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Seraphim Zimin
Seraphim Zimin

Fulcanelli - Mystery Of The Cathedrals



The appeal of Fulcanelli as a cultural phenomenon is due partly to the mystery of most aspects of his life and works, and his disappearance. In particular, he is reputed to have twice performed a transmutation of lead into gold. The first was in 1922, together with his most devoted pupil Eugène Canseliet, when the two supposedly performed a successful transmutation of 100 grams of lead into gold in the presence of Julien Champagne and Gaston Sauvage. This demonstration took place in a laboratory of the gas works of the Georgi company at Sarcelles, and was achieved with the use of a small quantity of "Projection Powder" (also known as the Philosopher's Stone) prepared by Fulcanelli.[3][4] The second was in 1937 at the Château de Léré, when Fulcanelli supposedly performed a transmutation of 225 grams of lead into gold and 100 grams of silver into uranium before witnesses including a chemist, two physicists and a geologist.[5] After this, Fulcanelli disappeared completely.[6]




Fulcanelli - Mystery of the Cathedrals


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Fulcanelli was probably the last great alchemist. His existence can be traced back to the twentieth century, but his identity is unknown. Many theories have been made in an attempt to solve this mystery. He has been associated with the mythical and timeless Count Saint Germain. Only one person held his original works in their hands: his disciple and executor, Eugene Canseliet. He pointed out that every time he had any sort of communication with his teacher, these would take place in unforeseen or surreal situations, arranged by Fulcanelli himself.


His major work is Le Mystère des Cathédrales (The Mystery of the Cathedrals), written in 1922 and published in Paris in 1962. Fulcanelli suggests that, just like there is a series of mysteries dwelling inside the Egyptian pyramids, there is occult knowledge inside the architecture and engineering of Medieval Gothic cathedrals. He believed these buildings were not only dedicated to the glory of Christianity, but also to books that contained the philosophical, religious, and social thoughts of our ancestors. Like any sanctuary, cathedrals posses a hospitable origin and were meant to shelter to anyone in disgrace. A pious person will look at its wall to find hope, but they are also spaces for spiritual education and initiation.


Fulcanelli based his work on the French cathedrals of Notre Dame, Paris, Amiens, and Bourges. From them, he drew certain interpretations for his symbolism. The following points encapsulate part of his discoveries.


Fulcanelli said cathedrals had their apses pointing at the southeast, the facade to the northeast, and the transept from northeast to southeast, so both devotees and pagans could enter the temple through the West and look at the East, where the sun rises, heading to Palestine, the cradle of Christianity. Thus, everyone entering these temples would leave darkness behind and reach for the light.


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.


veritable explosion of Mohammedan art and science of the eighthto twelfth centuries. The wave of Islam's expansion reached Spainwhere two streams appear to have joined up. In Seville and Granadathere were initiated Jews who carried the Egyptian transmission.They met Arab initiates who carried the Greek transmission and thelatter were perhaps reinforced from a permanent powerhouse fromwhich all evolutionary operations are directed. If it is true thatsome 'beads of mercury' were reunited through Mohammed, two morewere reunited in Spain. Out of this confluence grew a very largepart of the whole of Western civilization which we have inheritedand whose origin hardly one man in a million has ever suspected inseven centuries. The current which flowed from the beads of mercurywhich were reunited in Spain flowed into an immense invisible forcefield over Europe. The nature of this noumenal structure can neverbe glimpsed and its functions in a higher dimension cannot even beimagined. It externalized into the common life in a series ofculture components which in aggregate constitute a large part ofWestern civilization. A selection of these factors at random wouldinclude the Christian pilgrimage (based on the form established bythe Cluniacs to St. James of Compostella); the Crusades; Heraldry;the orders of chivalry (cheval-ry: from the horse as a glyph of thealchemical 'volatile'?); castle architecture; the Gothiccathedrals; illumination and embroidery; the Troubadours,Albigenses, Cathars and M i m e sanger; the Courtly Romances; theArthurian Quest Theme (reuniting the Celtic pre-Christian GrailQuest); the Cult of the Virgin in Catholicism; the theologicalphilosophy of Albertus Magnus and St. Thomas Aquinas; the cosmologyof Bacon; the devotional systems of St. Francis, St. John of theCross and St. Teresa; the Wandering Players, Jester, harlequinadesand Mystery Plays; specialized dancing; falconry and certain ballgames; Free masonry and Rosicrucianism; gardening (the SpanishGardens); playing cards; the Language of the Birds concept; theCraft Guilds; archery; some medicine like immunology(Paracelsus)and homoeopathy; and cybernetics (Raymond Lully).


