What to do with the number Seven?


I simply turned to chapter Seven and began to read.


Varro, in his Antiquitates rerum humanorum, recalls the legend of Aeneas saving his father and his household Gods from the flames of Troy and, after long wanderings, arriving at the fields of Laurentum, the goal of his journey.
 

Fulcanelli inserted a footnote to the word Laurentum, at the beginning of chapter Seven of Le Mystere telling us that “Laurente (Laurentium) is cabalistically l’or enté (grafted gold)”. And so indeed, we have been led to a color! Not only that, but a color that reflects my very name.

 

There is another interesting reference to the number seven in the Cassiopaean Transmissions:

July 26, 1997


Q: ... Now, when the Templars were arrested, they were accused of worshipping a head, or skull, and also the God Baphomet. Were these spurious accusations designed to defame them?
A: Skull was of pure crystal.
Q: What is the definition of the God ‘Baphomet’, if they did, indeed, worship such?
A: The holder of the Trent.
Q: What is THAT?
A: Seek.
Q: What is the meaning of ‘The Widow’s Son?’ The implication?
A: Stalks path of wisdom incarnate.
Q: Why is this described as a Widow’s son? This was the appellation of Perceval...
A: Perceval was knighted in the court of seven.
Q: The court of seven what?
A: Swords points signify crystal transmitter of truth beholden.


August 22, 1998


Q: (L) ... You once said that Perceval was ‘knighted in the Court of Seven’ and that the sword’s points signify ‘crystal transmitter of truth beholden’. Do these seven sages relate to this ‘Court of Seven’ that you mentioned?
A: Close.
Q: (L) When you said ‘swords points signify crystal transmitter of truth beholden,’ could you elaborate on that remark?
A: Has celestial meaning.

And, as I mentioned, it was only when we arrived at Auch, in the clear skies of the French Countryside, that I SAW Cassiopaea as if for the first time: right at the end of the Milky Way, the Chemin de St. Jacques de Compostela.

 

July 12, 1997


Q: Okay, what is this P-S related to that appears on the stone slab from the Rennes le Chateau churchyard? Everybody is talking about the “Priory of Sion”. But, what does this P-S mean? Is that it?
A: Look into ancient tongues...
Q: Ancient tongues? Get me a little closer to it!
A: Swords, daggers pierce...
Q: Is this P-S something about “Percy?” Swords, daggers, pierce... Damascus? Damascus steel?
A: Search for learning. [...]
Q: ... we have this Prae-cum which is above the spider image. Why is the arrow pointing from the P-S down to the spider? What is the spider?
A: You know of the spider!
Q: Well, yes, but I know what I know, but I don’t know if I am getting anywhere!
A: You will when you connect “the dots.”
Q: Connect the dots... My God! Swords, daggers.... I GET IT!
A: It is the “destiny!” [...]

 

[Ark had written to me that day:


Some thoughts:


Before I go on to study all these Celts and Cathars and Templars and grails and bloodlines and DNA and gold and mercury and oaks and ...
Before all this let me try to formulate my present view of the situation. It will be a kind of a bird’s eye view; from a distance when details are unimportant. So I will pick up SOME themes that seem to me important.

 

There will be several of these themes and they will be discussed separately.

1. I take it as a hypothesis which perhaps is true and perhaps not, but I take it to be true unless proven otherwise: that for you and for me nothing happens by mere accident. All that happens has a meaning and purpose. It is hard work for us to find out what is this purpose exactly and to an extent we are also the creators of this purpose.


Thus it is not an accident that you are who you are. It is not an accident that I am a physicist. It is not an accident that we are separated for a while. It is not an accident that we have had our lives the way we had. It could be little bit different, or it is a little bit different in some parallel realities, but we are now concerned about our reality, our present and our future.
 

2. Thus every book that you ever read was not an accident and every conversation that you ever had; even those silly books and conversations were lessons. The same with me.
 

3. We are both searching for something and it was clear that we would never find it in this lifetime while alone. There was ONE who you saw somehow in your imagination. There was also my thoroughly repressed idea of having an “American wife”. Somehow it was coming to my head, but I was instantly repelling it as a completely silly thought. But it was knocking. This way I was being “prepared” because otherwise I was/am very conservative.


