THE ESOTERIC STRUCTURE OF THE TYMPANUM

AT VÉZELAY ABBEY
Jos Verhulst, Christmas 2018
Summary:
An esoteric reading of the tympanum of Vézelay is proposed. This tympanum represents
Christianity as a dual endeavor, with esoteric and exoteric branches developing in parallel.
The zodiac contains a hidden horoscope referring to the event of the 'Mission of the Apostles'
(July 15th, 33 AD).
Contents: 1. Introduction: p.1; 2. The central scene of the Tympanum: p.26; 3. The zodiac:
p.32; 4. The eight compartments: p.41; 5. The lintel: p.52; 6. Final thoughts: p.63.
Appendices: I. John the Baptist: p.66 ; II. The trichotomic and the fourfold view of man: p.71;
III. The ancient path of initiation: p.96; IV. Remarks on Pentecost: p.99; V: The symbolism of
the 'quatre de chiffre': p.106; VI: The chiastic structure of Jh.1:1-13: p.129.
Addendum:: A walk through the countryside around Vézelay: p.147.

1. General introduction: the sacred landscape around Vézelay.

The history of the Benedictine abbey of Vézelay (figure 1a-g) goes back to the
second half of the 9th century. Founded around 858 by Girart de Roussillon
(810?-877?) and his wife Bertha (figure 1f), the original abbey was destined
for female Benedictines. It was located in 'Vezeliacum' (nowadays: Saint-
Père-sous-Vézelay; figure 1b). In 887, when the abbey was relocated to the
top of the hill of Vézelay, it had already been transformed into a community of
male benedictine monks. From 1050 onwards, the abbey church was dedica-
ted to Mary Magdalene and became a popular center of pelgrimage. In the
12th century, the abbey was generally known as '...la Madeleine'. Neverthe-
less, this dedication is but poorly reflected in the basilica's sculptural artwork 1.
Except for its gothic chevet, the current basilica of Vézelay (figure 1a) was
built in 1120-1151. In the 19th century, the church was saved from destruction
by the architect, writer and artist Eugène Emmanuel Viollet-le-Duc (1814-
1879) who was fully aware of the exceptional nature the church's artwork 2. He
believed that some lost oral tradition must have been the source of its strange
symbolism. Especially the tympanum above the main entrance connecting the

1
According to Eugène Viollet-le-Duc (“Monographie de l'ancienne abbatiale de Vézelay”
Paris: Gide, Editeur, 1873; p.12), Mary Magdalene was represented on the lintel above the
portal on the western façade: “Le tympan et le linteau de la porte centrale de la façade
étaient couverts de sculptures. Dans la révolution elles ont été abattues, et taillées
jusqu'au nu de la muraille (…) sur le linteau, il y avait une suite de sujets tirés de la
légende de la Madeleine. Un des derniers la représentait aux genoux du Sauveur, lui
lavant les pieds”. A very nice keystone representing the resurrected Christ and Mary Magda-
lene is on display in Vézelay's 'Musée de l'Œuvre'.
2
See: Eugène Viollet-le-Duc “Monographie ...”, p.12-13. “La scupture des tympans et des
chapiteaux historiés, si nombreux dans l'église de Vézelay, nous paraît mériter une
attention toute particulière. En effet elle présente des caractères très-rares au moyen
âge, et il est difficile de douter qu'il n'y ait eu dans cette abbaye, surtout au XI e siècle,
une école d'artistes travaillant d'après des traditions inconnues ailleurs, ou bien rece-
vant une direction originale qui ne paraît pas s'être étendue à d'autres monuments . (…)
Outre les compositions communes à tous les édifices du temps, l'église de la Madelei-
ne en renferme d'autres où tout semble étrange et mystérieux. Il est probable que pour
les moines mêmes de l'abbaye, ces bas-reliefs n'étaient intelligibles qu'au moyen d'
une tradition orale, conservée dans leur cloître et qui n'est pas venue jusqu'à nous”.

1
narthex and the nave (figures 2-4) shows many disconcerting elements. In the
present paper, we propose a Christian esoteric reading of this tympanum 3.

The ancient site of the Fontaines Salées.

The deep history of Vézelay traces back to at least the third millenium BC,
when people had discovered that salty water (3-12 g/l) was seeping up close
to the marshy banks of the river Cure, 1.5 kilometers south of the village of
Saint-Père-sous-Vézelay at a site known as the 'Fontaines Salées' (location
given in figure 1d, blue). This water was captured in oak-made well pits which
were discovered by Lacroix4 and Dauverge during the war5. During the 9th
century BC, at least some of these unusual well-springs were used for salt
production. Coins found in the wells show that religious significance was
attributed to the sources and that some form of cultual practice was
observed6. During the first and second century, a Gallo-Roman thermal
complex developed at the spot; there are no indications of salt production
during this period. In the course of the invasions of 275-276 AD, the site was
largely destroyed although reduced activity went on during the fourth century.

3
For structural details, see: Stéphane Büttner “La mise en œuvre de la façade et du grand
portail de la nef de Vézelay: nouvelles données archéologiques” Les Cahiers de Saint-
Michel de Cuxa XLV, p.145-156 (2014).
4
Nomen est omen. Apparently by accident, the name of the adjacent river Cure perfectly re-
flects the healing properties and religious significance attributed to these 'salty sources'
(French: 'fontaines salées'). A first meaning of the French word 'cure' derives from the latin
'cura' ('caring or healing activity, especially regarding the ill and wounded'). A second meaning
of 'cure' (derived from the latin 'curia', i.e. 'temple') is 'ecclesiastic function'. Bernard Lacroix
was vicar in a small village named 'Cure', located on the banks of the river Cure about 7 km
southeast of Vézelay. His own name, which translates as 'Bernard (of) the Cross', evokes the
cross erected at Vézelay, at a spot called 'La Cordelle', which commemorates Saint Bernard
de Clairvaux preaching the second crusade there in 1146. On the history of La Cordelle, see:
Jean-Baptiste Auberger “La Cordelle de Vézelay, 1217-2017” (2017).
5
See for instance: Bernard Lacroix “Les Fontaines Salées à l'aube du premier âge de fer
(900 ans avant J.C.)” Domecy-sur-Cure: chez l'auteur (1966). Lacroix reports that these pits
were discovered from 17 september 1942 onwards, by himself and Robert Dauvergne.
According to Lacroix's own observations, the upwelling water can be discovered because it
creates circular spots on the sandy surface of the riverbank: “...partout où l'eau émergeait,
le sable, gris sur l'ensemble du niveau antique, se trouvait marqué d'une tache
sensiblement circulaire de 0m,20 à 0m,40 de diamètre et de couleur gris-ardoise ou
gris-verdâtre, souvent altérée en rouille...” (p.25). The water of the Fontaines Salées is
also somewhat radioactive, and bubbles containing helium can be seen rising in some of the
well-springs. The site is located at the crosspoint of two geological faults. An early C 14-
datation, using the oak wood of the pits, produced a date of about 900 BC. Later, the origin of
the pits was pushed back to about 2900 BC. Nowadays, the pits are dated at around 2300 BC
(based on C14-analysis applied on wood of the pits, combined with dendrochronology; see:
Vincent Bernard, Pierre Pétrequin & Olivier Weller “Captages en bois à la fin du Néo-
lithique: les Fontaines Salées à Saint-Pères-sous-Vézelay” p.229-335 in: Weller, Dufrais-
se & Pétrequin (eds.) “Sel, eau et fôret d'hier à aujourd'hui” PU de Franche-Comté, 2008).
6
See for instance: Bernard Lacroix “Un sanctuaire de source du IV siècle aux Fontaines-
Salées” Revue Archéologique de l'Est et du Centre-Est vol.VII, p.245-264 (1956); ibid. “Un
sanctuaire de l'eau de plan circulaire aux Fontaines-Salées” 1964 Revue Archéologique
de l'Est et du Centre-Est vol.XIV, p.81-114 (1963). In the local museum, the existence of a
true sanctuary is rejected: “Si l'accumulation de monnaies découvertes dans le bassin à
margelle en dalles de pierre confirme l'existence de pratiques cultuelles, il manque
cependant ici un temple et surtout des éléments normalement très abondants dans ce
type de site: autels, ex-voto en pierre, métal, etc.” (2018).

2
Figure 1a: The Basilique Sainte-Marie-Madeleine of Vézelay (UNESCO postcard). The
church is shown from the southwest. North and south roughly at left and right,
respectively. The portal discussed in the present paper is not the one seen here on the
western facade, but is located inside the building, between the non-consacrated 'avant-
nef' (or 'narthex') and the consacrated nave. The southwest tower is called the Tour
Saint-Michel (38 m), the southeast tower is the Tour Saint-Antoine (35 m). Total length
of the church about 120 m. Orientation of the nave: about 8° north of east.
Figure 1b (next page): The Sun at winter solstice (made with Suncalc), as seen from the
Tour Saint-Michel (here drawn for Dec.21th, 2017; yellow line gives direction of sunrise;
orange gives the position of the Sun at solar noon; deep orange line indicates direction
of sunset; yellow crescent shows total reach of sun path throughout the year). As seen
from the Tour Saint-Michel, the Sun rises around azimuth 126°, in the direction of the
spire of the église Notre-Dame at Saint-Père (yellow arrow) where the first monastery
was located. As seen from the Tour Saint-Michel, the southernmost part of Saint-Père
lies hidden behind the Créchot (an elevation of about 50m above Saint-Père; indicated
as 1; 'créchot' means: 'small manger') but the spire of the Notre-Dame rises up above
that hill (compare to figure 1e). As indicated by the yellow arrow, the Sun rises precise-
ly in the direction of the Notre-Dame at the days around winter solstice. Note also that
the Sun sets in the direction of the ridge of the Vézelay hill (deep orange line).
Figure 1c: A 6:00 stellar time zodiac superposed upon the hill of Vézelay (' Mont Scor-
pion'). Thus, the zodiac is centered upon the tympanum in such a way that the basilica
points to Aries (where the Sun stood on Sunday, April 5th, 33 AD which is the day of
Christ's Resurrection). The hill has the shape of a pan or a racket, with the handle
pointing in the direction of Scorpio. The Notre-Dame of Saint-Père, the Chapelle Jean
Baptiste and the Fontaines salées all lie in the Aquarius sector (azimuth 120°-150°).
Figure 1d: The 'Aquarius sector' (azimuth 120°-150°- superposed upon the tympanum,
as in figure 1c. Blue: Notre-Dame at Saint-Père (azimuth 124°-126°; distance to basilica
1.6 km). Red: Chapelle Jean Baptiste (azimuth 124°-126°; distance 1.9 km). Orange:
Fontaines salées (azimuth 131°-133°; distance 2.9 km).
Comparison of figures 1b,c,d,e shows that around winter solstice (Christmas), the Sun
rises in the direction of the 'small manger', Saint-Père's église Notre-Dame and the
ancient Chapelle Jean Baptiste, and that the Sun sets in the direction of the Vézelay
'panhandle' (rue Saint-Étienne).

3
Figure 1b

4
Figure 1c

Figure 1d

5
Figure 1e:
Top: the remnants of the Chapelle Jean-Baptiste, in the fields of the Corvée Saint-Jean
southeast of Saint Père-sous-Vézelay (see figure 1d, red point). This chapel already
existed when the abbey of Vézelay was founded.
Bottom: The basilica of Vézelay (Tour Saint-Michel at left, Tour Saint-Antoine at right;
telescopic view; compare to figure 1a) and the église Notre-Dame of Saint-Père, as
seen from the ruins of the Chapelle Jean-Baptiste (left). Note the position of the
Créchot, the lower hill in front of the hill of Vézelay topped by the abbey church. As
seen from the basilica of Vézelay, the lower part of the église Notre-Dame is marginally
hidden by a lower hill named the 'Créchot' (tree front immediately behind the Notre-
Dame; 'créchot' = 'small crib'). The original location of the Vézelay abbey was at Saint-
Père, close to the location of the Notre-Dame. As seen from Vézelay's basilica, the
Christmas sun rises above the Créchot and Saint-Père's Notre-Dame (figure 1b), indica-
ting the place of birth of the abbaye of Vézelay.

6
Figure 1f: Count Girard de Roussillon and his wife Berthe, founders of the abbey of
Vézelay, as depicted in the portal of Saint Père's Notre-Dame.
Figure 1g (next page): Some elements of strangeness in Vézelay's Madeleine. (I): Sin-
gular and asymmetrically placed twin column (northern side of the choir) with capital
evoking concepts of twoness and bifurcation; (II) 'Rats' gnawing one of the façade's
columns (to be compared to les 'boules aux rats' depicted in certain French churches);
(III) 'Dragon' (left) and 'lion' at the façades of the churches in Vézelay (above) and Saint-
Pierre (below), seemingly expressing the dual nature of evil (Lucifer & Satan/Ahriman;
compare to 'le beau dieu' at Amiens or Chartres).

7
Figure 1g (I)

(II)

(III)

8
Figure 1h: Top: orientation of the basilica (red line; azimuth 82°, i.e. about 8° north of
east). Bottom: prolongation of the axis of the basilica (red line) leads to the church of
Island (7.3 km) and to the Cousin river, immediately south of the city of Avallon (12 km).
The Cure and the Cousin, which according to Marilyn Floyde enclose an 'Isle of Aval-
lon', are indicated in orange. Apparently, Vézelay's Madeleine points to this 'Isle of
Avallon' in a quite literal sense. The configuration suggests that the town of Avallon
(also spelled 'Avalon' in older documents) was seen as a portal or point of entrance
giving access to the 'isle ['island' or 'ielant'] of Avalon' . Thus, the town of Avallon was
not located on the 'island of Avalon'. Rather, this 'island' could be accessed at Avallon,
by crossing the river Cousin.
Remarkably, the medieval church of Island has an anomalous location, standing com-
pletely isolated to the north of the village. Island is enclosed by two small tributaries of
the Cousin, the Aillon and the Goblot, and its remarkable name has been derived from
this fact by Jacques-Félix Baudiau. However, at a larger scale, Island has also a central
position within the 'isle' enclosed by the Cure and the Cousin, which has been identi-
fied by Marilyn Floyde.

9
Figure 2a: The central portal of the basilica of Vézelay (height: 19.43 m; width: 9.20 m),
as seen from the narthex and looking eastwards into the nave, around solar noon at
summer solstice. On the floor, nine sunlit spots trace the midline of nave, as if emana-
ting from the trumeau which bears a (mutilated) sculpture of Saint John the Baptist (1;
this phenomenon was noticed by Hugues Delautre in the seventies; compare to figure
2b). The Baptist bears a disc with the Lamb of God (mutilated) and is flanked by two
characters, the one at left (2) showing an open book and the one at right (3) displaying
an unfurled scroll (details in figure 2c). At the same level and at each side of the portal,
a pair of characters is shown, one of them bearing a closed book (4 and 5; details in fi-
gure 2d). Thus, when entering the nave through either the left (between 2 and 4) or the
right (between 3 and 5) half of this portal, one always passes in between a closed book
and a displayed text. Adapted from Zodiac 122 (October 1979).

10
Figure 2b:
Top: Simplified plan of the Vézelay basilica (north is up).
Dark gray: narthex (1140-1151). The position of the statue of John the Baptist is indica-
ted by a blue asterisk (*).
Red: nave, with ten bays; note nine windows at either side. At daytime, sunlight en-
tering the building through these nine windows creates a row of nine sunlit spots (yel-
low; compare to figure 2a). When the sun reaches its most elevated position (at noon
and around summer solstice), these nine sunlit spots illuminate the axis of the nave
(yellow; not to scale). Although the windows are of oblong shape with semi-circular
top, the luminous spots look roughly circular, with very blurred borders. The location
of the westernmost spot seems somewhat displaced to the north with respect to the
other spots.
Grayish yellow: transept and gothic chevet (1175-1200). The crypt underneath dates
from about 1100.
Bottom:
Crosscut through the nave, showing the culminating sun with lightpath (yellow) produ-
cing a sunlit spot on the church's axis (from: Zodiaque 122, p.11; modified).
According to Pierre Trossuz (“La Basilique de Vézelay. Architecture sacrée et nombre
d'or” Paris: L'Harmattan; 2015) the total interior length of the church equals 120.63 m
(narthex: 21.29 m; nave: 62.84 m; transept: 10.59 m; chevet: 25.90 m). The interior
height of the nave is about 18 m.

11
Figure 2c:
Center: The mutilated statue of John the Baptist, flanked by two smaller statues
identified as John the evangelist (who shows an open book) and the prophet Elijah
(displaying a text scroll; the unfurled scroll is an iconographic attribute of old testa-
ment prophets; for the relationship connecting Elijah to John the Baptist, see appendix
I). Compare to figure 2a, 1-2-3. The faces of the Baptist and Elijah, and also the lamb on
the disc held by the Baptist, have been mutilated during the French revolution by the
proponents of the 'enlightenment'.
Left: Frontal view of the statue at the northern side (cfr. figure 2a, 2). Given the youth-
ful face of the personage and the overall composition (see text), this is most probably a
representation of John the Evangelist. Unlike John the Baptist and Elijah, the evange-
list holds his legs in a crossed position. We suspect this to be a hidden reference to
the 'quatre de chiffre' (appendix V), identifying the personage as the fourth evangelist.
Right: Frontal view of the statue at the southern side (cfr. figure 2a, 3). The unfolded
scroll is an iconographic attribute of Old Testament prophets. Given the link con-
necting the Baptist to Elijah in the gospels (see appendix I), this is most probably a
depiction of Elijah.

12
Figure 2d:
Left: two mutilated unidentified characters at the northern side of the main portal, one
of them showing a closed book (figure 2a, 4).
Right: two characters at the southern side of the portal, usually identified as Saint
Peter (with key) and Saint Paul (with closed book; see figure 2a, 5). Possibly, the
combination of the key and the closed book is meant as a reference to Luke 11:52:
“Woe to you lawyers, for you have taken away the key of knowledge. You yourselves
did not enter, and you hindered those who are entering". The image suggests that
Peter and Paul are Christian initiates, also represented at the left end of the southern
half of the lintel (figure 18).
Thus, each of both doorways of the main portal is flanked by a text openly displayed
(figure 2c) and a text kept hidden (the closed books shown above). This composition
reflects the duality shown by the apostles surrounding Christ, with the apostles at the
left side being placed in open air and disclosing or showing texts, and the apostles at
the right side being placed under a tree and keeping their books closed (see also figure
4).
The symbolism expresses the idea that from its onset (i.e. from the 'Mission of the
Apostles' onwards) Christianity developed along two parallel tracks, with a hidden
esoteric tradition complementing and inspiring the exoteric church.

13
Figure 3: the tympanum of Vézelay (compare to figure 4).

14
Figure 4: Main elements of the Vézelay Tympanum (compare to figure 3). At the center,
Christ thrones, surrounded by a mandorla (yellow) 7. On the left-hand side, six apostles
are shown, one opening a book, three others holding an open book (blue). The apostle
near Christ is Peter, recognizable by his key. Above these apostles, wavy clouds sug-
gest open air (blue). On the right-hand side, six apostles hold four closed books
(green). Above them spreads a tree crown (green) with a small patch of open air at right
(blue). The left-right polarity represents exoteric versus esoteric Christianity; both
emanate from Christ8. The archivolt contains 29.5 medallions and informs on the
horoscope of an event called the 'Mission of the Apostles' (Wednesday, July 15th, 33
AD, around 12:45; Jerusalem; see section 3 of the present paper). Within an astrono-
mical context, the number 29.5 refers to the Moon (synodic month = 29.5 days) and to
Saturn (orbital period = 29.5 years). Twelve medallions display the zodiacal symbols,
while fourteen others mainly refer to corresponding seasonal activities. The outermost
medallions (marked 'B' and 'W'; see also figure 7), also represent Eucharistic bread and
wine. The 3.5 medallions at the center of the archivolt (red; see figure 9a) are astrono-
mical symbols, referring to the mutual positions of Sun, Moon and Saturn, and to the
lunar nodes and the nodes of Saturn's ring plane; A: 'acrobat', M: mermaid, D: dog; c:
crane; SA: 'small acrobat' (see also figure 9b; the small acrobat is hidden within the
outermost voussure composed of small ornamental medallions and encompassing the
zodiacal archivolt cfr. figure 3). On the inner side of the archivolt, two series of four
compartments (L1-L4 and R1-R4; see figure 15) contain quite detailed symbolic re-
presentations of the recovery of the human being in the wake of the biblical fall (see
text, section 4). The left lintel (LL; see also figure 16) shows a Bikkurim procession.
The right lintel (RL; see figure 18) represents the path of Christian esoteric initiation
(see section 5 and appendix III), culminating in the ability to directly contemplate Christ
when the final degree of 'Pater' (P) is reached. In between both halves of the lintel, a
piece of artwork has disappeared (X).

7
According to Pierre Trossuz (“La Basilique de Vézelay. Architecture sacrée et nombre
d'or” Paris: L'Harmattan; 2015; p.118), the builders of the basilica used the royal cubit
(0.5236 m) as a fundamental measure. The height of the mandorla encompassing Christ
measures 3.147 m which would correspond to 6 cubits. Height and width of the mandorla are
claimed to relate as the golden ratio (ibid., p.122; note that a true 'vesica piscis' has a ratio
height:width = 31/2:1; see figure 6).
8
In recent litterature, the central scene on the tympanum is mostly interpreted as a represen-
tation of Pentecost. See for instance Neil Stratford (p.176-177) and Marcello Angheben
(p.189) in: Hervé Giraud (2018) “Vézelay. Un chemin de lumière” Strasbourg: La Nuée
bleue. Nevertheless, a number of elements strongly suggests that the central scene concerns
'the mission of the apostles'.

15
Figure 5: Top: location of the site 'le Crot au Port' with respect to the hill of Vézelay
(distance: 5.5 km; google maps; compare to figures 1b-d). As seen from the basilica,
the site is at an azimuth of -127° (37° south of due west), in the prolongation of the
ridge of the hill of Vézelay and within the Scorpio sector as illustrated in figure 1c.
Bottom left: The zodiacal sign Scorpio on the tympanum of Vézelay. We conjecture that
this unusual depiction of Scorpio is meant to evoke the hill of Vézelay which has been
called 'Mount Scorpion' in medieval times.
Bottom right: the lonely signpost along the D951, pointing to the location of 'le Crot au
Port' which is located in the forest southwest of Vézelay. The very name 'Les Ferrières'
refers to both ancient iron mining activity and modern exploitation of slag produced in
antiquity. At the center of this very large Gallo-Roman mining zone, a Roman villa
(presumably acting as the enterprise's center) and a small Mercury temple (Mercury
was the god of business) have been discovered. The excavation sites can be visited;
there are no signpost beyond the one depicted here.
According to antique astrology, Scorpio is (together with Aries) ruled by Mars whereas
iron was considered the metal associated with that same planet. Thus, the ridge of
'mount Scorpio' looks like a giant occult signpost pointing to a closeby deposit of iron
ore.

16
The Roman villa

In Roman times, a large domain, approximately encompassing the territories

of the municipalities of Asquins, Vézelay, Saint-Père-sous-Vézelay and
Foissy-lès-Vézelay9, is believed to have been in place. The central villa of this
domain was located close to the river Cure, precisely at the spot were in
medieval times two churches were built, at a mutual distance of about one
hunderd meters. One of these churches, the église Notre-Dame, at Saint
Père, is still in place. The second church, dedicated to Saint Peter, was
burned down by the Hugenotes in 1567; it remains can still be seen. Both the
Roman villa and the churches were located upon a gentle natural elevation
rising about 3 meters above the surrounding grounds, which protected the
buildings from occasional floods. Moreover, a streamlet 10 (later diverted north-
wards) ran closeby, providing easy access to fresh water. Very probably, this
advantageous site has been populated continuously since Roman times. A
short distance to the south, and therefore very close to the Sources salées, on
a terrain called La Corvée de Saint-Jean, the last remains of a small and very
old church can be seen (figure 1d; red point; figure 1e). This is the Chapelle
Saint-Jean-Baptiste, which measured 8.5m x 6m. According to René Louis, it
was built at the end of the fourth century. It could have been one of France's
oldest Christian churches. Probably, the proximity of the salty sources, with
the baths and the pagan customs, induced the dedication to John the Baptist
(Christian baptism involves both water and salt; a Christianization of Celtic
and Gallo-Roman social and cultic practices existing at the Fontaines Salées
could have occurred).

The Arthurian connection.

An Arthurian connection has been proposed by Marilyn Floyde 11. Following

Geoffrey Ashe, the author proposes the historical fifth century king Riothamus
as the model for the legendary king Arthur: “Riothamus was historically
real. What's more, he was last heard of fighting in France, around Bour-
ges in the Loire Valley. He was badly trounced and had to escape east-
wards towards his allies the 'Burgundians'. And if you take the Roman
road due east from Bourges, to Burgundy, you arrive at Avallon” (Floyde,
p.24). Marilyn Floyde identifies the island of Avalon, as mentioned in the
works of Geoffrey of Monmouth, to an 'island' enclosed by the river Cure and
its affluent river Cousin, and adjacent to the town of Avallon which lies on the
Cousin. As the crow flies, about 9 km separate Avallon from the Fontaines Sa-
lées. At the center of this 'island' lies a small village named 'Island' (figure 1h).

Floyde notes that “Geoffroy of Monmouth (…) is the first person to record
King Arthur's life and deeds” (p.27) and can be considered “...the father of
the Arthurian story” (p.21). Elements such as the Round Table, the Holy
9
Whereas Asquins, Saint Père and Foissy are located in the valley and close to the river,
Vézelay is located on top of a rather steep hill.
10
The ru du Val de Poirier was diverted in the 18th century in order to create the garden of the
domain Monplaisir. Nowadays, the restaurant L'Espérance is located there.
11
Marilyn Floyde (2009, 2016) “King Arthur's French Odyssey. Avallon in Burgundy” Ser-
mizelles: Books sans Frontières.

17
Grail, or Sir Lancelot are lacking in his writings. Avalon is mentioned twice in
Geoffroy of Monmouth's first book (“History of the Kings of Britain”; about
1136 AD). Firstly, it is mentioned en passant that Arthur's sword Caliburnus
was forged in the Isle of Avalon (liber IX, 105 12). Secondly, it is said that Arthur
received a mortal wound at the battle of Camblan and was then “...taken
away to the island of Avalon to have his wounds tended and, in the year
of the incarnation of the Lord 542, handed over Britain's crown to his
relative Constantinus, son of Cador duke of Cornwall” (liber XI, 178). In
his second book “Vita Merlini” ('Life of Merlin'), Geoffrey precises that Arthur,
struck by a mortal wound, was carried over the sea to “...the court of mai-
dens”. Thus, king Arthur was transported over sea to a healing sanctuary run
by women. This sanctuary was located on the 'island of apples' ('insula pomo-
rum'; v.908) which is Avalon. The maidens are precised to be nine sisters and
the first among them is called 'Morgen': “People live there a hundred years
or more. There nine sisters rule by a pleasing set of laws those who
come to them from our country. She who is first of them is more skilled
in the healing art, and excels her sisters in the beauty of her person.
Morgen is her name, and she has learned what useful properties all the
herbs contain, so that she can cure sick bodies. She also knows an art
by which to change her shape, and to cleave the air on new wings like
Daedalus; when she wishes she is at Brest, Chartres, or Pavia, and
when she will she slips down from the air onto your shores. And men
say that she has thaught mathematics to her sisters, Moronoe, Mazoe,
Gliten, Glitonea, Gliton, Tyronoe, Thitis, and Thitis renowed for her
cither. Thither after the battle of Camlan we took the wounded Arthur,
guided by Barinthus to whom the waters and the stars of heaven were
well known. With him steering the ship we arrived there with the prince,
and Morgen received us with fitting honour, and in the chamber she
placed the king on a golden bed and with her own hand she uncovered
his honourable wound and gazed at it for a long time. At length she said
that health could be restored to him if he stayed with her for a long time
and made use of her healing art. Therefore, we entrusted the king to her
and returning spread our sails to the favouring winds” (v.915-94013).

How plausible is Floyde's hypothesis (h: 'The island Avalon mentioned in

Geoffroy's books corresponds to the area enclosed by the French rivers Cure
and Cousin, to which the town of Avallon and the healing center of the Fontai-
nes Salées are adjacent')? We can produce a Bayesian estimate using the
formula:
P(h I b) x P(e I h•b)
P(h I e•b) = _________________________________________________________________
[P(h I b) x P(e I h•b)] + [P(¬h I b) x P(e I ¬h•b)]

Here, 'P' stands for 'probability'; 'h' stands for 'hypothesis', 'e' for 'evidence'
and 'b' for background knowledge'. The term P(h I b) represents the (subjecti-
12
For the latin original and translation, see: Geoffrey of Monmouth “The history of the kings
of Britain” (Latin text edited by Michael D.Reeve; translated by Neil Wright; 2007) Wood-
bridge (UK): The Boydell Press.
13
Translation cfr. John Jay Parry “The Vita Merlini” Urbana: The University of Illinois (1925);
p.84-85.

18
vely estimated) a priori probability of the hypothesis, without taking into ac-
count the evidence presented. Thus, the a priori probability is estimated with
regard to background knowledge only. Into this background knowledge 'b', we
will absorb the fact that no British town or island named 'Avalon' is known,
whereas in France, a small town 'Avallon' does exist. Also absorbed in 'b' is
the parallellism linking historical Riothamus to legendary Arthur (including the
fact that Riothamus' life came to an end in Burgundy). We evaluate P(h I b) = .
01 (which means that the a priori probability of h holding true is estimated to
be 'extremely improbable'). This implies P(¬h I b) = .99 . The term P(e I h•b),
to which we accord a conservative value of .05 , represents the probability of
the evidence emerging if the background information is given and the hypo-
thesis holds true.

The following elements of evidence are presented by Marilyn Floyde:

• Adjacent to the French town of Avallon, a geographical 'island' appears, en-
closed between the river Cure and its affluent the river Cousin. This means
that both rivers, upstream from their point of confluence, again come very
close to each other, separated only by a narrow isthmus (width about 1 km).
Coming from Britain, this 'island' could have been reached by crossing the
channel, then navigating along the Seine, Yonne and finally the Cure.
We attribute a probability P = .2 ('improbable') to this element.
• Surprisingly, in the midst of the supposed 'island', is located a hamlet named
'Island' (written 'Ielent' in the 12th century; this is a Germanic word, cfr. Dutch
'eiland' which means 'isle'). The exceptional fact that the very center of our
suspected 'island' is 'earmarked', so to say, by a municipality named 'Island'
strongly increases the probability that the territory enclosed by the rivers Cure
and Cousin was indeed considered an 'island' in ancient times. Moreover, we
can add that Vézelay's Madeleine aligns with the church of Island and with the
point where the 'Island' borders the town of Avallon (figure 1h). To the totality
of these elements, we attribute a probability P = .01 ('extremely improbable').
• Adjacent to the 'island' is the site of the Fontaines Salées, which was a Celtic
and Gallo-Roman cultic center located on the bank of the river Cure (with
'Cure' meaning 'healing'). To this element, we attribute a probability P = .2 .
• According to Geoffroy of Monmouth, Arthur's sword was forged at the Isle of
Avalon. This implies the presence of ironworks at Avalon. Important iron ex-
ploitations did indeed exist close to Vézelay during the first centuries of our
era (see also figure 5). A direct road connected these mines to the site of the
Fontaines Salées14. To this element, we attribute a probability of P = .01.
14
In 1929, the remains of very extensive Gallo-Roman iron mining and melting activities, with
many pits and heaps of slag, were discovered in the woods southwest of Vézelay. Archeologi-
cal work directed by Bernard Lacroix led to the discovery of a Roman house supposedly
acting as an administrative center for the exploitation. A small temple dedicated to Mercury,
god of commerce, was also found. Lacroix estimated that 500-800 workers were active here
at any time. The iron was extracted from hematite which was abundantly present. A Roman
road directly connecting the mine exploitation to the Fontaines Salées was also discovered.
Lacroix concluded that the salt production and healing center at the Cure were closely
connected to the iron industry a few miles away. Of course, his observations fit nicely with
Monmouth's description of Avalon as both a healing center and a prominent place of
ironworking. Bernard Lacroix described his findings in an important paper that includes maps
of the mining pits, slag heaps and Roman roads (l'Abbé Bernard Lacroix “Les origines

19
The hypothesis does not lead to predictions at variance with these observa-
tions, for which no alternative explanations seem available. The resulting esti-
mate for P(h I e•b) suggests that Floyde's hypothesis should be accepted:
.01 x .05
_____________________________________________________
P(h I e•b) = ≥ .99
[.01 x .05] + [.99 x (.2 x .01 x.2 x .01)]

The details mentioned in Geoffroy de Monmouth's Vita Merlini regarding the

nine sisters merit closer examination. Clearly, these nine maidens, the first-
most of which was named 'Morgen', are not meant to be a set of nursing
sisters in any conventional sense. Obviously, the name 'Morgen' evokes the
word 'morgen/Morgen' (meaning 'morning') as used in contemporary Dutch
and German. By extension, the word can also refer to the general idea of '… a
new beginning'. With respect to the mortally wounded Arthur, transferred to
Avalon by the sea god Barinthus (who '...knows the waters and the stars of
heaven'; Barinthus is comparable to Charon) the natural idea coming to mind
is the concept of reincarnation 15. Thus, Morgen declares that Arthur is going to
protohistoriques et gallo-romaines de Vézelay (Yonne)” p.65-83, with separate maps;
OGAM. Tradition Celtique, Tome XV, fascicule 1; 1963). Here are some of his conclusions: “Il
n'est pas téméraire d'estimer que ce grand centre sidérurgique, qui devait certaine-
ment compter au nombre des metalla publica de l'empire, pouvait grouper une popula-
tion servile de plusieurs centaines d'ouvriers (cinq à huit cents?, et peut-être cette
évaluation est-elle, là aussi, un minimum)” (p.79); “...si, comme nous l'estimons, cet
établissement sidérurgique groupait de cinq à huit cents, voire mille personnes, et cela
durant près de cent-cinquante ans, il est incontestable que les besoins en sel, ou en
eau salée, suivant les usages, furent considérables. Aussi bien le génie romain n'aura
pas hésité, pour obtenir en abondance ce précieux et indispensable produit, à excaver
le sol d'une manière strictement analogue à celle employée sur le plateau pour la
recherche du minerai de fer (…)” (p.81); “...il serait (…) inconcevable que deux aussi
grands centres: l'un industriel, sur les plateaux; l'autre thérapeuthique et alimentaire,
dans la vallée, distants de quelques milles seulement (moins de six kilomètres à vol
d'oiseau), se soient totalement ou longtemps ignorés en n'aient pas vécu, au contraire,
en étroite dépendance l'un de l'autre (…) On peut donc certifier, sans crainte d'erreur,
que conjointement où séparément, le bois, le fer et le sel furent, suivant les époques et
les circonstances, et durant de nombreux siècles, les éléments économiques déter-
minants de la vie et de la prospérité du vicus forestier de 'VERCELLACVM' “ (p.82-83).
Possibly, the very name of Vézelay points to metallurgic and forge activity. Philippe Beyney
(“Saint-Père. Le passage de la ville au village médiéval”; master thesis 2015; p.44) refers
to René Louis who already in 1937 derived the name (written in ancient texts in various ways:
Vezeliacum, Virziliacus) from the gallic prefix 'ver' (meaning 'superior', as in Vercingetorix: the
'highest king') and 'cellos' (meaning 'hammer' or 'batterer'). Thus, the name 'Vézelay' could
have meant something like 'most excellent forge'. Note that this explanation predates the
excavations at the site of 'le Crot au Port' and, a fortiori, the ideas of Ashe and Floyde re-
garding Riothamus as the historical model for king Arthur. The idea of ancient Vercellacum
being an eminent center of iron industry very neatly fits Geoffroy of Monmouth's account of
Arthur's sword having been forged on the isle of Avalon.
15
As mentioned by Julius Caesar, Celtic druids believed that the human being reincarnates:
“In primis hoc volunt persuadere, non interire animas, sed ab aliis post mortem transire
ad alios, atque hoc maxime ad virtutem excitari putant metu mortis neglecto. Multa
praeterea de sideribus atque eorum motu, de mundi ac terrarum magnitudine, de
rerum natura, de deorum immortalium vi ac potestate disputant et iuventuti tradunt”
('The first thing they want to teach is that the soul does not die but crosses to another after
death, and by this they are greatly encouraged to valor and shun fear of death. Besides this,
many things about the stars and their movements, about the magnitude of the world and

20
be reborn and that he will live another life. Apparently, the 'nine sisters' stand
for the nine months of human pregnancy and their '...pleasant set of laws' are
the laws of karma. Morgen is the first and most powerful among these nine
personified months, the one who calculates and determinates where and
under which circumstances the human individuality is going to be born again.
Hence Morgen's ability to swiftly move towards any place on Earth, and her
'...calculating abilities' (referring to karmic balancing and acquittal) which she
transfers to her eight sisters (i.e. the eight subsequent months of pregnancy).
The ninth and last of the sisters is said to be “...renowed for her cither”,
which evokes the newborn human crying out and acquiring voice.

The abbey of Vézelay and its connection to the Fontaines Salées.

As said, count Girard de Roussillon and his wife Berthe (figure 1f) founded a
monastry of Benedictine sisters around 858, dedicated to Saint Mary (Notre
Dame16), at 'Vercellacus' (which is now Saint-Père-sous-Vézelay). Its exact
location remains unknown but it must have been somewhat southwest of the
Notre-Dame where the remains of the ancient église Saint-Pierre can be
seen17. Importantly, the already existing Chapelle Jean-Baptiste was also very
close. In 873, the early monastery had already a male occupation when it

lands, about the nature of things, about the strength and power of the immortal gods they
debate and teach to their youth'; De Bello Gallico 6:14, 5-6).
https://www.academia.edu/8855524/Caesar_and_the_Druids_An_Examination_of_Roman_Military_Policy_and_Indigenous_Religion
As touched upon in appendix I, the concept of reincarnation was also embraced, from the
very beginning, by esoteric Christianity.
16
From an ancient text ('Chronique d'Hugues le Poitevin', written before 1167), it is known
that the crypt of the ancient church at Vézelay contained a wooden statue of Saint Mary. See:
Christian Sapin (2015) “La crypte de Vézelay (Yonne): quelle place pour les reliques de
Marie-Madeleine et la statue de la Vierge? L'apport de l'archéologie du bâti et des
sources textuelles” Bulletin du centre d'études médievales d'Auxerre (BUCEMA 19.1).
17
Bernard Lacroix (“Saint-Père-sous-Vézelay” Avallon: Librairie Voillot, 1993; p.28) quotes
Abbé Pissier, who claimed that local tradition placed the primordial monastery close to the
église Saint-Pierre. Occasional discoveries, in 1962 and 2004, further support this view.
Lacroix (p.29) concluded: “Pour notre part: la proximité d'un sanctuaire, qui, s'il n'est pas
d'origine, quoique très ancien, a pu fort bien être élevé sur les restes d'un autre édifice
religieux primitif, nous donne toutes raisons de penser, avec assez de certitude, que se
localiseraient à cet emplacement les vestiges mêmes du couvent des 'Servantes de
Dieu' fondé par le comte Girart”. Christian Sapin, Fabrice Henrion, Stéphane Büttner “Les
origines de l'abbaye de Vézelay et les débuts de son organisation claustrale (IX e-XIIe
siècle)” Archéologie médiévale 45, p.59-84 (2015): “L'ancienne église Saint-Pierre à Saint-
Père passe pour être l'emplacement de l'ancienne abbatiale du monastère (…) Nous
suggérons que l'on se trouve en présence d'un ensemble double avec une église
Notre-Dame (reconstruite au XIIIe siècle) qui serait plutôt sur l'emplacement de la
fondation féminine (qui, rappelons-le, était dédiée à Sainte-Marie) et, située à cent
mètres, une église Saint-Pierre qui correspond à l'église funéraire du monastère et qui
deviendra, comme à Lobbes (Belgique), l'église pariossale. La reconstruction de Saint-
Pierre à la fin IXe-Xe siècle témoigne d'une volonté de mémoire du lieu, peut-être de la
part de la famille des fondateurs” (p.62); “[Le] déplacement entre deux sites peut rap-
peler d'autres cas comme celui des moniales du Saint-Mont (Vosges) à Remiremont, ou
celui de Saint-Mihiel. Dans cet exemple comparatif, on constate qu'en dépit du dé-
placement, la communauté poursuit l'entretien du site initial. Dans le cas de l'ancien
site de Saint-Père, la situation est double avec la question des deux églises reconstrui-
tes. Ce transfer suppose des moyens qui ne peuvent provenir que d'une situation topo-
graphique et économique hautement favorable, en particulier pour la reconstruction de
Notre-Dame” (p.63).

