Fulcanelli

The Dwellings of the Philosophers — Fulcanelli (OCR de circulación libre, 2011) [DECLARADA]

Finis Gloriae Mundi — Fulcanelli (edición española de 2001) [DECLARADA]

Le Mystère des Cathédrales — Fulcanelli (ed. norteamericana de Brotherhood of Life) [DECLARADA]

Alquimia · Transmisor

«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 immen» — cuenta su primer contacto con la catedral gótica, siendo niño, y lo dice en arrebato; el tramo se corta en el guion de fin de renglón donde el troceo parte el chunk.

«Since then, the vision has been transformed, but the original impression remains. And if custom has modified the spontaneous and moving character of my first contact, I have never acquired a» — declara qué le quedó de aquello: transformada la visión, la impresión original permanece.

«In the steps of Gobineau de Montluisant, Cambriel and all the rest, we shall undertake the pious pilgrimage, speak to the stones and question them.» — declara la genealogía en que se inscribe para su propia lectura de las piedras.

«First of all it is necessary for me to say a word about the term gothic as applied to French art, which imposed its rules on all the productions of the Middle Ages and whose influence extends from the twelfth to the fifteenth century.» — abre la discusión del término gótico aplicado al arte francés y sitúa su influencia entre los siglos XII y XV.

«However that may be, and in spite of these regrettable mutilations, the motifs still extant are sufficiently numerous to repay the time and trouble of a visit. Indeed I shall consider myself satisfied and amply rewarded if I have been able to awaken the curiosity of the reader, to hold the attention of the shrewd observer and to show to lovers of the occult that it is not impossible even now to rediscover the meaning of the secrets hidden under the petrified exterior of this wondrous book of magic.» — declara con qué se daría por satisfecho y recompensado: despertar la curiosidad del lector y retener la atención del observador sagaz.

«For me, gothic art (art gothique) is simply a corruption of the word argotique (cant), which sounds exactly the same. This is in conformity with the phonetic law, which governs the traditional cabala in every language and does not pay any attention to spelling.» — da su propia lectura, que es el ejemplo mayor de la cábala fonética en el libro, y declara la ley fonética en que la funda.

«People think that such things are merely a play on words. I agree. The important thing is that such word-play should guide our faith towards certainty, towards positive and scientific truth, which is the key to the religious mystery, and should not leave us wandering in the capricious maze of our imagination. 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.» — concede que son juegos de palabras y a la vez declara qué espera de ellos, y niega que haya azar o coincidencia.

«Finally I would add that argot (cant) is one of the forms derived from the Language of the Birds, parent and doyen of all other languages-the one spoken by philosophers and diplomats. It was knowledge of this language which Jesus revealed to his Apostles, by sending them his spirit, the Holy Ghost. This is the language which teaches the mystery of things and unveils the most hidden truths.» — declara el argot forma derivada de la Lengua de los Pájaros y adjudica a Jesús haberla revelado a los apóstoles.

«Let us not forget that around the luminous cross, seen in a vision by Constantine, appeared those prophetic words, which he adopted on his standard: In this sign thou shalt conquer. Remember too, my brother alchemists, that the cross bears the imprint of three nails used to sacrifice the Christ-body: an image of the three purifcations by sword and fire.» — se dirige a sus hermanos alquimistas y lee los tres clavos de la cruz como imagen de las tres purificaciones.

«My intention is not to write, as Batsdorff did, a special treatise on what this thread of Ariadne is, which enabled Perseus to fulfil his purpose. But in laying stress on the cabala, I hope to furnish shrewd investigators with some precise information on the symbolical value of the famous myth.» — declara el límite de lo que va a hacer y lo que en cambio espera aportar al investigador sagaz.

«Since this sign is of the greatest interest to the alchemist-is it not the star which guides him and which announces to him the birth of the Saviour?-it would be useful here to collect certain texts recounting, describing and explaining its appearance. I shall leave to the reader the task of making useful comparisons, of co-ordinating the versions and of picking out the positive truth, which is com» — deja al lector la tarea de comparar las versiones y sacar la verdad, en vez de darla hecha.