Anyhow we have found each other and there is purpose in that. I take it as possible that you/me - we are connected to the Creator and are distant parts of it so that we are His tools and we are responsible for something, this something being the whole universe and its fate. This is not a crazy idea. It can be explained in completely plain terms. You/me - we can discover something, a formula or an idea that will change the future development of humanity - even if a little, it will magnify after years and years so that world will be “saved” by it. This is what we learned from the concepts of chaotic mechanics. There are systems, if sufficiently complex, such that a little change now leads to a dramatic change after a time.
 

Now the universe is not only a complex system but also it has intelligence in it. It may well be that an “intelligent” change that we do now will change completely the fate of the universe. Instead of dying a thermal death it will flourish forever.... My whole life I have lived with this feeling of responsibility. It was a recurring theme in my journal. If we accept the hypothesis that nothing happens to US by chance then there is a purpose in this feeling too.
 

4. So we you/me are responsible. We accept it. That is clear. Now, from C’s we know you have “all the keys”. In a sense we find it in Pleiadians or in the Bible that everybody has the keys. But in too many these keys are broken, destroyed, desynchronized, detuned and hard or impossible to make them work. We do not know how many people there are on this earth who have keys and how many of them are already using these keys or assisting other people in using them. And for a while it does not matter. All is lesson - we accept it - and we have our homework. Neither you nor me have a wish “to be told”.
 

5. So you have the keys and we were brought together. Now, I am a physicist and know the math which is the universal language. On the other hand you know and like all these funny stories that merge history/alchemy/whatever. These are all words while math is all logic. While physics is testable and helps us to build technologies, this stuff of grail and Templars and Rennes is somewhat unsharp and for those who have no math, can lead nowhere...
 

But NO! If nothing with us happens accidentally, then the fact that you are interested in what you are interested is also not an accident. So what can be a purpose of all that? A purpose can be that the KNOWLEDGE is not just math and equations but it is also intelligence and consciousness and mind and idea. Because equations DO NOTHING alone. So we need both. There were many that perhaps followed the path of technology and are working underground doing “great physics” or “great math”. But this is not what we are about. We do not want to sell our souls like Faustus. We do not serve to the dark.

 

Therefore we need knowledge. And the more knowledge we have the more protected we are. This point is again easily understood in plain terms. Once we play not only with TDARM’s and time machines and gold making but also with ouija boards and history and templars and Arcadian shepherds and all this funny stuff - we are not considered as dangerous because we clearly are not after power. Neither do we want to take power FROM somebody.


Our goal is all different. We have our personal mission to fulfill: External dark forces being dispersed by multiplicity of our frequencies - so to say. 6. But why ARE all these Templars and Rosicrucians important? Because it is all knowledge. Pieces of knowledge from here and there. We are not going to use or try to use this knowledge. But somehow it is necessary for us to know this so as to find out the best possible use of this knowledge.
 

6. I think this IS true that the only limits that we find are those imposed by our own minds and thinking habits. Thus we must be more and more bold in our thinking. On the other hand we need always to go step by step. Otherwise there is danger.
 

7. Is the life sufficiently long? We take it as a working hypothesis that yes, it is. Because it depends only on us how long it is going to be. There is a great work that is in front of us and this work includes rethinking and rearranging our cellular structure. We believe it can be done even with the presently known (secret) technology. The fountain of youth, and such things, but also what we know from C’s and Pleiadians and alchemical texts etc. all point to it. It is possible. But the point is of course what purpose one is using it for. If just for prolonging one’s own life - well.... But we have something different in mind because we are service-men here for the Creator, to whom we return.
 

8. So we continue. I do my math but also I have to learn a lot of stuff. Not only I NEED TO LEARN, BUT ALSO I NEED TO HELP YOU AND WE ARE SUPPOSED TO ACT TOGETHER! ]

Returning now to the session in question with the clue that later proved to be so important, I asked about Ark’s message quoted above.

 

Q: Okay, here is Ark’s first question: if the general view of the situation that I wrote you, “bird’s eye view” is correct?
A: Why not? The thought would not be so “nagging” if were not so!
Q: (L for Ark) Or, perhaps, I am missing some important point(s), and if so what is(are) this point(s)?
A: When one is on a quest for true learning and higher knowledge, there are no “missing points,” only those not yet discovered!
Q: (L for Ark) How “long” will they still be able to use the Cassiopaean transmitter, should we start to take some steps thinking of the future when the transmission point will have to be moved? Or, perhaps, this is not something we have to worry about in advance? I would like to know.... I do not like to be taken by surprise....
A: No need to worry! ... “If one has the will of a Lion, one does not have the fate of a mouse!”
Q: Very cute! I liked that one! But, now, you took the wind out of my sails with the answer about the destiny. But, in my perception of this arrangement on this stone, is it that the two sides need to be united, is that correct? Or is the Arrow from the P-S pointing at the spider a divider of two opposing groups?
A: Open for your discovery!
Q: Oh, you guys are BAD to me tonight!
A: No, we be berry berry goood to Lawra!

