Fulcanelli's Final Revelation:
Raising the Djed at the End of Time

Sunday, September 1st, 2002
By Jay Weidner and Vincent Bridges

Part Three

Early in our research, we came across the amazing Gnostic alchemical work "Isis the prophetess to her son Horus' in the Codex Marcianus, a medieval collection of Greek Hermetica. As we studied this text, we found a deep level of resonance to the clues from the monument at Hendaye. The angelic Amnael invokes the secret for Isis with these words: "I conjure you in the name of Fire, of Water, of Air and of the Earth; I conjure you in the name of the Heights of Heaven and the Depth of the Earth's Underworld; I conjure you in the name of Hermes and Anubis' As we noted in Monument, this part of the invocation creates the cube of space. It also points to the INRI in the sky with the planets in the appropriate elements, and brings in Hermes/Thoth and Anubis/Anpu, who preside over the Egyptian Day of Judgment.

As suggestive as these clues are, the key to Fulcanelli's trump card can be found in the odd Greek word kairoi. It is used in the "Isis the Prophetess" text in the sense of a specific situation or place of alignment: "'after the passing of the kairoi and the necessary movement of the heavenly sphere' Isis could not be initiated into the secret of alchemy until certain astronomical conditions in the sky were matched on the ground. Kairoi, which usually means location or place, with the implication of a sacred place, in this unusual usage means a situation or place of alignment. The word was interesting enough to leave in the original Greek in the quote we used in Monument.

But Fulcanelli's trump didn't fall until we decided to do an extra appendix to the third edition of Monument with better star charts of the "season of the catastrophe." The impetus for this was an article by astrologer Rush Allen on the Dire Gnosis 2012 website (http://www.siloam.net/NewYorkWTC/tribute/ae2002/index.html and http://www.diagnosis2012.co.uk/new.htm). Allen states: "The striking revelation of these star charts is that speculations regarding a monument (circa 1680 AD) in the town of Hendaye in the Pyrenees known as the "Monument to the End of Time" as reported at the Dire Gnosis 2012 web site have been verified. The charts reveal the ancient moment known as the "End of Time" will be properly passed at the moment of the autumn equinox in 2002."

He goes on: "The dark rift of the Coalsack contains a tear, which united with the Cross was represented by the Ankh. The Ankh represented life, for it was a symbol of a tear dedicated to rising above the trials of existence. In the Southern Hemisphere the "Pointers" are Alpha and Beta Centaurus. A line perpendicular to the mid point of these two stars intersects the long axis of Crux at the "bottom of the celestial sphere." Thus, the pillar in Hendaye is a metaphor for the Moment of the End of Time as established by the South Pole marker of the celestial axis…" We found this to be striking independent confirmation of our discovery that the Southern Cross was a true precessional marker.

Allen's charts were based on noon at about the location of Singapore. This showed the basic alignments, but Allen didn't seem to grasp the important of the Great Cross or the alignment to Galactic center on which it is based. Therefore, in our opinion, he was right in places for odd or obscure reasons. We decided that better star charts could show the Great Cross and the other signs on the monument with great clarity and precision. Which brought us back to exactly where on earth we should stand to make the observation.

Cairo was still the obvious choice, and as we already knew, dawn fell close to the moment of the equinox. This meant that the Great Cross would be precisely defined at sunrise. We turned to the Voyager II astronomy software for help.

Cairo at the moment of the Great Djed: 5:30 am 9/23/02

Our first star chart (chart C) shows the moment of the equinox/dawn on September 23, 2002 from the Giza Plateau in a 360 view with a galactic meridian/equator orientation. On the extreme right and left of the image is the north celestial pole, the point in space that corresponds to the north pole of our planet. If we bend this image around us, connecting at the NCP, then we have a sphere or globe with the poles of that globe, as marked by the coordinate lines, tilted away from the equator of the sphere, the galactic meridian. We also notice that the horizon line is now tilted at a 90-degree angle to the galactic meridian, which causes the zenith and nadir of the apparent sky to fall along the galactic axis from center to edge. In other words, the snakes of the ecliptic unite with the cross of the galactic alignment.