«As for the statuettes of Isis-I am speaking of those which escaped being Christianized-these are even rarer than the black Virgins.» — señala la rareza de las estatuillas de Isis no cristianizadas.

«Having disposed of these preliminaries, we must now undertake a hermetic study of the cathedral and, in order to limit our investigations, I will take, as a type, the Christian temple of the French capital, Notre Dame of Paris.» — declara el objeto del estudio y por qué acota: toma Notre-Dame de París como tipo.

«Many interpretations have been given of these strange expressions applied by the common people to an image, which the archaeologists have not been able to identify. The best explanation is the one given by Amkdke of Ponthieu,s2 which seems to me all the more interesting since the author, who was not a hermeticist, judges without prejudice and without any preconceived idea.» — declara por qué prefiere la explicación de un autor que no era hermetista: juzga sin prejuicio ni idea preconcebida.

«I am sorry not to be able to say more about this magnificent emblem, which had the first place reserved for it in the gothic basilicas. No precise and detailed description has come down to us of those great figures, those groups, which were admirable in their teaching, but which a superficial and decadent age removed, without even the excuse of urgent necessity.» — declara su pesar por no poder decir más y objeta a una época que él llama superficial y decadente el haber retirado esas figuras.

«Behind such acts there must obviously have been powerful motives. Although they do not appear to me to be justified, we can, however, find their cause in the symbolical expression drawn from the legend condensed4oubtless all too clearly-by the image.» — propone su hipótesis sobre las destrucciones y a la vez declara que los motivos no le parecen justificados.

«Finally, let me add that the esoteric tradition of the Fountain of Life or the Fountain of Youth may be found in material form in the sacred Wells associated with most gothic churches in the Middle Ages. The water drawn from them was usually thought to have curative value and was used in the treatment of certain illnesses.» — dice dónde la tradición de la Fuente de la Vida tomó forma material: los pozos sagrados de las iglesias góticas.

«Immediately above these figures are reproduced two subjects, which seem to form a complement to them, but, since the esoteric meaning is here hidden behind sacred subjects and scenes from the Bible, I shall avoid speaking about them, to evade reproach for an arbitrary interpretation. Some great scholars among the ancient masters have not been afraid to explain the parables of scripture in alchemical terms, since they may be interpreted in so many ways. Hermetic Philosophy often invokes the authority of Genesis as an analogy to the first task of the Work. A number of allegories from the Old and New Testament take on an unexpected aspect when related to alchemy. Such precedents should both encourage me and present me with an excuse. However, I prefer to use only those themes which are of an indisputably profane nature, leaving gentle investigators to draw their own conclusions about the others.» — declara que evitará hablar de ciertos motivos para no exponerse al reproche de interpretación arbitraria.

«Here I touch on the greatest secret of the Work. Remembering, alas, that I myself was held up by this difficulty for more than twenty years, I would gladly cut this Gordian knot for the benefit of those aspiring to our Science, were I allowed to profane a mystery, whose revelation rests with the Father of Lights.» — se impone una reserva en el punto que declara mayor secreto de la Obra, y dice haber quedado detenido en él más de veinte años.

«To my great regret, I can do no more than point out the danger and, in company with the most eminent philosophers, advise you to read attentively Artephi~s,~~ PontanusZ1 and the little work, entitled: Epistola de Igne Philosophorum.» — declara lo único que se permite: señalar el peligro y remitir a Artefio, Pontano y la Epistola de Igne Philosophorum.

«Now, the matter which is used to prepare it is the very object of the fourth motif: a man shows an image of the Ram and holds in his right hand an object, which unfortunately cannot be distinguished today (pl. IX). Is it a mineral, a fragment of an emblem, a utensil, or a piece of material? I do not know. Time and vandalism have had their way.» — declara no saber qué sostiene la figura del cuarto relieve y adjudica el deterioro al tiempo y al vandalismo.

