The King of Castle Hill…

*

…There once was a king who lived in a castle on a hill.

He was lord and master of all he surveyed.

One daughter he had sired but his wife had died in giving the child life.

His daughter was very beautiful and the king looked forward to the day when she would come into her own.

By a cunning device of his mother the King of Castle-Hill had been made invulnerable and was possessed of a baleful eye which was capable of blighting all that it gazed upon.

The eye was normally kept covered by five leather patches.

The King of Castle-Hill was also a great wizard in his own right, well versed in the magical arts, and nothing happened in his kingdom without his knowledge of it.

There was little that the King of Castle-Hill wanted save for a wondrous cow which was looked after by three brothers who lived by the sea.

One of the brothers was a blacksmith, clever and skilful.

One of the brothers was a wizard, cunning and resourceful.

One of the brothers was a warrior, strong and fair.

The wondrous cow was possessed of an inexhaustible supply of milk and it daily traversed the kingdom supplying the people with nourishment.

The wondrous cow was governed by a magic halter.

Wherever the halter went, there too went the wondrous cow.

The King of Castle-Hill determined to acquire the wondrous cow and realised that if he could somehow get the magic halter then the object of his desire would follow.

About the same time as the king determined upon a plan to acquire the wondrous cow it came to his attention that certain prophesies were doing the rounds of his kingdom.

The prophecies spoke of the king’s demise.

The king summoned his soothsayer.

“It is true, my lord, words have been uttered describing your death,” said the king’s soothsayer.

“But I am invulnerable,” said the King of Castle-Hill, “I will live forever.”

“Not so,” said the soothsayer, “your grandson shall slay you by casting a spear through your baleful eye and on out of the back of your skull.”

The king fell silent in thought.

It might possibly be true, the king’s baleful eye, though a potent weapon and an effective deterrent against those who might oppose him, was also his only vulnerable spot.

“Will he indeed!” seethed the King of Castle-Hill fingering the first of the leather pouches that covered his baleful eye, “we will see about that.”…

*

Fulcanelli: Mysteries…

*

To round off our brief but succinct survey of the Alchemists,

we shall give some examples from the works

of those savants that we have so far considered.

*

First up, Fulcanelli…

“…For us, gothic art (fr: art gotique) is only a spelling distortion of the word argotique (slang), whose assonance is perfect in accordance with the phonetic law that governs in all languages and without taking into account spelling, the traditional cabal.

The cathedral is a work of Gothic Art or argot, that is, slang.

However, dictionaries define argot as ‘a language particular to all individuals who have an interest in communicating their thoughts to each other without being understood by those around them’ in other words, a spoken cabala.

The argoters, those who use this language, are hermetic descendants of the argonauts, who climbed aboard the Argo, spoke the argot language, which is our green language (fr: langue verte) – and sailed towards the rich shores of Colchis to conquer the famous Golden Fleece.

They still say today of a very intelligent, but also a very cunning man; he knows everything, he understands the argot, both the vagrant of the Court of Miracles – the poet Villon at their head – and the Freemasons of the Middle Ages, ‘members of the Lodge of God’ who built the argotique masterpieces that we admire today. They themselves, these builders, knew the road to the Garden of the Hesperides…”

The Mystery of the Cathedrals

*

They knew also, presumably, these savants, the way from the Tower of Babel!

*

The Lion’s Share

 

 

“Tell me,” said Joshua, “why is that person carrying a lamb to the city ?”

Judas Thomas said, “So that he may kill it and eat it.”

Joshua said, “Whoever has come to know the world has discovered a carcass, and whoever has discovered a carcass, of that person the world is not worthy.

Damn the soul that depends on the flesh.

Damn the flesh that depends on the soul.

How miserable is the body that depends on these two ?

Together they are like a dog in a cattle manger, where neither the dog nor the cattle can eat hay.

During the days when you eat what is dead you make it alive, but when you are in the light, where the dead are not alive and the living will not die, what will you do ?

If the body came into being because of the spirit then it is a marvel: if the spirit came into being because of the body then it is a marvel of marvels; I marvel that such great wealth dwells in so much poverty.

Cursed be the man who eats a lion

that the lion becomes human.

Blessed be the lion that eats a man

when the lion becomes human.”

Extract from The Living One

 

The Alchemist: Last Judgement…

File:Gargoyles, Notre-Dame, Paris (3584514985).jpg - Wikimedia Commons

*

Perhaps, taking his cue from what little was left of the Mediaeval originals,

Viollet-le-Duc incorporated and emphasised horns, and claws, and talons,

and tusks, and fangs, and beaks, and raised heckles, in his grotesques.

Even the feathers of the birds resembled scales, or chain-mail.

*

Gargoyles of Notre Dame Cathedral - Album on Imgur

*

Nature for the denizens of the two towers, which between them

encompassed the directions of West, North and South,

appeared to be red in tooth and claw,

with little or no desire to transcend that state.

