FULCANELLI MASTER ALCHEMIST THE MYSTERY OF THE CATHEDRALS PDF

Fulcanelli and the Mystery of the Cross at Hendaye Vincent Bridges In , a mysterious volume issued in a luxury edition of three hundred copies by a small Paris publishing firm known mostly for artistic reprints rocked the Parisian occult underworld. Alchemy, by our post-modern lights a quaint and discredited Renaissance pseudo-science, was in the process of being reclaimed and reconditioned in by two of the most influential movements of the century. Surrealism and psychology stumbled onto alchemy at about the same time, and each attached their own notions of its meaning to the ancient science. Carl Jung spent the twenties teasing out a theory of the archetypal unconscious from the symbolic tapestry of alchemical images and studying how these symbols are expressed in the dream state. Breton, in his Surrealist Manifesto, announced that surrealism was nothing but alchemical art.

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Fulcanelli and the Mystery of the Cross at Hendaye Vincent Bridges In , a mysterious volume issued in a luxury edition of three hundred copies by a small Paris publishing firm known mostly for artistic reprints rocked the Parisian occult underworld. Alchemy, by our post-modern lights a quaint and discredited Renaissance pseudo-science, was in the process of being reclaimed and reconditioned in by two of the most influential movements of the century.

Surrealism and psychology stumbled onto alchemy at about the same time, and each attached their own notions of its meaning to the ancient science. Carl Jung spent the twenties teasing out a theory of the archetypal unconscious from the symbolic tapestry of alchemical images and studying how these symbols are expressed in the dream state. Breton, in his Surrealist Manifesto, announced that surrealism was nothing but alchemical art.

Indirect, because the book managed a major literary miracle-it became influential while remaining, apparently, completely unknown outside of French occult and alchemical circles. This is perhaps the strangest of all the mysteries surrounding The Mystery of the Cathedrals. Perhaps they were. This, such as it is, amounts to our most credible Fulcanelli sighting.

As such, it sums up the entire problem posed by the question: Who was Fulcanelli? Beyond this ambiguous encounter, he exists as words on a page and, in some occult circles, as a mythic alchemical immortal with the status, or identity, of a St.

There were two things that everyone agreed upon concerning Fulcanelli — he was definitely a mind to be reckoned with, and he was a true enigma.

We are left then with the mystery of the missing master alchemist. He is a man who does not seem to exist, and yet he is recreated constantly in the imagination of every seeker-a perfect foil for projection. We might even think it was all a joke, some kind of elaborate hoax, except for the material itself. Fulcanelli is undoubtedly brilliant, but we are left wondering if his is the brilliance of revelation or dissimulation. The basic premise of the book-that Gothic cathedrals are Hermetic books in stone-was an idea that made it into print in the nineteenth-century in the work of Victor Hugo.

In The Hunchback of Notre Dame, Hugo spends a whole chapter chapter 2 of book 5 on the idea that architecture is the great book of humanity, and that the invention of printing and the proliferation of mundane books spelled the end of the sacred book of architecture. In the thirteenth century, Guillaume of Paris, in the fifteenth Nicholas Flamel, both are guilty of these seditious pages.

To this he adds images from two houses built in the Gothic style from fifteenth-century Bourges. To the casual reader, and even the dedicated student, this tangled web of scholarship is daunting. Here, finally, was the word of a man who knew, the voice of the last true initiate. Mystification about the true identity of the alchemist obscured the fact that credible people had seen his visiting card, emblazoned with an aristocratic signature.

But the fifties were not the twenties, and many things had changed. If the chapter is the work of Champagne, then Canseliet must have known about it. This is not a trivial question. The Hendaye chapter is perhaps the single most astounding esoteric work in Western history. It offers proof that alchemy is somehow connected to eschatology, or the timing of the end of the world.

If Canseliet had known of this, he would surely have used it, or at least mentioned it. Yet, the silence is complete and compelling. After wading through thickets of erudition and punning slang in the rest of Le Mystere, this chapter feels awash with the bright sunlight of its Basque setting.

