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A mysterious volume issued in a luxury edition oI three hundred copies rocked the Parisian occult underworld. The author, 'fulcanelli,' claimed that the great secret oI alchemy was plainly displayed on the walls oI Paris,Aos own cathedral. The book managed a major literary miracle while remaining apparently completely unknown outside oI French occultic and alchemical circles.
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106792539 Fulcanelli and the Mystery of the Cross at Hendaye
A mysterious volume issued in a luxury edition oI three hundred copies rocked the Parisian occult underworld. The author, 'fulcanelli,' claimed that the great secret oI alchemy was plainly displayed on the walls oI Paris,Aos own cathedral. The book managed a major literary miracle while remaining apparently completely unknown outside oI French occultic and alchemical circles.
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A mysterious volume issued in a luxury edition oI three hundred copies rocked the Parisian occult underworld. The author, 'fulcanelli,' claimed that the great secret oI alchemy was plainly displayed on the walls oI Paris,Aos own cathedral. The book managed a major literary miracle while remaining apparently completely unknown outside oI French occultic and alchemical circles.
Copyright:
Attribution Non-Commercial (BY-NC)
Formati disponibili
Scarica in formato PDF, TXT o leggi online su Scribd
Fulcanelli and the Mystery of the Cross at Hendaye
Monday, December 1st, 2003
In 1926, a mysterious volume issued in a luxury edition oI three hundred copies by a small Paris publishing Iirm known mostly Ior artistic reprints rocked the Parisian occult underworld. Its title was Le Myst?re des Cath?drales (The Mystery oI the Cathedrals.) The author, 'Fulcanelli, claimed that the great secret oI alchemy, the queen oI Western occult sciences, was plainly displayed on the walls oI Paris,s own cathedral, Notre-Dame-de-Paris. Alchemy, by our post-modern lights a quaint and discredited Renaissance pseudo-science, was in the process oI being reclaimed and reconditioned in 1926 by two oI the most inIluential movements oI the century. Surrealism and psychology stumbled onto alchemy at about the same time, and each attached their own notions oI its meaning to the ancient science. Carl Jung spent the twenties teasing out a theory oI the archetypal unconscious Irom the symbolic tapestry oI alchemical images and studying how these symbols are expressed in the dream state. The poet-philosopher Andr? Breton and the surrealists made an intuitive leap oI Iaith and proclaimed that the alchemical process could be expressed artistically. Breton, in his 1924 Surrealist ManiIesto, announced that surrealism was nothing but alchemical art. Fulcanelli,s book would have an indirect eIIect on both oI these intellectual movements. Indirect, because the book managed a major literary miracle,it became inIluential while remaining, apparently, completely unknown outside oI French occult and alchemical circles. This is perhaps the strangest oI all the mysteries surrounding The Mystery oI the Cathedrals. A youthIul Jean-Julien Champagne In the Iall oI 1925, publisher Jean Sch?mit received a visit Irom a small man dressed as a pre-war bohemian, with a long Asterix-the-Gaul-style mustache. The man wanted to talk about Gothic architecture, the ,ugreen argot,u oI its sculptural symbols, and how slang was a kind oI punning code, which he called the ,ulanguage oI the birds.,u A Iew weeks later, Sch?mit was introduced to him again as Jean-Julien Champagne, the illustrator oI a proposed book by a mysterious alchemist called Fulcanelli. Sch?mit thought that all three, the visitor, the author, and the illustrator, were the same man. 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, oI a St. Germain. There were two things that everyone agreed upon concerning Fulcanelli - he was deIinitely a mind to be reckoned with, and he was a true enigma. We are leIt then with the mystery oI the missing master alchemist. He is a man who does not seem to exist, and yet he is recreated constantly in the imagination oI every seeker,a perIect Ioil Ior projection. We might even think it was all a joke, some kind oI elaborate hoax, except Ior the material itselI. When one turns to Le Myst?re, one Iinds a witty intelligence that seems quite sure oI the nature and importance oI his inIormation. This ,uFulcanelli,u knows something and is trying to communicate his knowledge; oI this there can be no doubt. Fulcanelli,s message, that there is a secret in the cathedrals, and that this secret was placed there by a group oI initiates,oI which Fulcanelli is obviously one,depends upon an abundance oI imagery and association that overpowers the intellect, lulling one into an intuitive state oI acceptance. Fulcanelli is undoubtedly brilliant, but we are leIt wondering iI his is the brilliance oI revelation or dissimulation. The basic premise oI 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 oI Victor Hugo. In The Hunchback oI Notre Dame, Hugo spends a whole chapter (chapter 2 oI book 5) on the idea that architecture is the great book oI humanity, and that the invention oI printing and the proliIeration oI mundane books spelled the end oI the sacred book oI architecture. He reports that the