21
was destroyed by Norman invaders. Thereafter, the benedictine settlement
on the banks of the river Cure was abandoned and replaced by a new
monastery on top of the hill of Vézelay. Remarkably, the place name 'Vercel-
lacus' was relocated together with the monastery: the location on top of the hill
was now called 'Vercellacus' whereas former 'Vercellacus' became 'vetus
Vercellacus' ('old Vézelay', later to become Saint-Père-sous-Vézelay). Thus,
the very name of Vézelay indicates that the displacement of the sanctuary
from the banks of the Cure (about 150m above sea level) up to the top of the
hill (about 300m above sea level) was vividly remembered by those involved.

In 1976, it was discovered that the basilica was constructed in such a way
that, at midday on the days around the feast of Saint John the Baptist (July
24th, i.e. at summer solstice), a row of nine luminous spots forms along the
axis of the nave. Towards the west, this alignment points to the central pillar of
the portal connecting narthex and nave (figure 2a). And indeed, this pillar is
dominated by a statue of John the Baptist holding a disc with the Lamb of
God18. This disc is a Sun symbol, referring to Christ's Baptism which occurred
when the Sun stood in Aries. The solar disc held by the Baptist refers to the
incarnation of the Logos 19 whereas the row of nine sunlit spots refers to the
human incarnation(s) of the Baptist (cfr. Lk. 1:26,39-45). Elsewhere 20, we
have argued that a deep astronomical and calendrical link connects the
Baptism of Jesus of Nazareth, which corresponds to the incarnation of the
Logos and the beginning of Christ's ministry, and the Resurrection of Christ,
which corresponds to the fulfillment of His ministry. Indeed, both events took
place on Easter day of the years 31 AD and 33 AD, on April 1st and April 5th
respectively. Arguably, the disc showing the Lamb (which refers to Aries)
evokes not only Jesus' Baptism but also His Resurrection.

The yearly appearance of the nine radiating spots along the church's midline,
taken together with the disc held by the Baptist and located upon that same
midline, constitutes one single symbolic composite, connecting the births of
the Baptist and the incarnation of the Verb and at the same time expressing

18
John the Baptist is represented (figure 2a, n.1) immediately underneath Christ, who domi-
nates the center of the tympanum. The statue has been vandalized during the French revolu-
tion, and both the face of the Baptist and the Lamb of God on the disk have been destroyed.
The Baptist is explicitely identified by an inscription on the circular plinth upon which he
stands. “The plinth inscription states, 'Let all realize that this is meant to be John when
he holds the attention of the people, pointing out Christ with his finger' [AGNOSCANT
OM(NE)S QUIA DICITUR ISTE IOH(ANNE)S C(UM) RETINET POP(U)L(U)M DEMON-
STRANS INDICE XP(ISTU)M]. The disk inscription, in turn, of which only the word
mundi is now legible, must originally have referred to the Baptist's description of
Christ (…) 'Here is the Lamb of God who takes away the sins of the world' [Ecce agnus
Dei qui tollit peccatum mundi]” (p.473 in: Peter Low “You who once were far off: Enlive-
ning Scripture in the main portal at Vézelay” The Art Bulletin 85, p.469-489; 2003). Trans-
cription and translation by Calvin B.Kendall “The allegory of the Church: romanesque
portals and their verse inscriptions” Toronto UP (1998).
19
It should be kept in mind that the Baptist pronounced the words 'Behold, the Lamb of God'
in the days immediately following Jesus' Baptism (John 1:29,36). Contrary to the interpreta-
tion professed in many Christian obediences, and contrary to the dogma of Mary being 'theo-
tokos' (i.e. 'bearer of God'; Council of Ephesus, 431 AD), the Logos incarnated into Jesus of
Nazareth at the Baptism of Jesus.
20
https://www.academia.edu/36300791/The_Taurus_Portal

22
the deeply different nature of both events (the Baptist was born in the usual
way, after nine months of gestation; Christ incarnated in Jesus of Nazareth at
the baptism of the latter). Parallelly, the prominent place of the Baptist at the
main entrance of the nave evokes the deep past of the abbey, connecting it to
the Fontaines Salées and the old chapel of John the Baptist 21. Irresistibly, the
mysterious row of nine luminous spots appearing along the axis of the Véze-
lay church evokes the image of Morgen and her eight sisters, which we have
interpreted as an image of the nine months of human gestation, but also of
the concept of reincarnation. In as far as these nine spots are a hidden refe-
rence to the legend of Morgen and her eight sisters, they also evoke the idea
of reincarnation with respect to the Baptist, which is remarkable, because the
reincarnation of the Baptist is discussed in several passages in the gospels
(appendix I). Especially, the question is asked whether John the Baptist is the
prophet Elijah incarnate. In the synoptics, this question is answered in the
positive sense by Christ. In John's gospel, a still more elaborate answer is
given. The Baptist, when asked whether he is Elijah, denies this identity (John
1:21). This means, that the Baptist cannot be identified with the prophet Elijah
at the level of the soul or persona. However, the Baptist thereafter states that
he is “...a voice of one crying in the wilderness” (John 1:23) which refers
(as explained in appendix I) to the spirit of Elijah. Moreover, John's gospel
identifies the Baptist also as a reincarnation of Adam (John 1:6-7). In this
regard, it seems very significant that the statue of the Baptist is flanked by re-
presentations of the prophet Elijah on the one hand, and of John the
evangelist on the other hand (figure 2a, 1, 2 and 3; figure 2b). Apparently, an
intricate semantic link seems to connect the site of the Fontaines Salées
down in the valley and the basilique Sainte-Marie-Madeleine on the hilltop of
Vézelay. With both places, the ideas of reincarnation, baptism, and nine
month gestation are interwoven. At both places, John the Baptist is repre-
sented. And, as far as Christ is the ultimate Healer, both are healing locations.

The nine sisters of the Arthur legend and the nine sunlit spots in the basilica.

If we accept Floyde's hypothesis, the site of the Fontaines Salées corres-

ponds to the mythical 'healing center' of the nine sisters. As a consequence,
the Fontaines Salées become associated to concepts such as 'Avalon',
'nineness', 'nine months of gestation', and 'reincarnation'. Moreover, the site is
also associated to the concept of 'baptism', especially through the closeness
of the Chapelle Saint-Jean Baptiste (figure 1e).

21
The sacred landscape around the Vézelay basilica also shows a most remarkable 'solar
reference' to Christ's traditional day of birth (see figures 1b,c). As seen from the church's Tour
Saint-Michel, the Sun rises in the direction of the Notre-Dame at Saint-Père at Christmas
time. Although the lower parts of the Notre-Dame cannot be seen from the Basilica, because
they are hidden behind the Créchot (a hill towering some 50m above Saint-Père), the spire of
Saint-Père's church of Notre-Dame peeks out above the Créchot and can be seen. We know
that this church marks the initial location of the abbaye, before the latter was transferred to
the hill of Vézelay. Thus, at Christmas morning, the Sun rising above the spire of the Notre-
Dame down in the valley offered the monks an image of both the birth of Christ (with the
Notre-Dame and the Créchot representing Mary and the manger, respectively) and of the
birthplace of their own monastery (which was initially dedicated to Mary). Thus, the basilica
has inbuilt 'solar references' to the births of both the Baptist and Jesus Christ.

23
Parallelly, the basilica of Vézelay is associated to concepts such as 'Avalon',
'nineness', 'nine months of gestation', 'reincarnation', and 'baptism', through
(a) its orientation in the direction of the church of Island and of the southern tip
of the town of Avallon (which borders the Cousin), (b) the phenomenon of the
nine sunlit spots projected upon the church's axis at the time of the Baptist's
festival, and (c) the prominently placed scupture of Saint John the Baptist
upon that same axis, flanked by John the evangelist and Elijah.

Thus, an identical and very complex 'semantic field' seems to be shared by

the Fontaines Salées and by Vézelay's Maleleine, which is summarized again
in the table below. Moreover, a geographical link also connects the basilica
and the site of the Fontaines Salées. With respect to the basilica, the Fon-
taines Salées are located in the Aquarius sector (together with the Chapelle
Jean-Baptiste and with the original Benedictine settlement at Saint-Père-sous-
Vézelay). The astrological sign of Aquarius has an obvious connection to the
concept of 'baptism'. Moreover, Vézelay's church and the Fontaines Salées
are very close, separated by only 2.9 km, as the crow flies. This short
distance, considered together with the exceptional nature of the common
'semantic field', already suffices as a proof that the builders of Vézelay's Ab-
bey must have been aware of an Arthurian connection 22.

Basilica of Vézelay Fontaines Salées

Avalon. Axis pointing to Island/Avallon. Isle of Avalon.
Nineness. Nine sunlit spots. Nine sisters.
Association with Sunlit spots appear on church Chapelle Jean Baptiste close
John the Baptist. axis around summer solstice to Fontaines Salées.
(feast of John the Baptist). 'Fontaines Salées' evokes
Statue of Baptist located upon ritual of baptism (water, salt).
this axis. Baptist holds disc In Aquarius sector
symbolizing Sun in Aries. (which again evokes Baptism;
figure1 1,c-d).
Association with Statue of John the Baptist flanked Morgen has the ability to
the concept of by statues of John the Evangelist swiftly move from one location
reincarnation. (the Baptist is referred to as a to another – as a soul-spirit in
reincarnation of both Adam and search of incarnation. Morgen
Elijah in John's gospel – see has the ability to 'calculate',
appendix I) and Elijah. which refers to karmic
reckoning.

There is more to be said. We have seen (figure 1h) that the axis of the Made-
leine points to the church of a small village called 'Island', and beyond that
church to the banks of the river Cousin, immediately south of the town of
Avallon. Thus, in quite a literal sense, this axis points to the 'isle of Avalon'.
Moreover, when the nine sunlit spots (figure 2a,b) move along the axis of the
church during the noon of summer solstice, they do so from west to east,
away from the statue of John the Baptist and towards the 'isle of Avalon'.

22
For instance, if iconographic representations corresponding to the nine luminous spots at
Vézelay were to be found at mean distances of 50 km (certainly an underestimation), the pro-
bability of finding two such representation less than 3 km apart would be P < 3 2:502 < .01

24
Clearly, the whole configuration seems to encode for a later incarnation of
John the Baptist, to be connected to the 'isle of Avalon'. Moreover, it should be
taken into account that not only the Baptist, but also Jesus Christ above him
are represented on the vertical axis of the portal and the tympanum. Christ,
who is the Verb, is not subject to reincarnation. However, the incarnation of
the Verb in Jesus implied the excarnation of the individuality of Jesus of Naza-
reth i.e. Zarathustra23. According to esoteric understanding, the Baptism of
Christ created an exceptional karmic connection linking the individuality of the
Baptist to the individuality of Zarathustra. The nine sunlit spots drifting east-
wards, away from the statues of the Baptist and Jesus Christ and towards the
'Isle of Avalon', are thus suggestive of later incarnations of the karmically
connected individualities of John the Baptist and the solomonic Jesus (or
Zarathustra). Apparently, these two reborn individualities were believed to
have stood in some relationship to the 'isle of Avalon'. This leads to the con-
jecture that the semi-mythical individualities of king Arthur and Merlin could
have been understood, by the builders of the basilica at Vézelay, as reincar-
nations of the individualities of the solomonic Jesus (i.e. Zarathustra) and
John the Baptist (i.e. Eliah), respectively. Interestingly, the abbey church of
Vézelay was constructed in 1120-1150, which coincides with the time of Geof-
frey of Monmouth writing his 'History of the Kings of Britain' (around 1136).
Geoffrey might have had connections to the Benedictine priory of Monmouth,
and a direct Benedictine link connecting Monmouth and Vézelay could very
well have existed. Arthur was a king, just as the solomonic Jesus (Matthew
2:2); and Merlin is described by Monmouth as a prophet, just as John-Eliah.
Possibly, the strangely unidentified 'very old book in the British tongue'
mentioned by Geoffrey in the prologue of his History, was meant as a discreet
pointer to esoteric imagery having been interwoven within his writing.

Vézelay : Keystone in cloister (Viollet-le-Duc 1873).

23
See for instance: https://www.academia.edu/36300791/The_Taurus_Portal

25
2. The central scene of the tympanum: exoteric and esoteric Christianity.

The tympanum (width: 9.25m; height: 5.40m; figure 2) is executed in lime-

stone of local provenience. Inspection of the artwork has revealed traces of
paint24. The central scene is dominated by a 2.87m heigh Christ, flanked by
six apostles on either side and surrounded by a mandorla (yellow in figure 4).
This central scene is surrounded by other imagery (detailed in figure 4) which
is discussed in subsequent sections of this paper.

The central tympanum is mostly interpreted as a representation of Pentecost

(appendix IV). However, a number of elements render this interpretation ques-
tionable. Firstly, the presence of Christ at the center of the scene does not
quite conform to Acts 2:1-4, where Christ is not mentioned. To a certain ex-
tent, this objection can be overcome by reference to Acts 1:8 or John 14:25-
26. However, the scene also displays a left-right polarity, with the apostles on
the left holding open books (or, in the case of the leftmost apostle, opening a
book) and the apostles on the right holding closed books. This polarity is also
displayed elsewhere in the portal (figure 2a,c) and is interpreted by Adolf
Katzenellenbogen25 as a symbol of the apostles' ability to both save and con-
demn (John 20:23). However, closed versus open books do not seem appro-
priate imagery to express such concepts and the fact that the polarity is also
repeated underneath the tympanum (figure 2) argues against Katzenellenbo-
gen's view. Moreover, the imagery of the open versus closed books is comple-
mented by the different 'cloud covers' at both sides. The smooth waves above
the apostles at left have been interpreted as 'serene clouds' whereas the
more intricate pattern at right has been taken to depict 'thunderclouds' or
'storm clouds'26. However, this interpretation does not conform to the fact that
the 'stormclouds' abruptly end, bordering to a small segment of 'serene
clouds' at the uttermost right (figures 3 and 4). This remarkable discontinuity
(which coincides with a joint between two stone blocks that also shows up as
a divide between two groups of three apostles) has even been interpreted as
an error of kinds in the execution of the tympanum 27. However, a much more
natural reading would be that the supposed 'thunderclouds' are really part of a
tree crown28. Where this crown of leaves ends, a small part of 'serene clouds'

24
Reported by Neil Stratford “Romanesque sculpture in Burgundy” (p.245).
25
Adolf Katzenellenbogen “The Central Tympanum at Vézelay” The Art Bulletin (1944)
26(3): p.141-151 (1944)
26
“[The clouds] on His right (…) are calm. On His left they look like thunderclouds”
(Katzenellenbogen, p.142). See also: Véronique Rouchon Mouilleron “Vézelay. The Great
Romanesque Church” (translated from the French) (p.30-31) New York: Abrams.
27
Stéphane Büttner (in: “La mise en œuvre de la façade et du grand portail de la nef de
Vézelay: nouvelles données archéologiques” Les Cahiers de Saint-Michel de Cuxa XLV,
p.145-156; 2014) writes (p.154): “Alors que sa partie nord est composé de trois blocs, [la
partie sud] en dénombre huit dont certains présentent des épaufrures, voire des
cassures, sans doute liées à une manipulation laborieuse lors de leur mise en place.
Alors, le décor de nuages, présent au niveau de l'épaule gauche du Christ, présente
une incohérence stylistique due à une reprise de sa sculpture assurément réalisée en
cours de pause”.
28
Marcello Angheben (in: “Apocalypse XXI-XXII et l'iconographie du portail central de la
nef de Vézelay” Cahiers de Civilisation Médiévale 41, p.209-240; 1998; see p.218) accepts,
but with reservations, Crosnier's identification of the 'thunderclouds' as tree leaves (Crosnier

26
can again be seen. Apparently, the left-right polarity of open versus closed
books is reflected by a second polarity, 'sitting in open air' versus 'sitting under
a tree'.

The most natural reading of the symbol of open versus closed books is public-
ly accessible versus hidden knowledge, which in the given context would
mean: exoteric versus esoteric Christianity. 'Sitting under a tree' is an ancient
symbol of initiation, the archetypical example being the Buddha who attained
enlightenment under the Bodhi tree29.

Thus, we propose that the tympanum refers to an event in early Christianity

that we will call (following Katzenellenbogen 1944) the 'Mission of the
Apostles' and that was considered to be the starting point for both exoteric
and esoteric Christianity. As such, knowledge concerning this event must
have been considered esoteric. The event depicted on the Vézelay tympanum
is suggested in Acts 1:8 ('...and you will be witnesses for Me, both in Jerusa-
lem and in all Judea and Samaria, and to the ends of the earth').

Figure 6: Vesica piscis, shown with interference pattern connecting both centers.

As a matter of fact, the polarity is already expressed by the mandorla around

Christ. This symbol has the approximate shape of a 'vesica piscis', created by
two circles of equal radius each having its center lying on the perimeter of the
other (figure 6; see also figure 14). Thus, Christ throning within a mandorla is
indicative of Christ holding the middle ground between two realms. The
scheme is polysemous. The two realms can be meant to be the Holy Spirit
and the Father (with the Son at the intersection), or the human spirit, soul and
body, or the basic functions of thinking, feeling and willing (with Christ dwelling
in the soul: Gal.2:20; Col.1:27). Here, each of both virtual circles constituting
the mandorla encompasses a set of six apostles and as such, the vesica
piscis is indicative of the unity between exoteric and esoteric Christianity. Both
movements are separate and independent, but they are united in Christ.

“Iconographie de l'église de Vézelay” Congrès archéologique de France 14, p.219-230;

1847). The abrupt ending of the misidentified 'thunderclouds' is not the result of a construction
error or of lack of stylistic coherence. By leaving a small part of the sky visible, it is made clear
that the apostles on the right side are indeed placed underneath a tree crown.
29
John 1:48,50 also refers to this symbolism:
https://www.academia.edu/33857672/King_Eisu_and_the_riddle_of_the_fig_tree_John_1_48
_._On_Jesus_presence_in_Cornwall_and_Somerset

27
The representation of the Eucharist

Figure 7: The two lowermost medallions of the zodiac represent a character cutting
bread (left; northern side of the tympanum) and a man holding a cup of wine (right;
southern side of the tympanum). From an exoteric point of view, they represent
seasonal activities, but in an esoteric sense, this pair of medallions refers to Eucharis-
tic bread and wine. The 'wine medallion' is provided with an inscription:
'+OM(N)IBUS IN MEMBRIS DESIGNAT IMAGO DEC(E)MBRIS.'

The left-right polarity of the tympanum's central scene is complemented by the

left-right polarity of the two medallions representing the Eucharist (figures 4
and 7). At the left side of the tympanum, the representation of exoteric Chris-
tianity is complemented by a medallion representing the bread of the Eucha-
rist. At the right side, the representation of esoteric Christianity is complemen-
ted by a medallion representing the wine. As a symbol of initiation, wine is
present in John's passage on the 'wedding at Cana' (cfr. appendix III).

During the 12th century, when the tympanum was created, Eucharistic contro-
versies raged30 which are reflected in the medallions.

In 1054, the East-West schism formally separated the Catholic Church and
the Eastern Orthodox Churches. The direct cause was the so-called 'azyme
controversy'. Originally, common leavened bread was used in the Eucharist.
However, the Catholic Church started to use unleavened bread (azymes).
This 'innovation' was rejected by the eastern churches. The tympanum of
Vézelay was produced when this controversy was still very much alive and
commented upon by major theologians. Surprisingly, the bread medallion
shows a character holding a leavened bread. Explicitely, the bread is shown
with the outer crust split and the inner dough having pushed through,
producing a typical 'triple junction' pattern 31. This suggests that the monks of
Vézelay secretly sided with tradition (and with the eastern churches) as far as
the azyme controversy was concerned.

30
See also appendix V for some considerations on the nature of the Eucharist.
31
This pattern is also known from geology. Often, the bread is slashed before baking, in order
to induce a decorative splitting figure, such as a cross or star.

28
The bread medallion contains still another piece of information with respect to
the nature of the Eucharistic bread. The character holding the bread has
placed his knife as a midline over the circle of the bread. Thereby, he
produces the traditional (alchemical) symbol for salt 32, which is a circle with an
horizontal midline:

The alchemical concept of 'salt' is not to be confounded with the chemical

concept of salt in general, or with the substance NaCl (table salt) in particular.
The symbol explicitely refers to the predictable and law-governed aspect of
the physical realm (as opposed to the chaotic aspect), with the cubic crystal-
line structure of rock salt symbolizing physical 3D-space. The sign can be
understood as a schematic representation of a zodiacal circle with a horizon
line (connecting ascendant and descendant) but without the vertical axis con-
necting to midheaven (see also figure A-II,2 on p.78). 'Salt' leads the human
being into the realm of the physical world and it illuminates rational human
thinking with respect to physical processes. It constitutes, so to say, a 'force of
incarnation'. This is the true meaning of the Eucharistic bread: it enables to
master and to correctly understand the physical realm; it connects the human
soul to the earth. Conformingly, the character holding the bread sits on a
simple stool and is dressed as a medieval labourer or handcraftsman.

The wine medallion, with a character showing a cup, is exceptional in that it

bears a latin inscription:

'+ OM(N)IBUS IN MEMBRIS DESIGNAT IMAGO DEC(E)MBRIS.'

The bearer of the cup is a priest, as he wears a biretta (an ecclesiastical cap
with square base and three horns, two of which are visible here). The '+' is
placed just 'above' this three-peaked piece of attire. Or we could say, because
the '+' is part of a text which extends upside down above the priest's head,
that the '+' is placed underneath a 'Δ' formed by the priest's three-horned hat.

The expression 'IMAGO DEC(E)MBRIS' ('the image of December') refers to

the new wine, made from grapes that were harvested some months earlier.
Typically, such young wines become available for consumption in December.
Thus, we can replace the arcane expression 'IMAGO DEC(E)MBRIS' by
'VINUM' ('wine'). The inscription starts with a symbol '+' which can be replaced
by 'CRUX' ('The Cross'; this 'cross' is the 'higher Self' or 'Christ in me' which
constitutes the spiritual kernel of the human individual). Thus, the inscription
can be read as:
'CRUCEM OMNIBUS IN MEMBRIS DESIGNAT VINUM.'

32
See also: '...un homme coupant du pain', p.292-293 in: Eugène Canseliet “Les écoinçons
des stalles de la cathédrale Saint-Pierre de Poitiers et leur interprétation alchimique ”
Atlantis n° 332 (mai/juin 1984), p.291-308.
Note also that the blade of the knife lies flat upon the loaf, suggesting that the man is depicted
blessing the bread.

29
As this is an esoteric message, we translate to the letter. 'Signare' means 'to
mark, to sign, to stamp'. The prefix 'de-' undoes or reverses the verb's action.
Thus, 'designare' can be understood as 'revealing the reality beyond the sign',
with the sign being the '+'. Thus, we can understand the sentence as:

THE WINE REVEALS [THE SECRET BEYOND] THE CROSS

TO ALL THE MEMBERS [OF THE COMMUNITY OF CHRISTIANS]

Again, reference seems to be made to a controversy related to the Eucharist.

The partly encoded inscription on the wine medallion evokes Matthew 26:27
(“Drink from it, all of you”). As a matter of fact, the history of Catholicism has
been characterized by a trend to exclude common fidels from participating in
the wine part of the communion: wine was consumed by the celebrating priest
and the fidels just received a 'host' i.e. a piece of unleavened bread represen-
ting the bread-sharing part of the sacrament. In order to justify this, the so-
called 'doctrine of concomitance' was invented 33. According to this doctrine,
the full sacrament is received when only bread is consumed and the wine is
left out. In the end, those objecting to this doctrine were anathemized at the
Council of Trent (1545-1563). Nevertheless, the medallion (figure 7, at right)
seems to secretively support the idea that all fidels should be allowed to parti-
cipate in the wine part (i.e. the explicitely esoteric part) of the Eucharist.
33
“Jesus (…) invited those at table to drink from a single cup. This action is not only
unparallelled in any ancient religious ritual – either Jewish or gentile – but contrary to
basic human practice. We all share meals, we all drink at them, but we assume a
separate cup for each! (…) ...the whole history of the Eucharist can be described in
terms of the 'work-arounds' developed to avoid following Jesus' command and then
the theology invented to justify it. Work-arounds have included spoons, straws,
dipping, thimble-sized individual containers (now mini pre-packed and sealed plastic
pots), and, most famously, complete denial except for the presider. Since this went
flatly in the face of the command to all – pieté ex autou pantes / bibite ex hoc omnes
(Mt.26:27), it had to be 'justified' by creating the 'doctrine of concomitance'!” (p.24-25 in:
Thomas O'Loughlin “The Eucharist: yesterday, today, and tomorrow” Liturgy 42(3), p.21-
26; 2017); “Since at least the seventh century there was an ever-growing tendency for
people not to eat or drink at the Eucharist – to attend without communicating (…) The
perception/appreciation of the cup – given equal weighting in the early catechesis of
Christian practice as we see in 1 Cor.10:16 and 11:26-7 and the Didache 9:2-3 – is even
more peripheral in the consciousness of most Catholics. Gradually the cup became the
private property of the priest – indeed it became a metaphor for the distinctiveness of
the priest from ordination, when it was one of the 'instruments' handed to him, to being
the ideal gift to a priest, and, finally, as part of the iconography on many priests'
tombstones. The cup was/is of little direct concern to the rest of Christ's faithful. When
the laity did receive, it was simply a wafer: the cup was beyond their use, their reach,
and their ken (…) When the cup became that which was only going to be used by one
person, the priest, the cup quickly reduced in size: from being a large vessel con-
taining a goodly quantity of wine, it became the size of an individual's stemglass, save
that it was made in precious metals” (Thomas O'Loughlin “We drink from one cup” The
Furrow 68(2), p.67-78; 2017).
Interestingly, the reduction of the Eucharist to the sole bread was considered an heresy in
early Christianity. Jules Corblet (“Histoire dogmatique, liturgique et archéologique du
sacrament de l'eucharistie”, 1885; volume I, p.610) points to a papal decree by pope
Gelasius I (492-496) and reported upon by Gratianus (Serm.IV de Quadrag.) as follows: “It
has come to our knowledge that certain Christians, after accepting a piece of the holy
Body, refuse the Chalice, inspired by some superstition. They have to take the whole
sacrament; otherwise they have to be excluded from it completely, because subdivi-
sion of the one and single mystery implies a critical sacrilege”.

30
Just as the bread medallion contains the ancient salt symbol, the wine
medallion has embedded in it the most common ancient symbol for 'sulfur'
which is a cross capped by an equilateral triangle:

This esoteric symbol is represented by the '+' of the text, which (being part of
the text band) should be turned upside down, so that it becomes capped by
the (only partly visible) three-horned biretta of the priest. This also permits us
to look at the sulfur symbol in an alternative way: if the cross in the symbol is
taken as a representation of the priest, the triangular biretta marks the priest
as a representant of the principle of sulfur.

Just as alchemical 'Salt' does not refer to rock salt, but to a much more
general aspect or component of the physical world, alchemical 'Sulfur' does
not refer to the chemical element S. Salt is the describability by natural law,
the cubialness and evenness of the physical world, as complementarily
manifested in the outer world and in human consciousness. Rational thinking
develops within the transparency of Salt, permitting the human being to act
within the physical world, to manipulate substance and to perform rational
deeds. Without Salt, the world would be unpredicatable and chaotic and no
rational thinking or purposeful action would be possible. Salt permits the
human being to act intentionally over extended spans of space and time, to
adopt and to maintain certain directions of action, and to develop rational
plans. When Christ states: “You are the salt of the earth” (Mt.5:13), he refers
to those transcending an ad hoc and erratic way of life and living, so to say,
'within the Salt', importing and implementing within the physical realm spiritual
intentions and visions. Salt (in the alchemical or esoteric sense) is the door-
way giving humans access to the physical world.

However, the human being also needs 'Sulfur', which is the complement of
Salt. Whereas alchemical Salt gives us access to the physical realm, alche-
mical Sulfur is what connects the incarnate human being to the realm of the
spirit. This is rather well expressed by the structure of the symbol. Whereas
the symbol for Salt can be understood as a schematic representation of the
horizontal realm of the earth, encompassed by the zodiac but without vertical
connection, the symbol for Sulfur can be understood as the completion of the
horizontal 'earthly' realm by a vertical dimension connecting to the Trinity.
Within Salt the human being can act; Sulfur gives the incarnated human being
the prospective of unison with the Trinity.

The two Eucharistic medallions thus express a distinction between both as-
pects of the Eucharist. 'Bread' is connected to alchemical Salt whereas 'wine'
is connected to alchemical Sulfur. Parallelly, bread/Salt and wine/Sulfur are
also associated with exoteric and esoteric Christianity, respectively.

31
3. The zodiac.

In medieval times, an important festival existed in parts of Europe. It comme-

morated an event called the 'Divisio Apostolorum' ('Dispersion of the apostles',
or 'Mission of the Apostles; 'Aussendung der Apostel' or 'Zwölfbotentag' in
German) which was believed to have occurred shortly after Christ's Resur-
rection. At the Synod of Aachen, the festival of the 'Mission of the Apostles'
was placed on the liturgical calendar at July, 15th which was claimed to be the
anniversary of the event. According to Christian esoteric tradition, Christ's Re-
surrection happened on Sunday, April 5th, 33 AD. Therefore, the event of the
'Mission of the Apostles' was probably associated with Wednesday, July 15th,
33 AD. We contend that the unusual zodiac displayed on the tympanum does
contain detailed horoscopical references to that very date, implying that the
central scene of the Tympanum does indeed refer to the 'Mission of the
Apostles'. The horoscope in question is shown in figure 8. Note that the date
is derived from historical considerations. However, the exact hour of the event
is chosen in such a way that Midheaven coincides with the cusp of Leo (120°),
in order to conform to the zodiac on the tympanum (which has Cancer and
Leo on top).

Figure 8: Horoscope of the Mission of the Apostles (Wednesday, July 15th, 33 AD; 0:45
p.m. local time Jerusalem; Julian calendar; orb setting: 30%; made with Astrodienst).
Sun: 19°55'23” Cancer; Moon: 23°57'21” Cancer; Mercury: 2°55'17” Cancer; Venus:
9°6'43” Gemini; Mars: 10°44'23” Leo; Jupiter: 5°37'15” Cancer; Saturn: 25°29'25”
Cancer; lunar nodes: 28°11'35” Virgo and Pisces; Ascendant: 27°45' Libra; Midheaven:
0°15' Leo.

32
The 29.5 medallions of the Vézelay zodiac.

As shown in figure 4, the zodiac consists of 29.5 medallions forming a semi-

circle around the central scene of the tympanum. At left, six medallions repre-
senting the signs from Aquarius to Cancer are combined with seven symbols
referring to seasonal activities. The lowermost of these symbols shows a cha-
racter cutting bread (figure 7; left). At the opposite side, six medallions repre-
senting the signs from Leo to Capricorn are combined with seven seasonal
medallions, the lowermost of which refers to 'wine' (figure 7; right). Uniquely,
this wine medallion has an inscription which shows that Eucharistic wine is
meant. We have seen that the bread medallion, which is symmetrically placed
on the opposite side, also has Eucharistic meaning. Three full medallions and
one 'half' (actually, very narrow and reduced) medallion, all with unusual ico-
nographic features (figure 9), are placed on top, in the middle of the semi-
circle. Adding up, this produces a total of 13 + 3.5 + 13 = 29.5 medallions.

Within the astronomical-astrological context of the zodiac, the number 29.5

has an obvious twofold astronomical meaning. On the one hand, this number
refers to the synodic month (the cycle of lunar phases) which has an average
length of 29.53 days. On the other hand, 29.5 also evokes Saturn's orbital
period of 29.457 years. Both cycles go with a variation of luminosity. For the
Moon, this is obvious. The brightness of Saturn displays a particular type of
periodic variation, because the magnitude of the planet's disk (+ 0.7 on avera-
ge; this is about the brightness of Pollux) has to be added to the variable
brightness of the rings. As seen from the Earth, the ring system turns comple-
tely invisible when Saturn approaches one of the ring plane's nodes, but it
adds about one magnitude to Saturn's luminosity when seen at maximum
inclination. Under optimal conditions, the luminosity of Saturn can rise to -0.5,
which approaches the magnitude of stars such as Aldebaran or Regulus.

That the number of 29.5 medallions derives from the synodic cycle of the
Moon and from Saturn's ring-induced cycle of luminosity is also suggested by
the subdivision of the zodiac: the signs Aquarius and Capricorn, at the bottom
of either side, are 'ruled' by Saturn, whereas the signs of Cancer and Leo on
top are ruled by Moon and Sun, respectively.

In the horoscope (figure 8), which was established without any reference to
the ecliptic position of Moon and Saturn, a conjunction Moon-Saturn appears
close to Midheaven. As a matter of fact, Sun, Moon and Saturn (the three
bodies involved in both cycles of luminosity) stand very close to the border
separating the constellations of Cancer and Leo (figure 10). Thus, it seems
that the overall presentation of the Vézelay zodiac, by according prominence
to the signs ruled by Sun, Moon and Saturn, is already a pointer to the
inferred horoscope of the Mission of the Apostles (figure 8), which has Sun,
Moon and Saturn clustered close to midheaven.

33
Figure 9a: The 3.5 medallions at the center of the Vézelay zodiac (compare to figure 4).
Outer left: The crane, encased in 'half a medallion'. Center left: the dog. Center right:
the acrobate. Outer right: the mermaid. The crane and the mermaid are presented in an
asymmetrical position with respect to the sagittal plane; the dog and the acrobate are
symmetrical with respect to said plane.
In the horoscope of the Mission of the Apostles (figure 8), the descending lunar node is
in Virgo, and the ascending lunar node stands in Pisces. Clearly, the mermaid is meant
as a hybrid depiction of these two opposite zodiacal signs. By gripping her tail, the
mermaid not only mimicks the astrological symbol ☋ 34 but also indicates that the lunar
nodes stand at the 'tail' (i.e. in the hindmost part, at 28°) of Virgo and Pisces. The dog
represents the point of the Moon's orbit halfway the lunar nodes, where the Moon is at
a maximal distance north of the ecliptic. In the horoscope, this point is located at the
tail end of Gemini. The dog refers to the constellation of Canis Minor, the tail part of
which borders the hindmost section of Gemini.
The acrobat refers to Saturn's cycle of luminosity, caused by the variable angle under
which the ring system is seen. Within the context of the zodiac, the acrobat represents
a 'zodiacal-anatomical man'35. By gripping his ankles, the acrobat indicates the hind-
most part of Aquarius, where one of both nodes of Saturn's ring plane was located in
33 AD. Concurrently, the acrobate also mimicks the shape of a ring.

Figure 9b: Left: the 'small acrobat' (see figure 4, SA), a miniaturized version of the
'acrobat' (figure 9a), is hidden next to the hindmost half of the Aquarius emblem (ad-
jacent to Pisces), thereby adequately reflecting the zodiacal position of the ring plane's
node around 323°. The body position differs from the acrobat shown in figure 9a, in
that the small acrobat does not hold his ankles; as far as symbolism is concerned, he
does not need to do so, as the nearby zodiacal medallion already refers to Aquarius.
Right: an 'acrobat' on the façade of the église Saint-Lazare (Avallon, France), standing
on one hand.

34
In ancient times, the meaning of the symbols ☋ and ☊ (the descending and ascending
lunar nodes) was sometimes interchanged. In the case at hand, this does not present a prob-
lem of interpretation, as the mermaid equally symbolizes Virgo and Pisces.
35
As exemplified by l'homme anatomique, f.14 of Les Très Riches Heures du duc de Berry. In
this once popular scheme linking zodiacal signs to body parts, Capricorn corresponds to the
knees, Aquarius to the lower legs and ankles, and Pisces to the feet.

34
Figure 10: Top: Positions of Sun, Moon, Mercury, Mars, Jupiter and Saturn with respect to
ecliptic and constellations Cancer and Leo (made with Stellarium). Although Saturn and Moon
are still in the astrological sign Cancer, they have already advanced within the realm of constel-
lation Leo. This explains the splitting of the Vézelay zodiac in between Cancer and Leo, with the
3.5 central medallions providing supplementary information on Saturn, Moon and Sun. Saturn,
Moon and Sun form a small triangle with sides relating as 1:1.5:1.67 (values rounded; yellow).
Bottom left: triangle approximating the spherical Saturn-Moon-Sun triangle. As measured from
the fingernail Moon, Sun and Saturn are about 63° apart, with the Sun opposite to the center of
the lunar crescent and the angular distances Moon-Saturn and Moon-Sun relating as 1:5/3 = 3:5.
Bottom right: The partial medallion which contains a bird, usually identified as a crane. The
crane's body, turned neck and upheld leg evoke a triangle invertedly similar to that shown at left
and on top (yellow), suggesting that the bird informs on the relative positions of Sun, Moon and
Saturn. The medallion as a whole represents a lunar crescent which extends, however, over an
arc of only about 116° (green). The 63° angle Saturn-Moon-Sun (bottom left) is 35% of 180°.
Correspondingly, the arc of 41° separating both of the bird's legs (blue) is 35% of 116°. The right
leg of the bird points to the midpoint of the crescent. These observations suggest that the bird's
legs are meant as pointers from the lunar crescent to Sun and Saturn, respectively. The three
toes of the left foot stand for '3', whereas the three toes of the right foot together with the beak
(which counts as a pair of 'pointers') stand for '3+2' i.e. '5'. Apparently, by its extravagant stance
the bird informs us on the relative angular distances separating the Moon from Saturn and Sun,
respectively. Possibly, the creators of the tympanum found the (Fibonacci-related) 3:5-proportion
of special interest, as the gematriatic values of 'IHΣOUΣ XPIΣTOΣ' produce a proportion 888:1480
= 3:5.

35
The astronomical meaning of the three central medallions.

Apparently, the 3.5 medallions at the center of the zodiac are added in order
to obtain a representation of the number 29.5, which refers to the cycles of
luminosity of Moon and Saturn. The three full medallions also bear unusual
imagery suggestive of cyclicity. Thus, we can expect these medallions to refer
to astronomical cycles involving the Moon and Saturn.

The meaning of the rightmost medallion (with the mermaid) is obvious. The
mermaid is a hybrid astrological symbol, combining the opposite signs of Vir-
go and Pisces. Inspection of the horoscope shows, that the axis of the
ascending and descending lunar nodes are located at the tail end of Pisces
and Virgo, respectively. This circumstance is expressed directly by the mer-
maid holding her own tail. Moreover, the body position of the mermaid directly
mimicks the old U-shaped symbol for the descending lunar node, which is ☋.
This threefold convergence of very detailed correspondences leaves no doubt
that the mermaid medallion does indeed indicate the position of the lunar
nodes in the horoscope of Wednesday, July 15th, 33 AD (12:45 local time).

Symmetrically opposite to the mermaid medallion, we find the medallion with

the curled-up dog. Given the symmetrical placing of both symbols, we can
expect them to have closely related signifieds. Because the mermaid refers to
the zodiacal signs Virgo and Pisces, we expect the dog to refer also to some
point of the zodiac. No zodiacal sign 'Canis' exists but the tail end of the small
constellation Canis Minor borders to the hindmost part of constellation Gemi-
ni. Thus, the 'Lesser Dog' seems to refer to the zodiacal axis which stands or-
thogonal to the axis of the lunar nodes, where the points of maximal (positive
and negative) ecliptic latitude of the Moon are located. Interestingly, the body
position of the dog shows symmetry with respect to the sagittal plane, where-
as the body position of the mermaid shows maximal asymmetry. This seems
to reflect the circumstance that the ecliptic latitude of the Moon varies anti-
symmetrically (unevenly) with respect to the lunar nodes, but symmetrically
(evenly) with respect to the intermediate points of maximal latitude.

This leaves us with the central medallion, which shows the 'acrobate'. As the
two flanking medallions refer to the cycle of the lunar nodes, specifying where
these nodes stood at the event called 'the Mission of the Apostles', we expect
the acrobate to refer to the nodes of some Saturnian cycle. The acrobat
reminds us of an actual ring, and we expect the symbol to refer to the ring
plane's nodes36. We noted that the mermaid shows the nodal positions by
gripping her tail. Could the acrobat gripping his ankles have similar meaning?

