Alchemy Journal Vol.7 No.3 Vol.7 No.3 Winter 2006 CONTENTS ARTICLES Fulcanelli's Most Likely Identity - Part II Fulcanelli's Identity II by Christer Böke and John Koopmans Al-chemia Remedies Planetary Attributions of Plants II FEATURES New Releases From the Fire Announcements Lectures EDITORIAL From the Editor Submissions Subscriptions Resources Return to Top The Illustration above was drawn by artist-alchemist Juliene Champagne. It is from a 1926 French edition of Fulcanelli: Mystery of the Cathedrals Edit ’ N t P t I f thi ti l bli h di th i i f th Page 1 Alchemy Journal Vol.7 No.3 Editor’s Note: Part I of this article was published in the previous issue of the Alchemy Journal. In this Part, the authors use the information and approach that was previously presented to review the case for several individuals who have been presented as possibly being Fulcanelli and then present their startling candidate for the true identity of the mysterious Master Alchemist. Why is Champagne Often Mistaken for Fulcanelli? The most popular version of Fulcanelli’s identity originated with Robert Ambelain, who carried out a considerable amount of research during the early 1930’s and claimed that Fulcanelli was none other than the painter Jean-Julien Champagne (1877-1932). This same conclusion was reached by Geneviève Dubois in Fulcanelli dévoilé (1992). Ambelain’s identification of Fulcanelli as Champagne was largely based on interviews with Jules Boucher. Boucher and Gaston Sauvage became Champagne’s disciples in 1922 and Boucher provided Ambelain with information which seems to indicate that Champagne had indeed played the role of Fulcanelli, or more correctly, that Champagne himself had claimed to be Fulcanelli. It is known that Boucher dedicated his book Manuel de Magie Practique (1941) to his ”master Fulcanelli.” The difficulty is not whether Champagne claimed to be Fulcanelli (he certainly did), but rather whether this was the actual truth or not. The fact that Champagne introduced himself Ambelain’s as Fulcanelli proves nothing in itself. identification of Fulcanelli as In addition to Boucher’s testimony, Ambelain also interviewed Jean Schemit, the Champagne was publisher of Le Mystère des Cathédrales, who told him that a stranger had visited him largely based on during 1926 who had argued for the relationship between gothic architecture and interviews with hermetic philosophy. Some weeks later the stranger, accompanied by Canseliet, Jules Boucher. returned and introduced himself as Champagne. Schemit had noticed that Canseliet Boucher and always treated Champagne with great dignity and always used the epithet “Maître” Gaston Sauvage (master). Because of these observations, Schemit concluded that Fulcanelli and became Champagne were the same person. Champagne’s disciples in 1922 In the book Fulcanelli Dévoilé, Geneviève Dubois presents arguments that are similar and Boucher to those of Ambelain. The only unique new finding of any significance is the provided interesting revelation of Champagne’s previously unknown relationship with the Ambelain with Egyptologist Réne Schwaller de Lubicz. The information reveals that Champagne had information told Lubicz that he was Fulcanelli. Lubicz subsequently made a red-pencil drawing of which seems to Champagne, which bears on its back the inscription “Fulcanelli.” Similarly, in the book indicate that Al-kemi by André Vanedenbroeck, there are numerous indications that also clearly Champagne had demonstrate that Lubicz believed that Champagne was Fulcanelli. For example, on indeed played page 76, Lubicz states that Fulcanelli was 10 years older than himself which is a the role of perfect match for Champagne who was born in 1877 while Lubicz was born in 1887. Fulcanelli, or more correctly, In addition, on page 131 of Fulcanelli Dévoilé, Dubois presents several dedications that Champagne from Fulcanelli to Lubicz which are obviously in Champagne’s own hand. There is a himself had similar dedication in Jules Bouchers copy of Le Mystère des Cathédrales which is in claimed to be Champagnes hand but signed as “Fulcanelli” (Les Cahiers de la Tour Saint-Jaques, Fulcanelli. It is number 9). known that Boucher All this makes it perfectly clear that Champagne did indeed often present himself as dedicated his “Fulcanelli,” but this does not necessarily mean that he actually was Fulcanelli. But book Manuel de why would Champagne pretend to be Fulcanelli if he wasn’t? Was it because he Magie Practique personally sought personal fame and glamour, or is it possible that there was another (1941) to his more profound motive? ”master Fulcanelli.” The There is indeed a possible motive that