Secret_History

Chapter 9: Percy-ing the Veil 333
and if the material we have uncovered is correct, then it means that everyone has
been looking in the wrong places for the wrong things, for the wrong reasons.
The deeper explanation is that the story of Jesus, as we have received it in the
gospels, is a historicized and glossed myth that contains within it the clues to a
certain “preparation” of the initiate for the function of the “descent” of the
benevolent God, or, as Diodorus has put it, “a certain virtue or urano-diurnal
force having assumed the form of a star”. In short, we find ourselves again
thinking of Edward Leedskalnin and his spinning airplane seat, and the dance of
the god of the Hyperboreans every nineteen years, according to some “scheduled”
interaction between the three body system of the Sun, Moon and Earth, that
facilitates a gravitational node as described by Jessup.
Going back to Fulcanelli, we find that his discussion of the origins of the Gothic
cathedrals is most interesting. He tells us that the term “gothic”, which imposed its
rules on all the productions of the Middle Ages, from the twelfth to the fifteenth
century, was not an inheritance of ancient Germanic peoples as many “experts”
suppose, but was rather a production of the descendants of the Argotiers, or
Argonauts. He then speaks of the journey to Colchos, the land of the Golden
Fleece, and that art got is really art cot, or the art of light of the spirit. Fulcanelli
then makes a most amazing remark:
The fact is that there is neither chance nor coincidence nor accidental
correspondence here below. All is foreseen, preordained, regulated; and it is not for
us to bend to our pleasure the inscrutable will of Destiny. 233
Again and again we find Fulcanelli suggesting the existence of a
hyperdimensional reality in which our own world is “embedded”, and from which
our reality takes its form as a shadow cast upon the cave wall described by Plato.
As we continue to think in these terms, it becomes more and more apparent that
this Great Work of the alchemists was essentially the process of becoming “free of
the Matrix”, described in alchemical and allegorical terms.
Fulcanelli then takes us through several remarks about the symbolism of the art
cot, until he brings us to the ornamentation of the floors of cathedrals. Here, he
connects us to Fomenko’s ideas by remarking that the art of ceramics had reached
perfection, and the use of multi-colored marble, in the manner of the Byzantine
mosaics, was also utilized. The Labyrinth at Chartres designated by Fulcanelli as
La Lieue (the league) and Le Lieu (the place) is described, and finally he tells us
that there used to be a scene of the combat of Theseus and the Minotaur at the
center. He then remarks that the point is to make a connection between the mythohermetic
meanings rather than to establish any connection to the famous
constructions of antiquity, the labyrinths of Greece and Rome.
233 Ibid., p. 43.