36
Although faint ring systems have also been discovered around Jupiter (1979), Uranus
(1977) and Neptune (1984), the rings of Saturn are unique in that they are very prominent and
visible already with small telescopes. The rings of Saturn were identified as such by Chris-
tiaan Huygens, in 1655. As seen from the earth, the ring system (which lies in the equatorial
plane of the planet) appears under an angle varying from 0° to 28.1°. When seen under about
0°, the ring (which is very thin) becomes invisible. When seen under a maximal angle, the ring
appears as an ellipse circumscribing the planetary disk and adding considerably to the pla-
net's luminosity.

36
Possibly, the remarkable body position of the acrobat was meant to also re-
present a zodiacal circle including the traditional correspondences to parts of
the human body. In that case, the acrobat could indicate some point in the
hindmost part of Aquarius, as this zodiacal sign traditionally corresponds to
the lower legs and ankles. As a matter of fact, it turns out that at the time of
the 'Mission of the Apostles', the nodal axis of Saturn's ring system was loca-
ted at 143°/323° 37. Generously, the creators of the tympanum have inserted a
second 'small acrobat' in the artwork (figure 9b) which is placed next to the tail
part of the Aquarius medallion 38. This unequivocally confirms that the acrobat
indicates the location of the nodes of Saturn's ring system.

The acrobate on the tympanum of Vézelay presents us with a conundrum, in

that its creators must have been aware, not only of Saturn's cycle of luminosi-
ty, but also of the cycle's cause (the ring system of the planet). Saturn's cycle
of luminosity could have been detected by accurate and sustained naked eye
observation, but knowledge of the actual ring system would have implied the
use of some optical device. Possibly, the congruence between the acrobate's
body position and Saturn's ring system is fortuitous. However, in that case the
symbol of the acrobate would lack any reference to Saturn (whereas the mer-
maid, by mimicking the symbol ☋, directly refers to the lunar nodes).

The astronomical meaning of the partial medallion.

We are left with the partial medallion, shaped as a sliver Moon (in the horos-
cope, the Moon is very young indeed; see figure 4) and squeezed in between
the Cancer medallion (Cancer is ruled by the Moon) and the 'dog medallion'
(which refers to the lunar orbit). Given this configuration, we expect this me-
dallion to contain information with respect to the Moon.

Figure 10 provides some more details on the relative positions of Sun, Moon
and Saturn. These three bodies form a small spherical triangle, located at the
border of the constellations Cancer and Leo. The outline of this triangle
seems to be mimicked by the crane39 within the medallion (yellow in figure 10,
top and right). As explained in figure 10, the right leg of the crane points to the
midpoint of the crescent, which corresponds to the direction of the Sun (as
seen from the center of the lunar disc), whereas the left leg gives the direction
towards Saturn. Moreover, the right leg is associated with the number 5 (three
toes plus top and bottom of the crane's beak) and the left leg with the number
3 (three toes). This 5:3 ratio represents the ratio of the angular distances
37
See for instance the formula given in: J.A.C.Oudemans (1888) “On the retrogradation of
the plane of Saturn's ring and of those of his satellites whose orbits coincide with that
plane” Monthly Notices of the Royal Astronomical Society, vol.49, p.54-65. The formula given
is: ecliptical longitude = 166°37' + 0.8315' x (T-1780), with T being the time in years. After the
transit of the Earth through the node in Pisces or Aquarius, Saturn's south pole comes into
view; after the transit through the node in Virgo or Leo, Saturn's north pole enters view.
38
Thus, the positions of both the lunar nodes and the nodes of Saturn's ring system are indi-
cated twice: the lunar nodes by the mermaid and the dog, and the Saturn nodes by the two
acrobats. This type of redundancy is typical for esoteric artwork.
39
Interestingly, the asymmetrical triangle as outlined by the bird is inverted (mirrored) with
respect to its celestial counterpart, which seems to be expressed by the inverted position of
the crane's head and neck.

37
separating the lunar disc from Sun and Saturn, respectively. This medallion
shows again that the creators of Vézelay abbey had access to advanced
astronomical knowledge.

Iconographic anomalies in the Vézelay zodiac.

Figure 11: Left: the highly unusual representation of Leo in the Vézelay zodiac. The lion
subdues a victim resembling a bovid with a human head, indicating that some celestial
object stands within constellation Leo, in between and underneath the lion's legs. As
can be seen in figure 10, this object is the planet Mars. It remains unclear why Mars is
represented as a bovid-human hybrid.
Right: the representation of Gemini, which is atypical in that it shows two stars and
has the twins embracing each other in an unusual triangular stance. In the horoscope,
Mars is connected by a sextile (a 60° aspect, which is considered to be 'harmonic') to
Venus, which stands in Gemini (see figure 8). This sextile is represented by the twins
being shown in a position suggestive both of an equilateral triangle (which has verti-
ces of 60°) and of 'harmonic' relationship, in between two stars representing Mars and
Venus. Thus, the Gemini medallion looks like a masked rendering of the astrological
notation for the aspect, with an equilateral triangle replacing the asterisk (the usual
notation of the sextile is ♂∗♀; the six-pointed asterisk symbolizes the sextile and is
also suggestive of a 60° angle).

Although the information embedded in the 3.5 central medallions suffices to

identify the horoscope by date and hour, additional details have been encoded
in some of the other medallions. A case in point is the symbol representing
Leo (figure 11, left). Here, the lion is shown with an anthropomorphic prey
under his pawns, which is highly atypical. Of course, this depiction suggests
the presence of some celestial body underneath the lion, somewhere in
between its pawns. As can be seen in figure 10 (top), Mars is located at preci-
sely that spot. As can be seen in the horoscope, Mars in Leo is connected to
Venus in Gemini by a sextile aspect (figure 8, blue). More importantly, the sex-
tile aspect is encoded for in an almost typographical way, by two stars (sym-
bolizing Mars and Venus) at either side of the equilateral triangle incorporated
by the twins (figure 11, right). This triangle has three vertices of 60° and
seems to symbolize the 60° aspect connecting both planets. Traditionally, the
sextile aspect is considered a 'harmonic' relationship, which is adequately
depicted by the twins closely embracing each other.

38
Figure 12: The medallion representing Cancer in the Vézelay zodiac. The strange crea-
ture representing Cancer has a stippled line along its back, which is a highly conspicu-
ous and unusual feature corresponding to no anatomical or mythological element
whatsoever. The stippled line is featureless, except for the tail end where the line starts
to bent along a point, making four downward turns. Thus, we expect some celestial
object standing close to the tail end of the imagined body axis of constellation Cancer
and four 'turns' or 'curls' leading to some further object which stands at the very tip of
Cancer's tail. Jupiter stands very close to the ecliptic, and Mercury stands at 3.92° of
Jupiter, behind Jupiter and more to the South (compare to figure 10, top. This distance
of about 4° is depicted as a series of four curls, which makes sense because the
distance of 4° can be seen as a chain of four 1° line segments, which can be also be
taken as a concatenation of four 60' cycles. Thus, within its coiled tail, Cancer appears
to hide the secret of the Jupiter-Mercury conjunction occurring at its tail end.

Figures 7 and 10 (top) show the presence of a Jupiter-Mercury conjunction

close to Cancer's 'tail', with Jupiter positioned close to the ecliptic and Mercury
somewhat more to the south. Both planets are separated by an angular dis-
tance of almost 4°. We have already discovered that the Vézelay zodiac
informs us on the positions of Sun, Moon, Saturn, Mars and Venus. Thus, we
expect also some encodement of the Jupiter-Mercury conjunction in the Can-
cer medallion (figure 14). Interestingly, the strange creature filling the Cancer
medallion has a conspicious stippled line running over its back and tail. This
line does not correspond to any anatomical feature and is clearly meant as a
representation of Cancer's symmetry axis which is somewhat inclined with
respect to the ecliptic. Jupiter is located close to this axis and at its tail end.
Therefore, the point where the tail starts to curl can be suspected to represent
that planet.

We see that Cancer's tail, as depicted in the medallion, makes four turns,
which are indicated both by the stippled line and by the four levels of stacked
tail curls. It is as if the starting point of the curls (expected to correspond to
Jupiter) is separated by four curls from the tail's endpoint. Strikingly, Jupiter
and Mercury are separated by almost 4°. And indeed, a chain of arc segments
each measuring 1 arcdegree can be seen as a concatenation of 'cycles', with

39
each cycle consisting of 60 arcminutes. Thus, the curled tail of Cancer ( figure
12) can be understood as a representation of the 4 arcdegrees separating
Jupiter (at the tail end of Cancer's axis) and Mercury (which is located still
further towards the tip of the tail, and south of Cancer's axis).

Other anomalies displayed in the Vézelay zodiac also seem to have

astrological meaning, with reference to the horoscope shown in figure 8. For
instance, the representant of Libra (figure 13) is shown in an anomalous stan-
ce, with his right arm stretched out horizontally (as if evoking the horizon) and
his flame-covered head inclined exageratingly (as if evoking sunrise). At the
opposite side of the zodiac, Aries and Taurus are depicted with fishtails (as is
convention for Capricornus, the sea-goat). We conjecture these particularities
being representations of the ascendant standing in Libra, and of Taurus and
Aries descending (the sea is west of both Palestine and France).

Figure 13: Left: the anomalous representation of Libra in the Vézelay zodiac. The flexed
position of the character, with his right arm and flame-bearing head directed
horizontally, is suggestive of sunrise, of uprising movement, and by extension of the
ascendant (see figure 8). Right: Aries and Taurus, both depicted with fishtails.

40
4. The eight compartiments of the archivolt.

As shown in figures 3-4, the tympanum contains two series of four compart-
ments (labeled L1 to L4, and R1 to R4; figure 15 shows these compartments
in detail), at either side of Christ and the apostles.

The tympanum displays a striking left-right polarity, with the left half referring
to exoteric Christianity and the right half to esoteric Christianity (open books
versus closed books; see section 2). As discussed, this polarity is also repea-
ted at either side of the portal (figure 2a).

In the same vein, the bipartition of the zodiac in the Vézelay tympanum
reflects the division of the year into a contrasting pair of primordial seasons.
On the left hand, the zodiacal signs from Aquarius to Cancer correspond to
the transition from the coldest point in wintertime to high summer. On the right
hand, the signs from Leo to Capricorn reflect the inverse transition, from high
summer to the deepest cold of wintertime. This seasonal bipartition of the
year is also reflected in the traditional pattern of the planetary rulers of the
twelve signs: on top, the signs Cancer (left) and Leo (right) are ruled by Moon
and Sun, respectively. Thereafter, the signs ruled by Mercury (Gemini and
Virgo), Venus (Taurus and Libra), Mars (Aries and Scorpio), Jupiter (Pisces
and Sagittartius) and Saturn (Aquarius and Capricorn) follow in symmetrical
order. The lowermost of the 29.5 medallions have Eucharistic meaning,
referring to 'bread' (⇔ Moon) and 'wine' ( ⇔ Sun) at the left and right sides,
respectively (figures 4 and 8). Again, this indicates that a left-right semantic
polarity pervades the tympanum. The left half of the zodiac can be called the
'lunar half' because it includes Cancer, the only sign ruled by the Moon.
Correspondingly, the right half can be called the 'solar half' because it inclu-
des Leo, the only sign ruled by the Sun. Generally, the 'lunar half' of the
tympanum seems to refer to earthly birth, unfoldment of earthly life, and exo-
terism; the 'solar half' refers to spiritualisation, second birth, involution with
respect to earthly life, and esoterism. Curiously, the two sets of four compart-
ments each contain a total of thirteen figurines, as if reflecting the adjacent
sets of thirteen zodiacal medallions at either side (the zodiac encompasses 2
x 13 + 3.5 medallions but the 3.5 central medallions shown in figure 9a are not
adjacent to any compartment). We expect the compartments to somehow
connect to this overall pattern of exoterism versus esoterism.

Identifying the unity of the eight representations.

The meaning of the scenes depicted in the compartments is far from obvious.
No overtly biblical scenes are shown. The symbols found on the chest of the
leftmost character in compartment L4 (see figure 14 and figure 15d), which
refer to the visions of Ezekiel, directly connect to the Scriptures. However,
many pictorial elements, such as the cynocephales making strange gestures
(compartment L1; figure 15a) or the character with the flaming head (compart-
ment L2; figure 15b), defy explanation by simple reference to biblical or
mythological narratives.

41
Figure 14: Symbols on the chest of the left scribe in compartment L4 ( figure 15-7). The
upper symbol is a 'vesica piscis', symmetrically surrounded by four small circles (one
of which has been broken off).
The vesica piscis is the shape of the mandorla surrounding Christ in romanesque
representations of the tetramorph (note that on the tympanum, Christ is also placed in
a mandorla). The four living creatures (ox, eagle, man and lion) surrounding Christ in
such representations are derived from Ezekiel. Here, the lenslike shape is placed hori-
zontally, indicating that a direct reference to Ezekiel is made, with the four circles cor-
responding to the four 'wheels' mentioned by the prophet (Ez.1:15ff,10:9 ff) and the
lenslike central object representing Jahweh's 'transporting device' (Ez.10:18-19).
The nested rectangles with asymmetrically placed small circle looks as a schematic
map of Solomon's temple (with east on top, which was the norm in medieval times).
The circular 'molten sea', located south-east of the temple, is represented by the small
circle which has been added as element of identification. This account of the symbol is
corroborated by the orientation of the actual artwork (when regarding the symbol, the
onlooker does indeed face east, within the church which is a successor of Solomon's
temple). As a matter of fact, the temple of Jerusalem, with its external and internal
dimensions, is extensively described by Ezekiel (chapters 40-42). What remains of the
symbol at the left side is more difficult to interpret, but possibly refers to Ez.37:9,
where the spirit comes from the four winds in order to reanimate the resurrected peop-
le of Israel.
Thus, the left scribe can be identified as Ezekiel. This permits to also guess the identity
of the second scribe, who must be author of the book Revelation, where visions close
to Ezekiel's are reported.

Nevertheless, we can identify a pictorial element recurring in the four upper-

most compartments (L1, L2, R1 and R2) which provides a general biblical
context for the depictions. In compartment L1 (figure 15a), the woman (se-
cond character from the left) emphatically pointing to her lower leg or ankle
can be understood as a direct reference to Genesis 3:15 where God says to
the snake: “And I will put enmity between you and the woman, and
between your seed and her seed. He will crush your head, and you will
strike his heel”. The 'bite of the snake' refers to the period following the
biblical fall and the man and woman at the left in compartment L1 can be
taken as an allusion to the fallen primordial couple. Corresponding gestures,
such as examination of the bitten ankle, touching the lower leg or ankle, or
simple pointing to that part of the body, occur in L1 (fourth character), L2 (first
and third characters), R1 (rightmost character) and R2 (rightmost character).
Thus, the compartments seem to tell us some story or development following
the biblical fall.

42
Additionally, it can be observed that the two series of four compartments,
when read downwardly, seem to describe some kind of upward evolution 40,
from a very degraded and animal-like human condition (L1: the cynocephali;
R1: the hunchbacks and 'Sciritae', who were supposed to be a people in India
who had a kind of muzzle), over the seemingly mad or wacky character in L2
and the character painfully leaning on his stick in R2, we reach the scenes in
L3 and R3 where problematic situations are still depicted, but without grossly
defigurated human beings. Finally, the lowermost compartments L4 and R4
are not indicative of any predicament at all. Thus, the overall idea seems to be
that the human being has gone through some kind of upward development
after the biblical fall. The first (L1) and last (R4) compartments provide us with
an element permitting a more detailed esoteric reading. Indeed, these two
compartments clearly point to the esoteric concept of the fourfold view of the
human being (see appendix II), by representing this being as a composite of
four constituents (physical body, ethereal body, astral body and 'I' or 'Self').
This is further stressed by the occult depiction of the chiffer '4' (appendix V). A
direct schematic expression of the fourfold view of the human being occurs in
compartment R4 (figure 15-8). Thus, we expect the eight compartments to
depict the development of man, as a fourfold being conceived, from the
biblical Fall onwards.

As explained in appendix VI, John 1:4 summarizes the three-phased upward

evolution of humanity, after the biblical fall up to the mystery of Golgotha.
These phases led to the emergence of the erected human stance and of
human speech and are claimed to result from three interventions by the Verb
(discussed in detail by Rudolf Steiner in 1914) which can be understood as
preliminaries to the sacrifice of Golgotha. Following Steiner's terminology, we
call these three stages 'Vorstufe I', 'Vorstufe II', and 'Vorstufe III' ('Vorstufe'
means 'preliminary stage'). Whereas the mystery of Golgotha was an event
occurring in the physical world, the 'Vorstufen' were episodes deploying at a
spiritual level. Figures 15, 1-8 offer a detailed reading of the eight compart-
ments, based on the general considerations developed in appendices II (four-
fold view of the human being) and VI (discussion of John 1:4 and Steiner's
comments). The eight compartments are organized in such a way, that the
uppermost pair L1-R1 depicts the condition of the human being after the
biblical fall, and the other three pairs (L2-R2, L3-R3 and L4-R4, respectively)
refer to the human condition as it emerged from Vorstufe I, Vorstufe II, and
Vorstufe III, respectively. Overall, the compartments constitute a pictorial
sequence to be read in the usual sinistrodextral way, with each reading step
crossing Christ who thrones in the midst. Moreover, the last two compart-
ments (L4 and R4) also insert themselves in the left ⬄right, Moon ⬄Sun,
exoteric⬄esoteric polarity of the tympanum. L4 represents the Old and New
Testament which constitute the fundament of exoteric Churchdom; R4 re-
presents the fourfold view of the human being, which underpins the path of
esoteric initiation as depicted on the lintel (at right; see section 5).
40
See Adolf Katzenellenbogen (“The Central Tympanum at Vézelay” The Art Bulletin 26,
p.141-151; 1944): “The two compartments at the top show people laboring under the
severest permanent physical defects. In the next two transient or minor ailments are
shown (…) The following pair of compartments refers to those who can be saved by
conversion, while in the lowest pair the effects of grace are already apparent” (p.146).

43
Figure 15-1: L1 compartment. This compartment symbolizes the human condition re-
sulting from the biblical fall. Three pairs of characters are shown. At the left side, a
woman shows her wounded knee or ankle to a man whose left hand rests upon her
shoulder41. The gesture of the wounded lower leg or ankle returns at several occasions.
It refers to the time following the biblical fall: the woman has been bitten by the snake
(Gen.3:15). The couple at left refers to the human pair after the biblical fall. As such, it
constitutes the starting point for the reading of the eight compartments which depict
the evolution of humanity after the biblical fall.
The four figurines at the right side (blue rectangle) constitute one whole, which is in-
dicated by the overall bilateral symmetry of the body positions and by the '4' formed by
the legs of the rightmost character (see appendix V; compare to compartment R4 and
to the representation of the fourth evangelist in figure 2c, left). Together, these four
characters represent the human being according to the fourfold view of the human
being (see appendix II), in the state of severe impairment resulting from the fall. From
right to left, the figurines represent the physical, ethereal, and astral bodies, and the 'I'.
According to Rudolf Steiner, the human being was mute after the fall 42. Correspon-
dingly, two cynocephales represent the physical and ethereal bodies: dogs are able to
bark, but unable to speak. The rightmost doghead grips his throat, symbolizing mute-
ness. His companion points to his ear, expressing inability to semantically capture the
flow of speech (which is 'cut off'). The third character from the left represents the hu-
man 'I' or 'Self'. He points to the ear of the fourth character, which represents the astral
body. The stance of this duo expresses the inability of the 'Self' to make itself under-
standable to the astral body. The latter points to its left leg or ankle, again evoking the
bite of the snake. Thus, the composition represents the human being after the fall, with
impaired senses, unability to speak, and the human 'I' or 'Self' cut off from the astral
body and therefore unable to morally direct the performed deeds.

41
Katzenellenbogen (1944) believes this man to be blind, because he has his hand resting
upon the woman's shoulder (compare to compartment R1). If correct, Katzenellenbogen's
interpretation would complement the impairment of the senses of hearing and understanding,
as symbolized in this compartment.
42
See GA152, p.107 (Pforzheim, March 7th, 1914).

44
Figure 15-2: Compartment R1, symbolically showing ultimate development of human
condition after the fall and before Vorstufe I.
The two (mutilated) figurines at the left depict a hunchback, with another man following
him leaning upon the hunchback's shoulder. This is a classical representation of the
state of blindness (as in Bruegel the Elder's 'The blind leading the blind', cfr. Mt.15:14).
The muzzle-headed pair at right is identified by Katzenellenbogen as belonging to the
Sciritae, a mythological people living in India, according to antique geographers
(following Vogade, Pline's tongue-lacking Ethiopians are depicted; see: “Vézelay”
1987, p.137). The Sciritae were described as being motorically impaired which is ex-
pressed by both characters standing in a flexed position holding each other hands.
Again, the deformed man at right points down to his leg (as do the second and fourth
characters in compartment L1), thereby identifying the biblical fall (represented by
snake's bite) as the cause of his deplorable condition.
The representation in compartment L1 stresses the impact of the fall on man's ability
to acquire speech. This element is also present here: the muzzled beings shown are
unable to properly speak. The degradation of the sensory system is also expressed
(blindness). Moreover, this compartment shows that the fallen human being is lacking
the upright stance, which is characterized by the concentration of the major centroids
and joints of the human body in one single frontal plane (figure A-VI,1). In compartment
L1, the lack of the human upright stance is only marginally indicated, by the im-
balanced head of the cynocephales. Exactly as in compartment L1, the four figurines
constitute two pairs. The pair on the background (left) probably represents the physi-
cal and ethereal bodies, whereas the pair on the foreground (right) seems to depict the
'I' and the astral body (with the latter pointing to the snake's bite).

45
Figure 15-3: Compartment L2, showing human condition as it emerged from Vorstufe I.
The man with flame-like hair has his left hand gripping his lower right leg, again
evoking the bite by the snake. Katzenellenbogen 43 suggests this man to be possessed.
As a matter of fact, the capitals elsewhere in the basilica of Vézelay show other
characters with fire-like hair and representing devils or demons.
This compartment shows the state of the human being after the first intervention by
the Verb (after Vorstufe I). The two characters at the right side are merged, as if they
were conjoined twins. A similar representation is seen in compartment R4. In accor-
dance with the overall logic of the eight compartments, these two connected charac-
ters can be concluded to represent the conjoined system of the physical body and the
etherealal body which has been wounded and rendered vulnarable through the fall.
Indeed, the rightmost character (which represents the physical body) is lamentingly
inspecting his heel, which is bitten by the snake. This gesture indicates that, even after
Vorstufe I, the impact of the biblical fall on the physical body remains severe.
The human being has partly recovered at the level of the physical body, having acqui-
red the balanced upright stance, including a humanlike balanced head. However, the
ethereal body is still impaired and overwhelmed by the astral body. The latter is 'mad',
i.e. cut off from the 'I', and therefore obsessed by uncontrolled desires. Remarkably,
the character representing the ethereal body has his index pointed upwards. This
gesture refers to the 'I', as if the ethereal body wants to make clear to the astral body
that the latter is lacking the guidance by the 'I' or 'Self'.
Also notable is the fact that both confronting characters have their left forearm partly
hidden or enveloped. This characteristic of the hidden hand or forearm returns in the
next three compartments.

43
According to Katzenellenbogen (1944, p.145), the scene “...depicts mental ailments. The
man with flame-like hair is possessed by the devil (...)”.

46
Figure 15-4: Compartment R2, representing the final stage of human development as it
resulted from Vorstufe I and before the onset of Vorstufe II. Just as in compartment L2,
the physical body, ethereal body and astral body are depicted (from right to left).
Vorstufe I concerns the physical body, which is given the possibility to acquire the
upright human stance. According to Rudolf Steiner, this event is recapitulated in
individual human development, at the time when the young child learns to walk
upright. Steiner states that this adoption of the upright human posture is based upon
the potential of the human being to receive an incarnating 'Self' or 'I' (“...aus der Veran-
lagung des Ich heraus”; GA152, p.105; note that the Verb or Christ is the principle of
the 'I' cfr. John 8:58). In compartment R2, the character in the middle which represents
the ethereal body still leans upon a stick and has not yet acquired the upright posture.
This imagery indicates that the principle of uprightness has yet to permeate the
ethereal body (compare also to the awkward position of the character representing the
ethereal body in L2). The uplifted index in L2 has its counterpart in the vertical walking
stick in R2; both refer to the potential, residing in the ethereal body, of connecting to
an incarna-ted 'Self'.
Just as the rightmost character in L2 inspects his wounded heel, the rightmost figurine
in R2 touches his uplifted left leg. In both compartments, this rightmost character
depicts the physical body. Compartment R1 has shown that the physical body was
lacking the upright stance, including a balanced human head (see figure AVI-1, right)
after the fall. After Vorstufe I, the character representing the physical body has the
upright stance and a human head. However, this personage also points to its throat,
indicating that fully developed speech is still lacking (compare this to the gesture of
the right-most dogman in compartment L1).
The leftmost character in R2, which depicts the astral body, has one arm hidden. This
hiding of the hand or arm symbolizes, in a direct and self-explaining way, the idea of
the 'slight of hand', i.e. of deception, trickery and misleading for egoistic purposes. The
image expresses the fact that at the end of Vorstufe I, the astral body still lacks the
guidance of the human 'I' (which is absent from the scene). Thus, the human being is at
this stage still morally impaired in the sense that it is unable to resist the inclinations
emanating from the astral body.

47
Figure 15-5: Compartment L3. This representation depicts the state of human develop-
ment after Vorstufe II. Apparently, the two figurines constitute a compactified version
of the 'fourfold view of the human being', with the character at left representing the 'I'
and the astral body, and its counterpart at right symbolizing the ethereal and physical
bodies44. The latter have been restored after Vorstufe I and Vorstufe II. As a result, the
human body and the ethereal body are fully united in the adoption of the upright
stance. However, the misfit shown by the character at left has still to be fixed. Clearly,
this character at left is identical to the third personage in compartment L1, which
represents the 'I'. The misfitting dress, with the maladapted sleeve hindering the use of
the right hand, represents the astral body (which can be considered as the garment of
the 'I'). As in other compartments, this imagery of the hidden hand or arm symbolizes
the moral inaptitude of the astral body. Whereas the representations of the astral body
in L2 and R2 depict the astral body in a state of disconnection from the 'I' (see also the
two central figurines in compartment L1), the 'I' is now incarnated, but the astral body
is still permeated by the principle of selfishness. Vorstufe III, introducing the principle
of selflessness at the level of the astral body, has yet to occur.
The 'I' shows the problem to its companion, who points in the direction of Christ (at the
center of the tympanum) and also in the direction of R3. With his left hand, this
character exhibits the declining gesture prefigured in L1 (leftmost character) and re-
capitulated in R3. This gesture indicates that, according to this companion, the 'I' has
to refuse or to reject the wrong impulses and tentations emanating from the astral
body, and that it should turn to the Verb in order to remedy the misfit.
The second character seems to wear a conic straw hat (with concentric build-up) also
carried by the second figurine in compartment R4 (which represents the ethereal body)
and apparently used to typify the ethereal body (possibly by evoking the imagery of a
gardener, cfr. John 20:15).

44
During deep sleep, the fourfold human being splits up in this way: 'I' and astral body disconnect from
the human body, whereas the ethereal body remains with the physical body.

48
Figure 15-6: Compartment R3, showing the ultimate state of the human condition at the
end of Vorstufe II, but before Vorstufe III.
The scene depicted here has been interpreted as a display of bribery, with the
character at left (representing the astral body; note again the symbolism of hidden
hands) trying to corrupt the character at right (representing the 'I'), who declines 45. As a
matter of fact, the gestures of both characters are very telling and the interpretation as
a bribery scene does indeed impose itself. As such, the scene logically derives from
the situation depicted in the preceding compartment L3: the incarnated 'I' has started
to act autonomously with respect to the astral body, which is still the disharmonious
bearer of unrestrained allurement and temptation (according to Steiner, it is only at
Vorstufe III that the astral body becomes organized according to the principle of self-
lessness).
Interestingly, the character representing the 'I' ('the byzantine') is depicted approxima-
tely from aside, evoking the significance of the 'normal plane' of the physical body with
respect to the 'I'. The gesture of the hand waving parallelly to the normal plane, signi-
fying refusal, has deep antropological appeal, as if the hand in the forefront represents
the 'lower I' which acts in concordance with the 'higher I' in the background. Possibly,
the pole or staff held by the 'byzantine' is meant as the equivalent of the bar held by its
counterpart in compartment R4 (at right).

45
It has been suggested that the character at the right is a Byzantine soldier holding a secret
incendiary weapon named 'greek fire', and that the character at the left is trying to bribe him,
offering money in exchange for the military secret (Vogade 1987, p.131). As a matter of fact,
this secret 'Greek fire' would constitute an excellent representation of the unfathomable secret
of the human 'I'. However, this interpretation is uncertain.

49
Figure 15-7: Compartment L4. The two (mutilated) scribes are often identified as apost-
les or biblical authors. As a matter of fact, the symbols on his chest identify the left
scribe as the prophet Ezekiel (figure 14). Most probably, the other scribe is the author
of the book Revelation, who recapitulates many elements from Ezekiel's visions.
Compartment L4 refers to the human condition after Vorstufe III. This is the develop-
mental stage still prevailing today 46. It is characterized by the permeation of the astral
body by the principle of selflessness, meaning that the main 'astral organs' (i.e. 'think-
ing', 'feeling', and 'willing') start to coordinate as a whole. As such, the astral body can
then act at the service of the 'I'. The main benefit of Vorstufe III is the acquisition of full
speech. This is symbolized in compartment III by both scribes, involved in producing
what is to be considered to be the highest manifestation of human language, namely
the Scriptures. In the course of Vorstufe III, the mysteries of Golgotha and of Christ's
Resurrection have occurred. With respect to the impact of these event, we are still at
the crack of dawn.
Obviously, the two scribes represent the Old and New Testament, which together con-
stitute the basis for exoteric Christianity. The scribes produce the Scriptures displayed
by the apostles on the central scene, where it is revealed that these Scriptures contain
both exoteric and esoteric content. The impact of Christianity on existing religious
practice is represented on the left (northern) half of the lintel (see section 5).

46
“...das dritte Stadium (…) in dem [der Mensch] noch gegenwärtig lebt” (GA 26, p.194).

50
Figure 15-8: Compartment R4, representing the morally empowered fourfold human
being as it finally emerges from Vorstufe III. The four characters, from left to right, re-
present the physical body, the ethereal body, the astral body, and the 'Self' or 'I'. As
such, the representation is the counterpart of the depiction, in compartment L1 (figure
15-1, blue rectangle), of the fourfold human being as it emerged from the fall. In both
cases, the rightmost character evokes the 'quatre de chiffre' (see appendix V), indica-
ting that the fourfold representation of the human being is involved.
The two characters at left, representing the physical and ethereal bodies, are partly
mer-ged (only one pair of feet). Note that both bodies are also partly fused in
compartment L2, and that they are represented by a single character in compartment
L3 (at right). This representation reflects the fact that the physical and ethereal bodies
never sepa-rate between birth and death. Both in L3 and R4, the character representing
the ethereal body wears the same conical type of straw hat.
The central characters, corresponding respectively to the ethereal and astral body,
hold sticks oppositely inclined, which symbolize the inverse time directions connected
to ethereal and astral body ('chronos' versus 'kairos'; see appendix II). The 'I' has a
third stick, held perpendicularly and symbolizing the autonomous and external
condition of the 'I' with respect to both time directions. Both the ethereal body and the
'I' indicate the same point on the astral body's stick. This remarkable configuration
summarizes the nature of the free human act, where 'chronos' and 'kairos' meet, and
the 'I' has the final say in the outcome (cfr. appendix II).
The characters wear elevated footwear (pattens), popular in medieval times and meant
to protect the shoes proper from mud and dirt. This detail has symbolic meaning,
indicating that in the stage here depicted, the incarnated human being has become
able to elevate itself, in the moral sense, above mud and dirt. Specifically, this refers to
the possibility, at this stage of human evolvement, to engage upon the path of Chris-
tian initiation, which is depicted on the southern half of the lintel (see section 5).

51
5. The lintel.

The left (northern) half of the lintel.

Figure 16: Bikkurim procession on the northern half of the lintel (figure 4: LL). Top:
overview of the lintel (blue box), showing nine archers at left, sacrificial bull with at-
tendants at right, fish-bearer at the center (line bisecting the box). Middle: leftmost part
of the lintel, showing archers (A), preceded by three firstfruit-pelgrims (B), and fish-
bearer (C). Bottom: fish-bearer, four more firstfruit-pelgrims (D) and bull with pelgrims,
flanked by a pair of pikemen (E).

There can be little doubt that this part of the lintel shows a Jewish firstfruits-of-
fering procession marching towards Jerusalem. This is indicated by three ele-
ments:
• The bull at the head of the cortege 47(figure 16, E);
• The seven characters bearing the firstfruits (figure 16, B and D);
47
“La fête des semaines (…) donnait lieu à des cérémonies d'action de grâces et à des
réjouissances. D'après les Bikkurim, le peuple des campagnes se rassemblait dans la
ville la plus proche; de là, on partait en procession vers Jérusalem au son des flûtes et
en chantant des cantiques. Souvent un taureau destiné au sacrifice ouvrait la marche;
ses cornes étaient dorées et ornées de guirlandes de feuilles d'olivier” (Robert Cabié
“La Pentecôte...”, p.18; reference is made to Bikkurim III).
https://www.sefaria.org/Mishnah_Bikkurim.2-3?lang=bi

52
• The apparent encodement of the time for these processions. According to
Bikkurim 1:6, the processions are to be performed between the festivals of
Shavuot and Sukkot. The festival of Shavuot takes place when the Sun
stands, astrologically speaking, in Taurus or Gemini. This time of the year is
encoded for by the bull and by the pair of pike-bearing soldiers, which repre-
sent the zodiacal signs of Taurus and Gemini, respectively 48. The Feast of
Tabernacles (Sukkot) falls from late September to late October, with the Sun
in Libra or Scorpio. This is expressed by the nine archers following the pro-
cession and representing the ninth zodiacal sign, which is Sagittarius (figure
16, A; Sagittarius follows Scorpio; note that the bull is part of the Bikkurim pro-
cession, whereas the archers are not).

The procession is depicted as being stuck. It has come to a halt, being

blocked by soldiers. An argument has apparently developed around the bull.
The explanation for the offering practice becoming disputable is also indica-
ted (figure 16, C). In between the seven characters corresponding to the
seven fruits of the land of Israel, an eight character has inserted himself,
bearing a fish (figure 16C). This is a glaring anomaly, as the 'seven fruits' are
all of vegetal nature49. The fish is a prominent Christ symbol50. As a matter of
fact, Paul refers to Christ as the new and most prominent firstfruit: “Christ has
been raised from the dead, the first-fruits of those who have fallen
asleep” (1 Corinthians 15:20). Many have commented upon the chronological
importance of this verse. The death of Christ happened on Friday, April 3rd,
33 AD (Julian calendar), which corresponds to Nisan 14 of the Jewish year
3793. At Nisan 14, which is the day preceding Passover, between 3 p.m. and
5 p.m., the Passover lambs were slain in the temple of Jerusalem. The syn-
optics mention that Christ died around 3 p.m. Thus, Christ's death coincided
with the start of the slaughter of Passover lambs in the Temple 51. When Paul
wrote, also in his first letter to the Corinthians (5:7): “Christ, our Passover
lamb, has been sacrificed”, he had this coincidence in mind. In exactly the
same sense, 1 Corinthians 15:20 has chronological meaning. The Resurrec-
tion of Christ is placed about one and a half day after Christ's death, which
projects to the early hours of Sunday, April 5th, 33 AD. In the Jewish calendar,

48
It should also be noted that at the right of the northern lintel, preceding the bull, we find
John the Baptist showing a medallion with the 'Lamb of God' i.e. Aries.
49
According to the talmudic book Bikkurim, the firstfruits to be offered are: wheat, barley,
grapes (which could be offered as wine), figs, pomegranates, olives (which could be offered
as oil), and dates. Presumably, the bread held by one of the characters represents wheat or
barley, whereas the bucket could refer to oil.
50
The symbol (Christ symbolized by a fish, or by the Greek word for 'fish', dates back to at
least the 2nd century. 'ΙΧΘΥΣ' ('fish'), begins with the characters 'I' and 'X', initials of 'Jesus
Christ '(Ἰησοῦς Χριστός). The word has also been interpreted as an abbreviation of a com-
pactified Credo (Ἰησοῦς Χριστός Θεοῦ Υἱός Σωτήρ i.e. 'Jesus Christ, God's Son, Saviour').
51
The profound and dramatic nature of this coincidence deepens still more when the following
two datums are taken into consideration:
Firstly, the nathanic Jesus was born in the Migdal Eder, the 'tower of the flock', where the
lambs were born destined for sacrifice in the Temple. See for instance p.2, note 1 in:
https://www.academia.edu/27762006/A_remarkable_esoteric_painting_at_St.Andrews_Church_Antwerp_Belgium_
Secondly, Christ died on top of Mount Olivet, with direct and open view on Jerusalem's
Temple. See for instance:
https://www.academia.edu/36300791/The_Taurus_Portal (p.17-18).

53
this date corresponds to Nisan 16. On that day, the firstfruits of barley were
dedicated to God, through a ceremony in Jerusalem's temple 52. Thus, just as
Christ is called the 'Lamb of God' because He died when the Passover lambs
were sacrificed, He is called 'firstfruits' because He resurrected at the day of
the firstfruits ceremony53. In accordance with Paul's concept, Christ (symboli-
zed by the fish) is added as an additional firstfruit in the depiction of the
Bikkurim procession (figure 16). As a matter of fact, the representation of the
fish (see also figure 17, left) shows a cluster of fine details indicating that
reference is made to the very horoscope of the Resurrection (figure 17).
Firstly, the tail of the fish is touching the ground, which seems inadequate for
a fish being transported; and the fish is somewhat inclined to the right (/).
These details seem to refer to 6:00 stellar time, when Pisces has just risen
above the horizon in its entirity. Note that Pisces is not part of the Bikkurim
season. Secondly, the fish is placed just left to the midpoint of the proces-
sion, which is encased by figurines representing Sagittarius (left) and Gemini
(right) (figure 16, top). Clearly, this evokes Pisces being placed midway
between Sagittarius and Gemini, while implying that some special importance
is accorded to the axis constituted by these two zodiacal signs. Remarkably,
the 'celestial cross' in the Resurrection horoscope is placed upon this axis
(figure 17). Thirdly, the character preceding the fish-bearer is leaning back-
wards (\), whereas the upfollowing character leans forwards (/). The fishbea-
rer adopts a transitory position 〈. The totality of these details indicates that
the fish-bearer represents the ascendant (which 'bears' Pisces), with the in-
clinations referring to parts of the zodiac as they appear inclined in a circular
representation of the horoscope (as in figure 17).

The meaning of the left lintel appears to be that the old way of outreaching
towards God (i.e. by temple sacrifices) has come to an end with Christ's
Resurrection. Christ as the ultimate firstfruit has appeared in the midst of the
Bikkurim procession, which thereby comes to a halt, at least in its transitional
form. As we will see, the right half of the lintel describes an alternative way
which effectively leads to God.

52
As explained by Colin Humphreys, Paul is referring in 1 Corinthians 15:20 “...to Christ's
resurrection, which [Paul] believed, in accordance with the very earliest Christian
traditions, occurred on the third day after the crucifixion (1 Corintians 15:4), that is, on
the Sunday after the Friday. What does Paul mean by using the word 'first-fruits' to
refer to Christ? His first-century AD audience would have been in no doubt. The Old
Testament book of Leviticus describes what the Jewish people called a first-fruits
festival, which celebrated the barley harvest. 'Bring to the priest a sheaf of the first
grain you harvest. He is to wave the sheaf before the Lord so that it will be accepted on
your behalf; the priest is to wave on the day after the Sabbath' (Leviticus 23:10-11).
What day is meant by 'the day after the Sabbath'? (…) Philo (c.20 BC to AD 45) states in
De specialibus legibus (2.144-75) that the first sheaf of barley was presented in the
temple on the second day of the feast, that is on Nisan 16. Josephus agrees and
writes: 'On the second day of unleavened bread, that is to say the sixteenth … they
offer to Him the first-fruits of the barley … Thereafter all are permitted, publicly or
individually, to begin harvest' (Antiquities 3.250-1) (…) it is clear that at the time of
Christ the first-fruits festival of barley was on Nisan 16” (Colin Humphreys “The Mystery
of the Last Supper” Cambridge U.P., 2011, p.68-69).
53
The connection of 1 Cor.15:20 to the procession depicted on the lintel has been proposed
by Peter Low, p.476 in: “ “You Who Once Were Far Off”: Enlivening Scripture in the Main
Portal at Vézelay” The Art Bulletin 85 (3), p.469-489 (2003).

