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Welcome to B.E.A.M.S.

Founded in 1991, our society consists of a
team of active reporters and field investigators who
factually gather, study and disseminate evidence relating to Earth Mysteries, (e.g. Ley Lines, Terrestrial Energies and Ancient Site Anomalies), Strange Aerial Happenings, (e.g. Unidentified Flying Objects or UFOs), and The Paranormal, (e.g. Spirit and Psychic Phenomena).

Fulcanelli and The 'Keepers of The Living Earth'

The Concept of And Reality of Ley Lines Explained Using 'Lost' Wisdom
by Kenneth John Parsons

Quite honestly – when my partner read through a book by Fulcanelli "Master Alchemist", (as he was known) - she voiced nothing but scepticism from the very outset.

‘Flim-flam!’ and ‘con-artist!’ - were amongst her mutterings.

I later sampled the same work for myself - and couldn’t help but agree with her.

Hilary could hardly be blamed forearming herself with this type of attitude; there have been far too many mystical opportunists in the past; St Germain and Cagliostro - being two of the most notorious.

Hucksters offering obscure, ambiguous declarations - to quench the thirst of those drinking from the fountain of delusion.

But our short shrift of Fulcanelli turned out to be totally undeserved.

Several highbrow reviewers caused us to re-think.

Before long, we were busily reconsidering this and other books of the Fulcanelli series - steadily obtaining a firmer grasp of what was being said.

The composition we were so quick to dismiss as a sham, (because its contents were just too eye opening-ingly obvious to be truthful, from our point of view) actually WAS the work of a Master Adept!

The true identity of ‘Fulcanelli’, (a pseudonym containing phonetic correspondences to the Greek gods Vulcan and Helios), has never been publicly discovered.

Assuming the person in question to be male, (whoever he was), this man produced a series of works that broke all the rules on occult mystery.

In their heyday, Fulcanelli’s volumes tended to appear in the form of specialist, limited editions; unadvertised to the ‘vulgar masses’, (as those with the fire of genius might call you and I).

Of greatest interest to us were his works The Mystery of the Cathedrals and The Philosophers Dwellings, (published in Paris, 1926 and 1930 respectively)... these are where the answers to many of the world's greatest 'earth' and occult mysteries can be discovered, if one knows how to interpret what Fulcanelli was alluding to.

In the former, we are drawn to examples of art gothique contained within the finest church buildings, and determinations that cathedrals bearing this type of ornamentation were built from a secret language called ‘Cant’.

'Cant', he says, is a lost Cabalistic teaching, recognisable only to earnest students of Hermeticism, but whose message escapes most establishment scholars.

This is ‘the language which Jesus revealed to his Apostles by sending them his spirit the Holy Ghost’…

…’The parent and doyen of all other languages’ - the same one spoken by ‘members of the lodge of God’, (Freemasons of the Middle Ages), *‘gypsies’, ‘philosophers and diplomats’; the tongue that ‘teaches the mystery of things and unveils most hidden truths’.

*Other relevant definitions:

'Cant', (or ‘The Cant’), is one of the world’s lesser-known languages. It is classified as ‘the secret language, or cryptolect, of Travellers in the British Isles’. [Classification: Indo-European, Celtic, Insular, Goidelic].

According to a 1913 edition of the Webster Dictionary. ‘Cant’ can also be

1. ‘a corner, an outer or external angle’. 2. ‘An inclination from a horizontal or vertical line’; ‘a slope or bevel’. 3. ‘singing; singsong mode of speaking’; ‘a chant’; 4. ‘A wooden lever with a movable iron hook used for canting or turning over heavy logs, etc.; [U.S]’

5. Nautical usage: ’Cant timbers; timbers at the two ends of a ship, rising obliquely from the keel’.

6. (Mech.):‘A segment of the rim of a wooden cogwheel.

[Words like INCANTATION, - ‘magic spell’, >which originates from incantáre = ‘to repeat magic formulas’, >from Latin in + cantare = ‘to sing’, and DESCANT - ‘decorative variation to basic melody’, are also worthy of careful consideration.]