«Up to now I have spoken theoretically about the colours, as the Masters have done before me, in order to act in accordance with the philosophical doctrine and with traditional usage. Perhaps it may now be in order to write for the benefit of the Sons of Science in a practical rather than a speculative way and thus to discover the difference between similitude and reality.» — anuncia el cambio de registro, del modo especulativo al práctico, para los Hijos de la Ciencia.

«In order to give some idea of the scope of this colour symbolism and especially of the three major colours of the Work, we may note that the Virgin is always represented draped in blue (corresponding to black, as I shall show later), God in white and Christ in red.» — propone la correspondencia de los tres colores mayores de la Obra con el atavío de la Virgen, de Dios y de Cristo.

«We believe that we have fulfilled our purpose and demonstrated, as much as it has been possible to do so, that the ancestor of modern chemistry is not the old and simple alchemy but ancient spagyrics, enriched with successive contributions from Greek, Arabic, and medieval archemy.» — cierra el libro primero de Les Demeures repitiendo su tesis sobre el ancestro de la química moderna; el verbo de logro es del propio texto y va dentro de las comillas.

«In order to make the students more responsive to the particular value of the emblems analyzed, we shall respect the order of the work without allowing ourselves to be guided by considerations of architectural logic or aesthetic nature.» — declara el orden que seguirá: el de la obra, sin dejarse guiar por lógica arquitectónica ni estética.

«Therefore, we shall not attempt to comment in clear language, as we have done up to now, on the ambiguous and rather allegorical sentence of Flamel.» — declara que no comentará en lenguaje claro la frase alegórica de Flamel.

«I want to remain as obscure on this point as I have been clear up to here» — declara su voluntad de quedarse oscuro justo en ese punto tras haber sido claro hasta ahí.

«But before taking leave of our reader, by thanking him for his benevolent attention, we shall cast a last glance over the secret science as a whole.» — se despide del lector anunciando una última mirada de conjunto a la ciencia secreta.

«At Fulcanelli’s, Canseliet met Jean Julien Champagne (1877-1932), who is often presented as having been the real Fulcanelli.» — Caron enuncia el nudo del caso como versión ajena y no como hecho: a Champagne se lo presenta a menudo como el Fulcanelli verdadero.

«He visited Fulcanelli, who had returned to Paris after the Armistice in 1918, and Champagne, who from 1925 to 1932 occupied a room adjoining Canseliet’s.» — Caron sitúa a Fulcanelli de vuelta en París tras el armisticio de 1918 y a Champagne en un cuarto contiguo al de Canseliet de 1925 a 1932.

«As far as one can tell, the name of Fulcanelli appeared for the first time in Spring, 1926, on the cover of the first of two works published under this pseudonym: Le Mystére des» — el Dictionary of Gnosis and Western Esotericism, en la entrada firmada por Richard Caron, fecha con cautela la primera aparición del nombre en la primavera de 1926, en la cubierta del primero de los dos libros firmados con ese seudónimo.

«At this point Fulcanelli disappeared from Canseliet’s life, but the latter remained closely linked to Champagne by friendship and alchemical researches right up to the painter’s death.» — Caron hace notar la coincidencia que alimenta la discusión entera: Fulcanelli desaparece mientras el vínculo con Champagne dura hasta la muerte del pintor.

«Despite the absence of tangible evidence, or perhaps because of that, several investigations, biographies, and articles on Fulcanelli and _ his presumed identity have been published from the 1960s onwards, and especially since 1980.» — Caron explica por la falta de evidencia tangible, o gracias a ella, la proliferación de investigaciones desde los años sesenta.

«The “Schwaller hypothesis”, according to which the essential ideas of Le Mystere des cathédrales were supplied by Schwaller de Lubicz, developed (perhaps with further assistance from others) by Jean Julien Champagne who hid behind the pseudonym of Fulcanelli, and seen through publication by Canseliet, is supported by Genevieve Dubois, who has published a letter from Canseliet to Schwaller that confirms some of VandenBroeck’s information.» — Caron enuncia la hipótesis Schwaller con su dueño: las ideas esenciales de Schwaller de Lubicz, desarrolladas por Champagne bajo el seudónimo y publicadas por Canseliet, tesis que sostiene Geneviève Dubois.