54
Figure 17: Left: Detail of fish (figure 16). Right: Horoscope of Christ's Resurrection 54
(Sunday, April 5th, 33 AD; Jerusalem; 5:15 local time, 6:00 stellar time; Julian calendar).
Sun: 13°3'12” Aries; Moon: 29°56'32” Libra; Mercury: 19°28'12” Pisces; Venus:
21°32'4”R Pisces; Mars: 8°30'28” Gemini; Jupiter: 14°52'28” Gemini; Saturn: 16°11'39”
Cancer; Uranus: 17°35'20”R Leo; Neptune: 0°25'57” Aquarius; Pluto: 14°38'52”R
Sagittarius; rising node: 4°49'40” Aries; ascendant: 0°12' Aries; MC: 0°7' Capricorn.
As explained elsewhere55, the horoscope displays a 'celestial cross' composed of two
very sharp aspects, a Jupiter-Pluto opposition and a Moon-Neptune square (red). The
long beam of the cross is connected to the Sun in Aries by harmonic aspects (blue).
This configuration is reflected by the imagery of the Lamb of God bearing a banner
with cross (nonobstant the fact that Neptune and Pluto were discovered only in 1846
and 1930, respectively). As indicated by arrows, the nine planets Moon-Mercury-Venus-
Sun-Mars-Jupiter-Saturn-Uranus-Neptune occur in canonical order, forming a 5/4 full
turn around the traverse beam of the 'celestial cross' (Pluto cannot be considered an
independent planet; it is the major plutino or 'anti-moon' of Neptune).
The left lintel (figure 16), which shows nine archers at left, a pair of pikemen and a bull
at right, and a fish-bearer precisely in the middle (with the fish just on the half with the
archers), seems to reflect major elements from the Resurrection horoscope. Pisces
has just risen above the eastern horizon (a configuration nicely symbolized by a fish
catch) and is placed symmetrically in between Pluto in Sagittarius (depicted by the
archers), and Jupiter in Gemini (depicted by the two pikemen). Moreover, the seman-
tical fit is also perfect, as the Resurrected Christ is considered a new type of firstfruit,
the appearance of which should put an end to the practice of temple sacrifices.
54
Strangely, this horoscope transpires in the song 'Aquarius / Let the Sunshine In' (5th Dimen-
sion, 1969), a medley based on the musical 'Hair' (1967). The lyrics refer to “... Moon (...) in the
seventh house”. In the Resurrection horoscope, the Moon is indeed in the seventh house, and
also in the very last degree of the seventh sign (Libra). The text also mentions the conjunction
Mars-Jupiter (“...Jupiter aligns with Mars”). The exceptional planetary ordening in the horoscope
culminates in Neptune entering Aquarius. The second part of the song (a repetition of the words
“...let the sun shine in”) seems to evoke the break of dawn at the time of the Resurrection.
55
https://www.academia.edu/35498631/EISU_KING_AND_PROPHET_IN_JOHNS_GOSPEL p.59 ff.

55
The right (southern) half of the lintel.

Figure 18: The southern half of the lintel. A: the Panotii (a fabulous human race, with
large ears; see also figure 18A); B: 'pygmy' with two large people (see also figure 18B);
C: 'pygmy' mounting a horse with a ladder (see also figure 18C); D: small soldier with
shield, sitting on a horse, confronting a large soldier (figure 18D); E: two groups of
three people, led by a character bearing a disk (figure 18E) ; F: two large characters,
one of them holding a key, seemingly breaching through the ceiling of the lintel (figure
18F).

The southern lintel is composed of a set of six main scenes (indicated A to F

in figure 18). The overall direction of the characters is towards the left and the
scenes are to be read from right to left. The scenes are interconnected. For
instance, the three characters in scene A are reflected by the three characters
composing scene B; the small character in scene C (the 'pygmy' mounting the
horse) recapitulates the 'pygmy' in scene B; the horse in scene D shows all
the fine details of the horse in scene C, etc. Thus, the six scenes composing
the lintel seem to represent some complex process or development which
starts with the Panotii (the Panotians, i.e. 'all-ears', in scene A) and culminates
in scene F, where the characters are giants symbolically breaching through
the ceiling and enabled to directly contemplate Christ. The state of spiritual
grandeur and enlightenment depicted in scene F contrasts with scene A,
where the small 'ear man' has his eyes and ears closed. Thus, we are led to
conclude that the scenes depicted in the southern lintel are representations of
some form of Christian initiation, developing from an initial state of spiritual
blindness to a state of enlightenment. As a matter of fact, the symbol of the
ladder, which is the typical symbol for the path of initiation, is indeed depicted
in the lintel (scene C).

The Panotians (figure 18A) represent the starting point of the path of initiation.
The small character holds his ears closed and covers his eyes. He repeats a
gesture also displayed in compartments L1 to R2 (figure 15, 1 to 4), gripping
his ankle which has been bitten by the snake. Clearly, the small Panotian
represents the fallen human being, who hears but does not understand, and
who looks but does not see (Mark 4:12). This Panotian depicts the dichotomic
human being (cfr. appendix II) who is cut off from the realm of the spirit. How-
ever, above the small Panotian tower two larger ones, one male and one
female, who have their ears and eyes wide open.

56
Importantly, the Panotian at the left is covered by feathers. This can be under-
stood as a direct reference to the first degree of initiation, which is named
Raven or Corax (see appendix III).

Figure 17A: The Panotians or Panotii (πᾶν = all; οὖς, ὠτός = ear).

Corax represents the human being who becomes aware of the realm of the
Spirit and who starts hearing the Spirit (as in John 3:8). This goes with the
acquirement of the equivalent of the upright human stance at the level of the
human soul, which opens itself to the realm of the heavens. The Raven does
not yet grasp much of what he hears; but his spiritual interest has awakened
and his mind has opened up to the reality of the spiritual domain, and to the
absoluteness and power of enchantment of the Verb. Thus, the Panotians
represent the awakening human being. The pair of large Panotians represents
the human being in its primordial awakened state; or, alternatively, the pair of
large Panotians represent the 'higher I' or 'Self' of the human individual which
towers above the 'lower I' and which is 'man-woman' (Genesis 1:27). We will
see that throughout the southern half of the lintel, 'lower I' and and 'higher I' or
'Self' are depicted as small and large characters, respectively.

The second stage in the antique path of initiation is named the 'bridegroom'
(Nymphus). The planet associated with this stage is Venus and indeed, the
second degree of initiation can be considered as the phase where the human
individual has become deeply aware of spiritual reality and has become, so to

57
say, enamored with the Verb, wanting to permanently unite to it. Stated
otherwise, the human individual reaching this early stage of initiation
desperately wants to 'marry' the Verb. However, he still lacks spiritual stature
and robustness to do so, and the 'marriage' (to the 'Verb' which is the spiritual
Light symbolized by the Sun) will become reality only when the sixth degree of
initiation is reached (this is the degree of 'heliodromos' or 'charioteer of the
Sun', which is associated with the Sun). This state of affairs is expressed in
the next scene of the lintel, immediately at the left of the Panotians.

Figure 18B: Falling in love with Christ (the small 'bridegroom').

Both scenes, shown together in figure 18B, consist of three characters. As far
as the large characters are concerned, the two scenes show bilateral sym-
metry, with the male characters at the center and the female characters at the
right and left side. In the Panotian scene, the small character is placed close
to the male, whereas in the bridegroom scene, it is placed close to the female.

The process of initiation can be considered as the stepswise unveilment of the

'higher I' (the human spirit) to the human 'lower I', which basically corresponds
to the dichotomic (i.e. body-soul) human being. As said, the small character
depicts the 'lower I', whereas the pair of large characters depicts the 'higher I',
in as far as it manifests itself to the consciousness of the 'lower I'. Thus, the
scene of the Panotians depicts the lower I still enclosed in the physical-psy-
chical realm ('looking but not seeing, and hearing but not understanding'), but
with the 'higher I' involved in understanding and seeing. In the bridegroom
scene, the development is taken one step further. The 'higher I', represented
by the couple (cfr. Gen.1:27), is shown identifying Christ as the Verb and the
Light. This is depicted by the female character pointing (with her left hand) to
Christ throning in the mandorla, and by the male accordingly looking up at
Christ (note that this pointing gesture also occurs in compartment L3).
Moreover, the small character, mostly interpreted as a 'pygmy', has his head
placed closely to the woman's pointing hand, and is also looking up at Christ,
along the pointing hand of the female at his side. The scene has profound

58
meaning, revealing the nature of the second degree of Christian initiation: the
initiate becomes aware of the Verb, perceiving glimpses of the Light, under
the guidance of the female side of the 'higher I'. This results in the 'lower I'
falling in love56 with the Verb and wanting to unite with the Verb. However,
from the viewpoint of spiritual development, the 'bridegroom' is still, so to say,
a child and the goal of unison with the Verb (i.e. the equivalent of the 'wedding
at Cana'; cfr. John 2) can be reached only at the end of the path of initiation.

Figures 18C and 18D depict the third degree of initiation, which is called
'Miles' ('Soldier'). In the lintel, the soldier is represented as a horseman,
wearing a ring armour and a circular shield.

Figure 18C shows the 'pygmy' (i.e. the small character which represents the
'lower I' of the initiate) eagerly climbing the scale in order to ride the horse.
The scale is an occult symbol for the stepswise structured path of initiation.
The horse symbolizes the lower, more instinctive realms of human nature,
which the initiate will have to gradually master.

The 'soldier', as an initiate of the third degree, acts at the service of his society
or community, especially in the sense that he will operate, within that human
community, as a defender of the Verb i.e. of life-giving Truth. At this level of
initiation, the initiate becomes, so to say, a warrior at the service of the 'Being
Truth', which is the Verb. Truth is his shield. Through his battles, he will gain
spiritual forces and progress along the path of initiation.

56
According to Steiner, the human being has a natural ability to clairvoyance in one specific
domain, namely in those situations where human individuals lovingly relate and interact.
Without this spontaneous ability for higher discernment, human beings would be mutually
blind with respect to each other's inner being and social life, in the human sense of the world,
would be impossible. The path of Christian initiation can be understood as the effort to
generalize this spontaneous ability for higher understanding, which is rooted in love; and this
idea is expressed by the term 'Nymphus' or 'Bridegroom', which is used for the second phase
of initiation.
“Auf einem Gebiete (...) befindet sich immer jeder Mensch in der Seelenverfassung, die
man sich für die anderen Gebiete der Geisteswissenschaft erst mühselig so aneignen
muß (...). Auf einem Gebiete befindet man sich immer in dieser Seelenverfassung,
sonst würde man auf diesem einen Gebiete eben einfach blind sein. Und dieses eine
Gebiet ist das, wenn man eben liebend von Mensch zu Mensch in ein Verhältnis tritt.
Den anderen Menschen, zu dem man liebend in ein Verhältnis tritt, den betrachtet man
von demselben Seelengesichtspunkte aus - aber eben nur den Menschen - , von dem
aus man zu schauen hat, wenn man übersinnliche Erkenntnisse haben will. Nur muß
man die Fähigkeit der Seele erst entwickeln, um in bezug auf anderes dieselbe Lage in
seiner Seele herbeizuführen, die einfach durch Instinkt, durch das gewöhnliche Leben
herbeigeführt wird, wenn man liebend einem anderen Menschen verständnisvoll, mit
Interesse gegenübersteht und sich mit Interesse in seine Seelenart vertieft. In diesem
Falle, wo man einem anderen Menschen mit innerem Anteil, mit tiefem Verständnis, mit
wahrhaftigem Interesse für sein innerstes Seelenleben, für sein ganzes Sichdarleben,
entgegentritt, in dem Augenblicke wird man - wenn ich so sagen darf – im gewöhn-
lichen Leben hellsichtig. Es ist dem Menschen eben nur zugeteilt im gewöhlichen
Leben, in diesem einen Falle hellsichtig zu werden; für die anderen Fälle hat er sich
erst auf methodische Weise, auf mühsame Weise die entsprechenden Fähigkeiten an-
zueignen” (R.Steiner GA 72, Bern, Dec. 11th, 1918).

59
Figure 18C: The 'pygmy' climbing the scale and mounting the horse. In the back-
ground, two large characters are present, just as in the previous two scenes (compare
to figures 18A and 18B; the figurines are badly mutilated). At right, the scene with the
'small bridegroom' (cfr. figure 18B). Interestingly, one of the two characters behind the
horse points to the 'bridegroom', holding two fingers outstretched. This gesture could
mean, that the bridegroom is an initiate of the second degree. Although mutilated, the
leg of the pygmy climbing the scale seems to be placed on the third rung. The ladder
symbolizing the path of initiation, this detail seems to indicate that this pygmy
represents an initiate of the third degree. At right, Dame Philosophie as represented at
the western facade of Cathédrale Notre-Dame at Laon, with the same 'ladder of
initiation'. Here, esoteric versus exoteric Christianity are represented by one book
hiding behind another (compare to figures 2c, 2d, 3 and 4).

Figure 18D: The soldier ('Miles'). Note the small stature of the horseman, which is again
the 'pygmy' of the preceding scene (figure 18C). As a matter of fact, the details of the
horses in both scenes are identical, indicating that the same mount is involved. Here
too, two large characters are present in the background. The faces of all statues in this
scene, and the subsequent ones at left, have been smashed at the apotheose of 'les
lumières' (1793). The soldier, who represents the 'lower I' at the third stage of initiation,
confronts a much larger version of itself, also wearing a ring armor, standing in front of
the horse and reaching out at the soldier while pointing to the way ahead.

60
The pivotal scene shown in figure 18D indicates the point where the 'soldier'
reaches the threshold of the fourth degree of initiation (the 'lion' or 'Leo').
Here, the lower earth-bound 'I' of the initiate meets the higher 'I', and both are
going to constitute the original bifocal being reflecting the male-female consti-
tution as it existed before the biblical fall (Genesis 1:27). From this point
onwards, the 'higher I' is no longer represented as a couple towering above
the disciple. During the three lower degrees of initiation (Raven, Bridegroom
and Soldier i.e. Corax, Nymphus and Miles), the 'higher I' acts as an external
hierophant with respect to the 'lower I'. But from the fourth degree onwards,
the 'lower I' forms a bifocal entity with the 'higher I' and the human individuality
becomes, so to say, its own hierophant.

Figure 18E: The three superior degrees of initiation (Heliodromos, Perses, Leo). These
degrees are represented by two rows of three characters, each led by a man repre-
senting the heliodromos and bearing a Sun symbol (a large circle, with a small circle at
the center). The two rows of three are marked as A,A',A”, in red and green respectively.

The interiorization of the 'higher I' as a hierophant is the characteristic of the

fourth degree (Leo). The fifth degree (Perses) can be considered as an exal-
tation of the third degree (Miles). Whereas the Soldier is an individual servant
of the people, the initiate of the fifth degree has the spiritual ability to ob-
jectively speak for his people; hence, the initiate receives the name of that
people (with 'Perses' i.e. 'Persian' being used as the general term for indica-
ting this grade). The initiate of the sixth degree is the 'bridegroom' who has
come to 'marry' the Light. He is a bearer of general truth at the level of earth-
bound humanity and is called a 'charioteer of the Sun'. Figure 18E shows how
these three higher degrees are represented by two rows of three people, led
by a character bearing a solar disc (and therefore representing, in a quite
literally sense, a 'transporter of the Sun' i.e. ἡλιοδρόμος). Two such rows are
depicted, continuing the dual representation of the higher Self in the previous
scenes and expressing the fact that humans are bifocal beings (ie. [male-
female] and [subject-object]). The solar disc is to be understood as a modifi-

61
cation of the circular shield of the soldier (this shield represents the truth,
which constitutes the defense of the soldier). As a matter of fact, the leftmost
character shown in figure 18E is again dressed with a chain armor as a
soldier, while holding his downwardly held dagger within the seventh and
ultimate realm. This seventh realm corresponds to the highest degree of
initiation, which is named 'Father' ('Pater').

Figure 18F: The representation of the seventh degree of initiation ('Pater' i.e. 'Father').
A pair of characters, unfortunately with mutilated heads, rise through the ceiling of the
lintel, contemplating Christ. This configuration indicates that the initiate of the seventh
degree is enabled to directly contemplate the Verb. The 'Father' at left bears a key. The
heliodromos at right holds a downwardly directed sword or dagger in front of the
'Father' at right.

The initiate of the seventh degree has access to knowledge, not only within
the realm of the Earth (as does the initiate of the sixth degree), but in the
general spiritual sense. Hence, the initiate of the seventh degree is enabled to
directly contemplate Christ who resides in the spiritual world. This is shown in
the lintel by the two very large characters at left, who have broken, so to say,
through the ceilings of the earthly realm, acquiring direct access to Christ.
Again, a duo is depicted, which corresponds to the duality exhibited in figure

62
18E and to the pairs of background characters escorting the initiates of lower
degrees (figures 18A, 18B, 18C, 18D). In figure 18F, the leftmost character
holding the key is usually identified as the apostle Peter. The second charac-
ter has a dagger or sword held in front of him, by the leftmost heliodromos.
The sword being an iconographic attribute of Saint Paul, it can indeed be
presumed that Saint Peter and Saint Paul are depicted here, as representants
of the seventh degree of initiation57 (compare to figure 2d, left and figure 4, P).

We conclude that the southern half of the lintel, aptly placed underneath the
apostles with closed books representing esoteric Christianity, is a sophisti-
cated depiction of the seven-phased path of initiation, as it was known in
antiquity. The feathers on one of the Panotians directly refer to the first degree
(Raven), the 'pygmy' standing close to the female character and looking along
her index which points to Christ, appropriately encodes for the second degree
(Bridegroom); the mounted character with chain armor and shield refers to the
third degree (Soldier); the characters bearing a solar disc represent the sixth
degree (Runner of the Sun). The whole sequence consequently depicts the
human being as encompassing a 'lower I' and an 'higher I', with the path of
initiation (directly indicated by the scale) leading to integration of both aspects
of the human individuality. The flow of the representation, which reads from
right to left, is sustained by the repetition of certain pictorial elements, such as
the small stature of the lower initiates (who are also accompanied by two
larger characters representing the 'higher I'), the horse, or the shield morphing
into the sun disc.

The overall idea expressed by the lintel is clear. According to the northern half
of the lintel, the way to God by performing 'sacrifices' (especially animal
sacrifices) has come to end with the advent of Christianity. According to the
southern part of the lintel, one adequate way to reach God is by walking the
path of Christian initiation which developed from the ancient Mysteries.

6. Some final thoughts.

In the 12th century, when the tympanum of Vézelay was produced, imagery
was rare and precious. Production of a piece of artwork such as the tympa-
num was extremely expensive and very difficult to organize; economic sur-
pluses were limited; means of transportation were primitive; masters of art
were in rare supply. The tympanum must have been created out of a sense of
deep spiritual responsibility. No doubt, it was meant to overarch the ages and
to be contemplated by many generations to come. For all these reasons, its
production must have gone with careful thought and extensive pondering. We
can expect every detail of the artwork to have been intensively discussed,
especially from a religious and philosophical point of view. Given the pro-
minence of the abbaye of Vézelay, we can expect these discussions to have
been very sophisticated. We can expect the artwork to constitute a closely

57
The sword is an iconographic attribute of Paul, because he died as a martyr being
beheaded. However, the dagger held downwards could also symbolize Saul ending his
persecution of Christians after having received an initiation to the seventh degree, on his way
to Damascus (Acts 9:1-9).

63
knitted whole, with most of the depicted details having symbolic value and
contributing to the semantics embedded in the overall composition.

The history of Christianity is not to be confused with the history of Christian

churchdom. As an exoteric and worldly institute, the catholic Church was by
and large an emanation of the Roman empire. As an institute of worldly
power, it did not have the potential to last and to generate Christian civiliza-
tion. The obvious spiritual robustness and inner consistency of Christianity
sprang from a deeper source, which we call 'esoteric Christianity'. The exis-
tence of an esoteric Christian tradition throughout the ages is made known in
the New Testament58. Within this tradition, secrets were kept and transmitted.
From this viewpoint, Christianity was nothing but an organic continuation, a
fulfillment so to say, of pre-Christian mysteries.

The mystery schools, both pre-Christian and Christian, were largely success-
ful in keeping their secrets. This poses a problem for historians who strongly
tend to neglect or even to deny the very existence of these traditions, because
no written documents seem to unequivocally prove their existence. However,
the mystery schools did express themselves in a great many ways, for instan-
ce in Christian artwork59. Thus, the silence of the Mysteries was not absolute:
they spoke out, but in such a way that only the seeker for religious truth could
decode their language. Truth was, so to say, covered by '...protective layers',
keeping at a distance those who '...have eyes but do not see, and have ears
58
The existence of such tradition transpires directly from certain New Testament passages,
such as 2John:12 or 3John:13. Paul directly refers to hidden Christian knowledge (“For we
speak a wisdom among the initiated, a wisdom not of this aeon, nor of the world-rulers
of this aeon who are passing away. We speak a wisdom of God in a mystery, an occult
wisdom which God ordained before the aeons for our glory, and which none of the
world-rulers of this aeon knows”; 1 Corinthians 2:6-9, as translated by Andrew Welburn, cfr.
p.32 in: “The beginnings of Christianity” Edinburgh: Floris Books, 1991) and Matthew gives
the reason for discretion (Matthew 7:6). Apparently irrelevant details in New Testamental nar-
ratives can have important hidden meaning, as stated by Christ Himself in Mark 8:17-21 (with
respect to the 'feeding of the multitude'). For more, see for instance: Guy G.Strousma (1996)
“Hidden Wisdom. Esoteric traditions & the roots of Christian mysticism” Leiden: Brill.
According to Strousma, “...already before the end of the second century, the esoteric
traditions were played down, blurred and denied by the Church Fathers, until they
eventually disappeared” (p.6). However, close inspection of Christian art, up to the 17th cen-
tury and beyond, shows that esoteric Christianity was alive and well and continued to secretly
inspire Christian societies. Important societal innovations, such as the generalization of an
AD-labelled Julian calendar (apparently derived from the day of birth of the nathanic Jesus on
Friday, January 14th, 1 AD), must have been initiated by some Christian esoteric source.
Nevertheless, Strousma's observations show that the Church Fathers mainly belonged to
exoteric Christianity and identified with Christian Churchdom, whereas the protagonists of
esoteric Christianity remained hidden and anonymous (for a striking artistic representation of
this state of affairs, see figure A-V,3). Nevertheless, even Church Father Augustine of Hippo
famously wrote: “...what is now called the Christian religion existed already among the
ancients, and it was not lacking from the beginning of the human race, up to the incar-
nation of Christ. From that time onwards true religion, which already existed, started to
be called Christian” ['...res ipsa quae nunc christiana religio nuncupatur, erat et apud anti-
quos, nec defuit ab initio generis humani, quousque ipse Christus veniret in carne: unde vera
religio, quar iam erat, coepit appellari christiana'] (Retractationes 1:13).
59
The Mysteries also operated by guiding and shaping human geography. Theirs was an
Earth-blessing and Earth-sanctifying mission. They were temple builders, and the temple was
considered part and crown of its surroundings. In Vézelay also, the abbaye was remarkably
interwoven with the nearby countryside, creating a numinous 'sacred landscape'.

64
but do no hear' (Mark 8:18). This practice seems to continue up to this very
day, both by legitimate and not so legitimate traditions. As for the tympanum
of Vézelay, it seems to be an expression of the Christian Mysteries, as they
operated in France during the 12 th century (see also note 2).

Obviously, humanity has gone through a revelation of kinds in modern times.

This 'revelation' was none other than the explosive development of natural
sciences and mathematics. The ancient Mysteries tended to suppress forms
of knowledge which nowadays are teached at high school level. Astronomical
knowledge is a case in point. Humanity has observed the heaven and the
stars for tens of thousands of years. The principle of the optical lens must
have been known in antiquity 60. It seems very improbable that, within the Mys-
teries, astronomical knowledge was limited to the Ptolemaic level that is gene-
rally acknowledged. For instance, objects such as Uranus or the four Galilean
moons of Jupiter, which can be observed by the naked eye (although with
difficulty), must have been known, at least in certain circles, throughout the
ages. The religious relevance of astronomical knowledge in Christianity is
documented by the fact that the two opening chapters of Matthew's gospel
(which constitutes itself, so to say, the 'opening chapter' of the New Testa-
ment) are soaked with astronomical and astrological symbolism. For instan-
ce, it may come as a shock to some that the Galilean moons are encoded for
in Matthew's first chapter61. It is against this background that we should con-
template the astrological information that seems to have been embedded in
the tympanum of Vézelay. Apparently, the esoteric masters at Vézelay had
access to surprisingly advanced astronomical knowledge, including fairly
developed calculation abilities. This implies that some kind of mystery school
must have existed, obviously with ramifications within the Benedictine order.
Clearly, this school must have been a rather direct continuation of the ancient
Mystery schools, as a Christianized version of the Mithraic seven grade
initiation scheme is depicted on the southern half of the lintel. Basically, the
Christian mysteries reveal their existence in the tympanum, by depicting half
of the apostles holding closed books while dwelling '...under the fig tree' (John
1:48). Importantly, the tympanum shows that the set of apostles cannot be
divided in two subsets, one initiated and one non-initiated. We see Peter
among the apostles with the open books, but we see him again as a 'Father'
on the southern part of the lintel, and a third time at the southern side of the
portal, holding the key and in discussion with Paul who holds a closed book
which can be opened using Peter's key. Thus, the 'mission of the Apostles'
should be understood in the sense that each single apostle was an initiator of
both esoteric and exoteric Christianity and that exoteric and esoteric Christia-
nity were expected to act as each other's complement.

60
See for instance: Robert Temple (2000) “The Crystal Sun” London: Century;
https://www.academia.edu/467038/The_Use_of_Magnifying_Lenses_in_the_Classical_World ;
https://www.academia.edu/28885112/Looking_Through_a_Telescope_with_an_Obsidian_Mirror_Would
_specialists_of_ancient_cultures_have_been_able_to_view_the_night_sky_using_such_an_instrument
61
See for instance:
https://www.academia.edu/9803898/Unbearable_beauty_unfathomable_depth_the_encodement_of_the_day_and_h
our_of_birth_of_Jesus_descendant_of_Solomon_in_Matthew_1_1-17

65
 APPENDIX I
JOHN THE BAPTIST AS ELIJAH REINCARNATED

John the Baptist plays a pivotal role in the setup of the Vézelay abbey. The
'street of light' (figure 2a,b), reaches the axis of the nave around the Baptist's
festival (June 24th), while at the same time aligning with the statue of the Bap-
tist. The latter is flanked by two smaller statues (figure 2c) which clarify the
spiritual identity of the Baptist.

The character depicted on the right side displays an unfolded scroll (figure 2c)
which is an iconographic attribute of Old Testament prophets. In the given
context, the personage identifies as the prophet Elijah, who frequently bears
such a scroll as an attribute. As we will see, the Baptist is identified in the gos-
pels as Elijah reincarnated.

On the northern side, the statue of the Baptist (figures 2a,c) is flanked by a
young man showing an open book and holding his legs crossed, which evo-
kes the numeral '4' (appendix V). Among the evangelists, John is mostly de-
picted as the younger character 62. This young man can therefore be identified
as the fourth evangelist who wrote the gospel according to John, the three
letters by John, and the book Revelation. He was also Nathanael, the fourth
among Christ's disciples, who was initiated by Christ into the sixth degree of
the ancient Mysteries at the wedding at Cana 63. He was the 'Jew' appearing in
John 3:25. He was Lazarus, who was initiated by Christ into the seventh de-
gree of the Mysteries. He was called, based on his initiation at Cana, the
'disciple whom Jesus loved' mentioned in the fourth gospel (Jh.13:23;19:26;
20:2;21:7;21:20); he was the 'other disciple' mentioned in Jh.18:15-16 and he
was the 'rich young ruler' mentioned by the synoptics (Mk.10:17-22; Mt.19:
16-22; Lk.18:18-23)64. As we will see, the fourth gospel contains important in-
formation with respect to the spiritual identity and reincarnation of John the
Baptist. Within the context of the tympanum of Vézelay, the two smaller sta-
tues at either side of the Baptist can be understood in relation to the pheno-
menon of the nine sunlit spots representing the nine months of human gesta-
tion and referring to the concept of reincarnation (figure 2a).

In exoteric Christianity, the idea of reincarnation is all but unknown. Although

the gospels openly refer to the Baptist being Elijah reincarnated, these passa-
ges are downplayed and explained away. Nevertheless, the notion of reincar-
nation is part of the heritage of esoteric Christianity. Especially, the fourth gos-
pel contains important encoded references to the concept. At the time when
the Vézelay basilica was constructed, at least some among the monastery's
62
See for instance Jacob Jordaens' painting “The four Evangelists”.
63
See appendix III and also:
https://www.academia.edu/33857672/King_Eisu_and_the_riddle_of_the_fig_tree_John_1_48_._On_Jesus_presence
_in_Cornwall_and_Somerset
64
See: Edward Reaugh Smith (2011) “The temple sleep of the rich young ruler. How
Laza-rus became the evangelist John” Great Barrington: Steiner Books.
According to Rudolf Steiner, a very intimate relationship connected the individualities of John
the Baptist and John the Evangelist (letzte Ansprache, GA 238; Sept.28th, 1924).

66
Benedictines must have been knowledgable with respect to this tradition. Im-
portantly, the Christian idea of reincarnation is radically different from the con-
cept of eternal return; it is a developmental and evolutionary concept, pointing
to a final stage of definite unison with, or separation from God ('Last Judge-
ment').

The Baptist as reincarnation of Elijah

The gospels reveal that the Baptist is Elijah reincarnated 65. In the trichotomic
view of the human being (appendix II), the human 'individuality' or the eternal
'I AM' is the human spirit. To a first approximation, it is this individual human
spirit which lives continuously through subsequent incarnations. As an incar-
nated individuality, the human being appears as an 'egoity' or 'personality'.
The authors of the gospel think of the human being in trichotomic terms.
Hence, when the angel announces to Zechariah the coming birth of John:
“And he will go on before the Lord, in the spirit and power of Elijah (...)”
(Lk.1:17; the word 'spirit' translates the Greek 'πνεῦμα'), this means that Elijah
and John the Baptist are incarnations of the same spiritual individuality, al-
though at the earthly level both are distinct personalities.

In the gospels of Matthew and Mark, Christ reportedly confirms the spiritual
identity of Elijah and John the Baptist (Mt.17:11-13 and Mk.9:12-13). This
identification of the Baptist as Elijah reborn is quite unequivocal and happens
in the context of the Transfiguration of Christ, where the individuality of Elijah
appears to the three apostles Peter, James and John. Having seen Elijah, the
disciples ask: “Why then do the teachers of the law say that Elijah must
come first?” (Mt.17:10) to which Christ answers: “To be sure, Elijah comes
and will restore all things. But I tell you, Elijah has already come, and
they did not recognize him, but have done to him everything they
wished. In the same way the Son of Man is going to suffer at their hands.
Then the disciples understood that He spoke to them concerning John
the Baptist” (Mt.17:12-13; parallel text in Mk.9:11-13). According to both gos-
pels, this event takes place after the death of the Baptist (reported in Mt.14:1-
12 and Mk.6:14-29). From the context, it is clear that the question of the
disciples is induced by their vision of Elijah, and that Christ identifies the
individuality of the already murdered Baptist with the individuality of Elijah.
Also important is the initiatory context of the event of the Transfiguration,
which occurs 'on a mountain' and is followed by Christ forbidding the disciples

65
The prologue to John's gospel implies that John the Baptist was also Adam reincarnated.
For a discussion of John 1:1-5, see appendix VI. In John 1:6-8, the mission of John the Bap-
tist is mentioned. The Baptist is said to have been sent “...to witness to the light”. By defini-
tion, being a witness implies two things. Firstly, the witness is supposed to have seen
something. Secondly, those to whom the witness is giving his testimony did not see what the
witness has seen. Thus, John the Baptist is a human being who has seen something, namely
'the Light', which has not been seen by anybody else. Adam is the human being before the
fall, who has seen God. This explains why Christ states: “Among those born of women
there has risen no one greater than John the Baptist” (Mt.11:11). Thus, along its central
axis, the Vézelay tympanum really shows the first Adam (the Baptist) underneath the second
Adam (Christ; cfr.1 Cor.15:45-48; see also R.Steiner, GA 114, p.106-107). Rudolf Steiner also
talks about other incarnations of this adamic individuality (GA 126, p.110-111; GA 139, p.156).

67
to mention what they had seen “...before the resurrection of the Son of
Man” (Mt.17;9; Mk.9:9-10).

Matthew contains still another passage where Christ confirms the spiritual
identity of Elijah and John the Baptist (Mt.11:14). This passage is remarkably
worded: “...and if you choose to understand it in this way, this is Elijah
who was announced to come” (“...καὶ εἰ θέλετε δέξασθαι, αὐτός ἐστιν Ἠλίας
ὁ μέλλων ἔρχεσθαι”; these words were presumably pronounced before the
Baptist was murdered, because the Baptist's death is mentioned in Mt.14). So
Christ states that the identification of the Baptist as Elijah is only valid from a
certain point of view. Indeed, the Baptist and Elijah are incarnations of the
same individuality; they are both manifestations of the same human spirit but
they are different personalities. So it would be wrong to identify the Baptist
with Elijah at the level of the human body or the human soul.

John 1:19-23 contains a most remarkable passage on the Baptist's identity:

19 And this is John’s testimony when the Jews in Jerusalem sent priests
and Levites to ask him who he was. 20 And he declared and he did not
deny and he declared: “I am not the Messiah”. 21 They asked him: “Who
then? Are you Elijah”? He said, “I am not”. “Are you the Prophet”? He
answered, “No”. 22 Then they said, “Who are you? Give us an answer to
take back to those who sent us. What do you say about yourself”? 23 He
replied: “I am the voice of one calling in the wilderness, ‘Make straight
the way for the Lord’, as said Isaiah the prophet”.

Mostly, the strange formulation in verse 20 (“And he declared and he did

not deny and he declared”; 'καὶ ὡμολόγησεν καὶ οὐκ ἠρνήσατο καὶ
ὡμολόγησεν') is not commented upon, and the repetition of “...he declared”
('...ὡμολόγησεν') is skipped in most translations. Importantly, the declarations
of the Baptist in verses 20-21 are all negations, which flies in the face of the
immediately preceding assertion that John does not deny (meaning that he
does not speak in terms of negation). The only possible explanation seems to
be that the evangelist wants the deep reader to understand that John really
gave two answers (or sets of answers), firstly a reply not consisting of
negations and remaining unquoted and secondly the quoted reply which
consists entirely of negations. Initially, an esoteric answer is given that re-
mains unquoted; thereafter, an exoteric answer follows that is quoted. This
corresponds to the fact that the Baptist adresses two classes of people: firstly
the priests, who are initiated, and secondly the Levites, who are not 66. We do

66
As remarked by Luther, the temple of Jerusalem reflected the threefold constitution of man:
“Mose machte (vgl. 2. Mose 26, 33 f., 2. Mose 40, 1 ff.) ein Tabernakel mit drei unter-
schiedlichen Gebäuden. Das erste hieß 'Allerheiligstes', darin wohnt Gott und war kein
Licht drinnen. Das zweite (hieß) 'Heiliges', darin stand ein Leuchter mit sieben Röhren
und Lampen. Das dritte hieß der 'Vorhof', das war öffentlich unter dem Himmel in der
Sonne Licht. In diesem Bild ist ein Christenmensch abgemalt: Sein Geist ist das Aller-
heiligste, Gottes Wohnung im finsteren Glauben ohne Licht; denn er glaubt, was er
nicht sieht, noch fühlet noch begreifet. Seine Seele ist das Heilige, da sind sieben
Lichter, d.h. allerlei Verstand, Unterscheidungsgabe, Wissen und Erkenntnis der leib-
lichen, sichtbaren Dinge. Sein Körper ist der Vorhof, der ist jedermann offenbar, dass
man sehen kann, was er tut und wie er lebt.” in: “Das Magnificat verdeutscht und ausge-

68
not know the answer given by the Baptist to the priests but we can suspect it
to be in line with the assertions by Christ as quoted in the synoptics 67 (taken
as individualities, i.e. at the level of the spirit, John the Baptist is Elijah). In a
superficial sense, the exoteric answer, with John the Baptist denying his being
Elijah, just refers to the personal level: at the level of body and soul, the
Baptist is not Elijah. However, the exoteric answer can be expected to also
contain elements of a deeper esoteric answer, albeit in symbolic or imagina-
tive form (cfr. Mark 4:10-12). Indeed, in verse 23 the Baptist finally utters a
confirmative statement concerning his identity, stating: “I am a voice shout-
ing in the wilderness. 'Make straight the way for the Lord', as said Isaiah
the prophet”.

Of course, this statement evokes Isaiah 40:3 where reference is made to an

unspecified voice calling for making a straight way for the Lord through the
wilderness. However, from Isaiah 40:3, only the words “Make straight the
way for the Lord” (“Εὐθύνατε τὴν ὁδὸν κυρίου”) are quoted in the proper
sense. Whereas in Isaiah the voice is calling for a way through the wilderness,
John the Baptist transforms this into 'a voice in the wilderness' calling for a
way. Thus, the passage in Isaiah has been altered in order to introduce the
imagery of a 'voice in the wilderness', wherewith the Baptist identifies. Clearly,
this alteration has been made on purpose and we are entitled to wonder to
which 'voice in the wilderness' the Baptist is actually referring. This voice has
to be (a) a voice crying in some wilderness, (b) a voice which we can some-
how connect to the Baptist, and (c) a voice which can be connected to the
spirit of Elijah (if indeed John's answer reflects the esoteric i.e. spiritual side of
his identity, which according to Christ he shared with Elijah).

As a matter of fact, such a voice can be identified in 2 Kings 2:1-25, where the
death (i.e. ascension to heaven) of Elijah is described. Elisha refuses to sepa-
rate from Elijah. Both approach the Jordan. Elijah rolls up his mantle and
strikes the water. The water immediately divides and Elijah and Elisha cross
on dry land. While crossing the river, Elijah says to Elisha: “Ask what I shall
do for you before I am taken away from you”. Elisha answers: “Let a doub-
le portion of your spirit (in the Septuagint: 'πνεῦμα') be upon me”. Elijah
answers that Elisha had begged for a hard thing: “If you will see me when I
am taken up from you, then you will receive; otherwise, you will not re-
ceive”.

Suddenly, a chariot of fire and horses of fire separate Elijah from Elisha, and
Elijah is lifted up in a whirlwind. This is seen by Elisha, implying that Elisha
does indeed receive a double portion of Elijah's spirit while crying (in the
Septuagint, the verb 'βοάω'/'to cry' is used; this is the same verb used in

legt”, 1521). Only the priests and the levites were allowed to enter the middle realm of the
temple (2 Chron.23:6) which corresponded to the soul. However, only the high priest was
allowed to enter the holy of hollies which corresponded to the human spirit.
67
The fourth evangelist presupposes knowledge of the synoptics. For instance, he refers
with-out any further elaboration to “...the twelve” of to the “sons of Zebedee” because these
concepts are already known through the preceding gospels.

69
Jh.1:23) : “Father, Father, the chariot of Israel and its horseman!”. As
Elijah is lifted up, his mantle falls to the ground and Elisha picks it up.

It is important to understand in detail the esoteric meaning of this strange

scene. The words uttered by Elisha directly refer to the three highest among
the seven degrees of initiation as known from Mithraism (see appendix III).
The fifth degree is usually named 'Persian' but more generally, this degree is
named after the people to which the initiate belongs. An initiate of the fifth
degree is able to grasp and to express, in an objective way, the spiritual
needs of his nation. Both Elijah and his successor Elisha were 'Israelites' in
this sense. The sixth degree of initiation was called 'Heliodromos' i.e. 'Chario-
teer of the Sun'. At this level, the initiate is able to grasp the spiritual needs of
earthly humanity as a whole. The initiate of the seventh and highest degree is
called 'Father'. An initiate of the seventh degree is able to grasp the spiritual
development of humanity throughout the ages. The prophet Elijah was a
'Father'. Thus, when Elisha asks Elijah to obtain a double portion of Elijah's
spirit, he asks for a twofold initiation, into the degrees of 'Charioteer of the
Sun' and 'Father', so that he will be enabled to proceed into Elisha's footsteps.
The words “Father, Father, the chariot of Israel and its horseman!” are the
combined names of the three highest degree of initiation. Given the context,
these words express that the 'Israelite' Elisha has indeed received '...a double
portion' of Elisha's spirit i.e. that he has received indeed the double initiation
(into the degrees of 'Charioteer of the Sun'' and 'Father') that he had begged
for.

