- The Cyclic Cross Of Hendaye
- Who Built The Cross Of Hendaye
- The Cyclic Cross Of Hendaye
- Mysteries Of The Cross Of Hendaye
Decodes the message inscribed on the Great Cross of Hendaye in France. Uses the work of 20th-century alchemist Fulcanelli to predict the date of the fatal season of the apocalypse. Shows how periodic galactic alignments may cause catastrophes on Earth. Examines how the secret of the center of the galaxy reveals the true location of the lost civilization of Atlantis. Reveal. The town square, where there is a weekly open-air market on Wednesdays, is the location of the famous seventeenth century ' Great Cross of Hendaye ', a stone cross carved with alchemical symbols that occultists find to contain encrypted information on a future global catastrophe. Mysteries of the Great Cross of Hendaye investigates a mysterious cross in a churchyard in Hendaye, France which is located in the southwest corner of France, right on the border with Spain. On one level, this book is a commentary upon The Mysteries of the Cathedrals written by the elusive, enigmatic and anonymous alchemist named Fulcanelli. Mysteries of the Great Cross of Hendaye investigates a mysterious cross in a churchyard in Hendaye, France which is located in the southwest corner of France, right on the border with Spain. On one level, this book is a commentary upon The Mysteries of the Cathedrals written by the elusive, enigmatic and anonymous alchemist named Fulcanelli.
Doomsday Predictions and PropheciesThis is the Seventh Sign: You will hear of the sea turning black, and many living things dying because of it.
Last Updated: January 12, 2014
Covered in this article:
- Prophecy of Hermes Trismegistus
- Medieval Prophecies and Cross of Hendaye
- Edgar Cayce - Page 2
- Hopi Prophecy and Q'ero Indians - Page 2
- St. Malachy's Pope Prophecy - Page 2
- Biblical Texts and Sir Isaac Newton - Page 3
- Hindu and Zoroastrian Prophecies - Page 3
We don't know why or how, but long ago ancient cultures got the notion that they could predict the future by looking at the night sky. As the legendary Philosopher's Stone succinctly put it, 'As above, so below.'Luckily, much of this sage wisdom remains accessible to us today. The History Channel's hit documentary 2012: End of Days features prophecies from civilizations around the world, beginning in ancient Rome with the Cumean Sibyl. Besides predicting the birth of Jesus, she referred to the present day in her Fourth Book of Oracles:“These things in the tenth generation shall come to pass. The earth shall be shaken by a great earthquake that throws many cities into the sea. There shall be war. Fires shall come flashing forth from the heavens and many cities burn. Black ashes shall fill the great sky. Then, know the anger of the gods.”
The Prophecy of Hermes Trismegistus (Thrice-Great)
Written some time between 1 and 300 A.D., this prediction lays out a scenario echoing many other cultures from antiquity. Hermes is the Greek name for the Egyptian god Thoth. The narrative originated in Alexandria by unknown authors but can be attributed to Coptic Greeks. Graham Hancock and Robert Bauval, in their book Talisman: Sacred Cities, Secret Faith, believe the multiple texts known as the Corpus Hermeticum accurately represent the ancient Egyptian religion of thousands of years earlier. The passage quoted below is from a text called Asclepius (or alternatively, Perfect Doctrine).
'Do you know, Asclepius, that Egypt is an image of Heaven, or to speak more exactly, in Egypt all the operations of the powers which rule and work in Heaven are present in the Earth below? In fact it should be said that the whole Cosmos dwells in this our land as in a sanctuary. And yet, since it is fitting that wise men should have knowledge of all events before they come to pass, you must not be left in ignorance of what I will now tell you. There will come a time when it will have been in vain that Egyptians have honored the Godhead with heartfelt piety and service; and all our holy worship will be fruitless and ineffectual. The gods will return from earth to heaven; Egypt will be forsaken, and the land which was once the home of religion will be left desolate, bereft of the presence of its deities. O Egypt, Egypt, of thy religion nothing will remain but an empty tale, which thine own children in time to come will not believe; nothing will be left but graven words, and only the stones will tell of thy piety. And in that day men will be weary of life, and they will cease to think the universe worthy of reverent wonder and worship.