*

As monsters of the human mind, presumably,

this state also applied to the collective psyche,

and was, perhaps, forever exemplified by the

 inhabitants of Paris who moved through the streets below,

and over whom the grotesques so rapaciously brooded.

*

Nevertheless, the monsters became objects

of deep and prolonged fascination for both Parisians

and those who came from much farther afield

to climb the spiral-stairwells, and gawp.

*

File:Gargoyle, Notre Dame, Paris, France, about 1870.jpg - Wikimedia Commons

*

Many of the fantastical beasts had captured prey,

and feasted, ravenously, some of them fought,

others appeared to be in the process of hunting.

*

This is quite deliberate and contrasts with the Angel of the East

which sounds its heavenly horn to announce the Last Judgement.

*

Parution du second volume de la biographie de Fulcanelli | Toison d'Or

*

Behind Gabriel, arrayed along the length of the base of the harmonious spire,

pointing the way of ascent, stand the apostles, upright, and serene.

*

But wait, what of the Christ Spirit?

Should not it too have been there?

*

Folded Victory: Gargoyles at Notre-Dame de Paris | Gargoyles, De paris, Lion sculpture

*

Oh, but it was…

It was one of the grotesques!

A Harmony of Eight…

*

The point sits at the centre of the square,

where its two diagonals intersect.

*

*

From the same intersection, another square

can be drawn at right angles to the first.

Like this, we create eight equidistant points.

*

 

*

By taking the original squares and extending all

eight sides, a new set of intersections is generated.

*

*

The new Octagon, bigger than the first,

 is perfectly derived from its archetype.

*

https://silenteyeblog.files.wordpress.com/2017/09/domeplan.gif

*

Extending the sides of the Octagon generates another pair of larger squares.

The pattern is infinitely extendable around the point of origin with

perfect symmetry in every direction…

*

A point indicates a location in space which is present but has no dimension…

*

https://silenteyeblog.files.wordpress.com/2017/09/dragon.jpg

*

The Alchemist: ‘A Violet Duke’?…

Eugène Viollet-le-Duc - Wikipedia

Architect in the guise of Thomas-the-Apostle.

*

If our Alchemist was pulling his beard,

it would be because he and the grotesques surrounding him

on the tower balustrades of Notre-Dame, Paris,

were not actually mediaeval statuary at all,

but nineteenth-century restorations.

*

Charged with the task of renovation, in eighteen-hundred-and-forty-four,

Eugene Viollet-le-Duc, found only the stumps

of claws and talons on the tower corners

but with the help of a body of stonemasons

he set about re-envisioning the cathedral’s mediaeval past…

*

File:Gargoyles and chimeras 1, Notre-Dame de Paris 2011.jpg - Wikimedia Commons

*

They did a pretty good job!

*

If our Alchemist was tugging at his beard,

it was doubtless because

he was not an alchemist at all,

but the wandering jew, Ahaservus,

as some have made claim, doomed to wander

the annals of time forever in search of his messiah…

*

Gargoyle Notre Dame - Free photo on Pixabay

*

But, well, really, our ‘Violet Duke’

had put enough occult blinds in his work

to obscure the Christ Spirit itself,

though that was far from his intent…

*

And if our Alchemist was stroking his beard?

*

If he was stroking his beard he too would be

contemplating the prospect of statuary which

had been spread out before him but apparently

just out of both reach and gaze of scrutiny.

*

Notre-Dame de Paris - Wikipedia

*

The restoration undertaken by Viollet-le-Duc

included a reconstruction of the cathedral’s central spire

which had been dismantled in seventeen-hundred-and-ninety-two,

and repair of the angelic horn-blower which topped the apex of the nave.

*

The spire he made octagonal and along four of its edges,

he placed copper-statues

of the Evangelists, and the Twelve Apostles.

Instead of Judas Iscariot, though, he included a self-portrait,

in the guise of Thomas-the-Apostle.

*

Unlike all the other figures who faced outwards

and looked far and wide to the horizons of Paris

Viollet-le-Duc faced the spire and looked up to the heavens.

Except, he appeared to have his eyes closed,

and raised an uncertain hand to his forehead in a gesture of concern.

Was he straining to hear something indistinct from above?

Had he just been struck by an omission of extreme importance?

Or was this merely Thomas-the-Apostle in the throes of his doubt?