This passage reminds us of John the Baptist in at least two ways. Firstly,
Elijah's ascension to Heaven happens at the southernmost part of the river
Jordan (Jericho is nearby; 2 Kings 2:4,15,18) where Jesus of Nazareth was
going to be baptized by John. Secondly, the mantle of Elijah (imagery for the
physical body) is left at that place, and the mantles of Elijah and John the
Baptist are described in very similar terms (2 Kings 1:8; Mt.3:4). So, Elijah's
mantle left behind at the bank of the Jordan can be understood as a prefigu-
ration of Elijah's coming reincarnation and activity as John the Baptist at that
very same spot, whereas the voice of Elisha (who is recieving a double
portion of Elijah's spirit) crying “Father, Father, the chariot of Israel and its
horseman!” must of necessity68 be understood as the spirit of Elijah resoun-
ding through Elisha in the wilderness of Judea. When the Baptist says: “I am
a voice crying in the wilderness”, he subtly refers to 2 Kings 2:12, thereby
revealing that his spirit is the same one which brought Elijah to cry: “Father,
Father, the chariot of Israel and its horseman”! Thus, even in the exoteric
answer provided by the Baptist, his spiritual identity is revealed 69.

68
Because at this very moment, Elisha is receiving 'a double portion' of Elijah's spirit.
69
The evangelist also reports that the delegation sent to John encompassed envoys from the
Pharisees (John 1:24; the Pharisees lived in opposition to the Sadducees who were connec-
ted to priesthood). They were unable to probe the Baptist's reply and simply concluded that
he was not Elijah (John 1:25).

70
 APPENDIX II: THE TRICHOTOMIC AND THE FOURFOLD VIEW OF MAN.

1. The trichotomic view of the human being

In the antique world, standard anthropology was trichotomic (figure A-II,1): the
human being was believed to encompass spirit, soul and body (1 Thes. 5:23:
“...τὸ πνεῦμα καὶ ἡ ψυχὴ καὶ τὸ σῶμα”). This view on human nature
prevailed in the New Testament and in the writings of early Christianity.

Figure A-II,1: The trichotomic view of the human being 70, after Bonaventura. The soul
(ψυχή) is mainly directed towards fellow human beings, connecting to them in relation-
ships of sympathy and antipathy depicted by the bundle of arrows at the center of the
scheme. This center can be thought of as a representation of the usual state of human
consciousness and awareness.
The human soul can connect to the human spirit (πνεῦμα). In the usual state of human
consciousness, the spirit is only permanently accessible in a partial and indirect way,
displaying as an ability to grasp the concept of 'truth' in an intellectual sense. This
intellectual cognizance with respect to the nature of Truth (i.e. the 'Logos'), which en-
ables humans to acquire language, dwells at the heart of the human intellect (νο ῦς). As
far as the human being deepens its awareness with respect to the nature of Truth, be-
coming so to say 'enamored' of the Logos, the intellect develops into what is called the
'heart' (καρδία)71.
Through the body (σῶμα) and its senses, the human soul has also access to the
physical world. By means of the body, the human soul becomes aware of the 'forces'
(δυνάμεις; cfr. Deut. 6:5) i.e. of the voluntary/karmic side of its own 'higher I' or spirit.

70
Michel Fromaget “La drachme perdue”, Editions Grégoriennes (2010) p.114. Fromaget's
work constitutes a well-documented introduction to the theme of trichotomic anthropology.
See also: “L'Homme tridimensionnel” Paris: Albin Michel (1996); “Dix essais sur la con-
ception anthropologique 'corps, âme, esprit'“ Paris: L'Harmattan (2000) ; “De l'anthropo-
logie tripartite chez maître Eckhart” Mystics Quarterly 28(4), p.162-172 (2002); “Modernité
et Désarroi. L'Âme privée d'Esprit” Paris: Le Mercure Dauphinois (2007); “La vocation
spirituelle de l'homme” Uppr (2016). Fromaget considers himself catholic, but opposes the
official doctrine of the Catholic Church according to which the humain being is not trichotomic
but dichotomic, and consists only of a physical body and a soul.
71
“[Le mot 'cœur'] désigne cette faculté ou cet organe de l'être humain par où l'Esprit
de Dieu, l'Esprit saint (…) peut pénétrer dans l'homme pour le spiritualiser et le faire
naître ainsi à sa condition véritable” (Fromaget 2000, p.64).

71
The trichotomic view of the human being should not be understood in the
sense that three integrated parts or members are equally present at birth. In
an earthly sense, the human being is born as a dichotomic creature consisting
of a body and a soul; its spirit remains so to say at the outside, contributing to
the physical and psychological development of the child and young adult and
finally leaving it to the upgrown dichotomic or 'psychical' individual to fully con-
nect to its spiritual 'higher Self'. In John 3:5-7, this act of connection of the di-
chotomic human to its spiritual Self, which can take place or not, has been
called a 'second birth' which transforms the 'psychical' (dichotomic) human
being into a 'spiritual' (trichotomic) entity. It is in this sense that Paul, in his first
epistle to the Corinthians, distinguishes between 'psychical man' ('ψυχικὸς
ἄνθρωπος') and 'spiritual man' ('πνευματικὸς ἄνθρωπος')72: “1Cor.2:14 But
psychical man does not accept the things of the Spirit of God; for they
are foolishness to him, and he is not able to understand them, because
spiritually they are discerned. 15 However, he who is spiritual judges all
things, but he himself is judged by no one”73. From the viewpoint of
trichotomic anthropology, the newborn human being can be said to bear a
vocation (Fromaget 2016). The newborn child has received life: in the physical
world, it appears as a physical body connected to a soul or psychè, and as
such it grows and develops. The earthly natural birth does not per se imply
the 'second birth' of the human spirit. The latter can be neglected and ignored
by the psychical human being. The descent of the human spirit into the
psychical human being or 'second birth' produces the spiritual human being.
This event can also be called a 'conversion' 74 or an 'initiation'. Fromaget notes
that “...basically, the second birth is an act which is completely and
intrinsically free, consisting of the free and deliberate decision to put the
spirit, the existence of which has been derived from previous experien-
ces, at the very center of one's life (…) all reports in this regard show
that an existential experience is involved” (Fromaget 2016, p.61)75.

The human spirit differs radically from the human soul. According to Fromaget
(2000, p.15) “... there is no continuity connecting the realm of the soul
and the realm of the spirit. Both dimensions of the human being belong
to radically different domains of reality, just as the world of the mind, the
world of the soul, is radically different from the world of the body (…) as

72
In the Epistle of Jude (1:19), 'psychical people' are characterized as those '...lacking spirit'
('...ψυχικοί, πνεῦμα μὴ ἔχοντες').
73
1Cor.2:14 ψυχικὸς δὲ ἄνθρωπος οὐ δέχεται τὰ τοῦ πνεύματος τοῦ θεοῦ, μωρία γὰρ αὐτῷ
ἐστιν, καὶ οὐ δύναται γνῶναι, ὅτι πνευματικῶς ἀνακρίνεται: 15 ὁ δ ὲ πνευματικὸς ἀνακρίνει
[τὰ] πάντα, αὐτὸς δὲ ὑπ' οὐδενὸς ἀνακρίνεται.
74
“...pour quitter la condition psychique et accéder à la condition spirituelle, il est
nécessaire de se retourner [compare to John 20:14,16]. Ce retournement, ou epistrophe,
est l'équivalent, dans la spiritualité platonicienne, de l'opération désignée dans le
language chrétien (…) par le mot conversion. Il est l'équivalent de cette metanoïa, de
cette deuxième naissance, dont le Christ n'a cessé de proclamer l'urgence tout au long
de sa vie terrestre” (Fromaget 2010, p.102).
75
“La seconde naissance (…) est par essence un acte foncièrement et totalement libre.
Elle ne consiste (…) en rien autre que dans le choix libre et conscient de placer l'esprit
deviné à la faveur des expériences précédentes, au centre même de sa propre vie
(…) ...tous les témoignages d'expérience spirituelle montrent qu'il s'agit d'une ex-
périence d'être”.

72
is shown in a very transparent way by the common experience that we
have with respect to these two dimensions of our existence”76.

The trichotomic view was rejected by the Catholic Church in 869-870 AD 77.
From the so-called 'age of Enlightenment' onwards, Cartesian dualism beco-
mes the societal norm. In the public domain, the very concept of human spirit,
as an entity distinct from the human soul, completely dwindles away. As ex-
plained above, “...the paradigmes of anthropology shape and format the
human being itself, in precisely the sense that this human being thinks
of itself”78. Thus, when the human being has learned to conceive of itself as a
dichotomic being (i.e. as consisting of just a physical body connected to some
psychical component), then it also collapses, so to say, into a dualistic mode
of existence. From a logical point of view, one could say that human nature is
impredicative, in that its definition implies reference to that very definition. To a
large extent, the dichotomic view of human nature acts as a disabling trap: if it
is adopted, the human being is blocked from connecting to its own spiritual
nature, and it actually becomes dichotomic. Thus, dichotomic man evokes the
fate of somebody who is stuck within a prison, together with the unique key of
that prison, which can only be opened from the outside. However, escape
from the dichotomic condition remains possible, because the human being
always keeps a living spark of spirit dwelling in his 'heart' (cfr. figure A-II,1).

With respect to the dichotomic human being, the human spirit is radical
otherness. Its nature seems incomprehensible, yet awe-inspiring, elating and
enchanting79; its mode of appearance is completely unpredictable, surprising
and radiating fulfillment and grace. When out of touch with the spirit, the soul
76
“...il n'existe pas de continuité entre le psychique et le spirituel. Ce sont deux
dimensions de l'humain qui appartiennent à des ordres de réalité radicalement
différents. Ceci, exactement de la même façon que le monde de la pensée, le monde de
l'âme, diffère radicalement de celui du corps (…), ainsi qu'en témoigne de manière
transparente l'expérience quotidienne que nous avons de ces deux dimensions de
notre être”.
77
The trichotomic view of the human being is rejected by the Catholic Church in article 367 of
the “Catechism of the Catholic Church” (1992), with explicit reference to the Council of
Constantinople: “Sometimes the soul is distinguished from the spirit: St. Paul for instan-
ce prays that God may sanctify his people 'wholly', with 'spirit and soul and body' kept
sound and blameless at the Lord's coming [1Th.5:23]. The Church teaches that this dis-
tinction does not introduce a duality into the soul (…) [note mischievous characterization
of 'distinghuishing between soul and spirit' as 'introducing a duality into the soul'] 'Spirit' sig-
nifies that from creation man is ordered to a supernatural end and that his soul can
gratiously be raised beyond all it deserves to communion with God”. Basically, the
Catholic Church replaces the 'outlawed' human spirit by the Church's authoritative teachings
(the 'magisterium' of the Church).
78
“...les paradigmes anthropologiques façonnent et formatent l'homme lui-même dans
le sens où ils le conçoivent” (Fromaget 2016, p.17). On p.18-19, Fromaget also quotes the
French Christian-existentialist philosopher Gabriel Marcel (1889-1973): “...le propre de la
condition humaine consiste en ce qu'elle n'est pas assimilable à une structure toute
objective et préexistante qu'il y aurait à découvrir. La condition humaine, quels que
soient les fondements sur lesquels elle repose, apparaît comme dépendante, en
quelque manière, dans ce qu'elle est, de la façon même dont elle se comprend (…)
L'homme dépend, dans une large mesure, de l'idée qu'il se fait de lui-même et cette
idée ne peut être dégradée sans devenir du même coup dégradante” (from: “Les
hommes contre l'humain” Paris: La Colombe, 1951; p.74).

73
with its thoughts and emotions is confined to the senses, to the physical body
and to earthly life. Fromaget remarks: “... spirit is the locus where the hu-
man being roots in God and where God manifests within the human
being. As a consequence, the human spirit – although being human, par-
takes in uncreatedness and infinity, which results in the impossibility to
conveniently define the human spirit”80.

The lack of spirituality characterizing dichotomic man tends to manifest itself

indirectly, as a feeling of emptiness and as an uneasy awareness of lack of
sense and meaning: human existence seems pointless and morality seems to
lack true foundation81. Within the human heart (figure A-II,1), questions con-
cerning the 'meaning of life' tend to arise. By its very nature, this longing for
higher insight cannot receive an effective answer within the sole realm of the
soul: each tentative answer, however clever and poetically powerful, will be
perceived as but an empty shell, lacking content and substance. However, a
transcendent answer emerges when dichotomic man connects to the spirit.
One could say that 'meaningfulness' (i.e. 'love' 82) is the substance of spirit.

Conditional immortality

According to Michel Fromaget, the idea of the human soul being 'absolutely
immortal' was not present in early Christianity. On the contrary, the soul was
believed to have the ability of becoming immortal by connecting to the spirit. If
the soul keeps rejecting the spirit, it was believed to be mortal. This view is
completely ad variance with the doctrine of many churches, according to
which the soul can end up in hell receiving eternal punishment and suffering.
In a recent book83, Fromaget amply documents this fact 84. Summarizing his

79
“...l'émerveillement est l'expérience-type de l'expérience spirituelle” (Fromaget 2016,
p.52).
80
“...l'esprit est ce lieu en l'homme où ce dernier s'enracine en Dieu et où Dieu se
déploie en lui. De là vient que l'esprit humain, bien qu'humain, participe de l'Incréé et
de l'Infini et, par conséquent, ne peut véritablement se définir” (Fromaget 2016, p.33-34).
81
“Voici bien des années que je travaille sur l'histoire, la signification et les implica-
tions des conceptions anthropologiques dualiste et tripartite. Or, plus ce travail avan-
ce, plus il est clair à mes yeux que cette part de souffrance latente – et indicible parce
qu'elle ne possède ni les concepts, ni les mots pour se dire – qui déconcerte et décou-
rage si fréquemment les jeunes de notre temps, jusqu'à conduire les plus sensibles
d'entre eux au désespoir, à la toxicomanie, à la névrose ou au suicide, vient de ce
qu'ils pressentent que le paradigme dualiste, sur lequel la société moderne les oblige à
conjuguer leur humanité, ne rend nullement justice à cette dernière, et qu'il ne leur
permettra jamais d'épanouir leur vie. Et c'est une souffrance semblable, mais comme a
posteriori, qui souvent voile le regard de ces vieilles personnes, dont la conscience
encore lucide les conduit à réaliser que cette vie, par eux menée sous le couvert du
dualisme, n'était au fond pas vraiment la leur. Car le paradigme 'Corps et Âme' ne rend
nullement compte de la réalité profonde et essentielle de l'homme et il y a là un mal-
heur inouï” (Fromaget 2010, p.14-15).
82
“God is spirit” (Jh.4:24); “Whoever does not love does not know God, because God is
love” (1Jh.4:8).
83
Michel Fromaget (2017) “De l'enfer introuvable à l'immortalité retrouvée. Les fins der-
nières selon le christianisme originel” Paris: L'harmattan.
84
Here are some passages from John implying that eternal life is conditional upon believing
in Christ:

74
findings, he states that “...none of the great actors and authors of the New
Testament has believed that the damned ones could be immortal or that
they had to suffer eternally (…) Apostolic tradition, as it can be found in
the writings of the Church Fathers of the first two centuries (…) had
received from the apostles (…) a view of the human being that was
extremely well developed and completely incompatible with the doctrine
of eternal hell and with the idea of the human soul being immortal by
nature”85.

Notably, Fromaget rejects the notion of human reincarnation 86. By doing so,
he renders inconsistent his reading of the New Testament. Obviously, many
• Jh.3:16 For God so loved the world that He gave the only begotten Son, so that everyone
believing in Him should not perish, but should have eternal life.
Οὕτως γὰρ ἠγάπησεν ὁ θεὸς τὸν κόσμον, ὥστε τὸν υἱὸν τὸν μονογενῆ ἔδωκεν, ἵνα π ᾶς ὁ
πιστεύων εἰς αὐτὸν μὴ ἀπόληται ἀλλ' ἔχῃ ζωὴν αἰώνιον.
• Jh.5:24 Truly, truly, I say to you that the one hearing My word and believing the One having
sent Me, he has eternal life and does not come into judgment, but has passed out of death
into life.
Ἀμὴν ἀμὴν λέγω ὑμῖν ὅτι ὁ τὸν λόγον μου ἀκούων καὶ πιστεύων τ ῷ πέμψαντί με ἔχει ζω ὴν
αἰώνιον, καὶ εἰς κρίσιν οὐκ ἔρχεται ἀλλὰ μεταβέβηκεν ἐκ τοῦ θανάτου εἰς τὴν ζωήν.
• Jh.11:26 “And everyone living and believing in Me shall never die, to the age."
καὶ πᾶς ὁ ζῶν καὶ πιστεύων εἰς ἐμὲ οὐ μὴ ἀποθάνῃ εἰς τὸν αἰῶνα.
• 1Jh.5:16 If anyone sees his brother committing a sin not leading to death, he should ask
God, who will give life to those who commit this kind of sin. There is a sin that leads to death;
I am not saying he should ask regarding that sin.
Ἐάν τις ἴδῃ τὸν ἀδελφὸν αὐτοῦ ἁμαρτάνοντα ἁμαρτίαν μὴ πρὸς θάνατον, αἰτήσει, κα ὶ δώσει
αὐτῷ ζωήν, τοῖς ἁμαρτάνουσιν μὴ πρὸς θάνατον. ἔστιν ἁμαρτία πρ ὸς θάνατον: ο ὐ περ ὶ
ἐκείνης λέγω ἵνα ἐρωτήσῃ.
From early Christianity:
• Tatianus Syriacus “Address to the Greeks” (chapter XIII): “The soul is not in itself immor-
tal, O Greeks, but mortal. Yet it is possible for it not to die”. (Οὐκ ἔστιν ἀθάνατος, ἅνδρες
Ἔλληνες, ἡ ψυχὴ καθ' ἑαυτὴν, θνητὴ δέ. Ἀλλὰ δύναται ἡ αὐτὴ και μὴ ἀποθνήσκειν).
• Theophilus of Antioch “To Autolycus” (II,27): “But some one will say to us, Was man
made by nature mortal? Certainly not. Was he, then, immortal? Neither do we affirm
this. But one will say, Was he, then, nothing? Not even this hits the mark. He was by
nature neither mortal nor immortal. For if He had made him immortal from the begin-
ning, He would have made him God. Again, if He had made him mortal, God would
seem to be the cause of his death. Neither, then, immortal nor yet mortal did He make
him, but, as we have said above, capable of both; so that if he should incline to the
things of immortality, keeping the commandment of God, he should receive as reward
from Him immortality, and should become God; but if, on the other hand, he should
turn to the things of death, disobeying God, he should himself be the cause of death to
himself. For God made man free, and with power over himself. That, then, which man
brought upon himself through carelessness and disobedience, this God now vouch-
safes to him as a gift through His own philanthropy and pity, when men obey Him. For
as man, disobeying, drew death upon himself; so, obeying the will of God, he who de-
sires is able to procure for himself life everlasting”.
Ἀλλὰ φήσει οὖν τις ἡμῖν· “Θνητὸς φύσει ἐγένετο ὁ ἄνθρωπος;” οὐδαμ ῶς. “Τί ο ὖν ἀθάνατος;”
οὐδὲ τοῦτό φαμεν. Ἀλλὰ ἐρεῖ τις· “Οὐδὲν οὖν ἐγένετο;” οὐδὲ τοῦτο λέγομεν. O ὔτε ο ὖν φύσει
θνητὸς ἐγένετο οὔτε ἀθάνατος. Eἰ γὰρ ἀθάνατον αὐτὸν ἀπ' ἀρχῆς πεποιήκει, θε ὸν α ὐτ ὸν
πεποιήκει· πάλιν εἰ θνητὸν αὐτὸν πεποιήκει, ἐδόκει ἂν ὁ θε ὸς αἴτιος εἶναι το ῦ θανάτου
αὐτοῦ. Oὔτε οὖν ἀθάνατον αὐτὸν ἐποίησεν οὔτε μὴν θνητόν, ἀλλά, καθ ὼς ἐπάνω προειρή-
καμεν, δεκτικὸν ἀμφοτέρων, ἵνα εἰ ῥέψῃ ἐπὶ τὰ τῆς ἀθανασίας τηρήσας τ ὴν ἐντολ ὴν τοῦ
θεοῦ, μισθὸν κομίσηται παρ' αὐτοῦ τὴν ἀθανασίαν καὶ γένηται θεός, εἰ δ' α ὖ τραπ ῇ ἐπ ὶ τ ὰ
τοῦ θανάτου πράγματα παρακούσας τοῦ θεοῦ, αὐτὸς ἑαυτῷ αἴτιος ᾖ τοῦ θανάτου. Ἐλεύθε-
ρον γὰρ καὶ αὐτεξούσιον ἐποίησεν ὁ θεὸς τὸν ἄνθρωπον . Ὃ οὖν ἑαυτῷ περιεποιήσατο δι'
ἀμελείας καὶ παρακοῆς, τοῦτο ὁ θεὸς αὐτῷ νυνὶ δωρεῖται διὰ ἰδίας φιλανθρωπίας κα ὶ

75
human biographies (children dying at very young age, or humans born with
severe mental defects etc.) do not provide - when considered in isolation - a
context for the human soul to either accept or reject the spirit and eternal life.
The concepts of trichotomic man, of conditional immortality of the human soul,
and of human reincarnation (see for instance appendix I) and karma are all
present in the New Testament. Taken together, they produce an evolutionary
view on human existence whereby the human spirit participates in human his-
tory and planetary development going through a number of incarnations. The
developmental spiral of reincarnations should not be understood as a process
of eternal return. It will finally culminate in a 'last judgement', where the resur-
rected soul decides about its own ultimate death or eternal life 87. Conditional
immortality constitutes the ultimate rock bottom of human freedom: the human
individual freely decides about whether or not to exist.

A cosmic image of trichotomy

Jean Kovalevsky compares the human spirit, soul and body to the Sun, Moon
and Earth: “Let us use the relationships connecting Sun, Moon and Earth
to evoke the relationships connecting spirit, soul and body in the human
being. The Sun stands for the spirit, the Moon for the soul or 'psyche',

ἐλεημοσύνης, ὑπακούοντος αὐτῷ τοῦ ἀνθρώπου. Kαθάπερ γὰρ παρακούσας ὁ ἄνθρωπος

θάνατον ἑαυτῷ ἐπεσπάσατο, οὕτως ὑπακούσας τῷ θελήματι το ῦ θεοῦ ὁ βουλόμενος δύναται
περιποιήσασθαι ἑαυτῷ τὴν αἰώνιον ζωήν (see Fromaget 2016, p.74).
85
“...aucun des grands acteurs et auteurs du Nouveau Testament n'a pensé que les
damnés puissent être immortels, ni qu'ils aient (...) à souffrir éternellement. (…) la
Tradition apostolique, telle qu'on peut la découvrir dans les écrits des Pères de l'Eglise
des deux premiers siècles, (…) avait reçu des apôtres (...) une conception de l'homme
extrêmement achevée et rigoureusement incompatible avec la doctrine de l'enfer éter-
nel ainsi qu'avec celle de l'immortalité naturelle de l'âme humaine” (Fromaget 2017,
p.15).
86
Fromaget 2017, p.190-191. In order to reject reincarnation, the author points to Hb.9:27:
27 καὶ καθ' ὅσον ἀπόκειται τοῖς ἀνθρώποις ἅπαξ ἀποθανεῖν, μετ ὰ δ ὲ το ῦτο κρίσις 28 ο ὕτως
καὶ ὁ Χριστός, ἅπαξ προσενεχθεὶς εἰς τὸ πολλῶν ἀνενεγκεῖν ἁμαρτίας, ἐκ δευτέρου χωρ ὶς
ἁμαρτίας ὀφθήσεται τοῖς αὐτὸν ἀπεκδεχομένοις εἰς σωτηρίαν.
27 “...and inasmuch as it is apportioned to men to die once, and after this, judgment, 28
so also Christ, having been offered once in order to bear the sins of many, will appear
for a second time, apart from sin, to those awaiting Him for salvation”.
Hb.9:27 is standardly invoked against reincarnation, but the objection is clearly invalid from
the trichotomic point of view. As a matter of fact, a human person dies only once. However,
this death only affects the physical body and also the soul, which go through a purifying ('sul-
phuric') process of self-judgement (in a spiritual realm called 'kamaloka' or 'purgatory'), produ-
cing karma for the next lifetime. In that next lifetime, the same spiritual individuality will appear
as another person (compare to Lk.1:17). The human spirit as such is not affected by death. It
is somewhat ironic that Fromaget, who advocates trichotomic anthropology, relapses in dicho-
tomic thinking when considering Hb.9:27. As a matter of fact, the spirit is the absolute a priori,
transcending all basic concepts of creation, judgement, and death, and even of distinguishabi-
lity and denumerability. The spirit blows wherever He pleases (Jh.3:8). The spirit judges but
cannot be judged (1Cor.2:15). The final death of the human being implies the destruction of
body and soul, but not of the non-denumerable spirit, which would remain, however, not in-
dividualized in the human sense (it would not be connected to an individual human soul and
body).
87
See also:
https://www.academia.edu/8972988/THE_EMBEDMENT_OF_THE_FACE_ON_THE_SHROU
D_OF_TURIN_IN_MICHELANGELOS_LAST_JUDGEMENT

76
and the Earth for the body. Just as the Earth gravitates around the Sun,
the body moves around the spirit. The psyche revolves around our body,
as a satellite around a globe, whereas its light derives from the sun,
which is the spirit. Psychical man is lunar and remains unaware of the
Sun, unable to discern between the light of the spirit and the moonlight
of the soul. The body acts as the center of attraction for the soul of the
psychical human being. In contrast, spiritual man is of a solar nature,
his life is determined by Christ who is the Sun, his 'ego' dwells in Christ
the Sun, whereas the psychical human being has an 'ego' connected to
the flesh”88. Comparison with figure A-II,1 can help to grasp two important
points. Firstly, just as the Moon receives its light from the Sun, the soul re-
ceives its light (consciousness, reason,...) from the spirit. Even when the soul
neglects and ignores the spirit, it still encompasses, as a sanctuary lamp, the
'heart' wherein the pilot light of 'knowledge with respect to the nature of truth'
keeps shining. Even when psychical man does not identify the spiritual nature
of this eternal flame, but is aware of its presence only in an abstract and
slumbering way, his heart keeps containing this spark of spirit. Secondly, just
as the Earth revolves around the Sun, the human body revolves around the
spirit, receiving from the spirit its 'forces'89.

In the same vein, the cycle of human reincarnation can be typified by the
cycle of day and night (figure A-II,2). The human spirit (i.e. the 'higher I' of the
human individual) can be understood as an individualized manifestation of the
being 'Truth'. Truth is not a mere abstraction. It constitutes the core of reality.
As shown in figure A-II,1, the human constitution is such that the human
individual experiences the outer or phenomenological side of things through
the senses and the inner or truth-related side through the intellect, the heart,
and finally through the spirit. Truth is a divine being, called the Logos; and the
human 'higher I' or spirit partakes in the Logos, and can be considered an
individualized manifestation of the Logos.

88
“Usons des rapports du soleil, de la lune et de la terre pour prendre conscience des
rapports de l'esprit, de l'âme et du corps dans l'être humain. Le soleil est l'icône de
l'esprit, la lune de la 'psyché' – l'âme, la terre du corps. De même que la terre tourne
autour du soleil, le corps gravite autour de l'esprit. La 'psyché' est satellite de notre
globe, de notre corps, et sa lumière vient du soleil, l'esprit. L'homme psychique est
lunaire, il ignore le Soleil de justice, confondant la lumière spirituelle avec le clair de
lune de l'âme, et son centre d'attraction reste la terre, le corps. L'homme spirituelle est
solaire, sa vie est déterminé par le soleil du Christ, son 'ego' est dans le Soleil-Christ,
tandis que pour le psychique l' 'ego' demeure charnel. Le psychique ne connaît pas le
spirituel mais ce dernier connaît le psychique, comme nous l'enseigne l'apôtre Paul, et
le psychique n'est qu'un complément de la terre” (Jean Kovalevsky “Le mystère des
origines” Paris: Les Editions Friant, 1981; p.78-79).
89
Dichotomic man tends to view his body as a property of his egoity (i.e. of his soul). As a
matter of fact, the anthropology at the base of jurisdiction in Western societies is dichotomic,
leading for instance to trivialization of abortion. However, there is no basis for the idea that the
the concept of 'property' can be applied to the human body. The human individual does not
buy or inherit its body. Neither can the body be considered a gift (in a juridical or economic
sense). Rather, the human body is a prerequisite for the human individual being able to have
objects in property. As such, the human body transcends the concept of property. According to
Rudolf Steiner, “...the body does not belong to the human being but it appertains of
God” (“...der Körper ist nicht des Menschen, der Körper ist Gottes”; R.Steiner GA316,
p.130; Dornach, 9 januari 1924).

77
Traditionally, the setting sun has been compared to human birth. The evening
Sun descending upon the western horizon (i.e. the 'descendant'; DSC in figu-
re A-II,2) is seen as an image of the human spirit descending towards the
Earth i.e. incarnating; complementary, the Sun rising in the east (at the 'as-
cendant'; ASC in figure A-II,2) represents earthly death, which corresponds to
birth into the spiritual world 90. Thus, the horoscopical horizon connecting DSC
and ASC (brown line in figure A-II,2) symbolizes a human lifetime (i.e. a
'stadion'; cfr. Jh.6:19; 21:8). This horizontal line segment, together with the
circular path of the Sun (orange in figure A-II,2), produces the alchemical
symbol of salt (a circle with its horizontal diameter).

Figure A-II,2: Scheme of the human cycle of reincarnation as it relates to Sal, Mercury
and Sulphur (see text).

We already discussed (this paper, section 2) the meaning of 'Salt' which, in

the alchemical sense, refers to the predictable aspect of the physical world. It
is Salt which renders the earthly realm transparent for the mind, thereby
allowing for forecasting, acting, planning, and prognosis. It is Salt which
allows for freedom and choice. One can say that the human entelechy, when
incarnating, enters the realm of the Earth through the portal of Salt. Comple-
mentary, the human being itself is a vital aspect of this alchemical Salt: all the
transparency and predictability of the world (which manifests with particular
clarity in the cubic crystalline structure of salt) would not become actualized
without some being deploying within this delightful realm. It is man who actua-
lizes Salt. Thus, the human being is really destined to become “...the salt of

90
“Daß der Tote in der Richtung nach dem Osten die physische Welt verlassen muß, das
ist beim Verkehren mit den Toten sehr stark wahrzunehmen. Sie befinden sich gewis-
sermaßen in der Welt, die sie erreichen durch das Tor des Ostens. Sie sind jenseits des
Tores des Ostens” (R.Steiner, Dornach, January 21th, 1917; GA 174, p.211).

78
the earth” (Mt.5:13). However, this 'human salt' can “...lose its saltiness”
when the human being does not live up to his vocation and renounces the spi-
rit. As suggested by figure A-II,2, the human spirit (represented by the Sun) is
still intimately enveloping the very young child, just as the light of the Sun is
still enshrouding the horizon shortly after sunset. The newborn child is still
bathing, so to say, in the light of its higher Self.

Whereas the human being reaches the realm of the Earth at birth, descending
into alchemical Salt, it returns to the realm of the spirit when dying, ascending
into alchemical Sulphur (which is symbolized by a square cross, capped by an
equilateral triangle; see again figure A-II,2). Just as Salt, Sulphur is really a
basic manifestation of the 'Being Truth' or Logos, which by its very nature acts
as a spiritual force. Truth, when confronted with error, lie and falsehood, by its
very nature starts to illuminate, to ignite and to incinirate the latter. The proper
of the physical realm is that it permits falsehoods and lies to take shape and
to incarnate into actual form. Every deed which is morally wrong is also, in
one respect or another, an error and a distorsion of truth. In as far as the di-
chotomic human being (i.e. body + soul) has interiorized such falsehoods, it
will have to go through a process of 'purification by Sulphur' after death. The
error-bearing parts and aspects of body and soul are, so to say, burned down
and destroyed by Sulphur, i.e. by the confrontation with the spirit, which is
Truth. Imageries of 'burning in hell' and of sufferings in 'purgatory' or 'Kama
loka' reflect this state of affairs. Thus, from the spiritual point of view, the
human being arises after death, in the burning light and in the flames of love
of the rising spiritual Sun, becoming purified by Sulphur, which is the aspect of
the Logos leading to Resurrection. Death puts an end to human illusion and
error, leaving into existence only truthfulness and love. Neither the human
body nor the human soul are completely destroyed at death 91 but they are
lead by the human spirit through a process of radical purification. Definite and
complete destruction occurs only when the soul persists in refusing the spirit
(the so-called 'sin against the spirit'), at the 'Last Judgement' when the cycle
of reincarnations comes to an end.

The process of purification of the human body and soul after death produces
'karma' which will shape subsequent incarnations of the human individual. All
forms of wrongdoing can be understood as assaults on truth in one form or
another. Crucially, the truth with respect to some being or some phenomenon
or process, cannot be understood as a reality separate from its object. On the
contrary, the truth concerning an object is part of that object, and constitutes
the spiritual core of that object. Of necessity, in a truthful universe, truth is part
of the object to which truth refers 92. Now, in the physical world, all kinds of lies
91
The surprising idea that the human body as such does not succumb at the moment of
death, but rather that physical matter 'drops out of' the human body - which itself has the
nature of a 'completely transparant form' or a 'complex of forces' (called 'Phantom') - has
been introduced by Steiner in 1911 (GA 131, “Von Jesus zu Christus”).
92
The crucial insight that truth with respect to some object is part of that object has been
expressed in Rudolf's Steiner “Philosophie der Freiheit” (GA04):
“Pflanzet ein Samenkorn in den Boden. Es treibt Wurzel und Stengel. Es entfaltet sich zu Blättern
und Blüten. Stellet die Pflanze euch selbst gegenüber. Sie verbindet sich in eurer Seele mit
einem bestimmten Begriffe. Warum gehört dieser Begriff weniger zur ganzen Pflanze als Blatt
und Blüte? Ihr saget: die Blätter und Blüten sind ohne ein wahrnehmendes Subjekt da; der

79
and non-truths occur, and such lies stay in an abnormal relationship to the
truth about themselves. The truth concerning a lie does not reflect that lie,
when the latter is considered in isolation. Ipso facto, the truth with respect to a
lie refers to the conjunction {(lie) + (correction of that lie)}. Thus, in a truthfull
universe, a lie never exists as such, but always in connection to its correction.
Therefore, every lie will be part of a larger process that also encompasses the
correction of that lie; otherwise, no lie could appear in a truthful universe (i.e.
a universe wherein each claimed state of affairs is unequivocally either true or
untrue). We conclude that in a 'truthful universe', every lie, error or mischief
will of necessity be connected to its correction. These corrections are called
'karma' and the 'Being Truth' (i.e. the Logos or Christ) is the 'Lord of Karma'.
After death, all aspects of the individual human body and soul reflecting some
form of lie, are to be dissolved by the sulphuric action of Truth, which mani-
fests as the individual spirit. And as we have seen, by its very nature this spirit
will encompass the correction of errors past, which will appear as intentions to
correct the errors during later lifetimes. Thus, karma is built up between death
and subsequent birth.

During his earthly life, dichotomic man is not separated completely from his
higher 'I' or spirit. Spirit is Truth, and a third existential modus of Truth is its
activity of relating, revealing and connecting. By its very nature, truth is about
an object being revealed to a subject; being in-between ('intermediateness') is
a hallmark of truth. This also applies to truth's semantics: the truth with res-
pect to some given object covers the relationship and embedment of that ob-
ject with respect to all things existing. Especially, the fact that the human spirit

Begriff erscheint erst, wenn sich der Mensch der Pflanze gegenüberstellt. Ganz wohl. Aber auch
Blüten und Blätter entstehen an der Pflanze nur, wenn Erde da ist, in die der Keim gelegt werden
kann, wenn Licht und Luft da sind, in denen sich Blätter und Blüten entfalten können. Gerade so
entsteht der Begriff der Pflanze, wenn ein denkendes Bewußtsein an die Pflanze herantritt.
Es ist ganz willkürlich, die Summe dessen, was wir von einem Dinge durch die bloße
Wahrnehmung erfahren, für eine Totalität, für ein Ganzes zu halten, und dasjenige, was sich
durch die denkende Betrachtung ergibt, als ein solches Hinzugekommenes, das mit der Sache
selbst nichts zu tun habe. Wenn ich heute eine Rosenknospe erhalte, so ist das Bild, das sich
meiner Wahrnehmung darbietet, nur zunächst ein abgeschlossenes. Wenn ich die Knospe in
Wasser setze, so werde ich morgen ein ganz anderes Bild meines Objektes erhalten. Wenn ich
mein Auge von der Rosenknospe nicht abwende, so sehe ich den heutigen Zustand in den
morgigen durch unzählige Zwischenstufen kontinuierlich übergehen. Das Bild, das sich mir in
einem bestimmten Augenblicke darbietet, ist nur ein zufälliger Ausschnitt aus dem in einem
fortwährenden Werden begriffenen Gegenstande. Setze ich die Knospe nicht in Wasser, so
bringt sie eine ganze Reihe von Zuständen nicht zur Entwickelung, die der Möglichkeit nach in
ihr lagen. Ebenso kann ich morgen verhindert sein, die Blüte weiter zu beobachten und dadurch
ein unvollständiges Bild haben” (p.86-87); “Es ist eine ganz unsachliche, an Zufälligkeiten sich
heftende Meinung, die von dem in einer gewissen Zeit sich darbietenden Bilde erklärte: das ist
die Sache. Ebensowenig ist es statthaft, die Summe der Wahrnehmungsmerkmale für die Sache
zu erklären. Es wäre sehr wohl möglich, daß ein Geist zugleich und ungetrennt von der
Wahrnehmung den Begriff mitempfangen könnte. Ein solcher Geist würde gar nicht auf den
Einfall kommen, den Begriff als etwas nicht zur Sache Gehöriges zu betrachten. Er müßte ihm
ein mit der Sache unzertrennlich verbundenes Dasein zuschreiben” (p.87); “Nicht an den
Gegenständen liegt es, daß sie uns zunächst ohne die entsprechenden Begriffe gegeben
werden, sondern an unserer geistigen Organisation. Unsere totale Wesenheit funktioniert in der
Weise, daß ihr bei jedem Dinge der Wirklichkeit von zwei Seiten her die Elemente zufließen, die
für die Sache in Betracht kommen: von Seiten des Wahrnehmens und des Denkens. Es hat mit
der Natur der Dinge nichts zu tun, wie ich organisiert bin, sie zu erfassen. Der Schnitt zwischen
Wahrnehmen und Denken ist erst in dem Augenblicke vorhanden, wo ich, der Betrachtende, den
Dingen gegenübertrete. Welche Elemente dem Dinge angehören und welche nicht, kann aber
durchaus nicht davon abhängen, auf welche Weise ich zur Kenntnis dieser Elemente gelange”
(p.87-88).

80
is the spirit of a particular human individual is reflected in the fact that, through
the 'heart' (figure A-II,1), this human spirit actually and factually relates to that
individual. This factual implementation of the relationship connecting the
dichotomic individual to its spirit is called, quite appropriately, the 'inspiration'
of said individual. Inspiration periodically reveals itself within the heart and
corresponds to the alchemical principle of Mercury, represented by the symbol
also used for the planet so named ( ☿; see figure A-II,2, green arrows).

