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Infinity
Jay Weidner
Directed by
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Sophia
Returning

John Lash
Directed by
Jay Weidner
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Alchemy of
Qi Gong Vol. 1
Pedram Shojai

Directed by
Jay Weidner
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Alchemy of
Qi Gong Vol 2

Pedram Shojai
Directed by
Jay Weidner
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Alchemy of
Qi Gong Vol. 3

Pedram Shojai
Directed by
Jay Weidner
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Timewave
2013
Sharron Rose
Produced by
Jay Weidner
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The Alchemical
Dream
Terence McKenna

Distributed by
Sacred Mysteries
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Star Dreams
Robert Nichol
Distributed by
Sacred Mysteries
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2012
The Odyssey
Sharron Rose

Produced by
Jay Weidner
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Healing the Luminous Body
Alberto Villoldo

Directed by
Jay Weidner
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Secrets of
Alchemy
Jay Weidner

Directed by
Jay Weidner
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Art Mind
Alex Grey
Directed by
Jay Weidner
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Healing Sounds
Jonathan Goldman
Directed by
Jay Weidner
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Yoga of Light
Sharron Rose
Directed by
Jay Weidne
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Nada Yoga
Shanti Shivani
Directed by
Jay Weidner
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Alchemical Healing
Nicki Scully
Directed by
Jay Weidner
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Quantum Astrology
Rick Levine
Directed by
Jay Weidner
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Network X interviews Jay Weidner

Santa Barbara, California January 2004

Network X: Wasn’t he was on your show many times during that time period?

Jay Weidner: Yes, he was a favorite of the listeners and mine. Even though I knew all of these things about alchemy and the Cross at Hendaye I still didn’t have enough information to get anyone really interested in helping me financially. I had decided to devote my life to the quest of understanding the Fulcanelli/Hendaye puzzle and was frankly looking for help.

By early 1995, I had decided to concentrate completely on the Latin inscription that was engraved in the top of the cross, which reads:

OCRUXAVES

PESUNICA.

I wrote out the inscription on a piece of paper and carried it with me all of the time. I also carried with me a copy of Fulcanelli’s description of the Latin inscription. One can read about this in my 2 books but needless to say I had decided to break the code of the inscription. For many months I lay the paper with inscription out in front of me and would just stare at it. I found out a lot of other ways to reword and rephrase the inscription. Some made more sense than others. This process is all laid out in the books. One day though, while waiting in my car for someone, I laid out the page on the seat and I let my eyes go out of focus as I looked at the words. I remembered Fulcanelli’s description that the phrase is describing a place of refuge ‘and we learn that a county exists, where death cannot reach man at the terrible time of the double cataclysm’.

I suddenly realized that the letter ‘X’ in the word Ocruxaves lay at the center of the inscription. I decided to make the ‘X’ the representation of the Cross it self. When I did that it created four separate words surrounding the central ‘X’:

OCRU X AVES

PESU NICA

Following Fulcanelli’s prescription, I made the ‘X’ a ‘S’ and now with a subtle change in letters I had an inscription instead of saying:

OCRUXAVES

PESUNICA

was now saying:

CUSCO CAVE

PERU INCA

or

‘Inca Cave Cusco Peru’.

Stunned by this discovery and remembering that Fulcanelli says that the inscription describes a country of refuge my heart pounded in my ears. Realizing that this was probably not a coincidence or some kind of fantasy I began going over the inscription — changing and altering it in any way that I could. One of the very first things that I discovered in this exercise was that by displacing the ‘S’ in the top line of the inscription I made the word:

OCRUXAVES

into:

SOCRUXAVE.

When I did this I also came up with a secondary message that actually enforced the first message. Reading backwards I got:

AVE

X

and reading the rest of the letters backwards I got:

URCOS

or to complete the sentence:

HAIL TO THE CROSS AT URCOS

Not knowing what ‘Urcos’ meant I looked it up the words in an Atlas and found that 20 miles away from Cusco was a town called Urcos.

Now I was blown away. Besides beginning to read everything I could on the history of Peru I now had something that would allow me to show that the research had actually accomplished something. I placed my breakdown of the Latin inscription out on some large pieces of cardboard to use for demonstrations and began looking for some help in the investigation.

But before I go on with my story, I must tell you that one of the very first things I discovered when I looked into the history of Peru was the 16th century book, Chronicle of Felipe Guamen Poma de Ayala. In the book I discovered the drawing by Ayala, which shows the symbols of the cross at Hendaye in ancient Peru. The evidence was now building that the Cross at Hendaye and the writings of Fulcanelli were anything but unimportant. With renewed interest I plunged into The Mystery of the Cathedrals again looking for more secrets.

 

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