The description of the monument and its location is seemingly clear and direct. Wells, Aldous Huxley, and the smart young London set discovered nearby St. Wellington passed through, making nearby St. Hitler also paid a visit during World War II; in he parked his train car within walking distance of the cross at Hendaye. There is a tiny garden with a park bench nearby. Standing about 12 feet tall, the Cyclic Cross at Hendaye looms over the courtyard, a mysterious apparition in the clear Basque sunlight.

The monument is brown and discolored from its plus years. The stone is starting to crumble and it is obvious that air pollution-the cross sits a few yards from a busy street on the main square-is speeding its dissolution. The images and the Latin inscription on the cross have no more than a generation left before pollution wipes the images clean and the message disappears forever.

The base of local sandstone sits on a broad but irregular three-step platform, and is roughly cubic. Measurement reveals that it is a little taller than it is wide. Rising from this is a fluted column, with a suggestion of Greek classicism, on top of which stands a very rudely done Greek cross with Latin inscriptions. Above the sun face on the western side can be seen a double X figure on the top portion of the cross. Above is the divine cross, exemplifying the chosen means of expiation; below is the global cross, fixing the pole of the northern hemisphere and locating in time the fatal period of this expiation.

Just as gold is refined, so will our age be refined — by fire. Matthew… It is the Gospel according to Science, the last of all but for us the first, because it teaches us that, save for a small number of the elite, we must all perish.

For this reason, the angel was made the attribute of St. Matthew, because science, which alone is capable of penetrating the mystery of things, of beings and their destiny, can give man wings to raise him to knowledge of the highest truths and finally to God. Because Fulcanelli so openly connected alchemy and the apocalypse, the true nature of a very specific Gnostic astro-alchemical meme emerged into public consciousness. This meant that the secret was no longer contained among the elect societies.

For the first time since the age of the Gothic cathedrals, the meme had broken out of its incubational structures. In a way, the cross and its message serve as proof that there are such things as secret societies. Found throughout history, these societies preserve and present the secret of the cross in various ways.

The Kabbalah in Judaism, Sufic Islam, esoteric Christianity, Gnosticism, and the Hermetic tradition have been the keepers of these ideas. The central message of the three main Western religions, that of an eschatological moment in time, is the secret that also lies at the heart of the cross at Hendaye.

The meme, the ability to understand the myth and its metaphors, seems to have survived only through the actions of these secret and insular groups. No one notices the ordinary looking monument with its message of catastrophe; perhaps it was intended to be that way. He lives in North Carolina. Based on the work of the enigmatic 20th-century alchemist Fulcanelli, the book illustrates how the greatest alchemical secret is that of time itself and that coded into an obscure monument in the Basque country of southwestern France — the cross in the town square of Hendaye — is the imminent date of the apocalypse.

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Fulcanelli and the Mystery of the Cross at Hendaye

Canseliet contributed more information: Perhaps in the future it will be even clearer, who knows? It is an ancient secret that a few people rediscover each century. I speak here about the face which kept from the common run of people only the human form and which is enriched by an indescribable expression. Original magazine article mentioning the Cross at Hendaye. Wells, Aldous Huxley, and the smart young London set discovered nearby St. Fulcanelli On this subject, it is to be stressed that a forged Finis Gloriae Mundi, not following in anything this synopsis, fulcanelil a few months ago, among the general indifference. InFulcanelli relocated to 59 rue Rochechouart where he allegedly succeeded in transmuting base metals into gold.

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Fulcanelli: The Mysterious French Alchemist

Illustration by Julien Champagne. Fulcanelli was likely a Frenchman educated in the ways of alchemical lore, architecture, art, science and languages. Its first edition consisted of copies and was published by Jean Schemit at 52 Rue Laffitte, Paris. During , he accepted the sons of Ferdinand de Lesseps as students and in two more students: Jules Boucher and Gaston Sauvage.

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