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...continuation of "The True
Identity of Fulcanelli and The Da Vinci Code"
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
Meditteranean/Adriatic peoples with the encoded secrets contained
within their superior extra-terrestrially based genetic arrangement.
Practice of which you speak was multi-trans-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 as an "esoteric poseur," to understate
the matter, that the Work moved to it’s present level of intense
work and gathering support from around the world.
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 gonna 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.
7. 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.
8. 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 gonna
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.
9. 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 domaine 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 web. 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."
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.
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 colour revealed to the artisan right from the first
work, which takes us to chapter The first words of Mystery of the
Cathedrals, which then leads 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 indomintable courage
was so well establish that Ceasar 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, 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: these 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
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 beings 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 horse-tamers, 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. [...]
[Translation, Henry See]
"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)”.
I will let this passage along with the other clues I have revealed
stand here for the reader to contemplate Auch Cathedral as
The
Cathedral of the Mysteries of Fulcanelli.
This brings us back to the subject of the
Sibyls. (Fulcanelli warned
his readers that having a good classical education was essential to
read his subtextual meaning.) As already noted, the Cumaean sibyl
was made famous by Virgil to foretell the birth of a saviour and as
Aeneas’ guide to the underworld. As we continue to read chapter
seven, we see that Fulcanelli is discussing this very matter and we
note again his particular reference to Varro.
The best known and most quoted catalogue of the sibyls (although the
original is lost) is that of the Roman scholar cited by Fulcanelli,
Varro (116-27 B.C.) whose ten named sibyls are known from the
Divinae Institutiones written by Lactantius (ca. 250 – after 317).
It was the first book printed in Italy (Subaico, 1465). The Sibyl
remained for the Christians who were, at heart, still attached to
their pagan roots, a direct witness to the gesta Dei, or signs of
God.
In the Hellenistic period Jewish forgeries appearing in Alexandria
were passed off as Sibylline oracles and used as propaganda.
Supposedly genuine Sibylline oracles located in the temple of
Capitoline Jupiter in Rome, were extant in Rome until the end of the
empire. The collection we know now is a rather chaotic compilation
called the Oracula Sibyllina and is full of religious propaganda and
apocalyptic predictions. The Greek text was recovered from antiquity
and published in 1545 in Basel.
The Sibyls were popular figures in medieval and Renaissance art, the
most famous occurrence being Michelangelo’s Sistine Chapel. We are
reminded that Raymond Montane compares the work at Auch with the
work of Michelangelo. The subject of sibyls disappeared almost
entirely in Christian art after the Council of Trent concluded in
1563. The dedication of Auch Cathedral took place on February 12th,
1548, at which time the 18 windows of Arnaud de Moles and the 113
stalls in the choir were completed and which feature the Sibyls
prominently. So, the fact that these Sibyls appear there at all is
an oddity in itself.
The Sibyls uttered their prophecies in a state of ecstasy, which the
reader of The Secret History of the World will ultimately learn is
related to the function of the ecstatic ascent or descent of the
Shaman, originally a function of women exclusively - Sibyls. This
takes us right back to Fulcanelli’s description of his own state of
ecstasy upon viewing his first Gothic cathedral and certainly leads
us to his appearance near Seville as "a woman" and a "young girl" at
the very time I disappeared.
As the reader can tell by this time, solving the greatest mystery of
our world is, on the one hand, quite simple and in plain sight, and
on the other hand, circuitous, like a maze. The end of chapter seven
of Mystery of the Cathedrals brings us to the subject of the Virgin
saying:
In symbolic iconography, the star is used to indicate conception, as
well as birth. The Virgin is often represented with a nimbus of
stars. The Virgin at Larmor (Morbihan) forms part of a fine
triptych, representing the death of Christ and the suffering of Mary
(Mater dolorosa). In the sky of the central composition can be seen
the sun, moon and stars and the scarf of Iris. The Virgin holds in
her right hand a large star - maris stella - an epithet given to her
in a Catholic hymn.
This small passage is pregnant with meaning and clues that lead in
several directions at once. First, it suggests that we consider the
relation of the Virgin to the subject of stars, which leads us to
the Camino de Santiago Compostela, known in France as the Chemin de
St. Jacques de Compostella.