They will no longer love this world around us, this incomparable work of God... Darkness will be preferred to light, and death will be thought more profitable than life; no one will raise his eyes to heaven; the pious will be deemed insane, the impious wise; the madman will be thought a brave man, and the wicked will be esteemed as good. As for the soul, and the belief that it is immortal by nature, or may hope to attain to immortality, as I have taught you, - all this they will mock, and even persuade themselves that it is false. No word of reverence or piety, no utterance worthy of heaven, will be heard or believed. And so the gods will depart from mankind, - a grievous thing! - and only evil angels will remain, who will mingle with men, and drive the poor wretches into all manner of reckless crime, into wars, and robberies, and frauds, and all things hostile to the nature of the soul.
Then will the earth tremble, and the sea bear no ships; heaven will not support the stars in their orbits, all voices of the gods will be forced into silence; the fruits of the Earth will rot; the soil will turn barren, and the very air will sicken with sullen stagnation; all things will be disordered and awry, all good will disappear.
But when all this has befallen, Asclepius, then God the Creator of all things will look on that which has come to pass, and will stop the disorder by the counterforce of his will, which is the good... Such is the new birth of the Cosmos; it is a making again of all things good, a holy and awe-inspiring restoration of all nature; and it is wrought inside the process of Time by the eternal Will of the Creator...
The gods who exercised their dominion over the earth will be restored one day and installed in a city at the extreme limit of Egypt, a city which will be founded towards the setting sun, and into which will hasten, by land and sea, the whole race of mortal men.'
Around the Sixth Century A.D., the Celtic shaman Merlin (a.k.a. Myrddin Wyllt) envisioned severe climate conditions and a geological meltdown that would take place, apparently after the invention of the cell phone:
'At that time shall a man standing on the shore of England speak instantly to a man standing on the shore of France through a speaking stone...The seas shall rise up in the twinkling of an eye. The winds shall fight together with a dreadful blast… The planets will run out of their appointed paths and the earth shall run riot through the sky.”
A lesser known English oracle, Mother Shipton (a.k.a. Ursula Southeil), made an even darker forecast:
'A fiery dragon will cross the sky. Six times before the earth shall die. Mankind will tremble and frightened be for the six heralds in this prophecy. For seven days and seven nights Man will watch this awesome sight. The tides will rise beyond their ken to bite away the shores and then the mountains will begin to roar and earthquakes split the plain to shore. And flooding waters rushing in will flood the lands with such a din that mankind cowers in muddy fen and snarls about his fellow men. Man flees in terror from the floods and kills, and rapes and lies in blood and spilling blood by mankind’s hand will stain and bitter many lands.
And when the dragon’s tail is gone Man forgets and smiles and carries on. To apply himself - too late, too late for mankind has earned deserved fate. His masked smile, his false grandeur will serve the gods their anger stir. And they will send the dragon back to light the sky, his tail will crack. Upon the earth and rend the earth and man shall flee, king, lord and serf. But slowly they are routed out to seek diminishing water spout and men will die of thirst before the oceans rise to mount to the shore. And lands will crack and rend anew. Do you think it strange? It will come true!'
Like the elusive Merlin figure, authorship of the Mother Shipton prophecies has never been authenticated by scholars. Regardless, Medieval prophecies correctly describe modern inventions with astonishing detail. It's no wonder that during the Roman Empire, military and political leaders were making regular pilgrimages out to the oracle of Delphi to get consultations on matters of state.
Site of the Oracle at Delphi. Photo: National Geographic Channel.
After a draught lasting for many years, seven blazing suns will appear in the firmament; they will drink up all the waters. Then wind-driven fire will sweep over the earth, consuming all things; penetrating to the nether world it will destroy what is there in a moment; it will burn up the Universe. Afterwards many-colored and brilliant clouds will collect in the sky, looking like herds of elephants decked with wreaths of lightning. Suddenly they will burst asunder, and rain will fall incessantly for twleve years until the whole world with its mountains and forests is covered with water. The clouds will vanish. Then the Self-created Lord, the First Cause of everything, will absorb the winds and go to sleep. The Universe will become one dread expanse of water.