All the foregoing were the externalized forms of a majoralchemical operation at an invisible level. Only one aspecthowever, that of chemical alchemy, used the terminology which hasbeen subsequently identified with the word. For some hundreds ofyears alchemy existed in Europe as a real science of transformationat many levels. At one level it was conoerned with the ultimatetransformation of human souls. Perhaps because Christianity hadrejected the wisdom component of its total revelation-+ decision inwhich Constantine was probably crucial-alchemy, being concernedwith the totality, had to operate in disguise. Precisely becauseorthodox religion was defective in the wisdom component, anymodality which contained it was, ipso facto, heresy. The genuineChristian alchemiststimated to number four thousand between 1200and 1656-readopted a chemical code which had served in similarcircumstances in the past. A certain principle of nature (renderedin the codex attributed to Hermes, 'as above, so below') ensuredthat the alchemical process at its hidden level could berepresented with full integrity by the terminology of a lowerdiscipline. This lower discipline-metallic chemistry-was all thatthe common life of Europe ever understood by the word alchemy.Since Jung's work in alchemy began to infiltrate modern psychology,alchemy as a 'mental' or at any rate a non-physical process, hasbecome a fashionable acceptance. Typical of the 'reductionist'attitudes of the twentieth century is the current belief thatalchemy has now been explained. It is 'nothing but' an early andcrude study of psychology and perhaps of ESP. Dazzled by thesuccess of science in providing a label for eve-ng, few havebothered to inquire whether the aphorism of Hermes 'as above, sobelow' might not require a process valid at mental level to beequally valid at physical level. A label has been affixed, andtherefore the mystery is no more. No-one, it seems, notices anyconflict between the Jungian 'psychological interpretation' and thedocumented historical record of men like Helvetius and theCosmopolite (Alexander Seton?) who demonstrably did make tangibleyellow twenty-two carat gold. 'That


IntroductionTreatises have been written to prove that Fulcanelliwas a member of the former French Royal Family, the Valois; that hewas the painter Julien Champagne; that he was this or thatoccultist. Not a few were driven to the conclusion that Fulcanelliwas a myth and that no such person had ever existed. This theory isa little difficult to sustain in view of the existence of Myst2redes Cathbdrales. This work is authoritatively accepted as the workof a man who had gone far-very far-in the practice of alchemy. Themyth theory is also untenable against the testimony of Canseliet.In September 1922, in a laboratory at Sarcelles and in the presenceof the painter Julien Champagne and the chemist Gaston Sauvage,Canseliet himself made an alchemical transmutation of 100 gramrnesof gold using a minute quantity of the Powder of Projection givento him by his teacher. Thus there is a European, alive at thepresent time, who personally testifies not only to the existence ofFulcanelli but to the veridical nature of an event which modernscience regards as an absurd myth. Legend has it that thistransmutation took place 'in a gasworks'. The account seems theplainest possible statement of a purely physical event. Alchemisthowever, warn repeatedly that when their descriptions seem plainestthe camouflage factor is highest. The alerted reader will certainlyconsider here that a gasworks is a site where a volatile substanceis produced from a heavy mineral and will recall that alchemy is aprocess of 'separating the fine from the gross'. In being allowedto perform an alchemical operation with energy lent him by another,Canseliet thus joins a remarkable band of privileged-and perhapsbewildered-people who through history have recorded the sameexperience. These include Johann Schweitzer (whose experience wasinvestigated by Spinoza) Professor Dienheirn of Fribourg in 1602and Christian I1 Elector of Saxony, in the following year. But forall practical purposes Fulcanelli has vanished as though he neverexisted. Only his contributions to the literature of alchemyremains, Mystbre des Cathidrales. It has long been believed thatthe Gothic cathedrals were secret textbooks of some hiddenknowledge; that behind the gargoyles


and the glyphs, the rose windows and the flying buttresses, amighty secret lay, all but openly displayed. This is no longer atheory. Given that the reader of Mystbre des Cathidrules has evenbegun to suspect the first secret, Fulcanelli's legacy is at onceseen as an exposition of an incredible fact: that, whollyunsuspected by the profane, the Gothic cathedrals have for sevenhundred years offered European man a. course of instruction in hisown possible evolution. About one thing it seems impossible to haveany doubt. The unknown who wrote Myst2re des Cathbdrales KNEW.Fulcanelli speaks as one having authority. By pointing to a glyphin Notre Dame or a statue in Amiens and relating an unknownsculptor's work to some ancient or modem text, Fulcanelli isindicating the steps in a process he has himself been through. Likeall who truly KNEW, from Hermes through Geber and the Greek andArab artists to Lully, Paracelsus and Flamel, Fulcanelli masks andreveals in equal measure and like all before him, he is whollysilent on the initial step of the practice. But in his method ofrepeatedly underlining certain words and perhaps in some curioussentences on the rose windows, he suggests, as explicitly as hedares, the mightiest secret that man may ever discover. 'Behold,'said Boehrne, 'he will show it to you plain enough if you be aMagus and worthy, else you shall remain blind still.' 041b061a72


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