Of all the many odd things that have come through the Cassiopaean Experiment in “code”, this last was one of the strangest. “We be berry berry goood to Lawra.” And it was transcribed exactly as they gave it, with the extra “o” in the word “good” and the peculiar spelling of my name.


One of the first things that we noted when the temporary house was found for us near Auch was that the name of the domain was “En Laurenc”. That’s close and interesting, but there was to be much, much more. In fact, the “more” actually came via the Rennes-le-Chateau link.
 

I have read and studied this “mystery” for some time and have written a series about it that can be read on the web422. The careful reader will realize that I do agree that there is a mystery at Rennes-le-Chateau, but it is not at all what the dozens of theorists may suppose. The greatest mystery of Rennes-le-Chateau was that of Abbe Boudet’s book, “The True Celtic Language”.423 It was on our visit to Alet-les-Bains, where Berengar Sauniere had formerly been the cure, that we learned that this was the true birthplace of Nostradamus, not St. Remy. As you will see, this may be significant.

 

422 http://www.cassiopaea.org/cass/grail.htm
423 The reader may enjoy my expose of Rennes-le-Chateau published on the web at:http://www.cassiopaea.org/cass/grail_5f.htm. For our own photos of the place and commentary, see: The Quantum Future Group Goes to Rennes-le-Chateau: http://www.cassiopaea.org/Rennes-le-Chateau/

Getting back to “we be berry berry goood to Lawra!” coming from a discussion of Rennes-le-Chateau, along with Canseliet’s “key from the key to the major arcanum is given quite openly in one of the figures, illustrating the present work. And this key consists quite simply in a color revealed to the artisan right from the first work.

 

The first words of Mystery of the Cathedrals, lead us to chapter SEVEN, where we read:

“Varro, in his Antiquitates rerum humanorum, recalls the legend of Aeneas saving his father and his household Gods from the flames of Troy and, after long wanderings, arriving at the fields of Laurentum, the goal of his journey”.

Fulcanelli’s footnote: “Laurente (Laurentium) is cabalistically l’or enté (grafted gold)”, and En Laurenc near Auch Cathedral, I knew I was being given a complex puzzle to solve.

 

Knowing that Abbe Boudet, the most interesting figure in the whole Rennes-le-Chateau phenomenon, had written quite a strange book about the “True Celtic Language”, giving something like Green Language clues about places and names in France, I decided to see what he had to say about Auch.

 

The Gascons - The Occitanians

The Auqitains and their tribes. - Auch. Bordeaux

 

The Celts imposed upon the descendants of the Tubal certain designations wherein are revealed customs that the centuries have been unable to wipe away. ... It is not a question of considering the names of all the Iberian tribes; we must, however, make an exception for the Vascons or Gascons.

“According to history, the Basques had the privilege of forming the avant-garde of the Carthaginian armies, and to measure themselves first against the enemy. Their reputation of indomitable courage was so well establish that Caesar didn’t dare cross Vaconia, so much did he dread them, going instead to Spain to avoid meeting them by the Aspe valley in the Bearn.”

The Gascons gave their name to our French Gascony. We can hardly say that their establishment in Aquitaine was an invasion because the Aquitains were their brothers, and the Gascons had come to their aid to fight the yoke of domination that Clovis sought to impose upon them. We see them first under the children of Clovis, established on the right bank of the Adour, and, later, around 626 AD, occupying the entire Novempopulanie that from then on was called Gascony. They received their strange name from the unique shoe they had adopted and that their descendants have hardly abandoned. Gaskins, in the Celtic language, means large, ancient shoe. It is the sandal that in Languedoc we call spardillo, in Catalan, spadrilla, and that the Basques call spartinac.


The word spartinac is far from meaningless: it is composed of the verb to spare, the prelude to combat, and the adjective thin (thinn), délié, clair-semé, peu nombreux. This light shoe permitted the Basques to engage in fighting by ambushes: with rare agility, we might even say elusive agility, they advanced in small groups, beginning the combat with deadly and isolated strikes that must have singularly surprised their enemies. This term spartinac shows us the genius, warrior character of the Basques: they were long ago what we call today guerrillas.