The word Compostela is most obviously interpreted “campus stellae”
or field of the star. The whole Camino de Santiago, from San Juan
pied de port until Compostela, is populated with villages, places
and mountain passes that are named after stars, as if to suggest
that the whole Camino is a stellar route, the Milky Way, a route
that leads to a special point: the field of the star. We are again
reminded of the clue given in the Cassiopaean Transmissions:
A: Alfalfa fields in Rhineland yield as of yet undreamed of
treasures.
Q: Where are these alfalfa fields?
A: Near tracks well worn.
Q: ... Do you mean Rhineland as in Germany proper?
A: We do not mean Rhinelander, Wisconsin... Or do we?!? Who is to
tell?
Q: Who?
A: The searcher, the sepulcher, the one who carries the staff in
constant search for greener pastures. ... Last clue for tonight:
Look for the vibratory frequency light. Good Night.
"Near tracks well worn" can certainly be considered to be a
reference to the Camino de Santiago Compostela.
Fulcanelli gives us a clue:
The Route of Saint James is also called the Milky Way. Greek
mythology tells us that the gods followed this route to go to the
palace of Zeus and the heroes as well followed it to enter Olympus.
The Route of Saint James is the stellar route, accessible to the
chosen ones, to the courageous, persevering and wise mortals.
Another interpretation comes from an alchemical term:
compost. This
refers to the subject of Canseliet’s prefaces: the appearance of a
white star indicating the accomplishment of the first part of the
Great Work.
Fulcanelli notes:
Pure Matter, of which the hermetic star consecrates the perfection:
it is now our compost, the blessed water of Compostela ( from the
Latin albastrum a contraction of alabastrum, white star). And it is
also the vase filled with perfume, the vase of alabaster (Latin
alabastrus) and the bud that comes out from the flower of knowledge,
the hermetic rose.
The operation is achieved when there appears on the surface a
shining star formed by the rays coming from one center, the
prototype of the great rose windows of our gothic cathedrals. This
is the sure sign that the pilgrim has happily reached the end of his
first journey. He has received the mystical blessing of Saint James,
confirmed by the luminous imprint that shone, they say, over the
tomb of the apostle. The humble and common shell that he wore on his
hat has become a shining star, in a halo of light.
It was only after I moved to France that I was able to understand
the importance of the relationship of the Virgin, the star, the
Chemin or Camino, the Milky Way, and my own path. It had been years
since I was able to clearly see the stars from our home in Florida.
There is so much light pollution that only the brightest stars can
be seen on a clear night. I hadn’t seen the Milky Way since I was a
child.
In rural France, the skies are a delight for star gazing. We went
out one night and the Milky Way was so clear and shimmering that it
was like fingers of light plucking the strings of some great
atmospheric harp. And there, right at the very end of the Milky Way,
nestled like the final destination, the Palace of Zeus, Olympus, the
"luminous imprint that shone over the tomb," was Cassiopeia:
a
gigantic letter M or W depending on the season of the year.
Certainly, Cassiopaea is similar in configuration to the Shell of
St. Jacques. The Shell is a star, and the star is the vase of
alabastar, the hermetic rose, the Star in the HAND of the Virgin.
Cassiopeia is an enthroned woman, at whose right hand is a
star-crowned King Cepheus holding his sceptre toward her. Ancient
writings describe her as his wife, and she is also referred to in
other ancient sources as “The Bride, the Lamb’s wife.”
Cassiopeia was the daughter of Arabus (whose name was given to
Arabia), a son of Hermes. Supposedly, according to the “Stalinized”
myths of the Greeks, Cassiopeia was prideful and willful, and it was
because of this that her daughter was made to suffer. It was said
that Poseidon put Cassiopeia in the heavens as a punishment - yet,
this is an honor that is generally a “reward.” How do we explain
this confusing element?
Cassiopeia is seated in a chair that turns upside down in each
twenty-four hours and this is supposed to be the “punishment.”
However, ALL the constellations are “upside-down” from one
perspective or another within every 24 hour period.