Inspiration comes under very different forms and shapes, with the circadian
rhythm of waking and sleeping constituting a most important channel. Di-
chotomic man can connect to this inspiration and seek it; or he can neglect
and reject it. Interestingly, through inspiration the spirit also teaches the soul
about its own nature. This is particularly true for music. For instance, several
popular songs can be understood as self-revealing manifestations of the spirit.
An interesting example is Carole King's 'You've got a friend' (1971; Grammy
Award for Song of the Year, 1972) of which the author declared: “That song
was as close to pure inspiration as I've ever experienced. The song wro-
te itself”93. The 'friend' speaking through the song is not some human person,
but the higher Self or individual spirit. In King's song, this higher 'I' warns the
lower 'I' “...don't let take cold [i.e. dichotomic] people your soul” (figure A-II,
3). Whereas this song is written from the perspective of the 'higher Self', Paul
McCartney's 'Let it be' is written from the viewpoint of the inspired and illumi-
nated soul. According to the author, the song was written after McCartney's
mother (whose name was 'Mary' and who had died twelve years earlier)
appeared to her son in a “...most comforting dream”94. It is said that inter-

Paul Zollo “Songwriters on songwriting” Cambridge (MA):Da Capo Press (2003); p.143.
93

Marlo Thomas “The right words at the right time” New York: Atria Books (2002). Paul
94

McCartney's much quoted description of the dream is on p.217-219:

“I was going through a really difficult time around the autumn of 1968. It was late in the Beatles’
career and we had begun making a new album, a follow-up to the 'White Album'. As a group we
were starting to have problems. I think I was sensing the Beatles were breaking up, so I was
staying up late at night, drinking, doing drugs, clubbing, the way a lot of people were at the time.
I was really living and playing hard.
The other guys were all living out in the country with their partners, but I was still a bachelor in
London with my own house in St. John’s Wood. And that was kind of at the back of my mind
also, that maybe it was about time I found someone, because it was before I got together with
Linda.
So, I was exhausted! Some nights I’d go to bed and my head would just flop on the pillow; and
when I’d wake up I’d have difficulty pulling it off, thinking, ' Good job I woke up just then or I
might have suffocated'.
Then one night, somewhere between deep sleep and insomnia, I had the most comforting dream
about my mother, who died when I was only 14. She had been a nurse, my mum, and very
hardworking, because she wanted the best for us. We weren’t a well-off family- we didn’t have a
car, we just about had a television – so both of my parents went out to work, and Mum
contributed a good half to the family income. At night when she came home, she would cook, so
we didn’t have a lot of time with each other. But she was just a very comforting presence in my
life. And when she died, one of the difficulties I had, as the years went by, was that I couldn’t
recall her face so easily. That’s how it is for everyone, I think. As each day goes by, you just can’t
bring their face into your mind, you have to use photographs and reminders like that.
So in this dream twelve years later, my mother appeared, and there was her face, completely
clear, particularly her eyes, and she said to me very gently, very reassuringly: 'Let it be'.
It was lovely. I woke up with a great feeling. It was really like she had visited me at this very
difficult point in my life and gave me this message: Be gentle, don’t fight things, just try and go
with the flow and it will all work out.
So, being a musician, I went right over to the piano and started writing a song: 'When I find
myself in times of trouble, Mother Mary comes to me'… Mary was my mother’s name…
'Speaking words of wisdom, 'let it be'. There will be an answer, let it be'. It didn’t take long. I

81
preters of the song often misidentified 'mother Mary' as the mother of Jesus,
whereas the 'Mary' in the song is really McCartney's mother. This is to over-
look the dream's symbolic and imaginative nature and its propensity towards
ambivalence and multilayeredness: McCartney's mother, as she appeared in
the dream, is also an image of Mary, the mother of Jesus, who is the 'Being
Wisdom'95. The words 'let it be' evoke the New Testamentical word 'Amen' 96.

Cathédrale Saint-Pierre-et-Saint-Paul, Troyes (France) : Keystone.

wrote the main body of it in one go, and then the subsequent verses developed from there:
'When all the broken-hearted people living in the world agree, there will be an answer, let it be'.
I thought it was special, so I played it to the guys and ’round a lot of people, and later it also
became the title of the album, because it had so much value to me, and because it just seemed
definitive, those three little syllables. Plus, when something happens like that, as if by magic, I
think it has a resonance that other people notice too”.
95
The 'Being Wisdom' or 'Sophia' is the first creature and can be understood as God's light or
revelation within creation (Proverbs 8:22-31). Especially, the 'being wisdom' is the female or
objective side of the primordial human being (Genesis 1:27), which incarnated as the nathanic
Mary. See figures 3 and 5 in: https://www.academia.edu/35498631/EISU_KING_AND_PROPHET_IN_JOHNS_GOSPEL .
96
The biblical word 'Amen' is used by Jesus Christ when He speaks 'words of wisdom'. The
formula 'Amen', meaning 'so be it' or 'let it be so', explicitely injects this 'word of wisdom' into
the flow of human history, as a spiritual fertilizer. 'Amen' indicates that the range of what is
said transcends the situation at hand and has deep and lasting meaning. At the same time,
the expression 'Amen' acknowledges that higher wisdom (connected to karma) dwells within
the stream of human events. As a matter of fact, the words preceeded or followed by 'Amen'
are meant to merge with this hidden flow of wisdom.

82
Figure A-II, 3: The lyrics of “You've got a friend” (Carole King) and “Let it be” (Paul
McCartney).

83
2. The fourfold view of the human being.

The fourfold human view, outstandingly described by Rudolf Steiner in 1910 97,
has close connections to Aristotle's doctrine of four causes 98 which we will
describe first.

The four Aristotelian causes

In his commentary on the second chapter of Aristotle's Physics, Thomas

Aquinas summarizes Aristotle's view concerning the existence of exactly four
causes, which we will take as our 'core statement':

“Now, there must be four causes. A cause is that upon which the exis-
tence of another follows. Now the existence of that which has a cause
can be considered in two ways. First it is considered absolutely, and
thus the cause of the existing is the form by which something is in act.
Secondly it is considered insofar as a being comes to be in act from
being in potency. And since everything which is in potency is reduced to
act by that which is a being in act, it is necessary that there be two other
causes, namely the matter and the agent which reduces the matter from
potency to act. However, the action of the agent tends toward something
determinate, and thus it proceeds from some determinate principle. For
every agent does that which is suitable to it. But that toward which the
action of the agent tends is called the final cause. Therefore, there must
be four causes”99.

In this passage, Aquinas offers logical reasons for existence of exactly four
causes. Moreover, these four causes are also described as occurring in a
natural sequence. These two important aspects of Aristotle's doctrine on
causality remain unmentioned in most presentations. Figure A-II,4 schema-
tically depicts the four Aristotelian causes and their relationship to time.

Aristotle starts from the obvious fact that reality consists of phenomena. What
is given to us with respect to reality, in the broadest sense, are phenomena. A
phenomenon is a given 'form' transforming into some other 'form'. A 'form' can
be given through the senses. It can be a morphing geometrical shape, a shift
97
Rudolf Steiner, GA115, p.179-213 (Berlin, November 4th, 1910).
98
Aristotle, Physics II. The Greek text, together with Aquinas' comments in Latin and with
translations in English, can be found at: https://dhspriory.org/thomas/Physics.htm
99
“240 Necesse est autem quatuor esse causas. Quia cum causa sit ad quam sequitur
esse alterius, esse eius quod habet causam, potest considerari dupliciter: uno modo
absolute, et sic causa essendi est forma per quam aliquid est in actu; alio modo
secundum quod de potentia ente fit actu ens. Et quia omne quod est in potentia,
reducitur ad actum per id quod est actu ens; ex hoc necesse est esse duas alias
causas, scilicet materiam, et agentem qui reducit materiam de potentia in actum. Actio
autem agentis ad aliquid determinatum tendit, sicut ab aliquo determinato principio
procedit: nam omne agens agit quod est sibi conveniens; id autem ad quod tendit actio
agentis, dicitur causa finalis. Sic igitur necesse est esse causas quatuor” (Thomas
Aquinas “Commentaria in octo libros Physicorum” 240; this work is a commentary on
Aristotle's eight books of physics; it was written in 1268-1271).

84
of color, or an object changing position. Life phenomena and mental
processes are also phenomena (although with some peculiar characteristics).
The initial 'form' is a 'cause' of the phenomenon, for strictly logical reasons: if
there is no form to begin with, no form can change and the phenomenon
cannot occur. This initial form, the transformation of which constitutes the
phenomenon, is the Aristotelian 'formal cause' (causa formalis, according to
Aquinas). Importantly, the formal cause is not some abstract idea; the form is
existing 'in act'; it is actually given at some specific point in time and embed-
ded in a specific set of circumstances. As a matter of fact, the formal cause of
a phenomenon results from another, preceding phenomenon. In figure A-II,4,
the formal cause is an apple which has come loose from its tree. This
detached apple was projected into existence as the result of a preceding
phenomenon, namely the detachment of the apple. The formal cause of a
phenomenon is the initial form of that phenomenon, not taken in an abstract
sense, but considered in connection with its timeframe and with the preceding
phenomena wherefrom that form has sprung.

Now the apple is going to tumble down. Aristotle does not believe in deter-
minism100. Generally, the formal cause does not uniquely determine the
phenomenon: a priori, the same formal cause can transform in different ways
i.e. it can produce one out of different possible end forms. Different phenome-
na can share equal formal causes i.e. exactly equal 'start forms'; in general,
the 'start form' has the potential to develop into different 'end forms'. In the
example at hand, the apple could end up at different locations, three of which
are indicated in figure A-II,4 (grey). The set of possible outcomes is called the
'material cause' ('causa materialis') of the phenomenon.

Actual form as such does not contain the ground for its own transformation in
some other form. Before Aristotle, this insight had already been pointed out by
the Eleates, and it was illustrated by Zeno's paradoxes. For instance, consider
Zeno's 'arrow paradox' (Aristotle, Physics VI,9). An arrow flies through the air.
Let's consider a precise tridimensional snapshot of that flying arrow and its
broad surroundings. The snapshot contains all information concerning the
physical state of affairs at the exact moment of the snapshot. But that exact
moment, which we can call the NOW, supposedly contains the whole of
physical reality: the past no longer exists, the future does not yet exist, the
whole of physical reality including the arrow is contained in the NOW, and this
NOW is fully replicated by our snapshot. Thus, our tridimensional snapshot
contains the 'form' of the flying arrow i.e. its exact shape and spatial location
at the time of the snapshot. However, that same snapshot contains no
information with respect to the velocity of the arrow. Thus, the tridimensional
snapshot which supposedly encompasses the whole of physical reality,
seems to lack information which is needed for the positional change of the
arrow to happen. Thus, we conclude that another realm or domain of reality
has to exist, apart from the domain of actual existence of forms, which con-

100
“It is plain that there is such a thing as chance and spontaneity” (“... φανερὸν ὅτι ἔστι
τι ἡ τύχη καὶ τὸ αὐτόματον”) (Physics II,5); “ The spontaneous is found both in the lower
animals and in many inanimate objects” (“τὸ δ' αὐτόματον καὶ τοῖς ἄλλοις ζῴοις καὶ
πολλοῖς τῶν ἀψύχων”) (Physics II,6).

85
tains such lacking information and which is called 'matter' or, in casu, the 'ma-
terial cause' of the phenomenon 101. Form as such is just actual existence 102,
without potential for change. 'Matter' is potential for change.

Thus, apart from its 'form' or 'formal cause', which in the case of a physical
phenomenon can be identified as the physical object, the 'material cause' of
the phenomenon is its potential for change. This potential should be thought
of as existing independently of the human mind. According to Aristotle and
Aquinas, some realm must exist which is closely related to the actual physical
world and which encompasses this potential for change. In esoteric termino-
logy, this realm is called the 'ethereal world'. Natural laws can be considered
as shorthand descriptions of potentiality for physical change, and as such they
have their home in the realm of the ethereal 103. In the example illustrated in
figure A-II,4, Newton's law of gravitation together with other mechanical laws
will delimit the set of possible end positions of the apple. The expressions
'material cause' or 'matter' (in the Aristotelian sense) reflect the fact that in
many cases, that which is commonly called 'material' (stone, marble, bronze,
wood,...) determines the set of possible outcomes. Phenomenologically, the
so-called 'material' coincides with the material's physical and chemical proper-
ties, which derive from physico-chemical laws. For instance, a lump (form) of
wood (material) has the potential for burning, a sheet (form) of gold (material)
has the potential for forging, whereas a piece (form) of stone (material) could
lack these potentials. Ultimately, the expressions 'material' or 'matter' are
shorthand indications for a set of natural laws determing the potential for
change of a given form 104. In a more general sense, everything which belongs
to the realm of the ethereal is characterized by the fact that it codetermines
which phenomena, i.e. which alterations or changes, are possible or not. For
instance, access to some recollection or mental representation will affect the
way in which a human being can react under certain circumstances. There-
fore, latent memories and representations belong to the realm of the ethereal
(they are part of the 'ethereal body' of the human individual in question).

101
“In these things to which it belongs to move, there is a passive principle, which is
matter. And this principle, insofar as it has a natural potency for (…) form and motion,
makes the motion to be natural” (“Quibus competit moveri, est in eis principium passivum,
quod est materia. Quod quidem principium, inquantum habet potentiam naturalem ad (…)
formam et motum, facit esse motum naturalem”) (Aquinas, Comments 144); “Matter enters
into the constitution of each natural thing” (“Materia intrat constitutionem substantiae
cuiuslibet rei naturalis”) (Aquinas, Comments, 150).
Aristotle uses the term “τὸ εἶδος” for form or formal cause, and “ἡ μορφ ὴ” voor 'shape'. Matter
or material cause is “ἡ ὕλη”, as in: [“ nature is twofold, encompassing form and matter” /
“ἡ φύσις διχῶς, τό τε εἶδος καὶ ἡ ὕλη”; “Physics II,2] or [“ to each form there corresponds a
special matter” / “ἄλλῳ γὰρ εἴδει ἄλλη ὕλη”; ibid.].
102
“Form does not act” (“Forma non agit”) Aquinas (Comments, 143).
103
This becomes especially clear in quantum mechanics, where the wavefunction describes
the set of potentialities at any given moment (and therefore describes the material cause of
the phenomenon) whereas the 'apparatus' involved in the phenomenon corresponds to the
formal cause. For indeterminism in classical mechanics, see for instance Walter Hoering,
British Journal for the Philosophy of Science 20, p.247-255 (1969).
104
Properties can become part of the actual form or not, depending on the type of phenome-
non. Thus, in a statue made of marble, the whiteness of the statue is part of the form of the
illuminated statue. But the whiteness will be potential when the statue stands in darkness.

86
Figure A-II,4: The phenomenon and its four causes, according to Aristotle and Aquinas.
The phenomenon is embedded at some specific point within the stream of physical
time ('Chronos'/ χρόνος; blue arrow) and the complementary stream of creative time
('Kairos'/ καιρός; red arrow). The phenomenon is defined as an alteration of some form
and it starts at the point of time when the form which is going to change (the 'causa
formalis' of the phenomenon) makes its appearance. The appearance of the causa
formalis brings with it the potential for further change, called the 'causa materialis'.
Generally, the phenomenon will not be deterministic, implying that different outcomes
are possible. In order for the phenomenon to get completed, one of the possible out-
comes has to be selected or singled out for actualization. This selection is ascribed to
a third cause of the phenomenon, called the 'causa finalis' or 'final cause'. The formal
and material causes, called together the 'substance 'involved in the phenomenon,
encompass all contributions to the phenomenon arising from the past. Contrariwise,
the final cause emerges from the future, eliminating all but one of the potentialities
contained in the substance. Thereafter, the potentiality thus selected has to be pro-
jected into reality, which results in the replacement of the initial form by a new form.
This actualization of one of the potential outcomes is ascribed to the fourth cause
which is called the 'causa efficiens' or 'working cause'.

87
According to Aristotle and Aquinas, the physicist is concerned with substance
(i.e. with form and matter 105). However, the phenomenon is far from completed
when only the 'start form' (formal cause) and the 'potential for change' (mate-
rial cause) are considered. According to Aquinas' 'core statement' quoted abo-
ve, two more causes are involved. One of the possible changes encompassed
in the material cause has to become actual reality. Thus, the ontological equi-
valence between the different possible changes encompassed within the
material cause has to be broken. One of the possibilities has to be selected
for actualization, which implies the annihilation of the other possibilities.

Clearly, the selection of one among the possible outcomes for actualization
cannot come into effect on the basis of the formal cause (which does not act)
or the material cause (which by definition provides the whole and as yet un-
selected set of potentialities). Thus, a third realm of reality has to exist, be-
side the realm of actual and factual reality (formal cause) and objective poten-
tiality (material cause). In this third realm resides the factor that selects, for
every given phenomenon, one among the potentialities for actualization. This
third factor or third Aristotelian cause is called the 'final cause' mentioned in
our 'core statement'. When the operation of this third cause is taken into ac-
count, one of the potentialities has been selected for projection into factual
reality, whereas the other potentialities have been eliminated (see again figure
A-II,4). The actualization proper is brought about by a fourth cause, which is
called the 'efficient cause' or 'causa efficiens' (i.e. 'the agent which reduces
the matter from potency to act' mentioned in the core statement).

Importantly, each of the four causes stands into a specific relationship to time
(see hollow arrows in figure A-II,4). The direction of physical time (χρόνος) is
indicated in blue. Considered in isolation, the start form (causa formalis) of the
phenomenon is characterized by stasis. This is indicated by an hollow arrow
pointing upwards, perpendicular to the 'chronos'-arrow. The relationship of this
form to the flow of time can be imagined as an immutable rock sticking out of
a river's flow. In contrast, the material cause, which consists of the set of pos-
sible changes, continuously develops with physical time, which is indicated by
the hollow arrow corresponding to the material cause pointing in the same
direction as the arrow of chronos.

Here, we reach an extraordinary point. What is the relationship of the final

cause with respect to physical time? Clearly, the final cause cannot operate in
the direction of physical time ('chronos'). Indeed, all contributions emanating
from the past and influencing the set of possible outcomes are ipso facto
absorbed in the material cause. If the final cause would emanate from the
past, its impact on the set of potentialities would be incorporated within the
material cause, which would result in determinism (only one possible out-
come). Thus, the final cause has to impact the material cause while operating
from the non-past. Time being one-dimensional, this implies that the final
105
“The natural philosopher ought to consider nature. But nature is both form and
matter. Therefore he ought to consider both matter and form” (“Naturalis philosophus
debet considerare de natura; sed natura est tam forma quam materia; ergo debet tam de
materia quam de forma considerare”) (Aquinas, Comments, 167).

88
cause operates from the future (with respect to physical time). Alternatively, it
can be stated that the final cause operates in the direction of 'creative time',
called 'kairos' ('καιρός') by the ancients. With respect to physical time, crea-
tive time appears to operate inversely, as if springing from the future. Thus,
the concept of four causes implies the idea of a twofold stream of time 106.
From the perspective of the four causes, both time flows interact in such a
way that the set of potentialities ('material cause') evolves in the direction of
physical time and that the factor selecting upon this set (the 'final cause')
operates in the opposite direction of creative time. Thus, in figure A-II, 4, the
arrow associated with the final cause is directed in the sense of kairos.

Which time direction could be associated with the efficient cause? The 'causa
efficiens' actualizes the potential form encompassed by the material cause
and selected among the other potential forms by the final cause. This means
that the effects of both the material and the final cause are whiped away and
that a new form is replacing the initial one. The efficient cause completes and
closes the phenomenon. It does so in a way that is not susceptible to further
analysis and that, from the viewpoint of time, seems instantaneous. Thus, the
direction associated with the fourth cause should relate perpendicularly to
both physical time (chronos) and its inverse, which is creative time (kairos).
Moreover, the impact of the efficient cause is annihilation of the initial form
(which is the starting point of the phenomenon), replacing it with a new form
(thereby completing the phenomenon, which is defined as a transition from an
initial form to a final form). The formal cause and the efficient cause are of an
opposite nature, with the formal cause sustaining and keeping invariable the
actual form over the course of time and the efficient cause interrupting this
invariability by replacing one actual form by a subsequent one. This opposi-
tion of intrinsic invariability versus intrinsic change, both without any trace of
continuous change with respect to time, can be represented by attributing to
the efficient cause a 'time direction' opposite to the direction of the formal
cause, and perpendicular to the directions attributed to the material cause and
the final cause. Thus, the realm of the potential develops along the time axis
(material cause and final cause) whereas the realm of the actual (formal
cause and efficient cause) develops perpendicular to time, manifesting either
as complete invariability (formal cause) or as instantaneous change (efficient
cause).

Figure A-II,5 depicts the relationships connecting the four Aristotelian causes
as relations between sets.

The phenomenon starts with an initial form f, which is the only element in set
F which constitutes the domain of relation E : (F→F). Relation E represents
the action of the formal cause which operates as an identity function, keeping
form f invariant through time. The symbol E refers to the angelic hierarchy of
the 'Exusiai'107.

106
See also: Christoph Huech & Lorenzo Ravagli “Rudolf Steiners Biographie im Doppel-
strom der Zeit” Das Goetheanum 32-33 (2012);
https://www.academia.edu/34427057/Hueck_Ravagli_Rudolf_Steiners_Biographie_im_Doppelstrom_der_Zeit_2012_.pdf

89
Figure A-II,5: The four causes of an inorganic phenomenon, represented as relations
connecting sets.

Relation D : (F→P) represents the material cause. This relation projects the
starting form fϵF upon a set of 'potential changes of form' p i contained in set P
which is the co-domain of the material cause. Thus, set P is a collection of
potentialities, i.e. of changes that could possibly occur. In the case of
anorganic phenomena as studied in physics, P represents the effect of natural
law (because natural laws determine which changes of form are possible).
The symbol D refers to the angelic hierarchy of the 'Dynamis'108.

Relation K : (S→P) is a 'selection relation' or 'choice relation' projecting the

probability value 1 upon one element p kϵP (in casu: k=2) and projecting the
probability value 0 upon all other elements p i≠kϵP. Thus, K selects one among
the potential changes of form for actualization, while annihilating all other
possibilities. As such, K represents the action of the final cause. The symbol

107
The Greek word 'Exousia' ('Ἐξουσία') is derived from the verb ' ἔξεστι' which means: 'it is
lawful' or 'it is permitted' (see for instance Jh. 5:10; 18:31). The figurative idea is: 'to be out in
public', 'to be let out in public', or 'to be out in the open, for everyone to see'). The proposition
ἐκ, ἐξ refers to the idea of 'coming out from'. The word 'οὐσία' (derived from 'ούσα' which is
the active present particle (f.) of the verb 'ειμί'='I am', i.e. 'to be') has meanings such as 'stable
being, immutable reality, substance, essence'. Therefore, the figurative idea of ' Ἐξουσία' turns
out to be: 'a (stable) reality (or being) which is out in public, for everyone to see'. This perfect-
ly fits the concept of 'formal cause' of a phenomenon, in the sense that the actual form has
been 'let out in the open, for everyone to see' as a result of the action of the causa efficiens of
a preceding phenomenon. Mostly, 'Ἐξουσία' is used with the derived meaning of 'power' or
'authority'; therefore, the angelic hierarchy of the 'Exousiai' ('Potestates' in Latin) is also called
the hierarchy of 'Powers' or 'Authorities'.
108
The Greek word 'dunamis' ('δύναμις', from the verb 'δύναμαι' = 'I am able') is used by
Aristotle in the sense of 'potentiality', as opposed to 'actuality' or 'actual existence'. Of course,
this corresponds perfectly to the idea of 'material cause'. The angelic hierarchy of the
'Δυνάμεις' (often translated as 'Virtues') is called in Latin the hierarchy of the 'Virtutes',
evoking the English word 'virtual'.

90
K refers to the angelic hierarchy of the 'Kyriotetes' 109. In figure A-II,5, the
inverse relation K -1 : (P→S) is depicted, which projects the potentialities
encompassed in P upon the probability values 1 and 0. In this way, the logical
sequence connecting the formal, material and final causes is visualized.

Relation T : (A→F') represents the efficient cause (with the symbol T refer-
ring to the angelic hierarchy of the Thrones 110). Both sets A en F' contain one
single element. The single element aϵA is none other than the totality of the
sets F, P and S together with the three relations operating on these sets. This
element a is projected by T upon the end form f'ϵF'. T can be called an
'actualization operator' which transforms the initial form f into the final form f',
thereby completing the phenomenon. Note that in this scheme, the efficient
cause appears as an aspect of the phenomenon that transcends the three
preceding causes, encompassing the whole of their contributions as if they
where a single element in domain A 111.

The doctrine of the four Aristotelian causes has far-reaching ontological impli-
cations. Each of the four causes refers to a different and irreducible onto-
logical domain. Each domain contributes to the phenomenon coming into
being. Natural sciences study only two of these four domains, namely the
domain of forms (in quantum mechanics: the 'apparatus') and the domain of
objective potentiality (in quantum mechanics: the 'wave function'). Not objects,
but phenomena are the ultimate constituents of creation. A physical object has
no existence outside the stream of phenomena and can be thought of as
reflecting the formal and material cause (i.e. the Aristotelian 'substance') as it
manifests in a chain of causally connected phenomena.

The fourfold view of the human being.

As an earthly creature, man lives embedded within the stream of phenomena.

The human being, with its deeds, its development and its biography, can be
considered from a phenomenological angle. From such a viewpoint, the
109
The Greek word 'κυριότης' means: 'lordship', 'domination', 'a power exerting itself in a
particular jurisdiction'. It is derived from 'κύριος', evoking the idea of 'a person exercising
absolute ownership rights', 'he to whom a person or thing belongs, about which he has the
power of deciding'. The 'κύριος' is 'the one who disposes' i.e. who makes the final decisions;
'κῦρος' means 'supreme authority' or 'supremacy'. Thus, the term 'κυριότης' perfectly fits the
idea of 'final cause' in the sense that it is within the realm of the 'Kuriotetes' ('K υριότητες') that
the final decision is made as to which potentiality is going to be selected for actualization.
110
The Thrones ('Θρόνοι'; from singular 'θρόνος'; called the 'Geister der Wille' by Steiner) are
the carriers of the 'Throne of God'. This imagery expresses their nature, in that will is that
which constitutes the actual reality of an object. Will is that which enables to resist will. For
instance, a table is real in as far as it 'pushes back' when pushed upon: the will of an actual
table resists my own will. In the same sense, a seat or throne is real in as far as it does not
give way, but 'pushes back' when pressed upon or seated upon. The 'Trone of God' (i.e. the
whole of creation) has actual reality because it is loaded with the will springing from the
Thrones. From the realm of the Thrones emanates the will that projects a potentiality, already
selected for actualization by the Kyriotetes, into actual and tangible reality (efficient cause).
111
According to the Aquinate, the Thrones belong to the highest subdivision of the nine
angelic hierarchies, whereas the Kyriotetes, the Dynamis and the Exusiai constitute the
intermediate subdivision.

91
individuality of the human being manifests itself through the fact that to each
of the four causes corresponds to one of four members of the human constitu-
tion: the 'formal cause' corresponds to the 'physical body', the 'material cause'
to the 'ethereal body', the 'final cause' to the 'astral body' and the 'efficient
cause' to the human 'I' or 'ego'.

As said, a detailed description of the fourfold human being has been presen-
ted by Rudolf Steiner in 1910 112. According to Steiner, a double flow of time
manifests within the human soul. On the one hand, 'mental representations'
(see figure A-II,6) are part of a stream which flows from the past towards the
future113. On the other hand, the stream of wishes, desires, and other such
feelings, are part of an inverse time flow, directed from the future towards the
past114. The first stream is called by Steiner 'ethereal body' (German:
'Ätherleib') and the second stream, which is oppositely directed with respect to
the first, is called 'astral body' (German: 'Astralleib'). Where both streams
meet, ordinary human consciousness arises 115.

112
See: R.Steiner GA 115, p.179 ff. (Berlin, November 4th, 1910).
113
A mental representation, such as the representation of a table or a lion, or of a
Pythagorean or Eisenstein triple, has semantic content. As such, it cannot be reduced to
physico-chemical structure, because by their very nature physical objects or structures lack
meaning and semantic content: a priori, each an every physical object or structure can be
equally associated with each an every mental representation or mental content. The re-
presentation has originated at some time in the past, in connection with some sensual or
intellectual observation. Thereafter, it exists as a potential content of consciousness, which
can be evoked by sensual observation or by active remembering. Thus, the mental represen-
tation manifests as a potentiality which reaches our present consciousness originating from
some point of time in the past. As such, it is part of the 'ethereal body'.
114
The very concept of 'desire' implies that the being which desires, and the beneficient of the
fulfillment of the desire, are one and the same. This is true even when one desires something
good for someone else. The human soul is, so to say, entrapped in this condition; only the
spirit is able to be purely altruistic. Also, the human soul is a being that does not exist at one
single point in time, but whose existence intrinsically extends over time (figure AII-6; “Das-
jenige ... was dem Wissen Dauer gibt, bezeichnet man als Seele” R.Steiner GA 13, p.65).
Clearly, the anticipated lust resulting from a desire's fulfillment causes the desire to emerge.
But with respect to physical time ('chronos'), the desire's appearance preceedes the desire's
fulfillment. Thus, within the realm of feelings, of love and hate, of sympathy and antipathy, and
of lust and suffering, time manifests itself as directed from the future towards the past.
One could object that it is not the future experience of lust, but only the actual mental
representation of that experience, which causes the desire to emerge. However, one should
distinguish between mental representations on the one hand, and feelings on the other hand,
even when both appear in conjunction. Mental representations are not feelings, although they
can appear as content of consciousness in conjunction with feelings. In the same way,
colours are not objects, although they can appear in conjunction with objects. For instance,
when seeing a lemon, we can identify the colour of the lemon as being yellow, because the
seeing of the lemon evokes, among others, the mental representation of 'yellowness'; but this
representation is different from the actual experience of seeing the yellow colour of the lemon.
As a matter of fact, consciousness is the 'way of being' of the conjunction of mental represen-
tations, which originate in the past, and feelings of interest and involvement, which originate in
the future.
115
“Das Bewußtsein [ist] das sich gegenseitige Treffen des Astralleibes und des
Ätherleibes” (GA 115, p.192). In a more general sense, one can state that consciousness is
the 'way of being' or 'modus of existence' of the embeddedness of entities belonging to
different realms of reality in one and the same universal 'being'.

92
Figure A-II,6 shows Steiner's blackboard sketch:

Figure A-II,6: Scheme of twofold flow of time in the human soul, according to Steiner
(GA 115, p.190). 'Vergangenheit' = 'past'; 'Zukunft' = 'future'; 'Vorstellungen' = 'mental
representations'; 'Begehren' = 'desires; 'Seele' = 'soul'. According to Steiner, the
ethereal body corresponds to the flow AB, and the astral body to the inverse flow DC.

Thereafter, Steiner completes this scheme by introducing two further mem-

bers of the human being which are directed, so to say, orthogonally (German:
'senkrecht') to the double flow of time. On the one hand, sensual impressions
enter the conscious soul through the physical body (German: 'physischer
Leib'). On the other hand, the 'I' (German: 'Ich') impacts the soul through its
'power of judgement' (German: 'Urteilskraft') 116. According to Steiner's descrip-
tion, this power of judgement of the human being starts from the totality of (1)
the information which reaches the soul through the senses, (2) the mental
representations living in the ethereal body and (3) the feelings of love and
hate, desires and wishes etc. which reach the soul coming from the astral
body. The 'I' integrates, so to say, all these elements, producing a judgement
and acting accordingly. Clearly, this compares closely to the relationship
connecting the efficient cause to the other three causes, as illustrated in figure
A-II,5. Referring to figure A-II,7, a typical human action could take the
following form:

(A) Through the human senses, the human being receives information;
(B) This sensual information evokes in his consciousness a number of mental
representations, permitting the human being to identify what is observed, and
to become aware of possible sources of gain, of lust, or of danger;
(C) The possibilities thus identified meet with general desires, wishes, pre-
ferences etc. which reach the soul through the astral body; this can lead to a
selection of a possible way of acting, in which are integrated the sensual
information, the mental representations and the inclinations coming from the
astral body;
(D) The human 'I' judges and accepts or rejects the way of acting which was
selected by the astral body.

116
“Das Ich ist die seitlich einfallende Urteilskraft” (RS, GA 115, p.203).

93
Figure A-II,7: The fourfold representation of the human being, according to Rudolf
Steiner (GA 115, p.205; adapted; compare to appendix V, figure A-V,2). This scheme
can also be taken as a description of the free human act. The circle represents the
conscious human soul, which receives content from the four members of the human
constitution. Through the senses, the physical body provides information with respect
to the physical world. The ethereal body, which can be considered as a stream of
potentialities running from the past to the future, contains mental representations
which remain usually subconscious but which can appear in the conscious soul when
evoked through physical observation or active remembering. From the astral body,
wishes, desires, likes and dislikes are injected, coming from the inverse time direction.
Finally, the 'I' or human Self, can inject judgement concerning the preferences which
emanate from the astral body.

In this four-step process, it is easy to recognize the sequence of the four

causes as shown in figure A-II,5. Clearly, further distinctions (not discussed in
the present paper) can be made between physical phenomena, life phenome-
na (where formal and material causes are inseparable, i.e. the ethereal body
is 'incarnated' into the physical body), mental phenomena (where formal,
mate-rial and final causes are inseparable, i.e. the ethereal and astral body
are 'in-carnated') and phenomena of self-consciousness, including free
human acts (where formal, material, final and effective causes are all
inseparable; i.e. the 'I' is also incarnated). It is only in the latter case that
figure A-II,7 applies117. Nevertheless, the four causes are still fully identifiable
in both the free human act and in the overall human constitution (which leads
to the fourfold view on the human being).
117
For instance, an action by an animal does not bear the stamp of an individual 'I' but results
from the astral body (which encompasses consciousness, cravings, desires etc.) directly
selecting among the potentialities emerging from the physical-etherealal organism. This
selected potentiality is then slavishly projected into reality by the non-incarnated animal 'I'.

94
Figure A-II,8: The four so-called 'Armenians' in the eight compartment of the Vézelay
tympanum. Two striking anomalies are indicative of esoteric content being encoded in
the artwork. Firstly, the leftmost individual has no legs or feet, as if constituting a pair
of conjoined twins with his neighbour. Secondly, the three other characters wear high-
soled shoes, of a type used in medieval times for traversing muddy terrain. In a general
sense, this peculiar footwear can be understood as an indication that the three charac-
ters involved are, in one sense or another, of a nature which is both 'connected to
earth' and 'above earth'. Put differently, these three human characters seem to repre-
sent spiritual entities or spiritual aspects of the incarnated human being. Moreover, the
leftmost of the three seems to stand in an especially close relationship to a fourth
principle, which could be of an earthly nature. These elements, when considered to-
gether, evoke the fourfold view of the human being. The leftmost of the three could
represent the ethereal body, which is permanently linked to the physical body, even
during deep sleep. The two other characters could represent the astral body and the 'I'
or Self. This tentative interpretation is confirmed by a number of details in the execu-
tion of the rightmost character, which supposedly represents the human 'I'. Firstly, the
headwear of this personage is executed so that the 'I-point' (the 'tilaka', which corres-
ponds to Steiner's 'Punkt des Ich'; cfr. GA96, p.150; GA 291a, p.213; figure A-II,8, right)
on the forehead comes out. Secondly, the legs of this 'fourth man' are suggestive of
the 'quatre de chiffre' (appendix V). Thirdly, the unusual X-shaped configuration of the
arms evokes the Chrismon's 'X' (Christ is the 'I-principle'; Jh.8:58).
Comparison of the symmetries connecting the three characters to figure A-II,7 con-
firms this reading. Note that the two characters in the middle, suspected to represent
the ethereal body (left) and the astral body (right), have their feet and shoes placed
parallelly, whereas the rightmost man has his feet oriented perpendicularly. Referring
to figure A-II,7, this seems to correspond to the ethereal body and the astral body
being directed along the timeline, whereas the 'I' or Self is directed, so to say,
orthogonally to the time axis. These relationships are also reflected by the direction of
the sticks held by the three man. The characters corresponding to the ethereal body
and the astral body hold their sticks oppositely inclined, which seems to reflect the
opposite orientations of the ethereal and astral realms with respect to time. The
direction of the stick held by the 'I' holds the middle ground, again as expected. Thus,
these sticks seems to be meant as spatial representations of the time axis, as seen
from the viewpoints of the ethereal body, the astral body and the 'I', respectively.

95
 APPENDIX III
THE SEVEN GRADES OF MITHRAIC INITIATION

Figure A-III,1: The Mithraic initiation system, consisting of seven grades, each associa-
ted with one of the seven classical planets. The names of the seven grades are men-
tioned by Saint Jerome ('Epistula ad Laetam' 107.2) as “...Corax, Nimphus, Miles, Leo,
Perses, Heliodromus, Pater” i.e. “...Raven, Bridegroom, Soldier, Lion, Persian, Chario-
teer of the Sun, Father”. As explained elsewhere 118, both the names of the grades and
the related symbols strongly suggest a reflective scheme, as symbolized by the meno-
rah. Thus, the system of initiation seems to consist of (a) three preparatory grades:
Raven (Mercury), Bridegroom (Venus), and Soldier (Mars); (b) one central grade: Lion
(Jupiter); and finally (c) three advanced grades: Persian (Moon), Charioteer of the Sun
(Sun), and Father (Saturn), which are exaltations of the preparatory grades.
Although the seven grade-system is known through Mitraism, it must have been much
more widespread in the antique world. Especially, the system is relevant for the under-
standing of both the Old and the New Testament (cfr. appendix I). As discussed else-
where, Mithraism was early Christianity's twin. In some way, it must have been absor-
bed by esoteric Christianity during the later days of the Roman Empire 119.

118
See p.24 ff in:
https://www.academia.edu/11734939/The_esoteric_content_of_The_Descent_from_the_Cross_P.P.Rub
ens_1612_our_ladys_cathedral_Antwerp_._Part_II_relationships_with_Johns_gospel
119
See p.38 ff. in: https://www.academia.edu/36300791/The_Taurus_Portal

96
Figure A-III,1 shows the ancient grades of initiation, as exemplified by the
Mithraic system. Based upon the names and symbols of the seven grades,
and upon certain biblical passages, the structure of the initiatory path can be
understood, at least tentatively.

As shown in figure A-III,1, the first and seventh grades ('Corax' and 'Pater', i.e.
'Raven' and 'Father') are connected. A striking image of this relationship is
given by the two ravens of Odin, named Huginn and Muninn ('thought' and
'memory'). The ravens are Odin's messengers, informing him about what is
going on in the realm of the Earth. This conforms to Mercury being the planet
associated with the grade of Raven, with the twofoldness of Odin's ravens
evoking Gemini (an astrological sign ruled by Mercury). In the New Testa-
ment, the grade of 'Father' is evoked by Christ (John 11:41) right before the
resurrection of Lazarus, indicating that this event was truly an initiation of La-
zarus into the seventh degree. Lazarus is identical to John the evangelist, with
the changing of the name reflecting the event of the initiation. As the fourth
evangelist, Lazarus-John performed a mercurial task, acting as a messenger.
As transpires in the case of Lazarus, initiation into the grade of 'Father' has
deep and transforming implications at the level of the physical body 120. This is
reflected in John 21:20-24, where Peter refers to the presumed immortality of
the 'disciple whom Jesus loved' and who is none other than Lazarus-John, the
fourth evangelist121,122. Correspondingly, the Raven focuses, not yet upon
transformation at the physical level, but upon embracing, understanding and
compassion with respect to the physical world. As such, he also becomes a
window through which spiritual beings gain access to the physical world.

The grade of 'Bridegroom' is reigned by Venus, which expresses the fact that
the initiate has reached a state of 'being in love'. In the Mitreo di Felicissimus,
the symbols of oil lamp and diadem are associated with this grade. This ima-
gery clearly reflects torch and seven-rayed diadem which symbolize the sixth
degree, i.e. the 'Charioteer of the Sun' (the whip is another symbol connected
to the sixth degree, obviously referring to the charioteer steering the horses
before the chariot of the Sun). Clearly, the symbols express the fact that, at
the second degree of initiation, the initiate develops love for 'the light' or 'the
sun', i.e. for the Logos, the Verb, the 'being Truth' alias Christ. The 'Bride-
groom' strives towards unison with the 'Light of the World' (John 9:5). Ob-
viously, this state can be logically connected to the previous grade of 'Raven':
by cultivating involvement, interest and compassion with respect to the outer
world, the terrain is prepared for discovering the 'Light' i.e. the Truth, as a
living being conceived, which permeates the world. Whereas the initiate of the
second grade longs for unison with the Light, the initiation into the sixth grade

120
The 'patera' is a symbol for the seventh degree, as the cup is a symbol connected to the
first degree. Presumably, these symbols refer to the physical body which 'contains' the human
soul.
121
As a matter of fact, Peter had already received an answer to his question with respect to
the Disciple's lifetime. After his initiation, which happened when the Sun was in Pisces, the
disciple was going to live for another 153 'fishes', which corresponds to 76.5 years (John
21:11).
122
Another example of an initiation to the seventh degree is found in John 4:46-54; cfr. John
4:48-50 vs. 20:27-29; compare also to John 11:16.