Fulcanelli also reports on a church cult involving Black Madonna & Child sculptures, paintings and icons.

Each dated from a period shortly after the 3rd century AD, when Christianity first spread to Europe.

Drawing from past registry, ace-researchers Ean Begg and Marie Durand-LeFebvre recently made a headcount of these artworks, and profess that more than 400 Black Madonna’s once existed world-wide.

Whilst a scattering resided in Belgium, Germany, Switzerland, Hungary, Croatia, Ecuador, Malta, Italy, England, the USA, Lithuania and Spain – more than half of all these extraordinary statues and allied relics were hidden-away in French cathedrals.

Interesting as this is – within the mystery of why the virgin was black, lurked yet another.

Aside from a few chapel displays, the church crypt was the BM’s usual housing place.

By every account, these basement areas were quite elaborate - and frequently had been extended into Water Grotto’s; with the Marian effigies found guarding an internal well opening.

Just why water courses were central to the spiritual impulse of so many religious shrines,

(even directly above deep aquatic flows; and, as in the case of the mysterious French cathedrals - some with their own indoor springs!),

was made clear in our previous chapter covering Aquiferous Systems in relation to the principles of Sacred Geometry and Energy Alignment.

The crazy thing is – quite opposite to what logic might dictate - local communities actively paid their respects in these grottoes.

After first participating in mass, congregation members were beckoned to descend into the lower levels of each participating church.

There - they would worship what were spoken about locally as Notre Dames de Sous -Terre or ‘Our Ladies of the Underworld’, and to partake of her Blessed and Miraculous Waters. [See plate no ].

Listed here are as many details as we could find about French sanctuaries known to possess, (or known to have once possessed), a Black Madonna statue.

(where there is a stone carving, circa 1521 - a surrogate for the original wooden ‘Noire de Notre-Dame-de-la-Seds’ which disappeared earlier the same century),


(in a hilltop hermitage, replacement for lost 15th C statue - carved from the ‘miraculous oak of Montaigu’).

(recovered dark wood Madonna found buried in 1227).

Arconsat, Aspet, Aurillac, Avioth, Bayeux, Beaaune,

(19th C replica on display in crypt museum; original mother and child destroyed during the Revolution),

(badly burned 12thC example in elm or willow, recovered after being found inside a hollow tree in swamp),

(recovered 11th C wood statue, found in field by cattle),

(17thC, replacing BM carving originally discovered by ploughing oxen in 1280 and destroyed by Huguenots; BM now in underground tomb of Louis X1),

(sombre 14thC statue - in the crypt of St Michel Abbey),

(16th C de Sous-Terre, in crypt of St Are Church.),

Laon, Maillane, Marsat, Marseilles, Mauriac, Mayres, Mazan, Quimper, Reims, Rocadamour,

St Quentin-la-Chabanne,
(17th C replacement of original BM destroyed by Protestants, standing in 11th century crypt),

(a 19th C proxy for ancient Black Madonna destroyed here during Revolution, resides in the chapelounne, behind a grille near a healing spring),

Vezelay and Vichy

And this list is far from complete…

But the development at Eure-et-Loir, Beauce of Notre dame or Chartres Cathedral, (whose name literally means ‘to delineate’ = ‘to trace the line of’), has the highest ‘strangeness factor’ of them all.

Up until its destruction during the French Revolution, a 13c black Madonna, carved from tropical wood, found refuge down in the crypt.

The lost Virgin was replaced in 1865 – but even this version was symbolically repositioned in the same spot below Chartres.

Chartres – a Brief Catalogue of it’s Many OTHER Intrigues

Writings about the occult life of Christian Rosenkreutz, detail how a collaboration of thirteen holy men from Britain Gaul and India, (Hindu Rishis of the great Brahman culture), – established a Spiritual Lodge at an unnamed location in Europe.