When considering the concepts of the “Triple Goddess”, Cassiopeia
could be viewed as the maternal element of the triad with Andromeda,
the virgin, and Medusa, the crone or destructive element of the
story. Cassiopeia is often represented holding a palm frond, a
symbol of fertility which compares her to Demeter giving grain to Triptolemus. We note that the Sibyl of Samos, depicted in the
windows of Arnaud de Moles, held a palm frond.
Julius Schiller (1627) saw Cassiopeia as Mary Magdalene, and some
have seen a parallel between Cassiopeia and Bathsheba.
The Celts called this constellation Ilys Don, or the “house of Don,”
known as “Tuatha de Danaan.” In this role of Danae, she was the
mother of Perseus. Thus we may see the combining of the two women,
and the hieros gamos (sacred marriage) of Perseus to his sister,
Andromeda as an expression of the androgyne of alchemy, achieving
the "Great Work."
In terms of the myths and stories of the search for the Holy Grail,
or, in our modern metaphor - the escape from the Matrix - most of
the figures appearing in the Greek constellations were said to have
been placed there by one of the gods to honor and perpetuate their
memory. The constellation figures of Cepheus and Cassiopeia are
unusual in that they were not granted their positions as an honor,
but are there to complete the story of Perseus, Andromeda and Cetus.
This is a group of five constellations that is unusual in that it is
the only classical myth to be so fully depicted.
Can it be that this is a a clue that this myth - including the
important role of Cassiopaea - is a sort of “message in a bottle” to
mankind? Cassiopaea, the field of the Stars:
The Prototype of the Great Rose Windows?
The operation is achieved when there appears on the surface a
shining star formed by the rays coming from one center, the
prototype of the great rose windows of our gothic cathedrals. This
is the sure sign that the pilgrim has happily reached the end of his
first journey. He has received the mystical blessing of Saint James,
confirmed by the luminous imprint that shone, they say, over the
tomb of the apostle. The humble and common shell that he wore on his
hat has become a shining star, in a halo of light.
Cassiopaea: the shining star formed by the rays coming from one
center... the sure sign that the pilgrim has happily reached the end
of his first journey. He has received the mystical blessing of Saint
James...
“We are you in the Future,” they said. “We transmit ‘through’ the
opening that is presented in the locator that you represent as
Cassiopaea, due to the strong radio pulses aligned from Cassiopaea,
which are due to a pulsar from a neutron star 300 light years behind
it, as seen from your locator. This facilitates a clear channel
transmission from 6th density to 3rd density... [in] "Zero" time
utilizing Electromagnetics and gravity which are interconnected, or
you could say "unified". Space and time are selective and flexible.
... You see, when one utilizes zero time, there is zero space as
well."
Julius Schiller, who reinterpreted the constellations in Christian
terms, called Andromeda “Sepulchrum Christi,” or “the tomb of
Christ.” There is also the Freudian analogy which associates a cask
with the female. The fertility implications are obvious: Christ was
in a tomb, waiting to rise again - the seed ready to emerge in
Spring. This connects us back, of course, to what Fulcanelli has
said: "He has received the mystical blessing of Saint James,
confirmed by the luminous imprint that shone, they say, over the
tomb of the apostle" together with the clue from Cassiopaea: "Who is
to tell? ... The searcher, the sepulcher, the one who carries the
staff in constant search for greener pastures."
The Phoenicians saw a “threshing floor” in the constellation of
Andromeda which is an interesting connotation when one
|
the horse, mare, mer, mere, sea, mother - the Virgin where the star
appears - the Prima Materia
 |
thinks of the
ideas of “reaping” and “separating the wheat from the tares.” Also,
the word “tribulation” is connected to “threshing,” or the
separating of the grain from the chaff.
Sirrah, the star that flashes from Andromeda’s head, is also one of
the four stars that make up the square in the constellation of
Pegasus - the steed of Perseus - who was born from the spurting
blood of the decapitated gorgon, Medusa. This star in the head of
Andromeda is also known as the “navel” of Pegasus - the horse, mare,
mer, mere, sea, mother.
Pegasus was the offspring of Poseidon, with whom Medusa mated in
Athena’s temple, violating the Goddess’ sacred space. This violation
was a grievous offense, since Athena prided herself on being a
virgin, and “Parthenon” means, “the place of the virgin.”