Markandeya, Hindu sage(cited in Earth Under Fire)
Modern skeptics of course dismiss the power of prophecy, pointing out the doomsday warnings of various cult leaders in modern times that never panned out. Yet, the publicity hounds referred to here bear little resemblance to those elusive shamans and prophets of antiquity. It's interesting that our well-worn term 'disaster'comes from an old Latin (i.e. Roman) word meaning 'evil star.' The words influence and influenza come from the Latin influentia, defined as 'the emanation of ethereal fluid from the heavens affectng mankind,' as Roy Gallant explains in his 1979 book The Constellations: How They Came to Be. The word desire harkens back to the Latin desidere, which means 'without a star, the outcome unfulfilled.'
The Cross at Hendaye and its strange imagery.
It's not just words, either, that connect our modern society to a long tradition of mysticism and sky watching. In the 1920s, a man writing under the pseudonym Fulcanelli published The Mystery of the Cathedrals, a controversial book alleging that Medieval mason guilds encoded astrological communiques into the churches they built throughout Europe. As fascinating as that revelation was, decades later a chapter was surreptiously added to the book, entitled 'The Cyclic Cross at Hendaye.' It claimed that an old stone monument outside a French church bears a cryptic message about the end of the world.
In the History Channel documentary Nostradamus 2012, authors Vincent Bridges and Jay Weidner make a gallant attempt to interpret the strange symbols on the stone. (See the photo above.) As they explain in their book Monument to the End of Time, the star represents the Milky Way Galaxy, while the unhappy face is the Sun. And the oval that's divided into four sections is a reference to the Precession of Equinoxes.
Moreover, the two men suggest that each quarter cycle featured there signifies a world age - Golden, Silver, Copper/Bronze and Iron. In a 2004 interview, Weidner said of the 2012 doomsday prediction, 'Fulcanelli clearly tells us that this catastrophe will not only herald the end of the Iron Age but will also be of a celestial nature. Indeed the angry sun face on the Cross indicates that this disaster has something to do with the sun.' For more on the concept of precession, see Ancient Method for Caclulating Cataclysms.
As luck would have it, the psychic Nostradamus grew up several blocks from the Cross of Hendaye. In the 16th century, this legendary figure predicted that in five hundred years, the full impact of his own prophecies would be realized. And so here we are, right on schedule, talking about them. Among the hundreds he penned in his famous book of quatrains:'In the month of October, a massive movement of the globe, such that there will be those who will think that the planet has lost its gravity, being plunged into the abyss of darkness...There will be omens in the spring, and extraordinary changes thereafter, reversals of nations and mighty earthquakes... During the appearance of the bearded star, the three great princes will be made enemies. Struck from the sky, peace earth quaking, Po, Tiber overflowing, serpent placed upon the shore.”
Like Book of Revelation prophet John of Patmos (see next page), Nostradamus warned readers to be on the lookout for the anti-christ. Actually, he predicted three such characters that would terrorize the world in turn. While Napolean and Hitler are thought to represent the first two, the third is still undetermined.
In recent years, the History Channel has aired numerous documentaries about Nostradamus, even dubbing a 2009 series on the occult The Nostradamus Effect. However, its most successful broadcast to date remains Nostradamus 2012, which interweaves prophecies from many cultures with the forecasts of the French visionary. Here are some of the quatrains cited in the program:
Century 1: 29
When the fish that travels over both land and sea
is cast up on to the shore by a great wave,
its shape foreign, smooth and frightful.
From the sea the enemies soon reach the walls.
Century 2: 3
Because of the solar heat on the sea
From Negrepont the fishes half cooked:
The inhabitants will come to cut them,
When food will fail in Rhodes and Genoa.
Where all is good, the Sun all beneficial
and the Moon is abundant, its ruin approaches:
From the sky it advances to change your fortune.
In the same state as the seventh rock.
At the forty-eighth climacteric degree,
At the end of Cancer very great dryness:
Fish in sea, river, lake boiled hectic,
Béarn, Bigorre in distress through fire from the sky.
The latitude designated in the last quatrain, incidentally, corresponds to the location of bread baskets in the northern hemisphere, which include the midwest United States.
