This skyscape no longer exists due to renovation and the recent fire at Notre Dame Cathedral, Paris.
‘There are deeper secrets in stone than in iron.’
It is not to everyone’s taste.
Some respected proponents of the Western Mystery Tradition profess
to not caring very much for it all.
Although, I strongly suspect that their ‘not caring’ is a euphemism for non-understanding.
It is a mystery certainly.
But one all but impossible to ignore if you are engaged upon
a search for meaning in life.
What were they about, these savants?
At odds with the mainstream yet courted by kings.
Their published claims regarded by most as gibberish.
That term itself a reference to Geber, one of the most illustrious of their ilk.
We have already briefly considered, Newton, today regarded as a ‘man of science’
but at heart a seeker after the secret fire,
and Paracelsus, nowadays regarded as a quack doctor
but in fact an early practitioner of both Homeopathy and Mesmerism,
and today, we shall take a look at Fulcanelli…
But already we run into difficulties.
For one thing, we do not know what Fulcanelli looks like,
or indeed, if he exists, or even if he ever existed at all!
He is purported to be the author of two books:
The Mystery of the Cathedrals and Dwellings of the Philosophers.
Both are classics of esoteric science.
‘…Cathedrals’ sets out to explain the ‘books written in stone’,
which are the Gothic Cathedrals of Europe,
and really, who could do such a thing without being involved in some way
in their construction or design?
For the most part, these art-works of stone were designed
and constructed during the Middle Ages.
The book was written in the nineteen twenties,
and is not the work of a young man.
As late as Nineteen-Seventy-Eight adepts were claiming
to have spoken with Fulcanelli in Florence!
Perhaps the claims of the Alchemists are not entirely without foundation?
His name means, ‘Little Volcano’ or ‘Mini-Vulcan’.
Could we translate this as ‘The Gentle Flame’?
It would be nice to think that we could…
Let us then take our flame and apply it to the following question:
Why would the Mediaeval Stonemasons sculpt figures
on the top of their buildings which no one can see from the ground?