Pegasus’ name may come from the Greek “pege,” or “spring,” and is
thereby another connection to the idea that the beheading of the
Gorgon is also a restoration of the waters of the virgins of the
wells of Grail myths, thereby being operative in healing the
wasteland.
There are many winged horses in Middle Eastern art, and these all
may be related to this myth. Some say that the early Aryans claimed
that this constellation represented Asva, the sun, and it was
actually Chiron’s daughter, Thea. She was a companion of Artemis and
was seduced by Aeolus, the god of the wind. Poseidon helped her by
turning her into a horse. The long and well known association of
horses with the Celts and with the Perseids should be considered
here also.
The Egyptians identified this constellation as “The Servant,” and
some of its stars as a jackal. The Arabs called its quadrangle Al Dalw, or “water bucket,” which has also been identified as the urn
in the zodiacal constellation Aquarius, my own birth sign.
I think that the picture above will make it clear. The brain is the
“horse of God” which the seeker "schools" in order to arrive at his
destination, and we note the striking resemblance to the Omega
symbol.
The Greeks identified the four stars in Pegasus as the gate to
paradise. The Hebrews called it “Nimrod’s horse.” Christians saw it
as the ass that carried Christ into Jerusalem which suggests hidden
worship of the Goddess as the true rite expressed allegorically as
the crucifixion. We must not forget that there is the image of the
Templars - two men on a horse. What could this represent but a
duality, spirit and matter, unified via “riding the horse”? Certain
alchemical symbols depict either two men, or a two-headed man,
mounted on a horse which climbs a ladder, or tree.
Whatever variation of the story we find, the essential element seems
to be that of a hero who accomplishes some impossible deed and
thereby obtains a “flying horse,” and who then rides the horse and
accomplishes more impossible tasks having to do with “freeing”
others. In the course of all this, he wins the maiden of his
choosing, and - in the case of Perseus - lives happily ever after.
In Freudian terms, the winged horse is associated with the potent
phallus with which it is possible for the hero to overcome all
obstacles. There are many representations of winged phalloi in
ancient Greek art. This element of sexuality may refer to both
actual genetic principles as well as the subject of “polar
opposites” that is discussed in The Secret History of the World, an
ancient Gnostic tradition revealed by Boris Mouravieff.
One story tells us that Perseus built a ship called
Pegasus that was
said to sail as swiftly as the horse that flies. This is the
prototype of the story of the Argonauts which is also related by
virtue of the “flying ram” which later becomes the Golden Fleece,
keeping in mind that the constellations under discussion are all
found in the sign of the Ram. In this story, the brother and sister
are rescued by the flying ram, but the sister falls into the sea.
Did she then become Andromeda? Do we begin to see the difference
between Ares and Aries?
We should also note that the subject of the
Argonauts was a
particular theme of Fulcanelli’s, and that he referred to this as a
Green Language way of saying: "Art cot," or the art of light. We
find ourselves again considering Jules Violle and the measure of
light, the "violle." Fulcanelli also associated Perseus with Jason
of the Argonauts, and I am convinced that this was a deliberate
"mistake."
Another important point: of all the ancient heroes of myth and
legend, Perseus stands out as being supremely successful; so many
others started out with good intentions, had numerous successes, but
then fell from glory due to hubris or trickery or temptation.
We find an interesting relationship between Cassiopeia and
Danae in
that they both are the “root” of the problem that leads to the main
action of the story. Perseus is exposed to great danger in his
efforts to “rescue” his mother, and Andromeda is similarly exposed
to great danger as a “sacrifice” for her mother. For some reason,
Danae cannot tell Polydectys “no” - he has power over her - and the
much maligned Cassiopeia speaks for her daughter and the daughter’s
beauty and this gets them both into hot water.
In the same terms, Cassiopeia may have known what she was doing when
she caused her daughter to become bait for the Sea Serpent, Cetus.
As an “Oracle,” she would have known that Perseus, like Neo, could
overcome all obstacles to save others; and that this was the extra
‘something,’ the proper perspective of serving others that was
needed to ensure success.
