Grid of the Gods (62 page)

is none other than the personification of the primitive substance, used by the Principle, the creator of all that is, for the furtherance of his designs. This is the meaning (and, indeed, a very clear one) of this strange epithet, which we read in the Mass of the Immaculate Conception of the Virgin, of which the text reads:

    “The Lord possessed me at the beginning of his ways. I existed before he formed any creature. I existed from all eternity, before the earth was created. The abysses were not yet and already I was conceived.…”
⁸

For Fulcanelli, the bas relief was a therefore also a clue to the profoundly different alchemical and esoteric meaning of familiar passages of the Bible, meanings at variance with the popular meanings ascribed to them by piety.

The meaning was clear: the Virgin Mother was a symbol of that primordial
mater
, the primordial “mother” or matter, the physical medium from which, according to alchemy, all else derived. Small wonder, then, that alchemical symbolism should adorn the great cathedrals where, according to the dogmas of the mediaeval church, another transmutation called “transubstantiation” was performed in a ritual act understood by the Church to be sacrificial, for behind the exoteric dogma and ritual, a hidden esotericism was perhaps at work, biding its time behind Christian symbols, until it could once again re-emerge as itself, and freed from the necessity of having to disguise itself. The very fact that these symbols
are
alchemical, and boldly emblazoned on France’s most famous Gothic cathedrals, is testament to something else, namely, that an alchemical, hermetic elite continued in Europe throughout the centuries, overseeing and guiding their construction.

During his most recent research in Paris, as with his spine tingling pilgrimage to Chichen Itza, at least one thing was quite clearly revealed to Scott de Hart; both at Notre Dame as well as within the dark catacombs of the City of Lights, he was a witness to the ritual and alchemical march of humanity into the hidden chambers of the gods’ playground. It is well to heed the warning for posted in the catacombs when taking this journey:”
Arrête! C’esticil’empire de la mort,
” Stop! This is the empire of death.

Finally, there is, as we also saw, a deeper reality to this ancient view of the physical medium, to the view that existed
before
it became twisted into rituals of spiritual debt and sacrifice, and that is the view that the medium was an overflowing fecundity, a primordial androgynous “Nothing” from which all else flowed. It was a primordial “divine simplicity,” an empire of life, that created a very strange set of symbols, a set of symbols we have only briefly touched upon in these pages, and whose full range of expression and implications have yet to be plumbed.

But plumbing
those
depths is a task for another book. For now, this task, this survey, and the hints of its implications, is completed.

Joseph P. Farrell

Scott D. de Hart

The Main Arch of the Great Porch of Notre Dame de Paris

Notes

1
E. Canseliet, “Preface to the First Edition,” Fulcanelli,
Le Mystère des Cathédrales
, trans. Mary Sworder (Lsa Vegas, Nevada: Brotherhood of Life, 2007), pp. 6–7.

2
That mystery has never been adequately solved. “Fulcanelli” appeared in 1920s France, and just as quickly, disappeared, after entrusting the manuscript for his now famous alchemical study of the gothic cathedrals to his disciple. There are those that believe that there is a strong case to be made that “Fulcanelli” was none other than the famous esotericist Rene Schwaller de Lubicz, and one of us, Joseph P. Farrell, inclines to this view.

3
Fulcanelli,
Le Mystère des Cathedrales
, trans. from the French by Mary Sworder (Las Vegas: Brotherhood of Life, 2007), photo insert betwen pp. 70 and 71.

4
Fulcanelli,
Le Mystère des Cathédrales
, p. 104.

5
Ibid., p. 69.

6
Ibid., p. 70.

7
Fulcanelli, ,
Le Mystère des Cathédrales
, p. 70.

8
Ibid.

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