Opus IX: Abode of Chaos / Demeure du Chaos 1999-2013
Is it to be considered a book? Or is it a magic object, each page of which being an original narrative of the Abode of Chaos rendered in a ground-breaking dreamlike vision. thierry Ehrmann: we put all our passion and folly into preparing this French-English Collector, the book of the decade: 504 pages / 4.5 kg / Square format – Edition bound – 11.8 in. x 11.8 in. and 1.97 inch-thick – includes the Opus IX from 1999 to 2013. A Note to Our Readers All the photographs, video stills, illustrations, handwritings, sketches, 3D modelling images, plans, maps and drawings are all part of the artworks and/or performances produced "in situ" at the Abode of Chaos. The images of artworks included in this book do not cover the Above of Chaos in its entirety but only a small part of it.
Is it to be considered a book? Or is it a magic object, each page of which being an original narrative of the Abode of Chaos rendered in a ground-breaking dreamlike vision. thierry Ehrmann: we put all our passion and folly into preparing this French-English Collector, the book of the decade: 504 pages / 4.5 kg / Square format – Edition bound – 11.8 in. x 11.8 in. and 1.97 inch-thick – includes the Opus IX from 1999 to 2013.
A Note to Our Readers
All the photographs, video stills, illustrations, handwritings, sketches, 3D modelling images, plans, maps and drawings are all part of the artworks and/or performances produced "in situ" at the Abode of Chaos.
The images of artworks included in this book do not cover the Above of Chaos in its entirety but only a small part of it.
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“FInIs glorIae mundI”<br />
Page 219<br />
"Finis Gloria Mundi" (La Fin de<br />
la Gloire <strong>du</strong> Monde) d'après une<br />
peinture de J. de Valdès Léal<br />
"Finis Gloria Mundi" (The End<br />
<strong>of</strong> the Glory <strong>of</strong> the World) after<br />
a painting by J. Valdes Leal<br />
Le troisième ouvrage de Fulcanelli,<br />
qui fut soustrait suivant le désir<br />
de son auteur, à toute éventuelle<br />
publication, s’intitulait “Finis Gloriae<br />
Mundi” (La Fin de la Gloire<br />
<strong>du</strong> Monde). Eugène Canseliet son<br />
disciple n’hésita pas d’ailleurs à<br />
l’évoquer de la manière suivante :<br />
“Dans la passive résignation des<br />
peuples asservis par le scientisme,<br />
je comprends mieux, après bientôt<br />
un demi-siècle, la ferme décision<br />
prise par Fulcanelli, que son troisième<br />
livre ne fût pas publié”.<br />
Il faut dire que Finis Gloriae Mundi<br />
désigne aussi le titre d’un saisissant<br />
tableau de Valdès Léal<br />
conservé à la chapelle de l’hôpital<br />
de la Sainte-Charité-de-Séville en<br />
Espagne.<br />
Lors de son séjour en Andalousie,<br />
Eugène Canseliet fut saisi par l’expression<br />
de ce macabre joyau.<br />
Cette scène intitulée Finis Gloriae<br />
Mundi, ainsi que l’indique le phylactère<br />
attaché au premier cercueil<br />
Fulcanelli’s third book, which<br />
he himself decided should never<br />
be published, was entitled Finis<br />
Mundi Gloriae (The End <strong>of</strong> the<br />
World’s Glory). Indeed, his disciple<br />
Eugene Canseliet spoke <strong>of</strong> it in<br />
the following terms: In the passive<br />
resignation <strong>of</strong> populations enslaved<br />
by scientism, I understand<br />
better, after nearly half a century,<br />
Fulcanelli’s firm decision not to<br />
publish his third book.<br />
Finis Mundi Gloriae is also the title<br />
<strong>of</strong> a striking painting by Valdes<br />
Leal kept in the chapel <strong>of</strong> the<br />
hospital <strong>of</strong> the Santa Caridad <strong>of</strong><br />
Sevilla in Spain. During his stay in<br />
Andalusia, Eugene Canseliet was<br />
impressed by this macabre gem <strong>of</strong><br />
vanitas art.<br />
The painting, as indicated by the<br />
phylactery attached to the first<br />
c<strong>of</strong>fin, is most disturbing because<br />
est si inquiétant puisqu’il semble<br />
bien que l’Eglise soit ici à jamais<br />
déchue au seul pr<strong>of</strong>it de l’éveil initiatique<br />
symbolisé par le chevalier<br />
simulant la mort.<br />
Souvenons-nous que “le juge viendra<br />
juger son peuple” et que le mot<br />
qui termine le premier des trois<br />
tomes de L’Esprit de la Salamandre<br />
est : FINIS. Même si ce mot est au<br />
premier abord <strong>du</strong>r à accepter pour<br />
le lecteur, la révélation n’en constitue<br />
pas moins la fin d’une étape,<br />
par le fait même qu’avec elle, il<br />
y a apport d’une chose nouvelle<br />
jusqu’alors maintenue cachée ou<br />
inintelligible.<br />
Ne les craignez donc point ; car<br />
il n’y a rien de caché qui ne doive<br />
être découvert,ni de secret qui ne<br />
doive être connu.<br />
Matthieu 10:26 (LSg)<br />
Par thierry Ehrmann depuis 1981<br />
it seems to depict a Church forever<br />
fallen for the sole benefit <strong>of</strong> the<br />
initiatory awakening symbolized<br />
by the knight simulating death.<br />
Let us remember that the judge<br />
will judge his people and the word<br />
that ends the first <strong>of</strong> the three volumes<br />
<strong>of</strong> The Salamander Spirit is<br />
FINIS. Even if the word is at first<br />
hard for the reader to accept, the<br />
revelation nonetheless constitutes<br />
the end <strong>of</strong> a stage, because with<br />
it, there is a contribution <strong>of</strong> something<br />
new hitherto kept hidden or<br />
unintelligible.<br />
Fear them not therefore: for there<br />
is nothing hidden that shall not be<br />
revealed; nor secret that shall not<br />
be known.<br />
Matthieu 10:26 (LSg)<br />
By thierry Ehrmann since 1981<br />
218 219<br />
sens saCré