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In 1926, a mysterious volume issued in a luxury edition of three hundred copies by a small Paris publishing firm known mostly for artistic reprints rocked the Parisian occult underworld. Its title was Le Mystère des Cathédrales (The Mystery of the Cathedrals). The author, “Fulcanelli,” claimed that the great secret of alchemy, the queen of Western occult sciences, was plainly displayed on the walls of 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 of being reclaimed and reconditioned in 1926 by two of the most influential movements of the century. Surrealism and psychology stumbled onto alchemy at about the same time, and each attached their own notions of its meaning to the ancient science. Carl Jung spent the twenties teasing out a theory of the archetypal unconscious from the symbolic tapestry of alchemical images and studying how these symbols are expressed in the dream state. The poet-philosopher André Breton and the surrealists made an intuitive leap of faith and proclaimed that the alchemical process could be expressed artistically. Breton, in his 1924 Surrealist Manifesto, announced that surrealism was nothing but alchemical art.
Fulcanelli’s book would have an indirect effect on both of these intellectual movements. Indirect, because the book managed a major literary miracle-it became influential while remaining, apparently, completely unknown outside of French occult and alchemical circles. This is perhaps the strangest of all the mysteries surrounding The Mystery of the Cathedrals.ARTICLE CONTINUES AFTER ILLUSTRATION
A youthful Jean-Julien Champagne
In the fall of 1925, publisher Jean Schémit received a visit from 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 “green argot” of its sculptural symbols, and how slang was a kind of punning code, which he called the “language of the birds.” A few weeks later, Schémit was introduced to him again as Jean-Julien Champagne, the illustrator of a proposed book by a mysterious alchemist called Fulcanelli. Schémit 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, of a St. Germain. There were two things that everyone agreed upon concerning Fulcanelli – he was definitely a mind to be reckoned with, and he was a true enigma.
We are left then with the mystery of the missing master alchemist. He is a man who does not seem to exist, and yet he is recreated constantly in the imagination of every seeker-a perfect foil for projection. We might even think it was all a joke, some kind of elaborate hoax, except for the material itself. When one turns to Le Mystère, one finds a witty intelligence that seems quite sure of the nature and importance of his information. This “Fulcanelli” knows something and is trying to communicate his knowledge; of 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 of initiates-of which Fulcanelli is obviously one-depends upon an abundance of imagery and association that overpowers the intellect, lulling one into an intuitive state of acceptance. Fulcanelli is undoubtedly brilliant, but we are left wondering if his is the brilliance of revelation or dissimulation.
The basic premise of 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 of Victor Hugo. In The Hunchback of Notre Dame, Hugo spends a whole chapter (chapter 2 of book 5) on the idea that architecture is the great book of humanity, and that the invention of printing and the proliferation of mundane books spelled the end of the sacred book of architecture. He reports that the Gothic era was the sacred architect’s greatest achievement, that the cathedrals were expressions of liberty and the emergence of a new sense of freedom. “This freedom goes to great lengths,” Hugo informs us. “Occasionally a portal, a facade, an entire church is presented in a symbolic sense entirely foreign to its creed, and even hostile to the church. In the thirteenth century, Guillaume of Paris, in the fifteenth Nicholas Flamel, both are guilty of these seditious pages.”ARTICLE CONTINUES AFTER ILLUSTRATION
The spires and gargoyles of Notre Dame’s north side
Photo by Darlene
The Cyclic Cross Of Hendaye
Essentially, Le Mystère is an in-depth examination of those “seditious pages” in stone. Fulcanelli elaborates on the symbolism of certain images found on the walls and porches of architect Guillaume of Paris’s masterpiece, Notre Dame Cathedral, and its close contemporary, Notre Dame of Amiens. To this he adds images from two houses built in the Gothic style from fifteenth-century Bourges. This guided tour of Hermetic symbolism is densely obscure, filled with “green language” puns and numerous allusions. To the casual reader, and even the dedicated student, this tangled web of scholarship is daunting.ARTICLE CONTINUES AFTER ILLUSTRATION
Eugene Canseliet near the end of his life
However, to the occult savants of Paris in the late 1920s, Fulcanelli’s book was almost intoxicating. Here, finally, was the word of a man who knew, the voice of the last true initiate. His student, Eugène Canseliet, informs us in the preface to the first edition of Le Mystère that Fulcanelli had accomplished the Great Work and then disappeared from the world. “For a long time now the author of this book has not been among us,” Canseliet wrote, and he was lamented by a group of “unknown brothers who hoped to obtain from him the solution to the mysterious Verbum dimissum (missing word).