The strongest likelihood is that they chose Chartres, France as their home.

Other records reflect how much of the council’s ideology was founded upon esoteric teachings of the Celtic, Indian, Persian, Egyptian and Greco-Roman epochs.

Particularly favoured by them was The Timaeus, an exceptional tome written by Plato, in which the Greek philosopher talks about ‘anima mundi’, a ‘world being’ – ‘the fairest and most perfect’ of them all.

Over a time span of almost 1,500 years – six temples have stood on the Hill of Chartres, the previous five having been destroyed by fire.

The ground on which the present, imposing structure stands, (designed in 1194, and taking 26 years to complete), originally carried a pagan Dolman and Mound.

Not only does this Cathedral contain traces of Zodiacal ornamentation, (sadly, now greatly damaged/defaced), but there is also a definite wisdom encoded into its very geometry.

Strong proportional similarities exist between ground plan of this cathedral and the base area of the Great Pyramid of King Cheops, on the plateau of Giza, near Cairo.

The substructure of Chartres is divided into three distinct sections.

These divisions each have precisely the same area of 531.88 square metres: The base area of the Great Pyramid is 53.188.

Note the position of the decimal point in the two figures.

Each section at Chartres is exactly 1/100 of the Cheops wonder!

Also – the distances between nave, transept, pillars etc. at Chartres, all reveal sets of Cabalistic numbers and concerns an engineering intricacy similar to that of the Pyramids.

Last but not least…

A dazzling, 11 circuit, four quadrant, Maze Labyrinth is set into the building’s flagstones.

Unfortunately, its original centerpiece has been removed and we can only wonder about what this depicted.

Attempts have been made by antiquarians to explain the purpose of, and background to these darkly-coloured statues; but lacking the vital key as set down in these pages, very few people have been able to fully embrace the truth.

Fulcanelli specified: ‘these figures do NOT involve the Virgin who gave birth to the ‘son of light’ from later Christian dogma.’ She was far, far older: Rather, this image is closely associated with Egyptian, Earth Alchemy rituals.

Secrets of ‘The Black Land’

The man on the street could easily be pardoned for thinking that ‘Alchemy’ was only about metallurgy; crude attempts made by the greedy and stupid, at turning base metals into gold.

But Joe Public’s mental footing on this and connected studies - is quite wrong – and all because of some inaccurate reporting from previous centuries.

Much as today, early journalism, (especially affairs of state and religious matters), used to be riddled with prejudice and trumped up stories; even so - many ‘classical’ scholars have taken what was written years before at face value - and composed their essays accordingly.

And it is this decidedly ambivalent territory which is today eagerly courted by academia.

Why so?

Could it possibly be that those from establishment ‘inner-circles’ are fostering certain myths in order to screen something far more weighty?

Such as the bombshell about alchemy disclosed by Fulcannelli and other scholars; that ‘Alchemy is not primarily about the physical alchemical alteration of one state into another, and the interaction of those substances in relation to planetary, or astrological correspondences/configurations’; but more importantly - it concerns ‘the transmuting of human consciousness from material to the etheric; from base psychological existence to a Hermetic, Spiritual existence’.

In their correct setting – specific metallurgical archetypes and symbols are allegorical references to the duality of matter transformation - for practitioners on the road to Spiritual Evolution.

On March 30th, 2000, Lambeth Palace, London, (the home of the Archbishop of Canterbury), was opened to the public for the very first time.

With the Prince of Wales in attendance, reporters and TV crews were guided around the building.

Of the utmost interest to me was a prepossessing statue of the Black Madonna on display in the palace.

Wonder of wonders, guess where it was located? Yes you got it - down in the crypt!

The handmade sculpture is Tanzanian in origin and many hundreds of years old.

The mind-blowing criteria which forms ‘Alchemy’ as a term, is enough to convince us that Fulcanelli was firing somewhere close to the very bulls eye here.