«The other hypotheses of Fulcanelli’s identity (that he was Pierre Dujols, Camille Flammarion [F. Courjeaud 1995], Jules Violle [P. Riviere 2000], etc.) are unsupported by any documents, proofs, or concrete evidence, and as such can only appeal to opinion, not to the slightest historical validity.» — Caron enumera las demás identificaciones con su proponente —Pierre Dujols, Camille Flammarion por F. Courjeaud en 1995, Jules Violle por P. Rivière en 2000— y las declara sin documento ni evidencia concreta.

«The importance and fascination of the question of Fulcanelli’s identity should not obscure the great» — Caron advierte que la fascinación por la identidad no debe tapar el interés de las dos obras; la frase se corta porque la plana repite su marcador a mitad, por corte de columna.

«Fulcanelli appears as a Christian Hermeticist rooted in the classic texts and especially in the French tradition, from > Nicolas Flamel to the early 19th century writer Cyliani (the manuscript reputedly discovered by Champagne, which led to his experiments with Schwaller, dated from Cyliani’s time).» — Caron lo sitúa, con verbo de apariencia, como hermetista cristiano arraigado en la tradición francesa de Flamel a Cyliani.

«A copy of his work La Clef de la Magie Noire (The Key to Black Magic) that had belonged to Jules Boucher was annotated by Fulcanelli on the pages dealing with alchemy.» — Dubois consigna un objeto físico de los pocos que el caso ofrece: un ejemplar de Guaita que perteneció a Jules Boucher, anotado por Fulcanelli en las planas de alquimia.

«If Canseliet was of prime importance in the distribution of the work of Fulcanelli, he was similarly key to the tenacious spreading of the legend.» — Dubois distingue dos papeles de Canseliet y los pone al mismo nivel: la difusión de la obra y la propagación tenaz de la leyenda.

«In 1975, in the course of a conversation in Salt Lake City, Eugène Canseliet confided to Frater Albertus that Fulcanelli had made a second transmutation in the fall of 1937.» — Dubois data en 1975 la confidencia de Canseliet a Frater Albertus sobre una segunda transmutación en el otoño de 1937.

«All his life he wove the veil that was intended to establish the Fulcanelli myth.» — Geneviève Dubois enuncia su adjudicación en una línea: la construcción del mito fue obra de Champagne y le llevó toda la vida.

«Champagne devoted years to maintaining the fiction of Fulcanelli’s vocation as an adept. He had launched this fiction, and it was maintained by the whole group around him, all of whom must have promoted the myth: Gaston Sauvage, the Chacornacs, Pierre Dujols, Canseliet, Jules Boucher.» — Dubois reparte la responsabilidad: Champagne lanzó la ficción y el grupo entero la sostuvo, con Sauvage, los Chacornac, Dujols, Canseliet y Boucher nombrados.

«Eugène Canseliet placed the birth of Fulcanelli in 1839, the year of the establishment of this lodge.» — Dubois da 1839 como el año de nacimiento que Canseliet atribuía a Fulcanelli, y lo hace coincidir con la fundación de una logia.

«He always called Champagne Fulcanelli.» — Dubois consigna en una línea la identificación que Schwaller de Lubicz hacía.

«Later he said to André VandenBroeck, “I’ve been taken by Fulcanelli, my ideas have been taken; well, at least now it’s written down.”» — Dubois transcribe por André VandenBroeck la reacción de Schwaller; es el testimonio más fuerte de su tesis y es de segunda mano.

«This is how it came about that, on June 15, 1926, Le Mystère des Cathédrales was published, by Jean Schémit in Paris, under the pseudonym Fulcanelli, and to the considerable amazement of Schwaller, who was at the time at Suhalia in Switzerland.» — Dubois data el 15 de junio de 1926 la publicación por Jean Schémit bajo el seudónimo.