may explain many of the unusual difficulty is not contradictions that occur throughout this strange play-like story. Champagne may well whether have convincingly appeared to be Fulcanelli to many, because his part in the play Champagne Page 2 Alchemy Journal Vol.7 No.3 p g might actually have been to act as Fulcanelli on behalf of Fulcanelli’sown considered claimed to be motivation. By revealing himself as Fulcanelli to people such as Jules Boucher, Fulcanelli (he Gaston Sauvage and Schwaller de Lubicz, he would have been able to draw attention certainly did), but away from the actual Fulcanelli thus helping to preserve his true identity. It is also rather whether possible that the double visit to the publisher Jean Schemit mentioned earlier was not this was the just a whim, but a carefully planned strategy in order to set out a red herring and actual truth or hinder speculation. not. Champagne also provided another curious clue when he completed his last emblem in Le Mystère des Cathédrales (which unfortunately was taken away from the English version). This shows a knight hiding behind a helmet and a heraldic shield surrounded by the phrase: UBER CAMPA AGNA. Phonetically, this may be read as: “Hubert Champagne”. According to Jules Bouche, Champagne’s first name was indeed “Hubert”, a name which he got from his father. This clue was noticed by Ambelain as long ago as 1930, who obviously saw this as further evidence for Champagne’s identity as Fulcanelli. It is equally plausible to assume that this was only Champagne’s clever way of adding his final touch on his contribution as an illustrator of Fulcanelli’s book. Or it may have been done with the specific intention of spreading even further the belief that Champagne was actually Fulcanelli. Champagne and The Mysterious Mr. Devaux Let us now return to the mysterious Mr. Devaux, who we recall as the person administrating the contacts between Fulcanelli and Canseliet after Fulcanelli departed in 1922. Who he was may help shed some light on Champagne’s peculiar behaviour, of which we will have more to say below. Briefly then, Mr. Devaux, whose first name was Gaston, was none other than Champagne’s own brother-in-law! So we see that after 1922 all the contacts between Canseliet and Fulcanelli went directly through Gaston Devaux, Champagne’s brother-in-law. It is also very interesting to note that Dubois, in Fulcanelli Dévoilé states that all of the letter correspondence between Champagne and Lubicz was kept secret by cleverly routing all of Champagne’s mail directly to Devaux’s residence rather than to the apartment in which he lived. Thus Champagne managed to keep his relationship with Lubicz completely concealed from his other friends, such as Canseliet, Jules Boucher and Gaston Sauvage. This strange action may have been part of an involved strategy to keep his more private and important work secret (for example, Lubicz and Champagne worked together on reproducing the red and blue glass of Chartres). At the same time, he may have been trying to encourage Lubicz in the belief that Champagne and Fulcanelli were the same identity, without also causing any confusion in the mind of Canseliet since Canseliet knew that Champagne was not Fulcanelli. In fact, Canseliet often ridiculed this type of speculation by others for the rest of his life. This suggests that Canseliet himself may have been the victim of some mystification. On this point Dubois also agrees, because it is evident that Champagne kept his relation to Lubicz secret from the eyes of his other friends, including Canseliet. The curious reader is directed to Les Cahiers de la Tour Saint-Jaques (number 9) in which Robert Ambelain’s complete argument is to be found, along with a long reply by Canseliet in which he challenges and rejects all the points that attempt to identify Champagne as Fulcanelli. One must carefully keep in mind that Canseliet’s writings ARTICLES and interviews will always remain as the primary source of information for this type of research and, if one considers him to be a liar, then, it would seem very problematic Fulcanelli's to draw any positive conclusions about Fulcanelli’s identity whatsoever. Identity II The suggestion that Champagne may have deliberately assisted Fulcanelli as an Al-chemia agent to help secure his private identity may well encourage some of our readers to Remedies add our names to the growing list of conspiracy-lovers, but we wish to emphasize that thi i l h th i b d ti id It t b d i dth t Page 3 Alchemy Journal Vol.7 No.3 this is only a hypothesis based on supporting evidence. It cannot be denied that Planetary Champagne attempted to make certain people