The result was, of course, that Perseus killed the sea serpent and
married Andromeda. They set off together as a team: righting wrongs,
freeing the oppressed, turning the bad guys into stone, and lived,
as far as is known, happily ever after.
Thus, as a symbol of gaining Freedom from the Matrix, we find,
first, that Perseus is the Hero of choice, and, second, that the
dynamics of the only myth that is fully represented in the Sky over
our very heads are those which suggest to us our path of “tracking”
the clues that will enable each participant to not only cut off the
head of their own Medusa, thus releasing the Truth in the form of
the Winged Horse, Pegasus, but also, with the aid of this Truth, to
participate in the Freeing of Andromeda. We believe that no more
important task is before us in the Earth today.
Getting back to the present, when we moved to our current house, we
found that we lived now in a village that is called “Belcassé”. This
name interested me because it reminded me of “Beautiful Cassiopaea.”
We learned that the name meant “Beautiful Oaks.” I began tracking
words and meanings and finally came to the realization that
Cassiopeia can mean, literally, the “Voice of the Oak,” the Sibyl,
the Great Mother, the Virgin. Things became a bit more interesting
when I learned that the oldest name of the village was "Lampe
Adagio," or "Slow Light." Hmmm.. "Look for the Frequency of light."
This region - only a short distance from Agen where Nostradamus
spent many years of his life (we will come to that) was quite a
center of Catharism as was Alet-les-Bains, the birthplace of
Nostradamus. The interesting thing was that even the catholic monks
were "infected with the heresy" so to say, and there are stories of
Cathars being protected in local religious houses.
The Abbey Belleperche, for example, sited right on the Garonne river, and
which I can view from my office window, used to own all the land
leading right up to our Chateau. They were famous for their horses.
Many fields that now produce wheat, rapeseed, sunflowers, etc, were
used to pasture horses... "Alfalfa fields in Rhineland?"
At the beginning of this article is an image of the
Burial of
Christ. It is found in Chapel 17 in Auch Cathedral which formerly
was called the “royal chapel” and is also known as the chapel of the
Trinity. It is on this site that the foundation stone of the
cathedral was laid on July 4th, 1489. (I found this to be
synchronous also since it was on July 4th that Ark first wrote to me
from Florence where Leonardo da Vinci spent so much of his life.)
It
is also in the crypt directly under chapel 17 where the burial, or
"sepulcher" stands, that another strange coincidence was noted. On
my first visit (I’m now such a regular that the caretaker just gives
me the key instead of taking me down himself), as I stood under the
burial of Christ just looking around in an unfocused way to see if
there was anything that caught my eye, I finally looked at the floor
under my feet. There was a grave there, an Archbishop, and the dates
of his appointment and death - one date at the toes of each of my
feet - were my birthday and my husband’s (Ark) birthday. The
Cathedral was also dedicated on my birthday: February 12.
We discussed the strange date
synchronicities with mathematician
Robert Coquereaux and he admitted
that our more or less "random choice" for the area of our new home
having a cathedral dedicated on my birthday, with the foundation
stone laid on the anniversary of the date Ark first wrote to me, and
then including a grave stone in the crypt above the foundation stone
with both our birthdays on it was stretching "coincidence" a bit.
But, being a true scientist, he proposed that we should have to do
many "trials" to be "scientific" about drawing any conclusions.
Returning to the burial of Christ, which is in the chapel over the
grave of Pierre-Henri Gerault de Langalerie, we find an excellent
description of the piece in the writings of Raymond Montané:
The Burial assembles eight traditional characters together in a very
unusual way. There is Jesus laid out on a cloth and, arranged behind
him, Mary the mother of Jesus, two additional women, St. John the
Apostle, and Mary Magdalene standing at Jesus’ feet with her
alabaster jar. Joseph of Arimathea and Nicodemus hold the shroud at
each end.
Each character in the tableau is identifiable by attitude, details
of costume, position in relation to Jesus, or by the object in his
or her hand. The woman standing next to Jesus’ mother is shown in a
very special way: she actually occupies the central place of honor,
and holds the crown of thorns - a “star,” perhaps? She is wearing
the head covering of a married woman, and her place of honor depicts
her as the wife of Jesus.