Focusing on the origins of this word, we soon discovered that anciently, the Arabic name for Egypt was al khem, meaning ‘the black land’, a reference to the dark, alluvial earth of the Nile Valley.

And with the recognition that ‘khem’, ‘chem’, & ‘khemy’ are each Hebrew terms for ‘land’ – exactly where Fulcanelli was coming from with his claims, becomes a simple process of deduction.

This is especially fascinating when one learns that in Arabic, this root-word fechem just happens to equate with ‘black’; while in the same language, the similarly spelt facham means ‘wise’.

Now with ‘black’, ‘earth’ and ‘wisdom’ clearly in the frame, we begin to see how ‘Alchemy’, (along with Western phrases like the ‘black arts’ and ‘black magic’), first came into existence.

Then compare all of the above - with a generic trace of the term ‘Arable Land’.

Examine the word ‘Arable’ carefully: Apart from it being akin to the Old English word ‘erian’ = to plough, it’s birthplace is plain for all to see: Phonetically broken down we get ARAB-LE.

Fulcanelli informs us how the Black Madonna design is crafted from an ancient Egyptian belief in Isis, the female personification of The Seasons, Earth Cycles and the Divine Giver to all of Nature; a prime icon for any Earth Alchemist.

An article from the 1970’s entitled ‘Guardians of the Living Earth’ by Richard Leigh and Michael Baigent, (who also went on to co-author the international best seller ‘Holy Blood, Holy Grail’), totally concurs with these findings.

Not only this, but - ‘Black Madonna’s were thought to be involved with mysterious Currents of Energy, often called Telluric or Ley Currents, believed to be latent in the earth itself.’

Manly P. Hall, (who is something of a Fulcanelli disciple), has no qualms about these legacies as being ‘indicative of a long forgotten or contaminated knowledge’.

In Orders of the Quest: The Holy Grail, 1949, he states ‘Only the initiates knew that this lady, (Mary), was the Isis of Sais – and the Diana of the Ephesians’.

She is our Mother Earth, the Female Principle, Metaphorically Virgin, but not in the Patriarchal meaning, for she does not belong to any one man – but to ALL of mankind.

She is our founder – and to her we all return.

Therefore, her true nature is a privilege of the initiated – a sectarian secret, which cannot be revealed in writing, but only, transmitted by oral tradition and through sculptures like these.

This means - the Madonna’s image, full stop, (black, white, pink or whatever), was simply "borrowed" from a far earlier matrix.

Little wonder then - why some religions avoid any ‘Marian’ references like the plague!

Their hierarchy must be fully aware how the Virgin Mary is only a relatively contemporary variation, of a once universal and far more original Pagan Deity.

Drawing on other research, we learnt that although the French virgin grottos were widely known about and visited by the general public, outsiders were never allowed to observe the after hours practices performed there by Catholic priests.

When participating Cathedrals were closed for business – astonishing alchemy rituals would be performed there.

It is to be supposed - this is the time when these inky toned statues came into use.

Security amongst practitioners of the Earth Virgin Cult was uncompromising; for it is written by Fulcanelli that any priest suspected of revealing knowledge - the penalty was usually death!

Occult investigator Colin Wilson provides us with more on the subject of alchemy.

‘The secret of the alchemists seemed to be concerned with interactions between the mind of the alchemist and the forces in the crucible.

‘There seems to be at least a priori possibility that psychic powers somehow derive from the earth; this is consistent with speculation that alchemy involves the same forces’.

‘Somehow man can tune into these forces at the right time of year, and use them’.

The one thing that pure alchemy is NOT, is mystic mumbo jumbo; ‘if this had been true there would have been no need for secrecy’.

‘But if alchemy somehow involves natural forces, of the earth and the human mind, then there is good reason for secrecy’.

Ever wondered about the effects of Psychic Expenditure?

After conducting thousands of laboratory-controlled experiments over a 10 year period, Professor Robert Jahn of Princeton University, has arrived at a conclusion that puts the cat amongst the academic pigeons.