believe that he actually was Fulcanelli Attributions of and it would be remiss for us not to consider alternative motives for this strange Plants II behaviour other than just a simple attempt to impress others. If that was so, then why was Champagne’s own brother-in-law given the highly trusted role of acting as a FEATURES personal secretary to Fulcanelli? Further evidence of Devaux’s fraternal closeness to Fulcanelli can be found. According to Dubois in Fulcanelli dévoilé, page 122, Gaston New Releases Devaux possessed an exact replica of the golden baphomet ring, which Fulcanelli, as well as Champagne, is said to have worn. One may perhaps ask: was this the sign for From the Fire their secret pact? Perhaps we will never know. Announcements It is undeniable that the person behind the pseudonym of Fulcanelli wanted to remain anonymous forever. So, if the intention was to disappear and cover all trails, what Lectures would be better than adapting a pseudonym and also finding a person who would willingly act at being that person? All sources confirm that Jules Boucher and Gaston EDITORIAL Sauvage became Champagne’s disciples in 1922, during the exact same year that Fulcanelli departed. Obviously, Jules Boucher could not suspect any other candidate From the Editor likely to be Fulcanelli other than Champagne because at that time the true Fulcanelli had already departed! Submissions Another popular argument that Champagne was Fulcanelli is derived from the witness Subscriptions lady Labille, the door-keeper of 59 bis Rochechouart where both Canseliet and Champagne had lived in a small apartment. She said that only three people ever Resources came to visit Champagne: Canseliet, Jules Boucher and Gaston Sauvage. But one must note that Canseliet and Champagne only moved to 59 bis Rochechouart during Return to Top the early part of 1925 – three years after Fulcanelli’s departure. So this is not a reliable argument that Fulcanelli must have been one of these persons. One may therefore consider the strange actions of Champagne and Gaston Devaux as a carefully planned plot whose purpose was to lay a smoke-screen to cover the traces of the true Fulcanelli. Or one may consider the behaviour of Champagne as a vain attempt to create a mystical shimmering around his personality. It is up to the reader to decide. But what remains quite certain is that Champagne’s profile does not in any way match the few facts that Canseliet left regarding the secret identity of his master Fulcanelli. Profile of Fulcanelli’s Characteristics Based on the foregoing research, the following is a brief summary of the few characteristics that we now know about Fulcanelli: 1. He was born in 1839. 2. He died (“disappeared” or “departed”) either in 1923 or 1924 (the early part of 1925, “long before” October, is also possible but unlikely). It is possible that he died in the vicinity of Paris 3. He was an aristocrat. 4. He had a strange, eccentric appearance. 5. He was trained as an Engineer. 6. He had a strong chemical background 7. He had a possible architectural background 8. He was familiar with Paris. Page 4 Alchemy Journal Vol.7 No.3 9. Fulcanelli participated in the war of 1870-1871 between France and Germany. 10. He had a dignified, noble face with a beautiful smile. 11. His face was “bathed in long gray hair.” 12. He wore a “baphometic ring” of transmuted gold and of Templar origin. Another popular argument that Why Current Candidates Do Not Match the Profile Champagne was Fulcanelli is Equipped with the knowledge of Fulcanelli’s year of birth and approximate date of derived from the departure, we quickly saw that not one of the proposed candidates mentioned by witness lady other researchers were born in 1839, the specified year of Fulcanelli’s birth. Thus, it Labille, the door- is difficult to take any of those arguments seriously. In fact, the closest that any of the keeper of 59 bis proposed candidates comes in terms of the year of birth, is Pierre Dujols, who was Rochechouart born a full 23 years later! The following are the more popular candidates suggested where both by other researchers, along with their birth and death dates: Canseliet and Champagne had Pierre Dujols March 22, 1862 – April 19, 1926 lived in a small Jean-Julian Champagne January 23, 1877 – August 26, 1932 apartment. She René A. Schwaller de Lubicz December 7, 1877 – December, 1961 said that only Eugène Canseliet December 18, 1899 – April 17, 1982 three people ever came to Fulcanelli’s Most Likely Identity visit Champagne: Canseliet, Jules Using similar methods of research, logic, deduction and elimination, both Christer Boucher and Böke and John Koopmans