But, this wife is not Mary Magdalene who
is clearly positioned at the feet. Mary Magdalene is depicted in
such a way that you cannot mistake who she is with her long hair on
display and holding the alabaster jar. Her headdress, in fact, is
that of an unmarried girl. In fact, if you look at Mary Magdalene up
close, she looks more like a daughter of the family gathered about
the body:
Father Raymond Montané tells us:
The canopy, of flamboyant style, is decorated with an original
Trinity. It is the “showing” of Christ on the Cross, by God the
Father himself. The Holy Spirit, symbolized by a dove, is placed
between the Father and the Son. This theophany is truly in relation
with the Burial of Christ, and even more with the theological basis
of the Passion, but not with the text properly said to be of the
Gospels.
He notes in passing that the monument was inspired by Margaret of
Austria. Margaret’s husband, Philibert de Savoie was a cousin of one
of the bishops that was involved in the commissioning of the work of
the cathedral, Francois de Savoie, and this was the family in
possession of the Shroud of Turin.
It is also noted in the history of Auch that
Marguerite of Navarre,
the second cousin of Margaret of Austria, was closely associated
with Auch Cathedral. We will be delving further into the people
associated with the Cathedral Ste-Marie at Auch in another book
dedicated to its mysteries, but allow me to give the reader some
clues.
Marguerite of Navarre takes us right back to
Fulcanelli.
In the early 1520s, Marguerite became involved in the movement for
the reform of the church, meeting and corresponding with the leading
reformers of the period. In 1527, apparently by her own choice,
(rare in those days) Marguerite married Henri d’Albret, King of
Navarre (though most of his kingdom was in Spanish hands). Henri
d’Albret was the son of Catherine de Foix, descended from a famous Cathar family.
Around 1531, Marguerite allowed a poem she had written to be
published, Miroir de l’ame pecheresse (Mirror of the sinful soul).
Marguerite gave a copy of Miroir to one of her ladies in waiting,
Anne Boleyn, and it was later translated into English by Anne’s 12
year old daughter, Elizabeth later to become the greatest monarch
England has ever known. As it happens, Anne Boleyn had previously
been the lady in waiting to Margaret of Austria, so the two ladies
undoubtedly communicated with one another and shared a Lady in
Waiting. It also makes one wonder about the possibility that there
was a great mystery surrounding Anne Boleyn?
A fascinating article entitled
The Holbein Code has recently been
published in Fortean Times (FT 202), written by David Hambling, a
well respected journalist. He suggests that this particular painting
by Holbein was intended to deliver a specific message.
He writes:
There is no contemporary record of the painting, and the two sitters
were not identified for centuries. In 1890, Sir Sidney Colvin
suggested that the man on the left was Jean de Dinteville, French
ambassador to the court of Henry VIII, because of the presence of
Polisy, Dinteville’s chateau, on the terrestrial globe visible in
the painting. In 1900, Mary Hervey did some historical detective
work, visiting Polisy and sifting through 17th century documents,
including a 1653 inventory of possessions. She confirmed that the
painting had originally hung there, and identified the second sitter
as George de Selve, bishop of Lavour and sometime French ambassador
to the Holy Roman Empire.
The picture, then, shows French ambassadors on a mission to London
at a crucial point in history. Henry VIII was about to discard the
Spanish Catherine of Aragon and declare Anne Boleyn his new queen.
Anne had spent her formative years at the French court...
The driving force of the Renaissance was the new concept of
Humanism, "the spirit of intellectual freedom by which man asserted
his independence from the authority of the Church." In the mediaeval
view, the Church could pronounce on everything, from the nature of
God to the motion of the stars and the shape of the Earth. Humanism
challenged the existing order.
There were new sources of information available from outside the
Christian world: pagan Greek philosophers... Humanists tried to
integrate all this into a single whole. A new spirit of inquiry was
stirring. Copernicus had just published his theory that the Earth
was not the centre of the Universe, and Martin Luther [nailed his 95
theses to the door of the church...]
The Church resisted, sometimes violently. Luther’s proposed reforms
were seen as heretical; so was Copernicus’s theory. And anyone
experimenting with Alchemy, Astrology, Cabalism or novel religious
views learned to keep quiet or face burning.