After giving us the meaning of the names of the Iberian tribes, the Celtic language explains just as easily those of the Aquitain tribes. In this part of Gaul, the Celtic family left larger and stronger traces than in its mix with the Iberian family. All authors have recounted the different character traits that separate the Iberians and the Celts: the Celts were gay, light, ardent, loved to fight and were quick to attack; the Iberians, on the contrary, were grave, serious, almost somber, loved war as well and defended it with an invincible stubbornness.

 

When the two people met, the shock must have been terrible.


After having fought for the possession of their country, reports Diodorus of Sicily, the Celts and the Iberians lived there together, by virtue of a peace treaty, and they mixed through alliances. From this mix came the Celtiberian nation in which Iberian blood remains predominant. The Aquitains, who, according to their traditions, were not issued from the Celts, belong to the Celtiberian family, because if they were very close to the Iberians by their traits and their customs, they nonetheless adopted the habits and institutions of the Celts.

 

We offer as proof the institution of the soldures, which appear to us to be absolutely Celtic, although one generally attributes it to the Iberian nation.

“An institution that is particular to (Aquitaine), and that is a stranger to the Gauls,” says the highly esteemed author of the History of Gasconny, Abbé Monlezun, “is that of the solduriens, or, rather, saldunes (of Escualdunal, zaldi or saldi, horse; salduna, one who has a horse, horseman, l’eques romain); one names in this way soldiers who make a vow to a chief, to forever share their destiny or rather to identify so strongly with him that there is no example of one who ever survived. As soon as the chief succumbed, we saw them looking for a glorious death in battle, and if they could find it, they came back and pierced themselves on the bodies of one who had their faith.”

We can observe that in the account of the war against the Aquitains, Ceasar speaks only of the institution of the soldurii, without affirming elsewhere that the soldures existed in the other parts of Gaul. The term soldures, that in the Basque language brings no idea to mind, presents, on the contrary, in the language of the Technosages, a meaning perfectly in accord with the institution itself. It is the soldier devoted to his chief, and the accidents of war will not separate them; the life of the soldura will not outlast that of his chief. - Soul (sôl), life, âme. - to dure (dioure), durer. - In our day, are not they called soldiers in the Anglo-Saxon ? From whence comes this soldier, if not from soldure (soldioure), and how would this term exist in the Anglo-Saxon if the institution of the soldurii was unique to the Iberians?

 

This institution that, it seems to us, is common to the Celts and the Celtiberians, indicates to us how, on Aquitain soil, the fusion operated between the two families. The name of Occitania was used to designate Aquitain. [...] The author of the Mémoires de l’Hitoire du Languedoc wishes, because of the first syllable of Occitania, to apply this term to the Languedoc, but this expression, broken down and interpreted by the Celtic language, demonstrates with the latest evidence that the Occitani were the inhabitants of the maritime coasts that surrounded the Gulf of Gascony, that is to say, the Aquitains and the Cantabrians.

 

The reputation of the Basques and the Cantabarians as intrepid mariners has never been contested, and it is not without reason that they attribute to themselves the honour of being the first to hunt whales. For the rest, if the whales fell rarely under their blows, it wasn’t the same for the porpoise, and this regular hunting of porpoises earned them their name of Occitani - hog-sea (hogsi), porpoise, - to hit, frapper, - hand, la main - hogsihithand. - The term Occitani was thus the general name designating the fishermen of the Gulf of Gascony.


The Celtiberians of the interior of the country between the Ocean, the Pyrénées, and the Garonne, received another designation, general as well, the Aquitains. It is said the Basques called their language Escualdunac: it is the language of horsetamers, tamers with a somber and cool face - scowl (skaoul), somber air, cool, - to down (daoun), tame - hack, horse. - The title of horse-tamers does not only belong to the Basques, it was shared with the Aquitainians, and this commonality of tastes and customs seems to us a remarkable trait of affinity that one should not neglect. It was difficult for the Aquitains to be poor horsemen because their country was rich with famous horses.


The Benedictine savant, Dom Martin, from whom modern authors borrowed the most curious details on the morals, the government, and the religion of the Celts, understood that this production of magnificent horses had a great influence on the name given to Aquitaine. He also puts forward that this country was first called Equitaine, from the Latin, equus, horse. The remarkable shrewdness of the religious scholar was hardly in fault, because they were still hardy tamers of horses, these Aquitaini. - hack, horse, - to cow (kaou), intimidate, - to hit, frapper, - hand, main, - hackcowhithand. - Aquitaine.