independently arrived at the very same unique conclusion. Gaston Sauvage. Christer was first to arrive at the conclusion, while some time later, John’s own But one must rapidly narrowing research, focusing on a small list of French scientists/chemists, was note that almost immediately concluded when Christer pointed out the vital clue, Fulcanelli’s Canseliet and year of birth. Champagne only moved to 59 bis Our first task was to prepare a list of well-known French scientists and chemists born Rochechouart during the 1800’s. This produced a list of several dozen names. The next task was to during the early isolate those who were specifically born in the required year, 1839. This immediately part of 1925 – resulted in a single name: Comte Louis Marie Hilaire Bernigaud Chardonnet de three years after Grange, who was born on May 1, 1839 (Mayday). Imagine our surprise when we also Fulcanelli’s discovered that he died in Paris, on March 12, 1924! This satisfies the very restricted departure. So condition that he died (“departed”) either in 1923 or 1924, and possibly in the vicinity this is not a of Paris. Thus Chardonnet immediately passed the two most critical criteria in our list reliable of requirements. All that remained was to determine whether the other characteristics argument that matched the profile. Fulcanelli must have been one of Our research also indicated that: these persons. 1. Chardonnet was born into an aristocratic family at Besançon, and used the title “Count.” This satisfies the requirement that he was a French aristocratic. 2. Chardonnet trained first as a civil engineer at the École Polytechnique, Paris. This gave him a good background in the architectural principles expressed throughout his books and places him in Paris, giving him the required familiarity and access. Further, the fact that Fulcanelli was an engineer, as stated by Canseliet, is a perfect match to Hilaire Bernigaud Chardonnet who indeed was an engineer, educated at the famous “X”, École Polytechnique in Paris. This reminds us of Page 5 Alchemy Journal Vol.7 No.3 a certain passage which appears in Les Demeuresdes philosophes (Fulcanelli’s second book) in which the author curiously recounts a pun, once traditionally used by the students of the Polytechnic school: “In that sense, and in the slang of the students, it serves to single out the French Polytechnic school by securing the superiority that the ‘taupins and dear comrades’ of that school would not permit to be discussed or disputed. The best pupils, candidates to the school, are united in each promotion or ‘taupe’, by a cabalistic formula composed of an X in whose opposite angles the chemical symbols of sulphur and potassium hydrate are written: S X KOH This is pronounced, in slang of course, “soufre et potasse pour l’X.” [Translators note: literally sulphur and potassium for the X, but in ARTICLES French slang it means ‘suffer and swot up for the school’.] (The Dwellings of the Philosophers, p. 198-9). Fulcanelli's Identity II One may ask: how did Fulcanelli know about this somehow odd and very particular tradition, unless he had been very familiar with the student life of Al-chemia that school? If Fulcanelli himself had been at student at the School, he would Remedies naturally have came across this kind of information. As we have already stated, Hilaire Bernigaud Chardonnet was a student of the Polytechnique Planetary school which he entered during 1861. Attributions of Plants II 3. Chardonnet worked directly under Louis Pasteur, who was studying diseases in silkworms at the time. This work inspired Chardonnet FEATURES to seek an artificial replacement for silk which he first patented in 1884. This gave him an exceptional background in theoretical and practical chemistry and a recognized standing as a respected and New Releases knowledgeable chemist, the same type of background that Fulcanelli possessed. From the Fire 4. Chardonnet participated in the war of 1870-1871 between France and Announcements Germany, just as Fulcanelli was said to have done. During the war, Chardonnet was at Vernay which, at the time was not Lectures mobilized, but on his initiative, a national guard was established and Chardonnet was promoted to a Captain, and later Major of EDITORIAL Charette. From the Editor 5. It is clear from pictures of Chardonnet that he did have a somewhat “strange appearance” as Fulcanelli was reported to have. For Submissions example, see the picture of the first-day issue (March 5, 1955) of the stamp which commemorates him: Subscriptions http://perso.wanadoo.fr/joel.puissant/cartespers/chardonn.jpg Resources Not only did he sport a drooping mustache that joined