We know Anne Boleyn supported the Evangelical cause. The writings of
poet Nicholas Bourbon, who fled to England under her protection,
give us an indiscreet glimpse of the group surrounding her. There
were Thomas Cromwell and Thomas Cranmer, as well as Evangelical
Bishop Hugh Latimer, Nicholas Kratzer, William Butts - and the
painter Hans Holbein. [...]
The members of this small, close-knit cabal that engineered Anne
Boleyn’s rise had two things in common: they were self-made men
rather than aristocrats, and they held views which could be
dangerous. Hence, their actions to turn England down a new road and
make it safe for those threatened by the established church
kick-starting the Reformation in the process.
Dinteville was an ally of
Anne Boleyn. He was a patron of the
humanist Jacques Lefevre, and Mary Hervey notes that he was also
rumoured to be an enthusiast for the "secret sciences" of alchemy
and astrology. Holbein’s painting might indicate religious
sympathies...
The most detailed study of the painting has been carried out by
Professor John North, emeritus professor of the History of
Philosophy and the Exact Sciences at the University of Groningen in
the Netherlands. His book, The Ambassadors’ Secret, contains a
wealth of detail...
[David Hambling]
As it happens, the instruments depicted in the painting indicate an
exact time and date: 4 p.m. on 11 April 1533. This date was Good
Friday, the day and hour of the alleged death of Jesus IF he had
actually been crucified 1,500 years earlier in AD 1.
North is not given to theorizing without a solid base of evidence.
Like others, he considers the possible influence of the great
Renaissance magus Cornelius Agrippa of Nettesheim, a figure at the
French court who may have been an acquaintance of Dinteville,
Holbein or Kratzer, but he finds the sheer volume and complexity of
symbolism used by Agrippa makes it impossible to be certain of
correspondences. [...]
The Ambassadors is not just a portrait of two French dignitaries,
but was intended as an instrument to - quite literally -change
history.
[David Hambling]
Here, I will give the "other side of the story" that may suggest an
entirely different explanation for the "Holbein Code," and how it
may very well mesh with the so-called "Da Vinci Code." What does
seem to be true is that a desperate attempt was being made to
transmit knowledge, to propagate Gnosis, but it failed when the
headsman came to remove the head of Anne Boleyn because she could
not produce a male heir for Henry.
But then, perhaps it did NOT fail after all? Perhaps it was just not
yet time?
Getting back to Marguerite of Navarre, the mistress and teacher of
Anne Boleyn, Sorbonne theologians condemned her poem, Miroir as
heresy. A monk said Marguerite should be sewn into a sack and thrown
into the river Seine, and students at the College of Navarre
satirized her in a play as “a fury from Hell”. But her brother,
Francis I, King of France, forced the dropping of the charge and an
apology from the Sorbonne.
Marguerite was one of the most influential women in France. Her
salon became famously known as the “New Parnassus”. The writer,
Pierre Brantôme, said of her:
“She was a great princess. But in
addition to all that, she was very kind, gentle, gracious,
charitable, a great dispenser of alms and friendly to all.”
The Dutch humanist, Erasmus, wrote to her:
“For a long time I have
cherished all the many excellent gifts that God bestowed upon you;
prudence worth of a philosopher; chastity; moderation; piety; an
invincible strength of soul, and a marvelous contempt for all the
vanities of this world. Who could keep from admiring, in a great
King’s sister, such qualities as these, so rare even among the
priests and monks?”
As a generous patron of the arts, Marguerite befriended and
protected many artists and writers, among them François Rabelais.
Fulcanelli refers us frequently to Francois Rabelais. As it happens,
his Gargantua-Pantagruel series, Le Tiers Livre des faicts et dicts
héroïques du bon Pantagruel (1546), was dedicated to Marguerite of
Navarre.
Another of Marguerite’s associates and correspondents was
Jules
Cesar Scaliger who was a close friend and associate of Nostradamus.
Nostradamus, as mentioned, was born in Alet-le-Bains, in Foix lands
- Cathar country. Nostradamus also attended school with Rabelais.