Gothic era was the sacred architect,s greatest achievement, that the cathedrals were expressions oI liberty and the emergence oI a new sense oI Ireedom. ,uThis Ireedom goes to great lengths,,u Hugo inIorms us. ,uOccasionally a portal, a Iacade, an entire church is presented in a symbolic sense entirely Ioreign to its creed, and even hostile to the church. In the thirteenth century, Guillaume oI Paris, in the IiIteenth Nicholas Flamel, both are guilty oI these seditious pages.,u Essentially, Le Myst?re is an in-depth examination oI those ,useditious pages,u in stone. Fulcanelli elaborates on the symbolism oI certain images Iound on the walls and porches oI architect Guillaume oI Paris,s masterpiece, Notre Dame Cathedral, and its close contemporary, Notre Dame oI Amiens. To this he adds images Irom two houses built in the Gothic style Irom IiIteenth-century Bourges. This guided tour oI Hermetic symbolism is densely obscure, Iilled with ,ugreen language,u puns and numerous allusions. To the casual reader, and even the dedicated student, this tangled web oI scholarship is daunting. However, to the occult savants oI Paris in the late 1920s, Fulcanelli,s book was almost intoxicating. Here, Iinally, was the word oI a man who knew, the voice oI the last true initiate. His student, Eug?ne Canseliet, inIorms us in the preIace to the Iirst edition oI Le Myst?re that Fulcanelli had accomplished the Great Work and then disappeared Irom the world. ,uFor a long time now the author oI this book has not been among us,,u Canseliet wrote, and he was lamented by a group oI ,uunknown brothers who hoped to obtain Irom him the solution to the mysterious Verbum dimissum (missing word). MystiIication about the true identity oI the alchemist obscured the Iact that credible people had seen his visiting card, emblazoned with an aristocratic signature. It was possible to encounter people at the Chat Noir nightclub in Paris who claimed to have met Fulcanelli right through World War II. Between 1926 and 1929, his legend grew, Iuelled by caI? gossip and a Iew articles and reviews in obscure Parisian occult journals. Canseliet contributed more inIormation: the Master had indeed accomplished transmutation, Fulcanelli hadn,t really disappeared, another book or two was planned, and so on. AIter the war, Fulcanelli,s legend, and Canseliet,s career, proIited Irom an upsurge oI interest in all things metaphysical. By the mid 1950s, conditions were right to reprint both Le Myst?re des Cath?drales and Dwellings oI the Philosphers.f Simply by having been the mysterious Fulcanelli,s student, Canseliet had become the grand old man oI French alchemy and esotericism. But the IiIties were not the twenties, and many things had changed. One oI those things was the text oI Le Myst?re itselI. Original 1936 magazine article mentioning the Cross at Hendaye. The Fulcanelli aIIair would be oI interest only to specialists oI occult history and abnormal psychology, except Ior the singular mystery oI the extra chapter added to the 1957 edition oI Le Myst?re. This second edition included a new chapter entitled ,uThe Cyclic Cross oI Hendaye,u and a Iew changes in its illustrations. No mention oI these changes appeared in Canseliet,s preIace to the second edition. With Canseliet,s use oI everything else by Fulcanelli, how are we to account Ior the complete absence oI reIerence to Hendaye in Canseliet,s works prior to the mid 1950s? II the chapter is the work oI 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 oIIers prooI that alchemy is somehow connected to eschatology, or the timing oI the end oI the world. And it oIIers the conclusion that a ,udouble catastrophe,u is imminent. II Canseliet had known oI this, he would surely have used it, or at least mentioned it. Yet, the silence is complete and compelling. The top oI the Hendaye Cross. ,uThe Cyclic Cross at Hendaye,u is the next to last, or penultimate, chapter oI Fulcanelli,s masterpiece. AIter wading through thickets oI erudition and punning slang in the rest oI Le Mystere, this chapter Ieels awash with the bright sunlight oI its Basque setting. The description oI the monument and its location is seemingly clear and direct. Even the explanation oI the monument,s apparent meaning is simple and virtually Iree oI the Green Language code used throughout the rest oI the book. Or so it appears on the surIace, We can date Fulcanelli,s visit to Hendaye to the early 1920s because oI his comment on the ,uspecial attraction oI a new beach, bristling with proud villas.,u H. G. Wells, Aldous Huxley, and the smart young London set discovered nearby St.-Jean-de-Luz in 1920 and by 1926 or so the tourist villas had spread as Iar south as Hendaye. Today, Hendaye-Plage, Hendaye,s beachIront addition, bustles with boutiques, dive shops and surIboard emporiums, having become a popular stop over Ior the young international backpack-nomad crowd. Although Fulcanelli declares, somewhat disingenuously: ,uHendaye has nothing to hold the interest oI the tourist, the archaeologist or the artist,,u the region does have a rather curious history. A young Louis XIV met his bride on an island in the bay below Hendaye, along the boundary between Spain and France. Wellington passed through, making nearby St.