First Things First…

 

3

*

 One is All…

*

In Alchemy there are no short cuts.
Many are those who have spent a life-time seeking its treasure in vain.
On the other hand, everything it promises to reveal is freely given at the outset.
One need only attend properly to its stories and dictates to succeed in the quest…
*
THE TREASURE OF ALEXANDER
In my native land where I was an orphan there stood a stone statue upon a golden column on which was written:
‘Behold! I am Hermes, he who is three-fold in Wisdom. I once placed marvelous signs openly before all eyes; but now I have veiled them by my wisdom so that none should attain them unless he be a sage like my good self…’
On the breast of the statue one could read:
‘Let him who would learn and know the secrets of creation and of nature look beneath my foot.’
I reflected on what this might mean and started to dig beneath the plinth…
Before long I came to a dark underground chamber in which winds arose and blew without ceasing.
I could go no further.
Exhausted by my toil and full of chagrin at my failure I sat down to rest and immediately fell asleep.
It was then that an old man appeared, resembling myself in build and appearance.
‘Arise and enter into this chamber so as to obtain a representation of nature!’ He said.
‘I cannot,’ I replied, ‘for I can see nothing in the darkness, and the winds that blow there will put out every torch flame.’
‘Then why don’t you put your light into a glass vessel…’ He said.
I immediately awoke, set a light inside a glass, as instructed, and entered the chamber.
There before me sat an Ancient Man on a Golden Throne, holding in his hand an Emerald Tablet on which was written:
‘This is the secret of the world and nature… the knowledge of creation and the cause of all things’…
*
All…Ex…Andros…
Could anything be clearer or simultaneously more obscure?
How many Fairy Tales commence with a ‘Native Orphan’ who ends by first recognising and finally realising their ‘High Estate’?
And what should be made of our immobile Stone Figure which stands upon Gold?
He is a God, no less, yet he points not at heaven above but below to the earth.
Or of the Old One who appears in dream as our ‘bodily’ twin?
A simulacrum…
Nature’s representative advises we still the flickering, buffeted flame of our minds eye in order to see…
Deep in the Dark of Earth our enthroned kin who holds…
A Jewel in the Crown…
*2*

‘Stone of the Wise’

*

PROJECTION OF GOLD
In truth, it is certain and without doubt that whatever is above tends toward that which is below and whatever is below tends toward that which is above for the accomplishment of the One Perfected Thing.
As all things are discovered by one, alone through contemplation so all things are born from this one, alone by permutation: its Father is the Sun, its Mother is the Moon, the Wind bears it in its Belly, the Earth nurtures it in its Heart; Power of all powers it contains the subtle and penetrates the solid and is the progenitor of all wonder in the world yet its efficacy is only perfected through embodiment.
In order that the little world may be re-created in the image of the great world the Spirit must be separated from the Body gradually by the regulated heat of a gentle flame: it rises to heaven from earth and falls back to earth from heaven and thus it acquires the inferior and superior powers for the glory of the whole world and the dissipation of all darkness…
This is the Way of Perfection…
I alone transmit this threefold wisdom which is why I am called The Thrice Raised Hermes.

– The Emerald Tablet

The Alchemist…

L'Alchimie de Notre Dame de Paris – La Nuit / La Nuit

A drawing by Julien Champagne.

*

Why would the Mediaeval Stonemasons sculpt figures

on the top of their buildings which no one can see from the ground?

*

Like some church towers, it was possible to scale

the towers of Notre Dame, Paris, and acquire a closer view

of the sculpted forms which inhabited its roofscape.

*

Should this endeavour be approached in a symbolic frame of mind,

it might be useful to regard the spiral staircase which led there,

as a series of right-angles arranged around a lineal ascent,

and to take note of how many steps were required to reach the top.

*

Any work of alchemy

unfolds in a series of steps,

or processes…

*

The steps themselves might be regarded

as achievements or ‘crowns’ upon the Royal Way.

*

And when one reached the top?

*

Of the figures on the square-sided towers

only one was nominally human.

There is no doubt, therefore, that we would

be meant to identify with him…

Julien Champagne’s illustration, above,

is a masterful representation.

*

Our ‘inner’ alchemist for such as he been designated,

primarily because of his Phrygian Hat, or ‘liberty cap’,

his liberia, was nevertheless a curious figure.

*

Did he stroke, tug at, or pull his beard?

All three of these actions have different connotations.

Did he strain forward to see, or call out to, or even warn,

someone below, who was ascending to reach his position?

From a different perspective his mouth can be seen to gape wide.

Was that person, if person there was, ascending to save or release him?

Or merely to question him about the strange company he kept?

*

File:Chimera of Notre-Dame de Paris.jpg - Wikimedia Commons

*

All the other figures that peered from the parapets

of the towers alongside the Alchemist were what might be termed

grotesques, they were certainly not gargoyles,

for gargoyles are water-channels of which these figures have none.

Most of them also appeared

to be displaying a predatory or demonic nature.

*

File:Gargoyles of Notre Dame.jpg - Wikimedia Commons

*

Ever vigilant over the movements of humanity,

in the busy metropolis beneath them, some of them fed…

The Alchemists: Fulcanelli…

Parution du second volume de la biographie de Fulcanelli | Toison d'Or

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?