«In this way Robert Ambelain demonstrated that Fulcanelli was Champagne and that Champagne had signed his book in a cabalistic manner.» — Dubois enuncia la conclusión de Robert Ambelain y la suscribe sin matizarla; el verbo de logro es del texto y va dentro de las comillas.

«It is during this period that René Schwaller drew a portrait of his collaborator: a drawing in red ink in which Champagne appears with long hair, as he liked to wear it. The work is dated 1930 and carries on the back the annotation “Fulcanelli”» — Dubois presenta como pieza mayor el retrato de Champagne dibujado por Schwaller, fechado en 1930 y anotado al dorso con el seudónimo.

«It seems that despite the numerous contradictions found in Eugène Canseliet’s writings about the details of his life in association with Fulcanelli and of Fulcanelli’s identity, Canseliet was the object of manipulations of which he was too young to be aware.» — Dubois enuncia con reserva su lectura de Canseliet como víctima y no cómplice de las manipulaciones.

«Upon his arrival, Fulcanelli (remember that he was born in 1840) was there and asked Canseliet: “Do you recognize me?”» — en la versión de Jacquemart el paréntesis es de Dubois y da 1840, donde en otra plana había dado 1839; las dos cifras se consignan y no se arbitran.

«Fulcanelli is the pseudonym of [an] individual about whom, out of respect for the hermetic rule of silence, I cannot speak in any other way. This Fulcanelli is still alive. He is mandated by the White Brotherhood to assist in the evolution of humanity. This is a true Rosy-Cross. He is sometimes in Brazil, sometimes in Argentina, wandering through the world in the manner of the Rosy-Cross of olden times. Right now he is in the south of France. He is a master with amazing powers.”» — la respuesta que Pierre Geyraud atribuye a Canseliet en un banquete de 1936: Fulcanelli sigue vivo, mandatado por la Fraternidad Blanca, un verdadero Rosacruz errante.

«In 1979, in the meeting between Jacques Pradel and Eugène Canseliet on France-Inter, the same story turns up again, but the apparent age of Fulcanelli is specified: from his looks, about fifty, although he should have been 113.» — Dubois data en 1979 la versión radiofónica del relato de Sevilla y anota lo que añade: edad aparente de cincuenta años frente a los ciento trece que le tocarían.

«Robert Amadou in his series of articles on the Fulcanelli affair in L’Autre Monde (1983) discloses that Jacques Bergier, “after learning that he was terminally ill,” confided to him that Fulcanelli was Schwaller de Lubicz.» — Dubois consigna en nota, sin comentarla, una adjudicación distinta de la suya: la de Jacques Bergier a Robert Amadou, que identificaba a Fulcanelli con Schwaller de Lubicz.

«A few weeks later, Schémit was introduced to the man again, this time as Jean-Julien Champagne, the illustrator of a proposed book by a mysterious alchemist called Fulcanelli. Schémit thought that all three, the visitor, the author, and the illustrator, were the same man. Perhaps they were.» — Weidner y Bridges cuentan el encuentro del editor Jean Schémit y su impresión de que el visitante, el autor y el ilustrador eran un solo hombre.

«At the time, no one else but Schémit seemed to believe that Jean-Julien Champagne was Canseliet’s master, Fulcanelli.» — y consignan que, salvo Schémit, nadie por entonces tomaba a Champagne por el maestro de Canseliet.

«Champagne certainly did know a real alchemist, though, whoever Fulcanelli was, and his illustrations show that he indeed had a more than passing familiarity» — acotan la negativa sin resolverla: Champagne trataba a un alquimista real, fuera quien fuera Fulcanelli.

«Beyond this ambiguous encounter, he exists as words on a page and, in some occult circles, as a mythic alchemical immortal with the status, or identity, of a Saint Germain.» — describen su modo de existencia fuera de ese encuentro: palabras en una plana y, en ciertos círculos, inmortal alquímico con el rango de un Saint-Germain.