Has the passion for horses disappeared from the heart of modern Aquitains? It is certain that, in spite of the changes brought on by the centuries to their habits, it still retains the same vivacity: the horse exercises of any circus suffice, in effect, to excite in the soul of the Aquitains and the Gascons an interest and an enthusiasm that cannot be reined in.


There were about forty tribes living in the Aquitaine, of which the nine main ones inspired the Romans to call the country Novempopulanie. We will examine the names of some of these tribes with those of several cities, and it will be notice that they all belong to the Celtic language. [...]


The Auscii formed the most powerful tribe in Aquitaine. Ancient geographers gave their principal city the name of Climberris. We think it was an error on their part; they did not correctly capture the exact meaning of this term, distinctive to the entire country, because Auch has never seen its name vary, a name taken from the Auscii. For the rest, it seems to us that we can discover the truth by the meaning of Climberris, which should apply to the entire country, the city of Auch as well as that of Eluse. All of this country produces berries and grain - clime, region, country, - berry, berry, grain, - Climeberry - .


Why would they have attributed to one city the production of grain and grapes, when it is the production of the entire region? And we shouldn’t be surprised to see the berries of the vine, grapes, enter into the composition of Climberris because vines existed in the Gauls in a wild state. A considerable time may have passed without thinking of its cultivation, and history seems to honour the Greeks with having taught the Celts how to make wine, a fact that seems highly dubious to us, as the Celts were as advanced as the Greeks in material civilization, and superior to the sons of Javan in philosophical and religious sciences.


We have already said that Auch took its name from the Auscii and was their main city. In looking to give Auch a Celtic pronunciation, we are forced to say Aouch, and it is probably the real name of this town, written in Anglo-Saxon as Ouch, et pronounced Aoutch.


Ouch signifies a golden necklace, a setting for a precious stone, and Auscii designates skillful workers, applied to working with precious metals and making these magnificent golden necklaces with which the warriors decorated their breasts on the joyous days which were, for them, the days of combat - ouch (aoutch), necklace of gold, - hew (hiou), to cut.


The Auscii easily became skillful in working in gold; this metal was almost like a weed in their region, and diverse historians say that the avid Greek and Phoenician merchants, coming back to their countries, used the gold gathered in the Pyrénées for ballast in their vessels. [...] 424 “We be berry, berry goood to Lawra” indeed!


Varro, in his Antiquitates rerum humanorum, recalls the legend of Aeneas saving his father and his household Gods from the flames of Troy and, after long wanderings, arriving at the fields of Laurentum, the goal of his journey. [...] “Laurente (Laurentium) is cabalistically l’or enté (grafted gold)”.

424 Translation, Henry See

 

I will let this passage along with the other clues I have revealed stand here for the reader to contemplate Auch Cathedral as the Cathedral of the Mysteries of Fulcanelli.


This brings us back to the subject of the Sibyls. (Fulcanelli warned his readers that having a good classical education was essential to read his subtextual meaning.) As already noted, the Cumaean sibyl was made famous by Virgil to foretell the birth of a saviour and as Aeneas’ guide to the underworld. As we continue to read chapter seven, we see that Fulcanelli is discussing this very matter and we note again his particular reference to Varro.
The best known and most quoted catalogue of the sibyls (although the original is lost) is that of the Roman scholar cited by Fulcanelli, Varro (116-27 B.C.), whose ten named sibyls are known from the Divinae Institutiones written by Lactantius (ca. 250 – after 317). It was the first book printed in Italy (Subaico, 1465). The Sibyl remained for the Christians who were, at heart, still attached to their pagan roots, a direct witness to the gesta Dei, or signs of God.


In the Hellenistic period Jewish forgeries appearing in Alexandria were passed off as Sibylline oracles and used as propaganda. Supposedly genuine Sibylline oracles located in the temple of Capitoline Jupiter in Rome were extant in Rome until the end of the empire. The collection we know now is a rather chaotic compilation called the Oracula Sibyllina and is full of religious propaganda and apocalyptic predictions. The Greek text was recovered from antiquity and published in 1545 in Basel.


The Sibyls were popular figures in medieval and Renaissance art, the most famous occurrence being Michelangelo’s Sistine Chapel. We are reminded that