Who Built The Cross Of Hendaye
Mystification about the true identity of the alchemist obscured the fact 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, fuelled by café gossip and a few articles and reviews in obscure Parisian occult journals. Canseliet contributed more information: the Master had indeed accomplished transmutation, Fulcanelli hadn’t really disappeared, another book or two was planned, and so on.
After the war, Fulcanelli’s legend, and Canseliet’s career, profited from an upsurge of interest in all things metaphysical. By the mid 1950s, conditions were right to reprint both Le Mystère des Cathédrales and Dwellings of the Philosphers. Simply by having been the mysterious Fulcanelli’s student, Canseliet had become the grand old man of French alchemy and esotericism. But the fifties were not the twenties, and many things had changed. One of those things was the text of Le Mystère itself.ARTICLE CONTINUES AFTER ILLUSTRATION
Original 1936 magazine article mentioning the Cross at Hendaye
The Fulcanelli affair would be of interest only to specialists of occult history and abnormal psychology, except for the singular mystery of the extra chapter added to the 1957 edition of Le Mystère. This second edition included a new chapter entitled “The Cyclic Cross of Hendaye” and a few changes in its illustrations. No mention of these changes appeared in Canseliet’s preface to the second edition.
With Canseliet’s use of everything else by Fulcanelli, how are we to account for the complete absence of reference to Hendaye in Canseliet’s works prior to the mid 1950s? If the chapter is the work of 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 offers proof that alchemy is somehow connected to eschatology, or the timing of the end of the world. And it offers the conclusion that a “double catastrophe” is imminent. If Canseliet had known of this, he would surely have used it, or at least mentioned it. Yet, the silence is complete and compelling.ARTICLE CONTINUES AFTER ILLUSTRATION
The top of the Hendaye Cross
“The Cyclic Cross at Hendaye” is the next to last, or penultimate, chapter of Fulcanelli’s masterpiece. After wading through thickets of erudition and punning slang in the rest of Le Mystere, this chapter feels awash with the bright sunlight of its Basque setting. The description of the monument and its location is seemingly clear and direct. Even the explanation of the monument’s apparent meaning is simple and virtually free of the Green Language code used throughout the rest of the book. Or so it appears on the surface…
We can date Fulcanelli’s visit to Hendaye to the early 1920s because of his comment on the “special attraction of a new beach, bristling with proud villas.” 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 far south as Hendaye. Today, Hendaye-Plage, Hendaye’s beachfront addition, bustles with boutiques, dive shops and surfboard emporiums, having become a popular stopover for the young international backpack-nomad crowd.
Although Fulcanelli declares, somewhat disingenuously: “Hendaye has nothing to hold the interest of the tourist, the archaeologist or the artist,” 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 of operation against Toulouse at the close of the Napoleonic Wars. Hitler also paid a visit during World War II; in 1940 he parked his train car within walking distance of the cross at Hendaye.
The Cyclic Cross Of Hendaye
“Whatever its age, the Hendaye cross shows by the decoration of its pedestal that it is the strangest monument of primitive millenarism, the rarest symbolical translation of Chilaism, which I have ever met.” Coming from Fulcanelli, this is high praise indeed. He goes on to tell us “that the unknown workman, who made these images, possessed real and profound knowledge of the universe.”ARTICLE CONTINUES AFTER ILLUSTRATION
The Church of St Vincent in Hendaye
The Cross sits today in a very small courtyard just to the south of the church. There is a tiny garden with a park bench nearby. Standing about 12 feet tall, the Cyclic Cross at Hendaye looms over the courtyard, a mysterious apparition in the clear Basque sunlight. The monument is brown and discolored from its 300-plus years. The stone is starting to crumble and it is obvious that air pollution-the cross sits a few yards from 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 left before pollution wipes the images clean and the message disappears forever.
The base of local sandstone sits on a broad but irregular three-step platform, and is roughly cubic. Measurement reveals that it is a little taller than it is wide. On each face are curious symbols, a sun face glaring like some ancient American sun god, a strange shield-like arrangement of A‘s in the arms of a cross, an eight-rayed starburst, and most curious of all, an old-fashioned man-in-the-moon face with a prominent eye. Rising from this is a fluted column, with a suggestion of Greek classicism, on top of which stands a very rudely done Greek cross with Latin inscriptions. Above the sun face on the western side can be seen a double X figure on the top portion of the cross. Below that, on the transverse arm, is the common inscription, O Crux Aves /Pes Unica, “Hail, O Cross, the Only Hope.” On the reverse side of the upper cross, above the starburst, is the Christian symbol INRI.
