Secret_History

636 The Secret History of the World
It was certainly only after the exit of Frank, and after the exposure of Vincent
Bridges 421 as an “esoteric poseur”, to understate the matter, that the Work moved
to it’s present level of intense work and gathering of support from around the
world.
So, let me return now to the remarks about stars made by Canseliet made 20
years apart, that, juxtaposed, reveal something quite marvelous:
From the FIRST edition: I know, not from having discovered it myself, but
because I was assured of it by the author more than ten years ago, that the key to
the major arcanum is given quite openly in one of the figures, illustrating the
present work. And this key consists quite simply in a colour revealed to the artisan
right from the first work.
I suspect that the reader has, by now, figured out that Canseliet and Fulcanelli
were very tricky. And so, we look at this clue and try to think of what Canseliet is
saying. He says that the clue is in a “figure illustrating the present work”, that it is
revealed “right from the first work” and in the preface to the second edition, adds
the clue that the subject of the star “leads us straight into Fulcanelli’s text” saying
that “right from the beginning my Master has dwelt on the primary role of the
star…”.
We turn to the very beginning of Fulcanelli’s text where he writes:
The strongest impression of my early childhood - I was seven years old - an
impression of which I still retain a vivid memory, was the emotion aroused in my
young heart by the sight of a gothic cathedral. I was immediately enraptured by it.
I was in an ecstasy, struck with wonder, unable to tear myself away from the
attraction of the marvellous, from the magic of such splendour, such immensity,
such intoxication expressed by this more divine than human work.
Never does he mention a star. He mentions no color. He makes no reference to
an illustration.
Or does he?
What he does talk about is his emotional state, his ecstasy, and his age: Seven. It
occurred to me as I meditated upon this matter, that a number is also a figure, and
that the use of an “impression of childhood” is certainly an “illustration”. So, there
is, indeed, a “figure illustrating” something that might be a “key” to the “major
arcanum.” Seven and Ecstasy.
What to do with the number Seven?
I simply turned to chapter Seven and began to read.
Varro, in his Antiquitates rerum humanorum, recalls the legend of Aeneas saving
his father and his household gods from the flames of Troy and, after long
wanderings, arriving at the fields of Laurentum, the goal of his journey.
421 http://www.cassiopaea.com/archive/most.htm