In 1525 Nostradamus settled in Agen, not far from Toulouse and Auch.
In 1534, it is said he married a woman of “High Estate”, who gave
him two children. This woman has never been identified, but
considering his highly probable association with Marguerite of
Navarre, it is likely that there was some connection there. It is
said that, in 1538, his wife and children died of the plague. Around
the same time, he had a falling out with Scaliger, and he was
accused of heresy by the Inquisition because of a statement made in
earlier years.
Nostradamus’ biographers tell us that he left Agen and “wandered
around Southern France.” It was only in 1546, two years before the
consecration of Auch Cathedral, that Nostradamus settled in the
village of Salon de Craux which has laid claim to his glory for all
these many years. To sum up the mystery we find here, Nostradamus
lived in Agen for 13 years, and there are 8 years that no one knows
exactly where he was or what he was doing. It is quite likely that
he took refuge with Marguerite of Navarre who was the patron and
protector of such as Nostradamus. One wonders what influence
Nostradamus may have had on the history depicted in Auch Cathedral?
Scaliger, we should note, is the “author” of the accepted historical
chronology that is coming more and more into question in the present
day. It is possible that the falling out between him and Nostradamus
related, in part, to disagreements regarding how history should be
viewed and taught.
In 1550, one year after Marguerite’s death, a tributary poem,
Annae,
Margaritae, Ianae, sororum virginum heroidum Anglarum, in mortem
Diuae Margaritae Valesiae, Nauarrorum Reginae, Hecatodistichon,
(yes, long title!) was published in England. It was written by the
nieces of Jane Seymour (1505-37), third wife of King Henry VIII. So,
certainly, all these ladies were in contact with one another, and it
is likely that secrets were shared among them.
Thus we see, in the person of
Marguerite of Navarre, an individual
who is central to the mystery of Auch Cathedral, whose associations
suggest to us that she was well acquainted with esotericism and
possibly even secrets passed down from the time of the Crusades
against the Cathars - and more. Fulcanelli points us to
Rabelais,
and Rabelais leads us to Marguerite, and so we arrive at Auch
Cathedral where the great mystery awaits the attentive seeker.
The next photograph is a close-up of the Burial of Christ said to
have been inspired by Margaret of Austria, kinswoman of Marguerite
of Navarre, showing the four women of the eight figures. Notice the
headdresses of the four women. That of the woman in the position of
wife is distinctively different from those of Mary, the mother, and
the woman to the right of the "wife."
The image below is a close-up of the woman standing in the place of
honor of the wife of the deceased, holding the crown of thorns. Next
to her, you will see a sibyl from the windows of Arnaud de Moles
holding a palm branch of Hope/fertility. Note carefully the spiral
insignia over their breasts. Note also the unusual turban of the
wife, identical to the turban of the Sibyl.
 
Now, let’s take a look at one of the carvings in
the Choir of Auch
Cathedral that depicts the Gifts of the Magi to the Infant
Christ.
Notice, in particular, the hats of the "Three Kings." The one at far
right still has his on, the one kneeling has laid his on the ground,
and the one in the center of the tableau has lifted his in such a
way that it seems it covered the chalice he holds in his other hand.
Again, we note the similarity of the head coverings: turbans that
are associated nowadays with the Arabs. We wonder what relationship
the "wife" of Jesus had to the "Magi?"
There are two other images I would like to show the reader because
they are typical of the esoterica displayed in this marvelous
Cathedral.
Both of them represent a similar theme that will be easy
to discern in imagery, but requires some interpretation to bring the
symbol to understanding.
Now, what are these figures trying to tell us? In both images,
something is being done to the head of the central figure. In the
upper image, it looks as though the attendants are trying to
dislodge something from the head of the seated man by force. In the
second image, we see an individual being held down with his (or her)
head placed on an anvil while the three associated figures are
depicted as hammering the head!
Is this some terrible Medieval torture being depicted?
No, it is a depiction of INITIATION. And, in fact, in one of the
windows of Arnaud de Moles, Jesus is depicted as the central figure
in the image above: having something done to his head. The figure
above may, in fact, be meant to indicate Jesus because the head is
shown with a covering of some sort that could be the "crown of
thorns."
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