97
amounts to the actual 'wedding', which is depicted as the bridegroom be-
coming the Sun's charioteer. As a case in point, the wedding at Cana (John
2:1-11) is the initiation into the sixth degree of Nathanael, already announced
by Christ in John 1:51.

The third degree of initiation is called the 'Soldier' ('Miles'), and is associated
with the planet Mars and with military symbols such as helmet and lance.
Correspondingly, the harpe is one of the symbols of the fifth degree which is
called the Persian ('Perses'). We can ponder these elements, trying to
understand how the 'Persian' could be an exaltation, or a higher developmen-
tal stage, of the 'Soldier'. In the given context, the name of 'Soldier' has spiri-
tual meaning: the initiate of the third degree is to become a spiritual militant,
representing the Light in his society, and fighting for spiritual truth within his
social environment. In this sense, the Soldier is also expected to act as a
servant with respect to his community. Correspondingly, the 'Persian' must be
an initiate who has acquired full ability to express the Light with respect to his
people, meaning that an initiate of the fifth degree is enabled to objectively
speak out spiritual truth, in a form adapted to the needs and pecularities of his
people. Hence, we can expect the name 'Persian' to have exemplary signi-
ficance only. As explained by Steiner, a Judean initiate of the fifth degree
would have been called “...a (truthful) Israelite”, implying that Nathanael
(John 1:47) was an initiate of the fifth degree 123 (again, such a reading
perfectly fits with the idea of the wedding at Cana being Nathanael's initiation
into the sixth degree; logically, this initiatory 'wedding' led Nathanael to
become “...the disciple whom Jesus loved”).

Whereas the first and seventh degrees seem to involve transformations at the
level of the physical body, the second and sixth degree seem to involve
primarily the etherealal body (where love dwells), whereas the third and fifth
degree concern the exaltation of the astral body (where thoughts unfold). The
initiation to the fourth degree (the Lion) refers to the 'I'. As such, this degree is
expected to involve the permeation of the 'lower I' by the 'higher I', which
identifies as '...Christ in me' (John 8:58; Galatians 2:20). Clearly, this initiation
into the fourth degree can be understood as a continuation of the three pre-
paratory grades, which focuses on deeper and deeper identification and uni-
fication with the 'being Truth' i.e. with the 'Logos' or the 'Verb'. As a corrolary,
the 'I' being self-reflective and self-conscious, we can expect this grade to
transform the initiate into his own co-hierophant.

123
Although Steiner identified Nathanael as an initiate of the fifth degree i.e. as an “...Isra-
elite”, he did not identify the wedding at Cana as Nathanael's subsequent initiation into the
sixth degree. Also, Steiner does not call the second degree of initiation “... the bridegroom”.
Instead, he used the term 'Okkulter' (German for an 'occult one' or 'occultist'). Very probably,
he did so because in an older edition of Saint Jerome's 'Epistula ad Laetam', which is the only
ancient document mentioning all seven Mithraic degrees of initiation, the second grade is
wrongly mentioned to be 'cryphius' ('one who is shrouded'), whereas all manuscripts give
variants of 'nymphus' (see: Bruce M.Metzger “St. Jerome's testimony concerning the
second grade of Mithraic initiation” American Journal of Philology 66, p.225-233; 1945).
Apparently, this wrong term was accepted and then interpreted and commented upon by
Steiner (see: GA 175, p.344-345; Berlin, May 1st, 1917).

98
 APPENDIX IV: PENTECOST.

Pentecost as 'Magna Domenica'

As documented by Robert Cabié 124, the festival of Pentecost in early

Christianity had the character of a fifty day festival, starting at Easter Day.
There were no separate one-day feasts of Easter, Ascension, or Pentecost.
The fifty day festival was called 'Pentecost' and was considered as one
indivisible whole having the character of a single 'Magna Domenica' or 'Great
Sunday'125. In the understanding of early Christians, the Magna Domenica
was a fifty day period during which the flow of time was perceived as out of
the ordinary, with the very separability and countability of calendrical days
fading away, or judged inadequate. Cabié (p.221) places in the 5th-6th centu-
ries the transition to the present situation, where linear time ('chronos') took
the upper hand and Pentecost was reduced to a conventional calendrical fes-
tival, on pair with Christmas and Easter. The strangeness of the 'Great Sun-
day' reflects the curious fact, that certain passages in the gospels seem at
variance with the structure of the liturgical year, where Christ's Ascension is
placed at the 40th day following Easter. For instance, Mark (16:19) and Luke
(24:50-51) suggest that Christ's Resurrection and Ascencion happened on the
same day whereas John 20:22 seems to imply that the descent of the Holy
Spirit upon the Apostles took place at the day of the Resurrection 126. The
intervals of 40 resp. 50 days separating Easter from Ascension Day and
Pentecost are derived from Acts 1-2 but here too, close reading reveals
incongruities which can be helpful in order to understand why, in early
Christianity, a single and indivisible 'magna domenica' of 50 days was in use.
124
Robert Cabié (1965) “La Pentecôte. L'évolution de la cinquantaine pascale au cours
des cinq premiers siècles” Tournai (Belgium): Desclée.
125
Cabié (p.35-36) notes that the translation in the Vulgate (4th century) of Acts 2:1 (“ Cum
complementur dies pentecostes...”) uses the plural, whereas the Greek original has the
singular (“Καὶ ἐν τῷ συμπληροῦσθαι τὴν ἡμέραν τῆς πεντηκοστῆς ...”), suggesting that
Pentecost was considered to refer to more than just one single day. The corresponding
Jewish festival of Shavuot encompasses just one day. However, “...l'expression Cum com-
plementaur dies Pentecostes semble suggérer que, dans les milieux chrétiens où cette
version s'est élaborée, la terme de Pentecôte avait un sens plus large”. Cabié docu-
ments that the Church Fathers of the second and third century (such as Iranaeus of Lyons,
Tertullian, Hippolytus of Rome, and Origen of Alexandria) had a concept of a Pentecost
encompassing seven weeks: “Partout la Pâque inaugurait un temps de fête qui s'étendait
sur sept semaines. Partout cette solennité était assimilée au dimanche et on lui
donnait le nom de πεντηκοστή” (p.45). This seven week festival constituted an undivisible
unity, as if it was one single day: “(...) ces cinquante jours se présentent comme un seul
et unique jour, la magna domenica. Cela ne signifie pas que les chrétiens doivent alors
célébrer quotidiennement l'Eucharistie, ce qui serait faire de la Cinquantaine une série
de dimanches successifs. C'est au contraire l'ensemble de la période qui a la même
portée que le dimanche, comme dit Saint Irénée. C'est la πεντηκοστή, qui est proprie
die festus, selon l'expression de Tertullien. Elle apparaît comme une célébration conti-
nue qui s'étend du matin de la Résurrection jusqu'au soir du cinquantième jour. Durant
ce temps de joie, aucune journée n'est priviligiée; le dernier dimanche lui-même ne
semble pas, à l'origine, être particulièrement mis en relief” (Cabié 1965, p.52).
126
“...une difficulté surgit des textes du Nouveau Testament, à propos de la date de
l'ascension. Les synoptiques, en effet, semblent la placer au soir de la résurrection
[Mark 16:19; Luke 24:50-51]. Saint Jean nous montre même le Seigneur donnant alors
l'Esprit à ses apôtres: 'Il souffla sur eux et leur dit: 'Recevez le Saint-Esprit...'...” (Cabié,
p.83).

99
Comments on Acts 1:1-12
Acts 1:1-2 Τὸν μὲν πρῶτον λόγον ἐποιησάμην περὶ πάντων, ὦ Θεόφιλε, ὧν
ἤρξατο ὁ Ἰησοῦς ποιεῖν τε καὶ διδάσκειν ἄχρι ἧς ἡμέρας ἐντειλάμενος τοῖς
ἀποστόλοις διὰ πνεύματος ἁγίου οὓς ἐξελέξατο ἀνελήμφθη.
The first book I produced, o Theophilus, about all that Jesus began to
do and to teach until the day when He was taken up to heaven, after
having given instructions to the apostles whom He had chosen through
the Holy Spirit.
Luke 24:50 mentions the Ascension of Jesus which corresponds to Acts 1:9. In Luke 24:49,
Jesus orders the apostles to stay in the city, which seems to correspond to Acts 1:4. Thus, the
opening verses of the Acts of the Apostles look like an elaboration of the closing verses of
Luke's gospel.

3 Οἷς καὶ παρέστησεν ἑαυτὸν ζῶντα μετὰ τὸ παθεῖν αὐτὸν ἐν πολλοῖς

τεκμηρίοις, δι' ἡμερῶν τεσσεράκοντα ὀπτανόμενος αὐτοῖς καὶ λέγων τὰ περὶ
τῆς βασιλείας τοῦ θεοῦ.
As a matter of fact, He presented Himself to them as being alive after his
Passion by many proofs, appearing to them over a period of forty days
and speaking of the things concerning the kingdom of God.
The expression '...as a matter of fact' translates the narrative 'κα ὶ'. According to Acts 1:1-2
Luke's first book reports on Christ's lifetime up to and including his Ascension. The narration
starting with verse 1:3 is clearly meant as an elaboration on Luke 24:49-50, providing much
more detail and clarification. Acts 1:3 mentions the '...period of forty days' which supposedly
implies that 40 days separated Christ's Resurrection from the day of his Ascension. However,
it should be noted that Christ's Ascension is not mentioned in this verse.

4-5 Καὶ συναλιζόμενος παρήγγειλεν αὐτοῖς ἀπὸ Ἱεροσολύμων μὴ χωρίζεσθαι,

ἀλλὰ περιμένειν τὴν ἐπαγγελίαν τοῦ πατρὸς ἣν ἠκούσατέ μου: ὅτι Ἰωάννης
μὲν ἐβάπτισεν ὕδατι, ὑμεῖς δὲ ἐν πνεύματι βαπτισθήσεσθε ἁγίῳ οὐ μετὰ
πολλὰς ταύτας ἡμέρας.
And while [one final time] gathering with [all of] them, he ordered them
not to leave Jerusalem, but to wait “...for the promise of the Father
about which you heard from Me; for John baptized with water, but you
will be baptized with the Holy Spirit after not many days”.
From the context, it transpires that '...καὶ' connects subsequent phases in the narrative: in
verse 1:3, the appearance of Jesus during a time lapse of 40 days is mentioned and verse 1:4
relates the crowning event at the end of this period of appearances. Hence, we add the speci-
fication '...one final time'. In the same vein, we also specify that this final gathering involved
the totality of the disciples ('...all of them') as suggested by the prefix συν-.
In order to understand the chronology of the events, two elements are of importance:
• again, no reference is made to Christ's Ascension.
• while announcing the coming Epiphany, Christ orders the disciples not to leave Jerusalem.

6 Οἱ μὲν οὖν συνελθόντες ἠρώτων αὐτὸν λέγοντες, Κύριε, εἰ ἐν τῷ χρόνῳ

τούτῳ ἀποκαθιστάνεις τὴν βασιλείαν τῷ Ἰσραήλ;
They on the contrary, when [at one time] assembled, asked Him: “Lord,
is it in this time that you are restoring the kingdom of Israel”?
The compound particle 'μὲν οὖν' indicates a contrast (Grand Bailly p.1251m, with reference to
Plato, Crito 44b: 'plutôt, au contraire'). The nature of the contrast is clear: whereas Christ was
speaking on the 'kingdom of God' (1:3), the apostles were interested in the 'kingdom of Israel'.

100
The insertion of the word 'συνελθόντες' would not make sense if verse 6 would concern the
assembly reported upon in verses 3-5. Crucially, verses 3-5 and verses 6-9 refer to two dif-
ferent gatherings. In order to explicate this point, we inserted the expression [at one time].
Because the assembly mentioned in 1:4-5 is the final one before Pentecost, this second
conclave must have happened at some earlier point of time. Moreover, the assembly referred
to in verses 1:6-9 immediately precedes Christ's Ascension. Therefore, the passage starting
at verse 1:6 is to be understood as a flashback placing the Ascension before the final gather-
ing of 1:4-5.
The apostles use the word '...χρόνος' which is time in the worldly sense, as reflected in the
common state of consciousness. This corresponds to the fact that they are thinking of an
earthly 'kingdom of Israel'. Opposed to 'χρόνος' is the concept of 'καιρός' which surfaces in
verse 1:7 and which is usually translated as 'opportune time', 'right time' or 'decisive epoch'.
We will translate 'καιρός' as '...inverse time' (compare to appendix II, figure A-II,7).

7-8 εἶπεν δὲ πρὸς αὐτούς, Οὐχ ὑμῶν ἐστιν γνῶναι χρόνους ἢ καιροὺς ο ὓς ὁ
πατὴρ ἔθετο ἐν τῇ ἰδίᾳ ἐξουσίᾳ: ἀλλὰ λήμψεσθε δύναμιν ἐπελθόντος τοῦ
ἁγίου πνεύματος ἐφ' ὑμᾶς, καὶ ἔσεσθέ μου μάρτυρες ἔν τε Ἰερουσαλὴμ καὶ
[ἐν] πάσῃ τῇ Ἰουδαίᾳ καὶ Σαμαρείᾳ καὶ ἕως ἐσχάτου τῆς γῆς.
But He told them: “It is not for you to know the timing, neither with res-
pect to time nor with respect to inverse time, which the Father has set
by his own authority. But you will receive power when the Holy Spirit
comes upon you and you will be my witnesses in Jerusalem and in all
Judea and Samaria and unto the ends of the earth”.
Christ equally mentions the concepts of time and inverse time, i.e. 'chronos' and 'kairos',
implicitely indicating that both concepts are equally relevant for the events that were occurring
(note that in verse 1:6 the disciples refer to '...this present time'/'... ἐν τ ῷ χρόν ῳ τούτ ῳ'). Note-
worthy, the passage can be understood as referring to two distinct events, namely (a) the
reception of the Holy Spirit (Pentecost), and (b) the disciples becoming Christ's witnesses and
missionaries (Mission of the Apostles).

9 καὶ ταῦτα εἰπὼν βλεπόντων αὐτῶν ἐπήρθη, καὶ νεφέλη ὑπέλαβεν αὐτὸν
ἀπὸ τῶν ὀφθαλμῶν αὐτῶν.
After he said this, he was taken up before their very eyes, and a cloud
hid him from their sight.
This is Christ's Ascension, which was therefore chronologically connected to the second
conversation starting in verse 1:6.

10-11 καὶ ὡς ἀτενίζοντες ἦσαν εἰς τὸν οὐρανὸν πορευομένου αὐτοῦ, καὶ
ἰδοὺ ἄνδρες δύο παρειστήκεισαν αὐτοῖς ἐν ἐσθήσεσι λευκαῖς, οἳ καὶ ε ἶπαν,
Ἄνδρες Γαλιλαῖοι, τί ἑστήκατε [ἐμ]βλέποντες εἰς τὸν οὐρανόν; οὗτος ὁ Ἰησοῦς
ὁ ἀναλημφθεὶς ἀφ' ὑμῶν εἰς τὸν οὐρανὸν οὕτως ἐλεύσεται ὃν τρόπον
ἐθεάσασθε αὐτὸν πορευόμενον εἰς τὸν οὐρανόν.
And while they were gazing into heaven as He was going, behold, two
men stood by them in white robes who said: "Men of Galilee, why do
you stand looking into heaven? This Jesus, who was taken up from you
into heaven, will come in the same way as you saw him go into heaven”.
'Two men in white robes' are also reported in connection with the Resurrection (Luke 24:4;
John 20:12). Here, the men explain that two complementary and mutually reflecting proces-
ses are occurring which they also seem to express visually, i.e. by their dual mode of ap-
pearance. At the very moment when Christ is leaving the reach of the disciples' current state
of consciousness, He is also predicted to reappear, implying that the disciples are going to
develop a higher state of consciousness.

101
12 Τότε ὑπέστρεψαν εἰς Ἰερουσαλὴμ ἀπὸ ὄρους τοῦ καλουμένου Ἐλαιῶνος,
ὅ ἐστιν ἐγγὺς Ἰερουσαλὴμ σαββάτου ἔχον ὁδόν.
Then they returned to Jerusalem from the Mount of Olives, which is near
the city, a Sabbath day's journey away.
Verse 1:12 shows that the apostles had left Jerusalem. In verse 1:4, Christ ordered the
apostles to remain in Jerusalem. Again, this detail shows that verses 1:4-5 resp.1:6-9 refer to
two different gatherings of Christ and his apostles. Also, it transpires that the gathering of 1:6-
9 occurred before the gathering of 1:4-5. Thus, the Ascension happened before Christ had his
final conversation with the totality of the disciples.

Understanding Acts 1:1-12

Mostly, Acts 1:3-8 are read as if this passage refers to one single conversation
between Christ and the apostles. However, two different conversations seem
to be involved. In verse 1:3, it is said that after the Resurrection, there was a
time interval of 40 days during which Christ spoke with the apostles on the
Kingdom of God. Verses 1:4-5 refer to the final conversation of this type,
which happened a short time before Pentecost. Importantly, this conversation
happened in Jerusalem, where Christ gathered with the apostles, forbidding
them to leave Jerusalem. So we can expect that after this conversation, the
apostles remained in Jerusalem.

The second conversation, immediately followed by Christ's Ascension, is

referred to in verses 1:6-12. In verse 1:12, we are informed that the apostles
were not in Jerusalem, but on Mount Olivet. Therefore, this second conver-
sation must have happened before the first one (because in the latter con-
versation the apostles had received an order to stay in Jerusalem). As a corol-
lary, it follows that the Ascension described in verses 1:9-12 also happened
before the conversation mentioned in 1:3-5.

Two more crucial chronological indications are contained in the initial verses
of Acts. From Christ's words given in Acts 1:7, we deduce that conventional
time (i.e. 'chronos') and inverse or creative time (i.e. 'kairos') are equally
important for sorting out the chronology. From the words and the very
appearance of the two men appearing after Christ's Ascension, we deduce
that two chronologically symmetrical and mutually reflecting processes are in-
volved. The conversation mentioned in Acts 1:3-5 concludes a period of forty
days after the Resurrection, during which Christ appeared to his disciples.
After that time, no more appearances of this type took place. Clearly, this
period of forty days can be understood within the context of conventional time
('chronos'), with the disciples exhibiting an everyday level of consciousness
and awareness. In figure A-IV,1, we have indicated this first process in yellow,
with apex B corresponding to Christ's final appearance at this level (Acts 1:4-
5). Given the duality implied by Christ's reference to 'chronos' and 'kairos' and
by the words of the two man appearing after Christ's Ascension, we expect a
second process (indicated in red in figure A-IV,1) to have occurred which is
complementary to the first and which is to be understood in the context of
inverted time ('kairos').

102
Figure A-IV,1: The structure of the 50-day Magna Domenica or original Pentecost. Day 1
corresponds to Resurrection Day (Sunday, April 5th, 33 AD). At that day, a 40-day
pentecostal process starts which develops according to usual time ('chronos'/χρόνος)
and which is grasped by the apostles with their everyday conscousness (yellow). John
20:22-23 indicates the start of this process which petters out forty days later (point B).
An inverse pentecostal process (red) 'starts', so to say, at day 50 (the feast of Pente-
cost) and develops along 'creative time' or 'inverse time' ('kairos'/καιρός), up to its end
point at Wednesday, April 15th, 33 AD (point A). With respect to common time, this
second process seems to develop from the future into the past; it appears as a purely
creative process, injecting novelty into the stream of common time. Through this
second process, the apostles gradually grasp the nature of the 'kingdom of God'. They
do so at a higher level of consciousness, separately from their common state of con-
sciousness, until at Pentecost a breaktrough takes place, and the insights and in-
spirations gained at a higher level of consciousness spill over into everyday con-
sciousness. We conjecture that because of the interwovenness and complementarity
connecting both processes, the 50 day period between Easter and Pentecost was
considered in early Christianity as one indivisible festival (i.e. a Magna Domenica of 50
days). Point A corresponds to the 'Ascension'. The apostles 'see' Christ leaving the
earthly realm of common consciousness and ascending to a higher ontological level
which can be reached only by an higher state of consciousness. Point B is referred to
by Christ in Acts 1:4-5. Here, Christ finalizes the first of the two intertwined Pentecostal
processes, pointing to the coming epiphany of the disciples at day 50. The placement
of Ascension at point B (i.e. 40 days after Christ's Resurrection) seems to be a chrono-
logical error caused by the failure to distinghuish between the two conversations
mentioned in Acts 1:3-5 and Acts 1:6-8, respectively.

In the course of the first process, where Christ appears to his disciples (with
the latter being in an ordinary state of consciousness), a first form of
understanding for the Resurrection gradually builds up. At day 10, i.e.
Wednesday, April 15th, 33 AD, a point is reached where it can be made clear
to the disciples that a second process is going to start, which will lead to a
much deeper understanding, at an elevated level of consciousness and
embedded in inverse time (kairos). From the viewpoint of 'chronos', the event
of Christ's Ascension is the outset of Pentecost; from the proper viewpoint of
'kairos', it is its last or ultimate manifestation. After his Ascension, Christ still
continues to appear to his disciples in the old way (cfr. John, chapter 21), but
these events terminate at day 40 (cfr. Acts 1:3-5). Between Ascension day
(day 10) and Pentecost (day 50), the disciples gradually develop an inner
spiritual understanding for Christ's incarnation, death and Resurrection, but
they do so only at a subconscious level. At Pentecost, this process reaches a
breakthrough point, and their higher understanding spills over into their
common state of consciousness. The disciples become, so to say, Christian

103
initiates. In the first verses of the Acts, Luke expresses the nature of the whole
period in a veiled way, indicating that it was considered a subject resorting
under esoteric Christian teaching. As shown in figure A-IV,2 , the Ascension
occurred on a day when an exact Jupiter-Saturn aspect formed.

Figure A-IV,2: The horoscope of Christ's Ascension (Jerusalem; Wednesday, April 15th,
33 AD; 16:00 local time; Julian calendar; orbs set at 30%; cfr. point A in figure A-IV,1).
The hour is chosen in such a way that Jupiter and Saturn form an exact semi-sextile.
Sun: 23°7'54” Aries; Moon: 22°26'58” Pisces; Mercury: 6°53'2” Aries; Venus: 20°54'26”
Pisces; Mars: 14°44'30” Gemini; Jupiter: 16°35'12” Gemini; Saturn: 16°35'12” Cancer;
Uranus: 17°26'21”R Leo; Neptune: 0°34'22” Aquarius; Pluto: 14°32'2”R Sagittarius;
lunar node: 4°47'11”d Aries; Ascendant: 22°51' Virgo; Midheaven: 22°22' Gemini. The
semi-sextile connecting Jupiter and Saturn complements the exact sextile Jupiter-
Saturn occurring at Christ's Baptism127.

'Noli me tangere'

The view presented here can be helpful for understanding certain mystifying
passages in the gospels, such as John 20:22-23. As a matter of fact, the
scheme shown in figure A-IV,1 suggests that some opening event, reflecting
Pentecost at the level of everyday consciousness, is expected to have
occurred on the very day of the Resurrection ('day 1' versus 'day '50' in the
scheme). Another case in point is the 'noli me tangere'-saying (John 20:17):

127
See:https://www.academia.edu/12597004/The_encodement_of_the_date_of_Christs_Baptism_in_the_gospel_of_John

104
Μή μου ἅπτου (='Noli me tangere'), οὔπω γὰρ ἀναβέβηκα πρὸς τὸν πατέρα
[Do not touch Me/ do not hold on to me/ do not cling to me], for I have
not yet ascended to the Father.

The primary meaning of the verb 'ἅπτομαι' (Strong 680) is 'to fasten oneself
to', 'to adhere to', 'to cling to'. In order to understand the meaning of the verb
in this passage, the exceptional context has to be taken into account: Mary
Magdalene has just perceived Jesus, first as a pair of angels, thereafter as a
gardener, and finally as the resurrected Christ. These fastly shifting visions
correspond to Mary's two subsequent initiations128 (described in the text as
'turnarounds'). With the words 'μή μου ἅπτου', Christ indicates that his present
way of appearing is yet another transitory state in this sequence and that
Mary should not cling to it, but that she should look forward to Christ's
Ascension after which his definite mode of appearance will be attained. The
expression could be translated as: 'don't fixate upon my present aspect,
which is temporary (because I have not yet ascended to the Father)'. Clearly,
the expression 'μή μου ἅπτου' cannot be an interdiction of touching in the
physical sense, because Thomas was explicitely invited to touch Christ just
one week later. Rather, it is an invitation not to become attached to the tempo-
rary way in which Christ manifests himself.

Passages such as John 20:17 can be understood in accordance with the

concept of the 'Magna Domenica' which encompasses two kinds of inter-
actions between the resurrected Christ and his disciples (see figure A-IV,1).
Initially, these interactions are of a worldly nature, involving the everyday
consciousness of the disciples which is directed according to conventional
time ('chronos'; yellow in figure A-IV,1). As seen from this conventional view-
point, Christ ascends after ten days (i.e. on Wednesday, April 15th, 33 AD;
figure A-IV,2) to a spiritual realm which is directed according to 'inverse time'
('kairos'; red in figure A-IV,1). As seen from the viewpoint of 'kairos' or 'creative
time', the Ascension is really the endpoint of a process occurring in reverse
time and 'starting' at Pentecost. From the viewpoint of conventional time
('chronos'), the following time points are met: (a) on the very day of the Resur-
rection, a chronos-embedded reception of the Holy Spirit occurs (John 20:21-
23), prefiguring Pentecost proper; (b) after ten days, the Ascension takes
place (point A); (c) after forty days, the 'conventional' appearances of Christ
come to an end (point B; this corresponds to Acts 1:4-5); (d) after fifty days,
the disciples' higher experience of Christ, which developed along inverse time
(kairos), spills over into their everyday consciousness (Pentecost). The discip-
les emerge from Pentecost as Christian initiates, enabled to act both at the
level of everyday consciousness and at the higher level of spiritual conscious-
ness where they can fully grasp and investigate Christianity's mysteries.
Apparently, this explains the binary nature of the 'Mission of the Apostles' as
depicted on the tympan at Vézelay (figure 4). The mission of the apostles is a
twofold one, and the twelve are going to become the founders of both exoteric
and esoteric Christianity.

128
See p.7 ff in:
https://www.academia.edu/11734939/The_esoteric_content_of_The_Descent_from_the_Cross_P.P.Rubens_1612_o
ur_ladys_cathedral_Antwerp_._Part_II_relationships_with_Johns_gospel

105
 APPENDIX V: THE SYMBOLISM OF THE 'QUATRE DE CHIFFRE' (QdC).

Figure A-V,1a. Top: QdC ('quatre de chiffre') on four tombstones in the Cathedral of Our
Lady, Antwerp (Belgium). The stones date from the 17th century, are inscribed in
Dutch, and have been replaced and cut back. Bottom: five examples of marks used by
printers and booksellers, 16th to early 18th century (from Gruel, 1926).

106
Figure A-V,1b. Top and center: three examples of QdC on tombstones in St. James
Church, Antwerp (Belgium). Most of these tombstones are rather decrepited and
eroded. Bottom: two versions of the QdC-emblem of Balthasar Deurwerders, merchant
in Antwerp, on display in Antwerp's St. Paul's Church.

107
Figure A-V,1c: Top: two left-right flipped QdC (Hôtel de La Salle, Reims, France).
Bottom: flipped QdCs at the Saint Andrew's Church (Antwerp, Belgium).

108
Figure A-V,2: Top left: the 'sign of the cross', producing an upside down '4'. Top right:
the signing of bread and wine, as performed in the 'act of consecration of man' (Chris-
tian Community). The gesture, performed using the right hand, (a) starts close to the
priest's heart (A), goes straight forwards (B), (b) then turns backwards to the left (C),
(c) and finally sweeps sidewards from left to right (D). During phases (a) and (c), the
hand moves in a horizontal plane, and thumb, index and middle finger are held to-
gether; during the intermediate phase (b), the hand is lifted somewhat above the hori-
zontal plane and contact between the three fingers is loosened. This act of signing
(which is repeated thrice) thus traces a '4'-like figure above the chalice and paten.
The sign of the cross, made over one's own heart, and the priest's signing of the chali-
ce and paten, are identically shaped but performed in different planes.
Bottom: QdC superposed upon Steiner's scheme of fourfold representation of the
human being (figure A-II,7).

109
The Vézelay portal contains certain depictions apparently evoking the mono-
gram '4'. The underlying symbolism seems to be related to that of the 'quatre
de chiffre' (QdC), a cipher which became popular in Western Europe (figure A-
V,1) especially from the 16th to the 18th century. The QdC has been interpre-
ted as a Christian symbol with esoteric connotations 129.

The '4'-glyph evokes the sign of the cross. Delalain notes that the sign of the
cross, when applied by a believer upon himself, produces an upside down '4'
(Mathonière 1994, p.XXVI; see figure A-V,2).

Apparently, the QdC reflects the sign of the cross as it is made over the chali-
ce and paten during the Holy Mass (see figure A-V,2)130. This is clearly expres-
sed in Christian esoteric art. Within the core of Raphael's Disputa (produced
around 1509), which decorates the Stanza della Segnatura (remarkably, 'sig-
natura' also means 'sign') at the Vatican, a representation of the '4'-sign is em-
bedded in a thinly veiled way (figures A-V,3). Importantly, Raphael's depiction
shows that the QdC was considered to be of central importance for the mys-
tery of the transubstantiation. Equally striking are two anonymous monks,
keeping silent but descreetly and alertly dwelling close to the altar, in the
midst of saints and dignitaries. They represent the tide of esoteric Christianity.

Exactly one century later, in 1609, Rubens produced his own Disputa, which
is on display at its original location, the Saint Paul's Church in Antwerp (figure
A-V,4). At that time, the painter had just returned from an eight year long
journey in Italy (1600-1608) where he must have seen Raphael's Disputa,
many elements of which he has embedded in his own creation. Rubens was
129
See: Jean-Michel Mathonière (1994) “Études sur les marques au Quatre de Chiffre.
Recueil d'études.” La Nef de Salomon. This work contains reprints of two older studies (Paul
Delalain “Au sujet du Chiffre Quatre dans les marques d'imprimeurs et de libraires”
1892; and: Léon Gruel “Recherches sur les origines des marques anciennes qui se
rencontrent dans l'art et l'industrie du XVe au XIXe siècle par rapport au chiffre quatre”
1926) followed by a discussion by Jean-Michel Mathonière himself. Mathonière writes: “Si les
études de Paul Delalain et de Léon Gruel illustrent assez bien la dimension chrétienne
de l'emploi du 'quatre de chiffre' dans les marques, il n'en demeure pas moins qu'il
subsiste un doute légitime sur le fait qu'il s'agisse là de sa seule et entière explication.
En effet, l'adoption d'une simple croix – par ailleurs fréquente dans de nombreuses
marques – eût normalement suffi à ce seul fin (…) De l'examen de plusieurs milliers
d'entre elles, de toutes époques et origines, ressort ainsi inévitablement le sentiment
d'avoir affaire avec une sorte d'héraldique réservée aux initiés, c'est-à-dire à un lan-
guage 'ésotérique', 'à plus haut sens' selon la belle expression de Rabelais. Ce senti-
ment conduit tout naturellement à se poser la question de l'appartenance des dé-
tenteurs de ces marques à des fraternités initiatiques”. According to Waldemar Deonna
(“Armes avec motifs astrologiques et talismaniques” Le Moulin de l'Étoile, 2010; originally
published in: “Historie des religions”, 1924), the QdC was derived from the astrological
symbol for Jupiter. See also René Guénon:
https://le-miroir-alchimique.blogspot.com/2018/10/guenon-le-chrisme-et-le-coeur-dans-les.html
130
The derivation of the QdC from the Holy Mass is suggested by an important observation
made by Paul Delalain (p.XXVII): after the Reformation, the QdC remained in use in catholic
countries, such as France, Italy, Spain or the Southern Netherlands (under control of Spain).
In protestant countries, and also in England, the use of the QdC disappeared. Eventually, the
symbol also faded away in catholic heartland. Apparently, the occult symbol was at some
point divulged within certain guilds and corporations (printers, librarians, painters, etc.; Gruel,
p.1). Later on, the understanding of the QdC's deeper meaning gradually decayed.

110
deeply involved in Christian esoterism. Remarkably, the QdC symbol became
wide-spread in 17th-century Antwerp, and a number of instances can be
found even today in the historic churches of the town (figure A-V,1).

Figure A-V,3: Detail of Raphael's Disputation of the Holy Sacrament (1509). The
monstrans on the altar is surrounded by three vectors which together delineate a (90°
clockwise rotated131) QdC (red lines). At left, the outstretched arms correspond to the
first vector (figure A-V,2; A ⇨ B). The second vector (corresponding to B ⇨ C in figure
A-V,2) is represented by the bowed uplifted arm pointing towards the Holy Spirit hove-
ring above the monstrans (not shown are Christ and the Father, throning above the
Holy Spirit). The third vector (corresponding to movement C ⇨ D) is represented by the
golden rays descending from the Holy Spirit upon the monstrans (this representation
is highly appropriate, as C ⇨ D corresponds to the descent of the Verb in the sacra-
ment). Note that the intricate ornamentation of the altar is suggestive of the secondary
cross that is often part of the QdC (see also figures A-V,1 and A-V,6; fine red lines).
This secondary cross seems to represent the karmic consequences of the human act.
With respect to the divine act of Christ's incarnation, this cross corresponds to the
Resurrection and to the 'Resurrection Cross' (figure 17).

131
A similar rotation (90° counterclockwise) occurs in Rubens' Disputa (figure A-V,4b). The
QdC also occurs as a vertically flipped '4' (for examples, see figure A-V,1b). However, the
QdC is an asymmetrical 2D-figure displayed on a plane embedded in 3D. Therefore, it will be
seen as a '4' from one side of that plane, and as a 'flipped 4' when looked at from the opposite
side. Both representations are basically equivalent.

111
Figure A-V,4a: Central part of Rubens' Disputation of the Holy Sacrament (1609; it is
unknown who commisioned the painting, and why it has been placed in St. Paul's
Church). The three characters in the foreground at left, two of them mitred, have been
tentatively identified as St. Augustine, St. Ambrose and St. Paul 132. Their two counter-
parts at right are believed to be St. Gregory the Great and St. Jerome (the latter dres-
sed in red, as a cardinal). These five saints surround four anonymous characters dis-
puting in the center of the scene, right in front of the monstrans on the altar. It can be
suspected that the five saints are meant to represent the five fingers of the hand, as
held during the performance of the sign of the cross over chalice and paten. Thus, the
three saints at left, two of them mitred and holding their heads close together, could
correspond to middle finger, index and thumb, held in close contact; the tear-shaped
gap thus created between thumb and index seems to be mimicked by the stola around
the hands of the second saint (inset and blue line); the two saints at right would then
correspond to ring finger and little finger. St. Gregory, adressing St. Jerome, seems to
questioningly comment on the overheard discussion, while conspicuously forming an
inverted '4'-sign with his right hand (inset). This gesture shows that the argument
among the four central protagonists concerns the QdC and its relation to the con-
sacration. Behind the altar, two mitred bishops at right and the Aquinate with pope
Urban IV at left (this duo also figures in Raphael's Disputa). Higher up, the Holy Spirit
sends his light downwards. Still higher (not shown) a few cherubims displaying evan-
gelic passages relevant to the mystery of the transubstantiation (John 6:56; Luke
22:19; Matthew 26:26) and God the Father hovering above the scenery.
The imagery consisting of four nameless characters, one of them half-naked, in the
midst of a scene filled with ornated saints, bishops and popes, is suggestive of eso-
teric Christianity operating at the core of exoteric churchdom. Saint Gregory's hand
gesture and the conspicuous ϵ-shape (lunate epsilon; perhaps referring to εὐχαριστία)
formed by the half-naked man's arms and head point to the esoteric nature of the
painting.

132
Hans Vlieghe “Corpus Rubenianum. Ludwig Burchard. Part VIII. Saints I” Brussels:
Arca- de Press Belgium (1972); p.74.

112
Figure A-V,4b: The symbol of QdC as embedded in Rubens' Disputa. The 'ϵ' formed by the half-
naked man, whom we will call the 'hierophant', is indicative of a circle to be drawn 133 (orange),
with the touching point of the man's left thumb and index determining the circle's centre. This
circle connects the self-points (green) of the hierophant and the priestmonk at right (the
'initiant'), indicating that both are involved in a conversation about the consacration of the host
(which is circular). Along the circle, a 90° angle separates the selfpoint of the initiant (A) and the
host in the monstrans, suggesting that a QdC should be inscribed within the circle (red lines).
Indeed, the right hand of the initiant is placed at point A, where the signing should start. Accor-
ding to Rubens' representation, the performance of the signing starts from the priest's self-
consciousness, which is represented by his self-point. Line segment AB, the first part of the
QdC, is also indicated by the hierophant's left forearm. Segment BC, the second part of the
signing, is represented by the hierophant's bowed right arm (a bowed arm is also seen in figure
A-V,3). The fact that the hierophant's right arm is not placed upon the QdC but upon the circle,
and that thumb, index and middle finger of his right hand are not in close contact, could corres-
pond to the details of the execution of phase (b) as exemplified in the Christian Community's 'act
of consecration of man' (figure A-V,2). As explained in the text, point C corresponds to the
priest's 'higher I' which is also Christ (Gal.2:20). Possibly, Rubens has meant the Scripture
consulted by the initiant as symbol for the Verb. Notice hand and notepad of the hierophant's
assistant, nicely placed upon line BC (compare to figure A-V,5). Finally, a lateral movement is
made from C to D, perpendicular to line AB, as if leading the Verb into the consacrated substan-
ces.
An argument seems ongoing, with the hierophant and his assistant rebukingly staring at the
hieromonk's secondant, who seems to back away. The hierophant's left-hand gesture is clearly
meant to correct this secondant, and indicates that during the act of signing, the thumb and
index should be held in contact. Note that indeed, the right hand of the secondant is lumpishly
placed upon line CD, in the wrong direction with regard to the QdC, and with outspread fingers.
Contrastively, the right hands of both the priestmonk and the hierophant's assistant, while also
placed upon the QdC, have thumb and index in contact. The hierophant's right thumb and index
are separated, but his bowed right arm is meant to indicate that the movement from B to C is
performed outside the plane of the QdC, and with the contact between the fingers interrupted.
Saint Gregory's gesture (figure A-V,4a; inset) seems to refer to the topic under dispute, as if spe-
cifying that the middle finger should also be placed in contact with the thumb (as is done in the
Byzantine way of making the sign of the cross).

133
Compare this to the evocation of the lunar disk in Rubens' Adoration of the Magi (Prado). See figure 12 in:
https://www.academia.edu/30577713/The_birth_horoscope_in_Rubens_Adoration_of_the_Magi_Prado_

113
Steiner on transubstantiation

In both western and eastern churches the signing of bread and wine by the
priest is often performed in a rather casual way, without much attention to
detail of execution. However, a precisely executed QdC is formed during the
'act of consecration of man' as practicized by the priests of the 'Christian
Community' (figure A-V,2) which was founded under the guidance of Rudolf
Steiner. Apparently, the QdC connects to the central mystery of Christian
liturgy, which is the so-called 'transubstantiation'.

