Laura Knight-Jadczyk - True Identity of Fulcanelli and the Da Vinci Code.pdf

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The True Identity of Fulcanelli and The Da
Vinci Code
by Laura Knight-Jadczyk
Copyright 2005, Any portion of this text that is quoted or republished elsewhere must include this
notice of copyright and a link to the original article. It may be stored and reproduced for personal,
noncommercial use The original photographs of Auch Cathedral are copyright by the author and may
be used under the same terms, including a link back to the original article. .
February 19, 2005: 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 my book, The Secret History of the World , I deal with many branches of the
"hidden stream" of knowledge that have periodically emerged into the world during recorded history as
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 and Alchemy, etc,
linking them to the most ancient traditions from prehistory, 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 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" will also recognize the deeper
implications of Gurdjieff's work.
For the novice, wishing to gain a foundational understanding, to avoid the glaring misrepresentations of
such populist works as The Da Vinci Code, please refer to my other articles: The Grail Quest , particularly
the sections that discuss Alchemy and Saint Germain , The Fulcanelli Phenomenon , RennesleChateau
and the Accursed Treasure , The Priory of Sion , and The Ark of the Covenant and the Temple of Solomon .
Further reading would include Truth Or Lies , Jupiter, Nostradamus, Edgar Cayce, and the Return of the
Mongols, and Commentary on Boris Mouravieff's Gnosis .
Having said all of the above, let me also add that these remarks are by no means exhaustive on ANY
point discussed, but are merely an attempt to show, in brief, many disparate connections, and to pique
the interest of the reader who may then begin to study the material with a view to deeper
understanding. .
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The image above The Burial of Christ is from a photograph I made
in Auch Cathedral. 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 9 Black Virgin 9 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 says To Mary, the Virgin who is to give birth to
Significantly, it says 9 who is to 99 not 9 who did 99
There are two representations of the Black Virgin in the Cathedral,
suggested by certain details. In chapel 13, as the Sibyl of Samos,
(image left) 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 Montan 9 , 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: 9 For the breadth of thought, no work of this period equals
the windows of Auch. 9
This extraordinary set includes a series of 18 windows. They are presented as a rich
decoration, where 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...
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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 9 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 realisation 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. [ 9 ]
This remarkable set is not mere art! Like the windows, it contains thought, a
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 put 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 9 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! that comes out of the thought of 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 Montan 9 ]
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 , or, perhaps an anagram. In terms of Green Language clues, the
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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 relocate to France. Having previously worked in France at a
number of research centers and 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 from various sources that threatened not only our peace of mind,
but our very lives. [1] 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. Among our French friends we notified about our choice of location were the Bogdanoff Twins ,
French TV stars who took a number of years off from their successful careers to obtain their doctorate
degrees in mathematics and physics. They were quite excited by the choice since they owned an ancient
Chateau near to Auch and had grown up in the region.
When we arrived in France, numb with fatigue and anxiety over so great a change in our lives, I
certainly 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 9 t bother to go inside and look at it. After all, I had been to Notre Dame in Paris! Wasn 9 t
Fulcanelli 9 s book, Le Myst re 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 9 the
famous statues 9 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. 9 The
Soul must acquire new powers for conceiving and retaining... 9
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 say 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) 9 Like attracts like. 9 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.
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Open mindedness, curiosity, and awe of the fact of existence is fundamental my nature and it was, in
fact, these very qualities that led me to undertake "Cassiopaean Experiment." A few remarks on this
subject are necessary at this point.
After years of working with people's heads via hypnotherapy, I didn't much care whether such things as
"past lives" actually existed or not. I only cared that the therapeutic modality worked and gave people
relief. My own theory was that it gave them a drama to explain things, to work things out; a way to
achieve a resolution by changing the script of the drama. Same with "spirit release therapy."
I incorporated that process in a couple of cases where nothing else worked in the late 80s. I was quite
astonished at the results (and was very careful to not contaminate my subjects), and wondered just what
the heck was going on? Again, I just explained it to myself that it was a selfcreated drama that allowed
the person to sort themselves out. It didn't matter to me; I wasn't invested in believing any of it. I only
cared that it relieved suffering. And it did, every time. It was even a rather simple formulaic process
which is why I was so surprised that it worked. Could it be that easy?
My working hypothesis at the time, considering the boring regularity with which subjects from all walks
of life came up with the same images, the same types of dramas, the same dynamics in the subconscious
mind, was that there was some sort of "field of images," or archetypes to which all human beings were
connected in some way. Well, let me make that more precise: people sorted into groups according to
which images and dynamics were dominant in their particular case. Jung's work was helpful, but didn't
go far enough to explain what I was witnessing.
So, I decided that it would be interesting to access this pure field. That's actually what started the whole
thing. Well, how does one access such a theorized field of symbols and dynamics that seems to have
some "rule" over people's lives? The obvious answer was some form of "channeling." BUT, there was a
catch: I didn't trust anything and I mean ANYTHING that would just come into somebody's head not
even my own. I also wasn't interested in talking to alleged "dead dudes" anymore because, by this time,
I'd had quite enough of that and if anybody knows they don't have much of interest to say, it was me,
(assuming that it is anything other than a drama in the head of the subject).
One of the more interesting theories I came across regarding socalled "channeling" was developed by
Barbara Honegger, said to be the first person in the United States to obtain an advanced degree in
experimental parapsychology. Honegger suggested that automatism was the result of "stimulation" of
the right hemisphere of the brain so that it could overcome the suppression of the left hemisphere.
Automatism, as you might know, relates directly to utilizing a device such as automatic writing or a
Ouija board type instrument. It was never entirely clear what was doing the stimulating, however and I
could obtain no further information on her research. Whether or not the information was supposed to
come from the subconscious of the individual or "spirits," was not clearly spelled out. But my thought
was that, if it was true that some form of automatism could assist in synchronizing the right and left
hemisphere of the brain, that even if it did not result in any real "contact," it was still a worthy exercise.
As I have said, there was an open possibility in my mind that such things as "spirits" were merely
fragments of the personality of an individual, sort of like little broken off circuits in the brain running in
repetitive loops, created by trauma or stress. Perhaps an individual, when faced with a difficulty, entered
a narcissistic state of fantasy, created a "dream," which was imprinted in the memory of the brain. If
they then emerged from this state back into dealing with their reality, but not having dealt with the
issue itself, it might become locked away in a sort of cerebral file drawer, sitting there, waiting to be
triggered by the electricity or neurochemicals of the brain in some random unconscious scan. The same
could be said for so called past life memories; they were merely selfcreated memory files generated in
a state of narcissistic withdrawal due to stress. Such neurological files could then be downloaded and
read by using the conscious bypass method of either automatism or simply allowing the conscious mind
to "step aside" as in hypnosis. For that matter, simple psychotherapy could be considered channeling in
these terms.
Trance channeling is more problematic because it suggests a definite pathological condition. In such
cases, the "alter" ego, as either an alternate personality or whatever, is strong and well entrenched
enough to establish a far stronger hold on the body of the host than those which can only manifest via
automatism or trance. If you don't know what you are dealing with, that's a dangerous experiment to
My theory was that whatever the theorized "source" of whatever might be accessible, the method of
automatism could be more safely utilized to access the field of archetypal symbols and dynamics that
seemed to be the pool from which all people drew in the creation of their personal dramas, leaving aside
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