Saturn sits on the galactic antipodes in Gemini/Taurus and at dawn the zenith of the apparent sky aligns with this point. The nadir of the sky at that moment falls on galactic center, directly beneath our feet through the earth, echoing Amnael's "Heights of Heaven and the Depth of the Earth's Underworld." Also, and just at the latitude of Cairo, 30 degrees north, the galactic meridian stands straight up in the sky like a column of light or the mythical Djed pillar. This can be seen even more clearly in a 360 degree view centered on the horizon line. (See chart D. Also charts E and F show the same moment in different projections.)

So dawn at Cairo was certainly a propitious "situation" from which to observe the Great Cross. But we were still slightly worried that we were following a clue from Champagne, who drew the Frontispiece with the Sphinx, and not Fulcanelli himself. Fulcanelli seems, in the text of the Hendaye chapter, to be pointing in other directions. His "single space" of refuge is strangely undefined, and even the Peru Interpretation fails to point to a specific place identifiable on the ground that matches the alignments in the sky. The Cusco Caves and even the Urcos Cross, while they exist, do not match the Great Cross alignment when mapped on the ground. We must consider these clues as important informational diversions, not as markers of the place of refuge.

We turned back to Fulcanelli's words in the Hendaye chapter with renewed determination. Somewhere Fulcanelli must have hidden a definitive clue to the place of refuge, otherwise why would he go to so much trouble to set up his complex pattern of clues? An unsolvable mystery wouldn't have served his obvious purpose of communicating the secret. If Champagne's Frontispiece was the real location, then Fulcanelli himself must have known and recorded the secret in the Hendaye chapter. It was "up to us to find it" as Fulcanelli commented.

We found a great many useful clues that convinced us that our reasoning concerning Cairo and the dawn equinox were correct, but no smoking gun, no clear and unmistakable indication. We will examine the other clues a little later, but without a specific pointer from Fulcanelli they were not conclusive.

As we went over the paragraph in the Hendaye chapter concerning the place of refuge for the hundredth time, we finally noticed the footnote. At the end of the French sentence formed from the phonetics of the Latin letters, Fulcanelli adds a note on espace, space. In the note he points out that the usage of space is that of Tacitus' spatium, meaning place or situation, and that it corresponds to that of the Greek word Kairoi, from the root Kora.

The moment we transliterated the Greek words, we knew we had it, the smoking gun. Fulcanelli is pointing to the exact usage of kairoi in the "Isis the Prophetess" text. Even more interesting, kore, a phonetically similar word, is part of one Isis' hermetic titles, Kore Kosmica, or Virgin of the World. All of these words contain the key Greek consonants, Khi and Rho, X or K and R, familiar to us from early Christian iconography. In Monument, we published a photograph of a 1st century CE altar piece now in the Coptic Museum in Cairo. In this image, we see the Khi-Rho standing between two Djed like pillars flanked by Ankhs. Above, at the zenith of the sky's arc, we see a disk or circle with a smaller circle/disk inside. Below, under the Khi/Rho, we find a solar boat with the alignments of the cube of space. This collection of symbolic images is simply astounding and demonstrates the importance of the Khi-Rho, kairoi, kore/kora complex of ideas.

Fulcanelli, the master of the punning Green Language is here hiding the clue in plain sound. Cairo, from the Arabic Al Cahirah, the Conqueror or Redeemer, is phonetically Cai/Khi 'Äì ro/Rho. The single space, the specific kairoi, or place of alignment, is the Khi-Rho of Cairo, even more specifically, the monuments on the Giza plateau, which are the true monuments to the end of time. The monument at Hendaye is but a glyph pointing us to the Monuments on Giza.

The kairoi, the places of alignment on the ground, must match the Khi-Rho of the celestial Great Cross, so that we have two symbolic crosses. Fulcanelli informs us: "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." With this, Fulcanelli has told us, as plainly as he can, that Cairo/Khi-Rho, the pyramids on Giza, defines both the place and the moment of the alignment.

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