an unusual, partial, Return to Top gray beard that extended to his collar, but the beard was shaved at the chin and the area of the neck below. This also matches the description of Fulcanelli, whose face was “bathed in long gray hair.” Brief Biography of Louis-Marie-Hilaire Bernigaud, Comte de Chardonnet Page 6 Alchemy Journal Vol.7 No.3 Chardonnet was born in Besançon, France, on May 1, 1839. He began his career by training to be a civil engineer in Paris (École Polytechnique), but later worked under the famous French biochemist, Louis Pasteur, who was studying diseases that were attacking French silkworms. In 1870-1871, Chardonnet participated in the war between France and Germany and was stationed at Vernay. In 1878 Chardonnet began his experimentation for producing artificial silk. In 1884, after experimenting with mulberry leaves, the food of silkworms, Chardonnet invented rayon (artificial silk, the beginnings of the synthetic fiber of today), the first manufactured fiber. He turned the mulberry leaves into cellulose pulp with nitric and sulphuric acids, dissolved this in alcohol and ether and then, by drawing Although we feel out the filaments of the fiber, he that we have coagulated them in heated air as the hereby alcohol and ether evaporated. He submitted his description of a process for producing established a the artificial nitro-silk to the Academy of Sciences on May 12, 1884 and was granted strong and the first of his 48 artificial silk patents. Previous attempts by the Swiss chemist supportable Georges Audémars, who invented the first crude silk in 1855 by dipping a needle into basis for the link liquid mulberry bark pulp and gummy rubber to make threads, was too slow to be between practical. The artificial silk that Chardonnet patented in 1884 was a cellulose-based Fulcanelli and his fabric initially known as Chardonnet silk. However, it was very flammable and was possible identity later removed from the market and the problem resolved by a method of denitration. as Chardonnet, Chardonnet opened a factory in Besancon in 1890 and another in Hungary in 1904. In this unique 1891 in Besancon, Chardonnet spun his first industrial artificial silk with a production theory is still in of 110 Kg/day. Chardonnet’s artificial silk made its debut at the Paris Exposition of its infancy and 1891 where it was immediately backed and became a success. In 1919 Chardonnet could benefit was elected as an official member of the Academy of Science. The term “rayon” was from further first used in 1924, the year of Chardonnet’s death, and at that time DuPont bought academic the rights for Rayon, paving the way for modern synthetics such as nylon and Lycra. research. Chardonnet died in Paris, on March 12, 1924. (Picture Credit: permission granted by Because of time Klaus Beneke, Sept. 29, 2003) and resource limitations, there Further Research are still many details pertaining Although we feel that we have hereby established a strong and supportable basis for to this theory the link between Fulcanelli and his possible identity as Chardonnet, this unique theory that remain to be is still in its infancy and could benefit from further academic research. Because of more fully time and resource limitations, there are still many details pertaining to this theory that researched remain to be more fully researched and/or verified. For example, the acquisition of a and/or verified. detailed biography of Chardonnet could provide additional facts, characteristics or For example, the circumstances that may possibly solidify the link between the man Chardonnet and acquisition of a the pseudonym Fulcanelli. Also, an examination of Chardonnet’s notes and writings detailed may reveal a particular style similar to the style used by Fulcanelli in his books. In biography of addition, in Alchimiques Mémoires in La Tourbe des Philosophes (May 12, 1979), Chardonnet Canseliet reveals that Fulcanelli’s residence was situated close to the Temple de could provide l’Amitié. The house is described as having 8 rooms and 12 windows and containing additional facts, an underground laboratory. A researcher could investigate whether any of characteristics or Chardonnet’s residences, while he stayed in Paris, matched the description and circumstances general location of the residence where Fulcanelli stayed. that may possibly solidify the link b t th Page 7 Alchemy Journal Vol.7 No.3 _________________________________ between the man Chardonnet and John Koopmans and Christer Böke encourage others to continue with this line of the pseudonym research and to share with us any further credible evidence that may either support or Fulcanelli. refute