He says, ‘praying, hoping and wishing CAN have an effect on the physical world’.

With sheer mind power, or P.K, (Psycho Kinesis), they were able to influence computer programmes used to generate random patterns and pictures.

In a report featured in ‘The Paranormal, Beyond Sensory Science, Arkana Books, Dr Percy Seymour, outspoken scientist from Plymouth University, claims that the phenomenon of P.K is caused by ‘streams of highly charged subatomic particles’.

He says -‘Intense feelings can leave Electrical Tracks in their wake’.

It has even been demonstrated that thought-energy possesses a certain polarity!

So, from everything learned, we can theorise that the Black Virgins were probably viewed by spiritual alchemists as a representation of the Metaphysical Transmutation between Planetary Mother and the blackened or burning elixir within the crucible.

In France the revolution put paid to many of the mystical virgins – and in other European areas, looting by invading Nazi’s during WW11, meant that only a negligible number survived.

Of those that did - some have ended up in museums; other examples have been faithfully reproduced and put on public display in some churches, to stand as simple religious curiosities.

To this day - the Papacy of Rome seeks to minimise or eliminate rumours about the whole Black Virgin affair – and their attempts at rationalising these figures have been quite surreal in their idiocy;

When quizzed on the matter, the RC’s public relations people have said: "the Madonna statues in question became discoloured by hundreds of years worth of soot and dirt from church candles and incense burners".

Which might be true about a few examples, but plenty were made from the hard, dark wood EBONY – and their sculptural equivalents in stone, painted with black pigment.

Ergo, the greater number were always meant to be black.

Now there are no excuses, the church defiant as ever, refuses to be drawn any further on this issue.

Isn’t it becoming clear – the average person’s appreciation of their distant past is only superficial? And when examining structures like that of Chartres, few people have any idea of what they are REALLY looking at.

Just think about the gargantuan scale of this Cathedral’s twin spires, seen here rising above the city.

It defies comprehension; why anyone would go to so much work building an apparently unnecessary appendage like this - hundreds of feet into the air?

The sheer scale, specific order and symmetry of the Chartres spires and others like it - in conjunction with the conscientiously chosen location of specified cathedrals and smaller sanctuaries, have caused many to speculate whether there was more to these layouts than pure aesthetics.

During a televised lecture, celebrity scientist Professor Heinz Wolf, touched on the imposing geometry of pre-Reformation church spires in general - and queried ‘what ARE these constructions all about?’

‘Part of the British and Continental landscape for hundreds of years, people just take these things for granted and see ONLY WHAT THEY HAVE BEEN TOLD TO EXPECT.’

‘But we really know very little in the way of hard data about the spires of pre-reformation churches’.

‘These things could be anything’ said Heinz, ‘perhaps even for launching our souls into Heaven’. (obviously said tongue in cheek – but not a bad analogy, considering their bulk and shape does comes close to something standing on a N.A.S.A. launchpad!).

Perhaps the professor should look to the teachings of Fulcanelli and others of matching stature, for the answers he is seeking.

They inform us that the finest temples were designed using magical geomantic formulae, based on the antiquated art of ‘Gematria’.

Briefly explained, this is a principle wherein all the letters of the Greek and Hebrew alphabets have special numbers assigned to them, (unlike the English alphabet).

Gematria is working the ‘absolute’, ‘ordinal’ and ‘reduced’ values of those letter-numbers into architectural dimensions.

Using measurements of, and distances between the earth, sun, etc., this formulation can then be applied to create a structure that is a connection point for Terrestrial and Solar energies.

Such effervescent commentaries persuaded us to take a closer look at the sophisticated geometrics of church spires.

Before we even kick off - the word ‘Geometric’ alone is worth examining.

It comprises two main parts: ‘Geo’, defined as ‘of the earth’ & ‘Metric’ or ‘Metron’, which equates with ‘measurement’).

Thus ‘Geometry’, when translated literally, means ‘to measure the earth’.