«Fulcanelli dévoilé, by Geneviève Dubois, a French examination of the Fulcanelli legend published in 1993, even concludes that the work was a product of a committee with Pierre Dujols (who died in 1926, the year Le Mystère was published) supplying the scholarship, Champagne the operational skills, and Canseliet in charge of assembling the notes.» — Jay Weidner y Vincent Bridges resumen la tesis de Dubois: obra de comité, con Dujols aportando la erudición, Champagne la destreza operativa y Canseliet el montaje de las notas.

«The publisher, Jean Schémit, however, assumed that “Fulcanelli” and Champagne were one and the same, and, given his meetings with Champagne and Fulcanelli, his opinion carries some weight.» — los mismos autores consignan la posición de Schémit y le conceden peso por haber tratado a los dos.

«Certainly, if Champagne was not Fulcanelli, he was in fact his agent.» — la alternativa mínima que Weidner y Bridges aceptan.

«But even if we agree, for the sake of argument, that Champagne and his friends are our best candidate for Fulcanelli’s secret identity, the question remains: Who wrote the extra chapter in the second edition of Le Mystère?» — dejan en pie la pregunta que ninguna hipótesis contesta: quién escribió el capítulo añadido a la segunda edición.

«Any motivation for a hoax, in the ordinary sense, seems to be lacking. None of the Brotherhood, such as it was, benefited from or capitalized on the supposed Fulcanelli’s teaching, except Eugène Canseliet and possibly Jean-Julien Champagne, who illustrated both volumes.» — señalan la falta de motivo en el sentido ordinario: nadie de la fraternidad sacó provecho de la enseñanza atribuida.

«And yet Canseliet went to his grave declaring that Fulcanelli was a real person, and was certainly not Champagne or Dujols.» — los mismos autores cierran con lo que Canseliet sostuvo hasta su muerte: persona real, y no Champagne ni Dujols.

«Canseliet was the one person most likely to know if Champagne really was Fulcanelli.» — y derivan de la vecindad que él era quien más posibilidad tenía de saberlo.

«But the contact with Fulcanelli, whoever he was, left the Brotherhood of Heliopolis— Canseliet, Champagne, and the rest—in possession of several secrets.» — resumen el saldo del contacto para la Fraternidad de Heliópolis, fuera quien fuera.

«In the mid-1970s, just a few years before his death, he told the American occultist Walter Lang that he and Champagne and another Brother, Gaston Sauvage, performed a transmutation in 1922, in the municipal gasworks laboratory of Sarcelles, with a minute amount of the powder of projection given to him by Fulcanelli.» — datan a mediados de los setenta el relato de Canseliet a Walter Lang sobre la transmutación de 1922 en la fábrica de gas de Sarcelles con polvo dado por Fulcanelli.

«Nothing is absolutely known about Fulcanelli. He is said to have been, or is, a French alchemist who wrote two books published in the early twentieth century:» — Mark Stavish declara que nada se sabe con certeza de él y lo llama alquimista francés de dos libros de principios del siglo XX.

«Other suggestions are less dramatic, such as saying that Fulcanelli is the nom de plume for an author or group of authors seeking to preserve alchemical knowledge.» — Stavish recoge la hipótesis del seudónimo de un autor o de un grupo.

«Even his name-Fulcanelli-can be seen as a verbal symbol or play on words, combining "Vulcan," the ancient god of the forge and fire, and "El," a Hebrew word for God, thereby giving us the meaning "the forge of God."» — Stavish lee el nombre mismo como juego de palabras: Vulcano y el hebreo El, la fragua de Dios.

«Regardless, the tradition of authors of alchemical works desiring anonymity is well established, and Fulcanelli follows in this tradition.» — Stavish lo pone en la tradición establecida del anonimato alquímico.