the theory as developed. For anyone willing to contribute any additional credible findings relating to this theory, please contact both of us at the following email address: [email protected] . Return to Top Al-chemia Remedies: Tools for Transformation By Leslie Zehr (Healilng Mandala from the Sun Temple in Egypt.) Egypt is well known for being the land of transformation. The word Alchemy comes from the ancient Pharaohnic name for Egypt “Al-chemia” meaning the fertile black soil. Al-chemia Remedies are a new line of energetic remedies prepared in Egypt. They are composed of the Egyptian Flower Remedies and Sacred Sites Remedies. These remedies work as environmental essence as well as flower essence. ARTICLES Egypt is a perfect location for making powerful remedies. Not only is it one of the Fulcanelli's world’s power points but the strong sun is conducive to making exceptionally strong Identity II remedies. Remedies are prepared by potentizing flowers, or a site, using sunlight as the catalyst for shifting the matrix of the water. Egypt with its abundance of potent, Al-chemia unobscured sunlight, is the perfect place for making powerful remedies. Remedies In making Flower Remedies only the flower heads are used. Rudolph Steiner’s work Planetary with plant signatures indicates that the flower is the most spiritual or etheric part of Attributions of theplant whichiswhytheflower rather thanthewholeplant isusedfor making Page 8 Alchemy Journal Vol.7 No.3 the plant, which is why the flower, rather than the whole plant, is used for making Plants II Flower Remedies. Being that these particular remedies were made in powerful energy centers, they are considered Environmental Remedies as well. FEATURES The Sacred Sites Remedies are only Environmental Remedies; no flowers were used in their preparation. The energy of the surrounding environment is captured in the New Releases matrix of the water. This is a similar condition to what we would feel being at these locations since our bodies are mostly water. From the Fire Water’s Divine Properties Announcements Flower Remedies are traditionally prepared by placing the flower heads on top of Lectures water. The sunlight shines through the energetic field of the flowers and is imprinted on the waters own energetic matrix, the bonds between the molecules. Water has the EDITORIAL unusual property that it can change its matrix under certain conditions. The water will maintain the energetic pattern of the substance being potentized even after the From the Editor substance has been removed. There need not be any physical substance present to retain the energetic pattern, which is very useful when using substances or plants that Submissions might be considered toxic. This Divine property of water is what is utilized in making both Flower Remedy and Homeopathic preparation. The ability of water to shift its Subscriptions matrix under varying conditions is well documented by Dr. Masami Emoto in his book: Messages from Water. Please see his work for a more in-depth explanation. Resources Vibrational Medicine through History Return to Top There are many types of Flower and Environmental Remedies from the Bach Flower Remedies to the Australian Bush Remedies and Gem Elixirs. All of them are prepared in a similar fashion using substances from different areas or the locations themselves. These Remedies cover a wide variety of mental and emotional states. Although Dr. Bach is thought of as the “father” of Flower Remedies, the practice of potentizing water dates back much further than his time in the 1930’s. The principle was also utilized by Hahnemann in the 19th century to prepare Homeopathic remedies, but the practice seems to date back even further to ancient times. (Periwinkle shown at right above.) There are artefacts in Egypt dating back thousands of years that appear to have been used to potentize water with glyphs and sacred geometry. Given the Pharaohs highly Egypt is well developed knowledge of plants and vibrational medicine, it is very likely that they also known for being had their own flower remedies, although no direct evidence has been found. the land of transformation. The Pharaohs had small sculptures or statues engraved with symbols and The word hieroglyphs. The sculptures had a flat back with engravings on it that led down to a Alchemy comes reservoir at the base where water could be collected. Water was poured over the from the ancient symbols and collected in the cup at the bottom. The collected water was then used, Pharaohnic probably imbibed, for healing. The water falling over the symbols would be similar to name for Egypt succussion (tapping), another