-Jean-de-Luz his base oI operation against Toulouse at the close oI the Napoleonic Wars. Hitler also paid a visit during World War II; in 1940 he parked his train car within walking distance oI the cross at Hendaye. ,uWhatever its age, the Hendaye cross shows by the decoration oI its pedestal that it is the strangest monument oI primitive millenarism, the rarest symbolical translation oI Chilaism, which I have ever met.,u Coming Irom Fulcanelli, this is high praise indeed. He goes on to tell us ,uthat the unknown workman, who made these images, possessed real and proIound knowledge oI the universe.,u The Curch oI St Vincent, Hendaye. The Cross sits today in a very small courtyard just to the south oI the church. There is a tiny garden with a park bench nearby. Standing about 12 Ieet tall, the Cyclic Cross at Hendaye looms over the courtyard, a mysterious apparition in the clear Basque sunlight. The monument is brown and discolored Irom its 300-plus years. The stone is starting to crumble and it is obvious that air pollution,the cross sits a Iew yards Irom 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 leIt beIore pollution wipes the images clean and the message disappears Iorever. The base oI local sandstone sits on a broad but irregular three-step platIorm, and is roughly cubic. Measurement reveals that it is a little taller than it is wide. On each Iace are curious symbols, a sun Iace glaring like some ancient American sun god, a strange shield-like arrangement oI A,s in the arms oI a cross, an eight-rayed starburst, and most curious oI all, an old-Iashioned man-in-the-moon Iace with a prominent eye. Rising Irom this is a Iluted column, with a suggestion oI Greek classicism, on top oI which stands a very rudely done Greek cross with Latin inscriptions. Above the sun Iace on the western side can be seen a double X Iigure on the top portion oI the cross. Below that, on the transverse arm, is the common inscription, O Crux Aves /Pes Unica, ,uHail, O Cross, the Only Hope.,u On the reverse side oI the upper cross, above the starburst, is the Christian symbol INRI. In ,uThe Cyclic Cross at Hendaye,u Fulcanelli gives us a guided tour oI this monument to the alchemy oI time. He begins with the Latin inscription, which he interprets, in French Irom the Latin letters oI the original, as: ,uIt is written that liIe takes reIuge in a single space.,u Following this rendering, he casually suggests that the phrase means ,uthat a country exists, where death cannot reach man at the terrible time oI the double cataclysm.,u What is more, only the elite will be able to Iind ,uthis promised land.,u Fulcanelli moves on to the INRI, concluding that: ,u,we have two symbolic crosses, both instruments oI the same torture. Above is the divine cross, exempliIying the chosen means oI expiation; below is the global cross, Iixing the pole oI the northern hemisphere and locating in time the Iatal period oI this expiation.,u His esoteric interpretation oI INRI, ,uby Iire is nature renewed whole,,u goes directly to the issue oI chiliasm and a cleansing destruction as a prelude to a re-created and Edenic world. Alchemy, according to Fulcanelli,s, is the very heart oI eschatology. Just as gold is reIined, so will our age be reIined - by Iire. Fulcanelli concludes the chapter with a series oI metaphors: ,uThe age oI iron has no other seal than that oI Death. Its hieroglyph is the skeleton, bearing the attributes oI Saturn: the empty hourglass, symbol oI time run out, and the scythe, reproduced in the Iigure seven, which is the number oI transIormation, oI destruction, oI annihilation,,u Fulcanelli instructs us. ,uThe Gospel oI this Iatal age is the one written under the inspiration oI St. Matthew, It is the Gospel according to Science, the last oI all but Ior us the Iirst, because it teaches us that, save Ior a small number oI the elite, we must all perish. For this reason, the angel was made the attribute oI St. Matthew, because science, which alone is capable oI penetrating the mystery oI things, oI beings and their destiny, can give man wings to raise him to knowledge oI the highest truths and Iinally to God.,u Because Fulcanelli so openly connected alchemy and the apocalypse, the true nature oI a very speciIic Gnostic astro-alchemical meme emerged into public consciousness. This meant that the secret was no longer contained among the elect societies. For the Iirst time since the age oI the Gothic cathedrals, the meme had broken out oI its incubational structures. In a way, the cross and its message serve as prooI that there are such things as secret societies. Found throughout history, these societies preserve and present the secret oI the cross in various ways. The Kabbalah in Judaism, SuIic Islam, esoteric Christianity, Gnosticism, and the Hermetic tradition have been the keepers oI these ideas. The central message oI the three main Western religions, that oI an eschatological moment in time, is the secret that also lies at the heart oI the cross at Hendaye. The meme, the ability to understand the myth and its metaphors, seems to have survived only through the actions oI these secret and insular groups. The Cross at Hendaye stands today at the southwest corner oI Saint Vincent,s Church, the busiest street corner in town. No one notices the ordinary looking monument with its message oI catastrophe; perhaps it was intended to be that way. The secret hides in plain sight. www.vincentbridges.com