«According to the research presented in Geneviève Dubois' welcome book, Fulcanelli and the Alchemical Revival: The Man Behind the Mystery, using an unpublished manuscript by the alchemist and Egyptophile, R.A. Schwaller de Lubicz, the spiritual heir of French poet and Hermetic adept, Oscar Vladislas de Lubicz Milosz, concerning the alchemical symbolism allegedly preserved in the architecture of Notre-Dame de Paris and other cathedrals, the figure of Fulcanelli was fabricated by Champagne and a well-meaning but unwitting Pierre Dujols. Unbeknownst to Schwaller (and Dujols), this manuscript, including Champagne and Dujols' extensive embellishments, would eventually be published in 1926 as the infamous alchemical tract, Le Mystère des Cathédrales, attributed to the "Master Alchemist,” Fulcanelli.» — el volumen sobre el círculo de Ashmole remite a la investigación de Dubois y al manuscrito inédito de Schwaller de Lubicz.

«As Schwaller's famous sketch of Fulcanelli from 1930 shows, the face which Canseliet saw was likely in truth none other than that of Jean-Julien Champagne.» — el mismo volumen propone que el rostro que Canseliet dijo haber visto en Sevilla era el de Champagne, por el boceto de 1930.

«In a conversation with atomic physicist Jacques Bergier in 1937, the alchemist Fulcanelli was asked to describe the Great Work.» — Dennis William Hauck introduce la conversación con Jacques Bergier en 1937 y la cita que sigue.

«This explains the success of an alchemist like Eugène Canseliet (1899-1982; Alchimie, 1964) whose fame also owes much to the mystery that surrounds his master Fulcanelli. Among other publications this master left Mystre des Cathédrales (1925), and the disciple Canseliet Deux logis alchimiques (1945/1979) wherein they give more attention to deciphering esoteric signatures on the stones of certain edifices than to looking for the Philosopher's Stone themselves.» — Antoine Faivre adjudica parte de la fama de Canseliet al misterio que rodea a su maestro, y data Le Mystère des Cathédrales en 1925.

«Among ancient authors and modern writers, Fulcanelli is without doubt the most sincere and the most convincing.» — Canseliet, en el prefacio de Les Demeures, lo pone como el más sincero y convincente entre antiguos y modernos.

«His method is different from that employed by his predecessors; it consists in describing in detail all the operations of the Work.» — Canseliet declara en qué consistiría su método: describir en detalle todas las operaciones de la Obra.

«Las moradas filosofales, que de nuevo tenemos el honor de presentar, no debía ser el último libro de Fulcanelli. Existía una tercera parte bajo el título de Finis Gloriae Mundi (El fin de la Gloria del Mundo) que su autor retiró, y que habría transformado su tarea didáctica en la más extraordinaria trilogía alquímica» — Eugène Canseliet, en el prefacio de febrero que el mismo volumen reproduce, declara que existía una tercera parte titulada Finis Gloriae Mundi que su autor retiró.

«Por mi parte siempre he pensado que El misterio de las catedrales y Las moradas filosofales eran, bajo el nombre de Fulcanelli, la expresión escrita del Colegio de los Hermanos de Heliópolis al que se decía pertenecer Eugenio Canseliet, el discípulo incontestable del Adepto.» — Jacques d'Arès, en el prefacio del volumen español, da su propia lectura de la autoría: las dos obras serían la expresión escrita del Colegio de los Hermanos de Heliópolis; es la única fuente en español.

«El caso más reciente y mejor documentado es Fulcanelli, presentado en §6 como el seudónimo alquímico del siglo XX. La investigación convergente de Geneviève Dubois y André VandenBroeck identifica el núcleo del colectivo: el erudito Pierre Dujols, propietario de la *Librairie du Merveilleux* en París, que aportó la base textual; el pintor y alquimista Jean-Julien Champagne, que ilustró los volúmenes y se presentó privadamente como Fulcanelli ante varios de sus colegas; y el egiptólogo alsaciano René Schwaller de Lubicz, autor de la lectura simbolista de Egipto que sostiene el aparato interpretativo de las dos obras firmadas por el seudónimo. Eugène Canseliet, único editor literario del proyecto, se convirtió en guardián del mito durante los sesenta años posteriores a la "desaparición" de Fulcanelli en 1922 [H-doc][I].» — el Umbral de la Consciencia lo presenta como seudónimo colectivo y nombra el núcleo que adjudica a la investigación de Dubois y VandenBroeck; es lectura de esa obra y va con su firmante.