method used for potentizing water, in which the “Al-chemia” imprinting is done by motion rather than sunlight. meaning the fertile black soil. At the Temple of the Sun, there are large vessels that that look like huge pots carved Al-chemia out of stone. These vessels were probably used to potentize water with sunlight. Remedies are a Some intuitives believe that the water potentized in these pots was used for color new line of healing. What was used as the medium to shift the matrix of the water is unknown but energetic Page 9 Alchemy Journal Vol.7 No.3 energetic even ordinary water, potentized by the sun, is how “holy water” is prepared, so remedies obviously it is not always necessary to use a substance to shift the matrix. prepared in Egypt. They are During Islamic times the practice of potentizing water was also commonly used. composed of the Special coins were left to soak in water for a period of time. The water was then Egyptian Flower utilized. It is believed that the metal from the coins, probably copper, as well as what Remedies and was engraved on the coins - usually prayers, blessings or the names of God - gave Sacred Sites the water its healing properties. Remedies. These remedies Modern Day Egyptian Flower and Sacred Sites Remedies work as environmental The first group of remedies to be prepared were the Flower Remedies. The majority essence as well of the flower remedies were prepared in August 2000. The number 2000 is an even as flower higher vibration of the number 20, the goddess energy, and the number of creation. essence. The last group of flower remedies, including the Easter Lily, were prepared “coincidentally,” on Easter of 2001. The flowers used to make the remedies were from a special garden that served as a temple for the flower Devas at that time. The Garden was on an island in the Nile south of Cairo, a sanctuary for the Devas. At the time the remedies were made, the garden emanated the High Priestess energy of Isis. It was a strong power point. Presently the energy has shifted and “the goddess doesn't live there any more.” This was the first clue that the energies WERE shifting here in Egypt and somehow needed to be preserved. The Devas have moved on but not before giving us a gift in the form of remedies. Their energy has been captured in the matrix of the water. The garden is dormant now as the goddess makes her trip into the underworld preparing to emerge again in 2012. The Egyptian Flower Remedies have the distinction of having one moon preparation. Maleket El Leil is a night blooming flower, so it is only fitting that the remedy be potentized at night. The flower gives off its fragrance from sunset to sunrise giving the plant itself lunar qualities. Because it speaks to us at night, a moon preparation was prepared during the full moon. The moon remedy has similar properties to the sun preparation but they are much more subtle in quality. The remedy is more lunar in nature, using reflected light to potentize the water rather than direct sunlight. The second group, the Sacred Sites Remedies, was developed in my continuing search for the goddess energy in Egypt after it had left the garden. This group holds the energy of the goddess/neter Hathor, mother earth. The word ‘neter’ was incorrectly translated by archaeologists as god/goddess. The word actually means archetype or aspect of nature. The Pharaohs were a shamanic culture; they used archetypes and totems to represent aspects or essences of nature. The word Nature, in almost all languages, comes directly from the word neter (originally ntr as there were no vowels in the ancient language) only the vowels are changes in each language; the consonants remain the same, n-t-r. Rather than being transmitted through a flower, the goddess energy is captured from a power point, an environment, rather than through Devas (messengers). Plants are dynamic and have relatively short life cycles, especially flowers, but crystals and rock are much more stable. Once the stones are programmed, the energy patterns can remain stable for thousands of year, perhaps longer. The last two remedies were prepared at two different sites in Egypt, both very significant power points. The first was at Dendara Temple, north of Luxor. Dendara is Hathor’s Temple. The remedy was made in the Chapel of the Union, May 2004. The Chapel is an open room on the roof of the temple. The room was originally used to potentize a statue of Hathor. What better place to potentize a Remedy than in the spot where the potentizing of Hathor’s statue had take place in ancient times? The second power point used is in Giza, at the Temple of the Sun. This temple has Page 10