In “The Cyclic Cross at Hendaye” Fulcanelli gives us a guided tour of this monument to the alchemy of time. He begins with the Latin inscription, which he interprets, in French from the Latin letters of the original, as: “It is written that life takes refuge in a single space.” Following this rendering, he casually suggests that the phrase means “that a country exists, where death cannot reach man at the terrible time of the double cataclysm.” What is more, only the elite will be able to find “this promised land.”
Fulcanelli moves on to the INRI, concluding that: “…we have two symbolic crosses, both instruments of the same torture. Above is the divine cross, exemplifying the chosen means of expiation; below is the global cross, fixing the pole of the northern hemisphere and locating in time the fatal period of this expiation.” His esoteric interpretation of INRI, “by fire is nature renewed whole,” goes directly to the issue of chiliasm and a cleansing destruction as a prelude to a re-created and Edenic world. Alchemy, according to Fulcanelli’s, is the very heart of eschatology. Just as gold is refined, so will our age be refined – by fire.ARTICLE CONTINUES AFTER ILLUSTRATION
Correspondences of Hendaye Cross and Tree of Life/Tarot images
Fulcanelli concludes the chapter with a series of metaphors: “The age of iron has no other seal than that of Death. Its hieroglyph is the skeleton, bearing the attributes of Saturn: the empty hourglass, symbol of time run out, and the scythe, reproduced in the figure seven, which is the number of transformation, of destruction, of annihilation,” Fulcanelli instructs us. “The Gospel of this fatal age is the one written under the inspiration of St. Matthew… It is the Gospel according to Science, the last of all but for us the first, because it teaches us that, save for a small number of the elite, we must all perish. For this reason, the angel was made the attribute of St. Matthew, because science, which alone is capable of penetrating the mystery of things, of beings and their destiny, can give man wings to raise him to knowledge of the highest truths and finally to God.
Because Fulcanelli so openly connected alchemy and the apocalypse, the true nature of a very specific Gnostic astro-alchemical meme emerged into public consciousness. This meant that the secret was no longer contained among the elect societies. For the first time since the age of the Gothic cathedrals, the meme had broken out of its incubational structures.
In a way, the cross and its message serve as proof that there are such things as secret societies. Found throughout history, these societies preserve and present the secret of the cross in various ways. The Kabbalah in Judaism, Sufic Islam, esoteric Christianity, Gnosticism, and the Hermetic tradition have been the keepers of these ideas. The central message of the three main Western religions, that of an eschatological moment in time, is the secret that also lies at the heart of the cross at Hendaye. The meme, the ability to understand the myth and its metaphors, seems to have survived only through the actions of these secret and insular groups.
The Cross at Hendaye stands today at the southwest corner of Saint Vincent’s Church, the busiest street corner in town. No one notices the ordinary looking monument with its message of catastrophe; perhaps it was intended to be that way. The secret hides in plain sight…
2003 by AlternativeApproaches.com
About the author: Vincent Bridges is a historian, shamanic therapist, and author who has written extensively on gnosticism, alchemy, and unsolved enigmas. He lives in North Carolina. He is co-author, with Jay Weidner, of The Mysteries of the Great Cross of Hendaye
The Mysteries of the Great Cross of Hendaye reveals one of Western occultism’s deepest secrets: The alchemical transformation of base metal into gold is also the transformation of the current Iron Age into the Golden Age. Based on the work of the enigmatic 20th-century alchemist Fulcanelli, the book illustrates how the greatest alchemical secret is that of time itself and that coded into an obscure monument in the Basque country of southwestern France – the cross in the town square of Hendaye – is the imminent date of the apocalypse. The authors’ explorations of this symbolism lead them from the cross of Hendaye in the Pyrenees, and the Gothic cathedrals of Europe, to ancient Egypt, the secret origins of Atlantis in Peru, and finally to the hidden kingdom of Shamballah to reveal that we are indeed living in a “fatal season” and that this season is intimately connected to our solar system’s alignment with the galactic center. Due to be released in September ’03, you can preorder now from Amazon.com.
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