Looking at many examples of these strange objects, we found that the usual idea about steeples being shaped like a witch’s hat is quite wrong.

Rather than conical - they are more in the way of Pyramidal: 3, 4, 5, 6 or more Isosceles Triangles, which meet in a common vertex.

If one has ever climbed the spiral staircase within a church bell tower, then it is easy to appreciate why these structures are so named.

The steeple interior is architecturally based on the *Spiral, and is so shaped as to act as a Resonance Funnel, drawing Tonal Patterns upwards from the bell tower.

*Just ask any Steeple Jack, those trained and skilled in the construction and repair of church Spires, and they too will acknowledge what we are talking about.

Clearly the idea was not simply to produce pleasant sounds.

Bell ringing marked a variety of events in olden times.

Not only was it used to summon people, (such as a calling for parishioners to assemble in church), but also used for the broadcast of secular time, and as warnings of danger.

But these everyday uses are equally matched by other, little-quoted bell practices, heralding from our archaic past.

For example, we found plenty of folkloric literature detailing the special value once placed by European farming communities, on the precisely regulated ringing of hand-bells in fields.

Bells were then widely recognised as the most ideal and potent charms for blessing & protecting the land.

As if some sort of molecular dialogue was initiated between bell sound and the environment, their voices were deemed to magnify fertility, ensured fruitfulness, whilst also putting destructive crop spirits to flight.

These accounts are also furthered by archaeological papers covering Graeco-Roman times, where bells were closely associated with phalli in Bacchic virility rites.

The chorus from Fields So Green by Jeff Bigler

'I dance for the fields, I dance for the land,
With my bells and my ribbons and my hankies in hand.
Each time that I caper, the higher I leap,
That much more grow the barley and the wheat,
From the magic I dance with my feet.'

More and more it seemed to us, (particularly after learning so much about the peculiar role of these sirens in folklore), that beyond the routine, bell resonance chambers and church spires, may have had a Secret Ritualistic Intention behind their design.

Now let us stop to ponder over the word ‘Spire’ itself: The title originates from Latin ‘Spira’ and the Greek word ‘Speira’ meaning a ‘Spiral Line’.

Our first major clue: Compare the phonetics of ‘SPIRE’ with ‘PYR’, (taken from the word ‘pyramid’- the translation of which is ‘light’).

Very similar aren’t they?

This could be sheer chance – there again it might not: If it IS just a coincidence, then it’s a heck of big one!

Clue 2: During the course of our research – we were enthusiastically pointed in the direction of science writer John Mitchell; in particular his seminal classic The View Over Atlantis.

Anyone reading his engaging book will soon pick up as I did - that its title citation to Plato’s legendary lost continent mainly alludes to the primordial foundations behind Ley Lines.




Mitchell quotes a noted landscape researcher by the name of Ernst Borschmann who writes about ‘Dragon Paths’ and ‘Lung Mei’s’, which intrinsically equate with the Chinese equivalent of Ley Lines.

‘Certain summits of the neighbouring mountains, often the main summit, are crowned with pagodas, small temples or pavilions to harmonise the magic forces of heaven and earth’.

‘The thought is akin, for instance, to our conception of the outflow of a magnetic force from a pointed conductor. And the Chinese Geomancer also regards the forms of nature as a magnetic field.’

Clue 3: It soon become evident that Spires definitely incorporate the mathematical fundamental ‘Phi’ – (the transcendental ratio, which was used to great effect by the Greeks and Romans in their temple building measurements), as part of their make up.

Phi has the value of 1.61803,

Using this - one is able to produce the Phi Logarithmic Spiral, a pattern which in some abstruse way is connected with evolution.

In Biology, the same Logarithmic Spiral pattern can be found throughout nature; in mollusc shells, (such as the exquisite Nautilus), Animal Horns, the Coiled Serpent, Fir Cones, Swirling Galaxies, The Gravitational Vortex and much more.

It is the spiral of life on a DNA Helix!

Kenneth John Parsons

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