Steiner confirmed the reality of the transubstantiation 134. He also commented

on its underlying principles, starting with the observation that transubstantia-
tion takes place on a daily basis in the human organism 135. On the one hand,
we see human beings drinking and eating. On the other hand, we see them
performing acts which are based on rational and moral considerations. Clear-
ly, the potentiality for producing acts based on individual logical and moral
considerations does not derive from food as such, although they are made
possible by the consumption of food. The potentialities induced by the intake
of food are radically expanded by the processing of the food by the human
being. The food gets 'humanized', so to say; it is 'transubstantiated' in the
sense that the potentialities going with the food are exalted. Therefore, the
'form' of the food has also to be fundamentally altered within the human
organism. Steiner stresses the point that bread (or wine) is not 'real' in the
sense commonly believed. From a materialistic viewpoint, a piece of bread is
just a collection of atoms or molecules, with each single one of these 'par-
ticles' continuously existing as an actual object. In Steiner's view, bread is not
real in this sense (nor is anything else). The materialistic idea of a collection of
well-defined atoms lurking behind 'phenomenological bread' (i.e. bread as it
appears to our senses) and completely determining the properties of the
latter, is based upon the erroneous idea that the properties of the bread would
be left unchanged by actual observation of these atoms, or at least that such
changes induced by observation would be controllable and could be taken
into account. For quantum reasons, this is not the case: if we would try to
actually observe the complete collection of submicroscopical objects alled-
gedly constituting the bread, the latter would be uncontrollably destroyed.
Therefore, the materialistic view described above is but an ideological con-
134
“Wenn die Transsubstatiation durch einen wirklichen Priester durchgeführt wird,
dann bekommt die Hostie eine Aura. Nun, das mögen Sie glauben oder nicht, ich kann
es nur erzählen” (GA 342, p.139; see also: GA 343a, p.146); “Das sinnliche Abbild (...)
braucht gar nicht so sehr verschieden zu sein von dem, was es früher war; was
verschieden ist, ist nur in seiner feineren Struktur mit geistigen Instrumenten
nachweisbar. Für das hellsichtige Auge schaut die transsubstantiierte Hostie anders
aus als die nichttranssubstantiierte” (GA 344, p.140-141); compare also to Mt.4:3-4.
135
“Jeder Stoff ist eigentlich ein konzentrierter, gedrosselter Weltenprozeß. Prozesse
der Außenwelt nehmen wir in uns auf, wir wehren sie ab, aber indem wir sie abwehren,
entsteht ja der Gegenprozeß: Der Prozeß der Außenwelt wird in etwas ganz anderes
ver-wandelt und dieses Verwandeln geschieht in uns. Das äußere Materielle wird in uns
verwandelt (…) Es wird in uns ein Geistiges. (…) Dasjenige, was da in der Außenwelt
entsteht, das wird erst verwandelt im Innern des Menschen, das ist dadurch auf dem
Wege nach dem Geistigen hin. In der Außenwelt kann es sich nicht bis zum Geistigen
hin verwandeln, erst im Innern des Menschen kann es sich bis zum Geistigen hin
verwandeln” (GA 343a, p.43).

114
struct which does not correspond to any observable reality. When we think
about bread (or any other physical substance) in a materialistic way, we pro-
ject into this bread a fiction, consisting of the idea that all these atoms and/ or
molecules continuously exist 'underneath' or 'behind' the phenomenological
bread. Steiner identifies this fiction as the smuggling into the picture of
“...small demons, which would correspond to the supposed eternal
existence of matter”136. In reality, the 'form' of bread, or any natural
substance for that matter, is much less defined than materialistic atomistic
imagery suggests. Beyond its sensual appearance, formal indeterminateness
extends far beyond what is suggested by the atomistic picture, and with this
indeterminateness of form goes an exaltable array of potentialities.

Steiner does not claim that the intaken food is somehow transformed into the
human 'I'. He states that such food is transformed into “...something spiri-
tual” (“...ein Geistiges”) at the level where life processes occur; and the
result of this transformation thereafter becomes 'food' (in a spiritual sense) for
the human 'I', enabling it to induce human acts 137. From a logical-analytical
viewpoint, such a transubstantiation can be understood as a transformation of
the set of potentialities connected to the substance of the food. As said, bread
or wine do not encompass the potentiality for human action, which is based
upon logical and moral considerations. Nevertheless, the human being can be
seen as an entity or, so to say, as a 'supernatural engine' of kinds which
transforms bread into human action. Thus, the potentialities 138 which go with
the bread are radically transformed or 'transubstantiated' within the human
organism. After this transformation, the human 'I' selects and actualizes a few
among these potentialities, thereby projecting itself into physical reality as an
acting entity139.
136
“Was Sie da als Brot vor sich haben, ist ja in Wirklichkeit keine Realität; Sie müssen
erst vorschreiten zu dem, was Realitäten sind, wenn Sie diskutieren wollen über solche
Dinge wie die Transsubstantiation. Denn es handelt sich darum, über die triviale An-
sicht hinwegzukommen, daß das, was einem in weißlicher oder gelber Färbung als
Ausfüllung des Raumes oder was dem Geschmackssinn entgegentritt, eine Realität ist.
Solange das eine Realität sein soll, in dem sogar allerlei kleine Dämonen stecken
sollen, die der Unvergänglichkeit der Materie entsprechen sollen, solange kann man
allerlei Einwände erheben in einer Diskussion. Aber das trifft nicht das, worum es sich
handelt” (GA 344, p.45).
137
“Wir tauchen unter in diese verwandelte Materie, und indem wir die Stoffe der
Außenwelt aufnehmen und unser Lebensprozeß darin besteht, sie zu verwandeln,
indem wir mit unserem Geistig-Seelischen untertauchen in diese Verwandlung der
Außenwelt, hat unser Ich fortwährend Nahrung, wird unserem Ich fortwährend
nahegelegt die Vereinigung mit der durch diesen Prozeß verwandelten Substanz. Die
Vereinigung mit der Substanz nach ihrer Verwandlung stellt die Ichwerdung des uns im
Menschen zugänglichen Geistigen dar” (GA 343a, p.45).
138
In this context, Steiner refers to the realm of the potentialities as “... mögliches Gesche-
hen” (GA 343a, p.46).
139
Thus, the phenomenological appearance of non-consacrated versus consacrated bread,
when considered as an isolated piece of substance, does not permit to completely deduce the
potentialities going with that bread when consumed. However, if transubstantiation is going to
be a real phenomenon, taking part in the communion should have an observable impact on
the communicant. In this sense, transubstantiation can become a completed and actual phe-
nomenon only after the consumption of the consacrated bread at the communion. The consa-
cration of the bread supposedly leads to an exaltation of the potentialities of the bread when
consumed and this exalted array of potentialities should become manifest in the human acts
of the communicant.

115
As illustrated in figures A-II,7 and A-V,2 , the free human deed can be repre-
sented as a '4'-like scheme. The human act starts with potentialities unfolding
along 'chronos', which is conventional time (i.e. past ⇨ future; figure A-V,2, A
⇨B). For every single act, one of the potentialities has to be selected for ac-
tualization. The factor performing this selection emanates from the 'astral
realm' (appendix II) which is the realm of the heart living in 'kairos' (the op-
posite stream of time, i.e. creative time, directed future ⇨present). Within the
context of the '4'-sign or QdC illustrated in figure A-V,2 , this selecting factor
would be directed B⇨A. However, in the free human act, the astral or
selecting factor does not operate in isolation, but in combination with the 'I' or
'Self'. The latter, which is the bearer of self-consciousness, is able to position
itself as a subject with respect to either chronos and kairos. The 'I' dwells
outside of time. In the scheme of figure A-V,2, its position corresponds to point
C which is outside of AB and BA (within the context of the QdC represen-
tation, point C is placed on the side of the heart i.e. at left). Thus, the combi-
ned impact of the astral factor and the 'I'-factor is represented by the oblique
line BC, which has components in both direction B ⇨A (corresponding to the
astral factor) and direction C⇨D (which corresponds to the 'I'-factor). The
actualization, i.e. the actual realization of the human act, emanates from the 'I'
and is projected upon AB. In the scheme, this projection into physical reality is
represented by line segment CD, with crosspoint + between AB and CD
(figure A-V,2; yellow) corresponding to the finalization of the act. Note that this
actualization of the act alters the potentialities, creating new possibilities while
eliminating others; hence the placement of the + upon line AB. This crosspoint
can also be considered as a sign of decease or death, in the sense that the
spiritual process of the human act 'dies' in the actual physical world. Interes-
tingly, the QdC-symbol shows that line segment CD is extended beyond the
crosspoint, with point D often provided with an additional cross (see figures A-
V,1, A-V,3 and A-V,6). This second cross, beyond the crosspoint + of the '4'
(see figure A-V,2; yellow), has to correspond to the 'cross of Resurrection' (the
'celestial cross' which is †-shaped; see figure 17), indicating that the human
act will 'resurrect' in a karmic sense140.

We can compare Steiner's comments on transubstantiation to the '4'-scheme.

Clearly, the exaltation of potentialities by the human organism (the first phase
of the process of transubstantiation) corresponds to line segment AB. The
second phase of the transubstantiation, which is the human 'I' operating with
the exalted set of potentialities (selecting one among the potentialities and
projecting the selected potentiality into reality) corresponds to line segments
BC and CD. According to Rudolf Steiner, this two-phased transubstantiation
is an unconscious process. However, the priest is able to 'transpose into the
external world' ('...hineinstellen in die Außenwelt') the transubstantiation, '...by
means of/through the sign' ('...im Zeichen')141. This 'sign' is the QdC.
140
Cfr. R.Steiner, GA 180, p.21 (Basel, Dec.23th, 1917).
141
“Die Transsubstantiation ist nicht eine Erfindung innerhalb der äußeren Welt, die
Transsubstantiation ist das Hinausstellen desjenigen in die Außenwelt, was im tiefsten
menschlichen Innern wirklich sich vollzieht. Wir schauen in der Transsubstantiation
dasjenige, was wir nicht in der Außenwelt schauen können, weil die Außenwelt ein
Fragment des Daseins ist, nicht eine Totalität; und wir fügen im Sakramente dasjenige
zu der Außenwelt hinzu, was im Reiche der Natur erst vollzogen wird innerhalb des
Menschen. Das, meine lieben Freunde, ist der ursprüngliche Begriff des Sakramentes,

116
QdC as a self-referring symbol: a few anthropological remarks

The signing of the chalice and paten by the priest is supposed to be a highly
formalized act. This suggests that the gesture is based upon anthropological
and spiritual considerations, which remain unidentified. What follows are but a
few tentative thoughts.

Why is the tracing of line segment A⇨B performed with the tops of thumb,
index finger and middle finger in delicate contact? This detail is expressed in
Rubens' Disputa and it is reflected both in the execution of the 'act of con-
sacration of man' and in the eastern way of performing the 'sign of the cross'.
The gesture consisting of holding the three fingertips in contact, which no ani-
mal is able to perform, is the limiting form of the human 'precision grip' (more
specifically the so-called three points-version of this grip; see figure A-V,5)
which can be considered the evolutionary crown and pinacle of hand develop-
ment142.

Figure A-V,5: The human (three points) precision grip. In this grip, the object (such as a
pen) is held between the fleshy inner pads of the tips of thumb, index finger and middle
finger. This grip, which is unique to humans, does not result from evolutionary spe-
cialization, but from evolutionary explicitation and exaltation of potentialities latently
present in the primitive pentadactyle structure of the vertebrate hand. Generally, the
human hand remains capable of all the more primitive hand postures and movements
(such as the 'hook grip' or the 'prehensile grip'). Contrary to the hand of mammals
such as horses, elephants, bats..., the human hand is not a specialized body part, fo-
cused upon a small array of functions. It is, both from an evolutionary and from a
functional viewpoint, a generalized organ, implying (a) the adoption of the upright
stance (liberation of the hand), (b) tool use, and (c) the ability for tool development and
transfer of skills (language).

The gesture used in the ritual can be derived from the precision grip (with the
hand holding a pen or a small ball) by shrinking the object held to a simple
point. What remains is the hand's physical expression of the fact that a point
in 3D-space is fixed by three coordinates (with the three fingers quite literally
depicting a generalized 3D coordinate system). The priest, when holding the

daß zu dem Phänomen der Außenwelt hinzugefügt wird dasjenige, was im Innern des
Menschen nicht zum Bewußtsein kommt, weil der Mensch es nicht erkennt, sondern
[unbewußt] erlebt, was aber im Zeichen in die Außenwelt hineingestellt werden kann”
(GA 343a, p.44).
142
See for instance p.117-120 in: Jos Verhulst “Developmental Dynamics in humans and
others primates” Adonis Press (2003).

117
three fingers in close contact, images 3D-space comprehended as the wor-
king space of the incarnated human being.

Holding his right hand in this specific way, the priest then traces line segment
A⇨B, starting from the chest (point A) and moving forwards, in a sagittal and
horizontal direction. Doing this, the priest adds the dimension of time ('chro-
nos') to the three dimensions of space. With respect to the 'normal plane' of
the human body (figure A-VI,1), this sagittal (posterior⇨anterior) direction
represents 'chronos', which is the conventional direction of time (from the past
towards the future). The posterior-anterior or sagittal direction corresponds to
the individual's 'life path', along which he meets a sequence of 'workplace
configurations'143 which continuously emerge in front of the body. The tempo-
ral meaning of the sagittal direction is expressed in language, for instance
when we refer to upcoming events as being 'ahead' of us 144, or to past events
as lying 'behind' us. Importantly, the sagittal direction is not merely an abstract
symbol for chronos. With respect to the incarnated and attentively acting
human being, physical time basically deploys and manifests along this di-
rection. As a matter of fact, the concept of time remains meaningless without
reference to actual physical events and changing physical configurations.
'Time as such', disconnected from physical events acting as time markers,
reduces to an empty shell and collapses into nothingness, because differen-
tiation between distinct time points becomes impossible 145.

Thus, the first part of the QdC-sign (i.e. the tracing of line segment A⇨B) is a
generalized and objective representation of a segment of the individual life
path of the individual priest who produces the sign. The three joined fingers
objectively depict physical space, conceived as the human workplace; and the
sagittal movement A⇨B objectively depicts the evolvement of this workplace
through time. Crucially, the gesture is also self-referring, meaning that the
performance of the gesture by the priest (i.e. the 'signifier') coincides with the
'signified' of the gesture: while the priest is performing the gesture, this per-
formance constitutes, at that same moment, the very segment of the priest's
life which is depicted by the gesture. Thus, a pecularity of this gesture con-
sists of the fact that the signifier (the gesture) and the signified (that what is
represented by the gesture) are identical. Moreover, when performed with full
human self-awareness, this gesture is exalted still more, to the status of a
'self-consciously self-referring' gesture, as the priest, while producing the sign,
also factually and knowingly proceeds along his individual path of life (he has
chosen to be a priest and his priesthood has its focus in the act of the con-
sacration). The self-referring nature of the tracing of line segment A⇨B can
also be approached from the viewpoint illustrated in figure A-V,2. Chronos
corresponds to the development of potentialities (Aristotle's 'material cause';
see appendix I, figures A-I, 4 to 7). Therefore, the tracing of line segment A⇨B
depicts the evolvement of potentialities along the priest's path of life. However,
by moving his signing hand from A to B, the priest actually creates the poten-
143
The 'workplace' of the human being is defined here as the space in front of the body, with
reach of the hands and covered by the visual field.
144
Cfr. Bill Gates “The road ahead” (1995).
145
With respect to time, it also seems significant that the axis of movement A ⇨B starst from
the heart region (the heartbeat being the main timekeeper in the human body).

118
tiality to perform the complete sign of the cross above chalice and paten. Thus
also in this regard, the gesture is self-referring: it depicts, in a generalized
way, the creation of potentialities along the 'path of life', primarily by creating
the potentiality of performing a full QdC-sign, and more encompassingly, by
opening up the way to the consecration, which aims at a generalization of
potentialities (i.e. an increase of human freedom) for the communicant.

As explained under figure A-V,2, the second part of the QdC (movement
B⇨C) corresponds to the selection, by the acting human being, of one of the
potentialities which emerged along its path of life (represented by A ⇨B).
Whereas the potentialities belong to the ethereal realm, which lives in ordinary
time ('chronos'), the factor selecting one of the potentialities for actualization
emanates from the astral realm, which lives in creative time (i.e. 'kairos', the
inverse time pointing from the future towards the present). As such, this astral
impact would have to be represented along the direction B ⇨A. However, in
the free human act, the selection of the potentiality to be projected into actual
reality is managed by the 'I' which transcends space and also both chronos
and kairos. Therefore, movement B⇨C consists of two components, directed
respectively parallel and orthogonal to AB. As explained, line AB represents
the path of life, with each point on that line corresponding to an actual
configuration of the individual's workplace. The continuous movement A ⇨B
corresponds to the stream of potentialities embedded in the continuously
morphing workplace. The three joined fingers of the priest, when moving from
A to B, reflect three-dimensional space, and their movement along AB reflects
the stream of potentialities coming 'at your fingertips' (i.e. the stream of hu-
man acts that could be performed, given the configuration of the workplace).
At point B, one of these potentialities, namely the possibility to execute the
QdC, is selected for actualization. The movement B ⇨C corresponds to a
process involving the 'I' and transcending spacetime; hence the separation of
the fingers during this second phase, with the signing hand being slightly lifted
above the horizontal plane wherein the movement A ⇨B is made (in Rubens'
Disputa, this seems to be expressed by the hierophant's right arm being pla-
ced, not upon the QdC proper, but along the circle, connecting points B and C
by a bow; at the same time, the fingers of the hierophant's right hand are dis-
connected; see figure A-V,4b; a bowed arm is also displayed in figure A-V,3).

Point C corresponds to the 'higher I' of the priest, which transcends both 'chro-
nos' (A⇨B) and 'kairos' (B⇨A) and which is none other than 'Christ (in me)'; C
is the 'baptismal point' or 'polar star' of the QdC. On the one hand, point C
depicts or symbolizes this I-principle or Christ-principle. But on the other hand,
the priest's 'I' (which is Christ) also resides in this point as a matter of fact, at
least in as far as the priest is knowingly and willingly performing the sign of
the consacration (see quotes from Steiner's 'Philosophy of Freedom' in ap-
pendix II, note 92 on p.79). Thus, here too, the sign of the cross i.e. the QdC
performed during the consacration, is a self-consciously performed self-
referring symbol, showing identity of signifier and signified. Moreover, this
identity turns out to be none other than the identity of the priest's 'lower I' or
egoity and the priest's 'higher I' which is Christ.

119
The third and final movement C⇨D, when the hand is swept laterally from left
to right, corresponds to the projection of the 'I' or Verb into the bread and
wine, i.e. into nurture, which is the logical outcome for the generalized free
human act. By its very nature, every free human act creates room for further
free human acts to be performed: freedom nurtures freedom. Freedom is not
randomness; the outcome of the free act matters; involvement characterizes
the free act which always aims, in one way or another, to project spirit into
matter i.e. to create more freedom (freedom is spirit acting; John 3:8). The
free human act is always a feeding act, performed in order to accomplish
more freedom. Thus, the generalized human act which is executed during the
consecration of bread and wine has to manifest as an act producing food and
nurture, in both the physical and spiritual sense, for human beings longing for
freedom. Again, in this third and final part of the QdC as performed in the
consacration, signifier and signified are one and the same. On the one hand,
the orthogonal projection of point C upon line AB is the exact image of the
projecting of the selected potentiality into actual spacetime. On the other
hand, the priest's 'higher I' (i.e. Christ) lives in this movement, effectively
reaching the consacrated substances, in as far as the sign is performed in full
self-consciousness (i.e. in as far as the principle of the 'I' is incarnated in the
movement). As a matter of fact, the QdC is to be considered as an act and an
expression of the human 'I' 146. The performance of the sign cannot be under-
stood from a purely physical or mechanical point of view. It is projected into
physical reality by a free decision of the 'I'. It is also a generalized represen-
tation of the deep structure of the free human act. Therefore, it is a self-
referring generalized free human act referring to a generalized free human
act. Signifier and signified coincide. Moreover, this self-reference is the hall-
mark of the human 'I'. Thus, in this QdC-shaped sign of the cross, the human
'I' directly manifests itself in the physical world according to its own nature.
When the QdC is performed by the human 'I', this sign as manifested into the
physical world coincides with the 'I' performing that sign. Therefore, in order to
understand what is performed by the QdC during the act of consecration, we
have to consider the nature of the human 'I' and its relationship to Christ who
actually identifies with the human being's true 'I' (John 8:58; Galatians 2:20).

The 'I' is the absolute a priori; it is the foremost condition for truth, and there-
fore for reality itself, to spring into being. Because of its divine and spiritual
nature, the 'I' cannot be denumerated, nor can it be judged, or located in
spacetime; on the contrary, it is the preliminary condition for any act of denu-

146
In the 16th to 18th century, when the QdC was used in public life, is seems to have been
considered as an individually produced symbol of the human individuality producing the sign.
Thus, the QdC referred to the name of the individual, and to its personal path of life. As is
shown in the work of Léon Gruel, the QdC was incorporated in people's signatures (p.45 ff), in
ex libris (p.99), and in cachets de correspondance (p.75 ff). Because of this reference to the
individual, the initials were often placed at the base of the '4'. Strikingly, a lot of variants show
the '4' emerging from a heart (see figure A-V,1 for some examples). This neatly reflects the
sign of the cross performed above the bread and wine (figure A-V,2, right) which starts from
the priest's heart. In other cases, the QdC is placed upon a schematically depicted terrestrial
globe (mostly a circle with a midline depicted the equator) which seems to express both the
terrestrial or earthly nature of 'path of life' and the human 'I' encompassing, so to say, the
whole of creation (often, the initials are placed within such a globe, which points to the earthly
life of the individual concerned).

120
meration, judgement or location to be performed. The human 'I' is projected,
at the level of ordinary waking consciousness, into a 'lower I' but even to the
latter no spatial location can be accorded in the usual physical sense (al-
though it can be associated with 'der Punkt des Ich', as Steiner called it; this is
the 'self-point' or 'tilak'; see figure A-V,4b, green). The human 'I' constitutes the
inner core of the human being, but at the same time it also constitutes the
inner core of nature147. This constitution of the 'I', which is also Christ, is
uniquely reflected in the sign of the cross (as performed during the act of
consecration of bread and wine) being a 'living symbol' i.e. a symbol where
signifier and signified coicide. The priest's I, which is Christ, when performing
the free human act of the signing of bread and wine, is equally present in the
heart and mind of the priest and in the bread and wine which are signed. The
mystery of the consacration is the mystery of the human 'I'.

The QdC as a representation of Christ's path of life.

From the viewpoint of esoteric Christianity, the human incarnation of the Verb
appears as the archetypical free human act 148. Christ's lifetime is, so to say,
the ultimate free act. Since the QdC can be understood as a shorthand re-
presentation of the human act, it can also be expected to reflect the life and
times of Jesus of Nazareth. As a matter of fact, the alchemists considered
Jesus' biography to be the blueprint for their 'Opus Magnum', which aimed at
the resurrection of physical substance (the latter was considered to also have
gone through the biblical fall, together with Adam and Eve). Thus, it comes as
no surprise that the so-called 'cheminée alchimique' ('alchemic fireplace') at
the château de Fontenay-le-Comte (France) has a QdC which was declared
by Fulcanelli152 to be a graphic representation of the alchemic Magnum Opus
(figure A-V,6).

147
“Der Gedankeninhalt, der aus dem menschlichen Geiste entspringt, wenn dieser
sich der Außenwelt gegenüberstellt, ist die Wahrheit. Der Mensch kann keine andere
Erkenntnis verlangen als eine solche, die er selbst hervorbringt. Wer hinter den Dingen
noch etwas sucht, das deren eigentliches Wesen bedeuten soll, der hat sich nicht zum
Bewußtsein gebracht, daß alle Fragen nach dem Wesen der Dinge nur aus einem
menschlichen Bedürfnisse entspringen: das, was man wahrnimmt, auch mit dem
Gedanken zu durchdringen. Die Dinge sprechen zu uns, und unser Inneres spricht,
wenn wir die Dinge beobachten. Diese zwei Sprachen stammen aus demselben
Urwesen, und der Mensch ist berufen, deren gegenseitiges Verständnis zu bewirken.
Darin besteht das, was man Erkenntnis nennt. Und dies und nichts anderes sucht der,
der die Bedürfnisse der menschlichen Natur versteht. Wer zu diesem Verständnisse
nicht gelangt, dem bleiben die Dinge der Außenwelt fremdartig. Er hört aus seinem
Innern das Wesen der Dinge nicht zu sich sprechen. Deshalb vermutet er, daß dieses
Wesen hinter den Dingen verborgen sei. Er glaubt an eine Außenwelt noch hinter der
Wahrnehmungswelt. Aber die Dinge sind nur so lange äußere Dinge, so lange man sie
bloß beobachtet. Wenn man über sie nachdenkt, hören sie auf, außer uns zu sein. Man
verschmilzt mit ihrem inneren Wesen. Für den Menschen besteht nur so lange der
Gegensatz von objektiver äußerer Wahrnehmung und subjektiver innerer Gedanken-
welt, als er die Zusammengehörigkeit dieser Welten nicht erkennt. Die menschliche
Innenwelt ist das Innere der Natur” (R.Steiner, 1897; from “Goethe's Weltanschauung in
seinen Sprüchen in Prosa”; GA 001, p.332-333).
148
This is expressed in an exceptional way in Goethe's Faust (part I, II.863-883): “ Im Anfang
war die Tat!” ('In the beginning was the act!').

121
Figure A-V,6: The QdC of Fontenay-le-Comte, figuring above a chimney which was ori-
ginally part of the château de Coulonges-sur-l'Autize (built 1542-1568) but was trans-
ferred to the château de Terre-Neuve (Fontenay-le-Comte, France) in 1884 (drawing
made by Julien Champagne for Fulcanelli's “Demeures Philosophales”). In a Christian
esoteric reading of the symbolism, the skull at the bottom and the grotesque face on
top can be understood as representations of 'chronos' and 'kairos', respectively. The
monstruous characters at either sides of the escutcheon could be meant as depictions
of the dual nature of evil (i.e. 'Lucifer' and 'Ahriman'/'Satan'), at either side of the Sign
of the Cross149 (compare to figure 1g,III). See text for discussion.

149
“Que de vérités insoupçonnées demeurent encloses dans ce simple signe que les
chrétiens renouvellent chaque jour sur eux-mêmes, sans toujours en comprendre le
sens ni la vertu cachée!” (Fulcanelli “Demeures Philosophales”, tome I, p.348).

122
We will see that this remarkable version of the QdC can also be understood
as a scheme representing Jesus Christ's lifetime on earth, as it is described in
esoteric Christian tradition (figure A-V,6). Thus, the three line segments com-
posing the '4' correspond to a tripartition of Jesus' occult biography, and the
secondary symbols connected to this QdC indicate the main biographical tur-
ning points. The QdC as shown in Fontenay-le-Comte 150 shows that the occult
'4'-symbol was meant, not only as a representation of the free human act (cfr.
figure A-V,2), but also as a shorthand symbol for Jesus Christ's biography
(which is the ultimate and archetypical free human act). As a matter of fact,
the latter meaning of the symbol could have been the more fundamental one.

As shown in figure A-V,6, the '4' emerges (a) from a symbol which can be
seen as two 'X'-signs juxtaposed (or as a 'Λ' and a 'V' superposed). This two-
fold symbol, placed on the 'nombril point' of the escutcheon, could refer to the
birth of the two Jesus children, the 'solomonic Jesus' (Matthew 1:6) and the
'nathanic Jesus' (Luke 3:31). At left and at the same horizontal level (orange),
a small star or asterisk is displayed (b). The first (vertical) line segment of the
QdC corresponds to the physical and etherealal timeline (chronos). The star
at (b) is not placed upon this line segment and apparently refers to an event
which was not a human birth in the conventional sense. However, it could
correspond to the birth mentioned in Revelation 12:1-5. The overall configu-
ration, with a twofold 'X' placed at the base of the QdC and a third symbol at
the same level, but placed apart, is remarkably congruent with the esoteric
Christian view on Jesus Christ's birthtime as it can be extracted from Christian
art and other esoteric sources151,152.
150
See p.392 of: Fulcanelli (pseudonym) “Les Demeures Philosophales. Tome premier”
Paris: Jean-Jacques Pauvert (1930,1964): “Ces caractères mystérieux...[figurant sur
l'écusson central] expriment, en raccourci, tout le labeur philosophal (…) par des figures
de notation graphique. Ce paradigme constitue ainsi une véritable formule alchimique”.
According to Fulcanelli, the three segments constituting the QdC, marked by three stars, refer
to “... trois degrés de l'Œuvre ou, si l'on préfère, (...) trois états successifs d'une même
substance”. Thus, “...[le] caractère bizarre dont l'aspect rappelle le chiffre 4 (…) figure,
en réalité, la voie, le chemin qu'il nous faut suivre” (p.394).
151
In Christian esoteric tradition, a distinction is made between the 'solomonic Jesus' (born
Tuesday, September 15th, 7 BC; cfr. Matthew, chapters 1-2) and the 'nathanic Jesus' (born
Friday, January 14th, 1 AD; Luke, chapter 1). See for instance:
https://www.academia.edu/28773248/The_birth_horoscopes_of_the_solomonic_Jesus_and_t
he_solomonic_Mary_according_to_Johns_gospel
https://www.academia.edu/9803898/Unbearable_beauty_unfathomable_depth_the_encodem
ent_of_the_day_and_hour_of_birth_of_Jesus_descendant_of_Solomon_in_Matthew_1_1-17
https://www.academia.edu/29537482/The_encodement_of_the_nathanic_birth_horoscope_in
_Rubens_Soissons_nativity
Both nativities are to be distinghuished from the spiritual event corresponding to Revelation
12:1-5, which corresponds to the Verb being 'born', not yet in a human body, but in the stream
of earthly human history (this event occurred on Sunday, December 25th, 1 AD). See for
instance appendix II in:
https://www.academia.edu/35498631/EISU_KING_AND_PROPHET_IN_JOHNS_GOSPEL
The incarnation of the Verb occurred at Jesus' Baptism, on Sunday, April 1st, 31 AD. See:
https://www.academia.edu/36300791/The_Taurus_Portal
152
With respect to the human individuality, the solomonic and nathanic Jesus correspond res-
pectively to the 'lower I' ('egoity') and 'higher I' ('altruity'), which relate to each other and to the
human personality as the two foci of an ellipse relate to each other and the ellipse's circum-
ference.

123
This tentative interpretation is strongly corroborated by the extraordinary sym-
bol 'IM' placed higher up along the QdC (figure A-V,6; c). Note that the '4' is
placed right upon the middle of the 'M'. As a matter of fact, we are confronted
with a disguished representation of '14M', where 'M' seems to refer to a month
(as the 14th day approximately bisects a month). Because of the 'M', we ex-
pect this month to be either March or May. Strikingly, the event of the transfor-
mation of 12-year old Jesus in the temple, which is described in Luke 2:41-52,
occurred on the evening of Sunday, May 14th, 13 AD (which was the festival
of Pesach Sheni of that year). Thus, the 'IM' symbol seems to precisely refer
to this pivotal event in Jesus' biography. Note that the clever placing of the 'M'
upon the vertical segment of the QdC (with each half of the 'M' overhanging
one 'X' while joining in one point which lies upon the QdC) graphically sug-
gests two beings coming together and merging.

Moving higher up along the vertical part of the QdC, we meet crosspoint (d)
and finally the 4's top at (e) (figure A-V,6). Line segment d-e corresponds to
the final crisis and excarnation of the solomonic (Zarathustrian) individual 153.
According to Steiner, the spiritual journey of the solomonic or Zarathustrian in-
dividuality incarnated in Jesus of Nazareth had reached an end point when
Jesus was 30. Steiner describes a dramatic event, where the solomonic in-
dividuality excarnated after a conversation with the solomonic Mary, leaving
behind an 'I'-less Jesus (i.e. a human being encompassing an astral, an
ethereal and a physical body, still connected to the 'altruity' which was the nat-
hanic individuality alias the 'Son of Man' 154). However, a final decision emer-
ged in this 'I'-depraved Jesus, namely to travel to John the Baptist in order to
receive the baptism155. At this Baptism, the Verb or Logos descended into Je-
sus of Nazareth, replacing the solomonic 'I' which had departed 156. Hence,
Jesus of Nazareth was transformed into Jesus Christ (Matthew 1:16).

In order to understand this event, we have to take into account the anthropo-
logy as described in figures A-II,7 and A-V,2. From the viewpoint of chronos,
crosspoint d in figure A-V, 6 corresponds to the event of the solomonic indivi-
duality separating from the astral, ethereal and physical bodies of Jesus. The
decision to join John the Baptist in order to get the baptism, corresponds to
point e. From the perspective of chronos (i.e. conventional time directed from
past towards future), this sequence looks paradoxal, as the decision was
made when the solomonic 'I' had already excarnated. However, we have seen
that such a decision (which is a selection among potentialities) emanates from
the astral realm, and has to be considered within the context of 'kairos' (i.e.
153
According to Rudolf Steiner, the Zarathustrian-solomonic 'I' which was incarnated in 30-
year old Jesus of Nazareth.
154
See p.4-10 in: https://www.academia.edu/35498631/EISU_KING_AND_PROPHET_IN_JOHNS_GOSPEL
155
“Und ein innerer Drang entstand in dieser dreifachen Leiblichkeit des Jesus von
Nazareth, (…) hinzugehen zu Johannes dem Täufer. Und dann fand bei dem, was aus
den vier anderen Evangelien bekannt ist, bei der Taufe, die Hineinsenkung der
Christus-Wesenheit in die Leiblichkeit des Jesus von Nazareth statt (...). Auf nahm
diese dreifache Leiblichkeit die Ihnen oftmals geschilderte Christus-Wesenheit, die
jetzt anstelle jenes anderen Ichs in diesen drei Leibern lebte“ (GA 148, p.146).
156
See part 5 in: https://www.academia.edu/36300791/The_Taurus_Portal

124
the inverted direction, which corresponds to 'creative time' running from the
future towards the present). As discussed, a free human act emanates from
both the astral realm and the realm of the 'I'. In every human act, the human 'I'
manifests itself. The biography of Jesus Christ, which provides the arche-
typical Gestalt of the free human act, is characterized by a complete manifes-
tation into the act of the full principle of the human 'I'. This means, that this
archetypical act consists of the full incarnation of the principle of the 'I', which
is the Verb. In figure A-V,6, this incarnation of the Verb at the Baptism of Jesus
corresponds to point f. The second star or asterisk, placed at point f, repre-
sents the incarnation of the Verb or Logos in Jesus of Nazareth (Mark 1:9-11;
John 1:14). The third (i.e. the horizontal, from f over d to g) segment of the
QdC thus represents Christ's lifetime on earth. With respect to this horizontal
direction, where the trajectory of the QdC meets crosspoint d for the second
time, point d corresponds to the death of Jesus Christ at Golgotha. Thus,
point d reflects both the 'minor sacrifice' by the Zarathustrian individuality
(who, by leaving his body, made it available for incarnation by the Verb) and
the 'major sacrifice' which is the death experienced by the Verb on Mount
Olivet157.

In the standard human act, the horizontal segment of the QdC represents the
projection of the selected act into spacetime (which is represented by the ver-
tical segment). The projection as such is a transcendental process, outside of
space and time. It is only in a very partial sense that the human 'I' incarnates
in the human act. Contrastingly, in the lifetime of Jesus Christ, this projection
fully corresponds to the actual life of the incarnated Verb. Thus, in the ultimate
archetype of the human free act, the QdC can be understood as an uninter-
rupted chronological sequence of steps which can be followed along the tra-
jectory outlined by the symbol158. In this sense, Christ's lifetime was the only
'fully incarnated' human act ever. Christ's lifetime is the archetype of both the
fully exalted human act, yet to come, and of the Earth's transformation and
spiritualisation.

According to Fulcanelli's alchemic reading, the third star, which is placed on

top of a branch with leaves, represents the 'philosopher's stone' and its alled-
ged power of multiplication 159. Rudolf Steiner describes the effect of Christ's
157
https://www.academia.edu/23475004/Time_and_location_of_the_Crucifixion_according_to_Hans_Holbein_1497-
1543_._A_comment_on_The_Ambassadors_1533_
158
Nevertheless, the incarnated Verb retains an exceptional relationship with respect to time,
which is reflected by Steiner's remark that Christ's life was characterized, so to say, by a
permanent horoscope, implying that at every single moment of his life, Christ's words and
deeds reflected full truth.
“Während Jesus von Nazareth als Christus Jesus in den letzten drei Jahren seines
Lebens vom dreißigsten bis zum dreiunddreißigsten Jahre in Palästina auf der Erde
wandelte, wirkte fortwährend die ganze kosmische Christus- Wesenheit in ihn herein.
Immer stand der Christus unter dem Einfluß des ganzen Kosmos, er machte keinen
Schritt, ohne daß die kosmischen Kräfte in ihn hereinwirkten. Was hier bei dem Jesus
von Nazareth sich abspielte, war ein fortwährendes Verwirklichen des Horoskopes;
denn in jedem Moment geschah das, was sonst nur bei der Geburt des Menschen
geschieht” (Rudolf Steiner, GA 15, p.76; 1911).
159
“Quand au rameau fleuri d'une étoile situé en hors d'oeuvre, il démontre que par
réiteration de la même technique, la pierre se peut multiplier en quantité et en qualité,
grâce à la fécondité exceptionnelle qu'elle a reçue de la naure et de l'art” (Fulcanelli, DF

125
Resurrection also as an alchemic multiplication of kinds. Referring to Paulus
(1 Cor.15:45-47), he distinghuishes between the 'first Adam' and 'second
Adam' (figure A-V,7). The 'first Adam' refers to the common biological descent
of all humans. Along this lineage, which we can think of as embedded in con-
ventional time ('chronos'), mortal physicality is transmitted. According to Stei-
ner, a so-called 'phantom body' underlies the physical body of the human
being which corresponds to the form holding together the substances and
forces constituting the body. As a result of the biblical fall, this 'phantom body'
has been, so to say, spoiled or impaired, resulting in mortality.

Figure A-V,7: Steiners scheme160 of the first Adam (left) and the second Adam (right).

The resurrected Christ appeared to the first Christians, starting with Mary
Magdalene, as an expression of an intact phantom which has power of multi-
plication. This power was compared by Steiner to the potential for cell multi-
plication in the zygote161. Each human being has the possibility to connect to
this new lineage descending from the 'second Adam'. This lineage must be
thought of as embedded in 'creative time' i.e. in 'kairos' (see figure A-V,7, right;
from the viewpoint of 'chronos', the human being has the ability to 'develop
into' or to 'grow into' this lineage) 162.

tome I, p.394).
160
From: R.Steiner “Von Jesus zu Christus”, GA 131; p.144-145.
161
“Und jeden von diesen Leibern, welche die Menschen bekommen, denken Sie sich
mit dem, was aus dem Grabe auferstanden ist, ebenso zusammenhängend, wie die
menschlichen Zellen des physischen Leibes mit der ursprünglichen Eizelle zusammen-
hängen. Das heißt, wir müssen uns das, was aus dem Grabe auferstanden ist, so in die
Zahl schießend, so sich vermehrend denken, wie die Eizelle sich vermehrt, die dem
physischen Leib zugrunde liegt. So kann sich in der Tat inder Entwickelung, die auf
das Ereignis von Golgatha folgt, jeder Mensch etwas erwerben, was in ihm ist, und was
geistig ebenso von dem abstammt, was aus dem Grabe auferstanden ist, wie — um mit
Paulus zu sprechen — der gewöhnliche Leib, der zerfällt, von Adam abstammt” (GA
131, p.166-167; Karlsruhe, October 11th, 1911).
162
As said, the alchemists considered their 'Opus Magnum' as a structural recapitulation of
Jesus Christ's lifetime, with the pivotal events of Christ's biography (as understood in esoteric
Christianity) corresponding to the main stages and manipulations in the alchemist's Grand
œuvre. For instance, from the viewpoint of esoteric Christianity, the double 'X' and first
asterisk (figure A-V,6 ; a and b) correspond to the three birth events described in Matthew,
Luke and Revelation 12, respectively ; from an alchemic viewpoint, these same symbols
could refer to the alchemist's materia prima (i.e. a pair of complementary substances in com-
bination with some third subtle substance bearing a stellar imprint).

126
The symbolism of the crossed legs.

Figure A-V,8: Two versions of the fourth card of the tarot ('the Emperor'), version Jean
Dodal. From: http://letarot.com/index.html
The eagle is a symbol associated with the fourth evangelist. The '4', which also repre-
sents the 'sign of the cross', is conspicuously placed in front of the emperor's face.
The Emperor is also the IIIIth card of the series. Other Tarot cards do not display an
arabic digit in the same way. Importantly, the '4' is also mimicked by the position of the
Emperor's legs, showing that crossed legs were used as a symbol for the QdC.
The numeral '4' also exists as an open form, which is identical to the astrological
symbol for Jupiter. Interestingly, Jupiter is the 'planet of kings', and both the eagle and
the staff are Jupiter symbols.

The tympanum of Vézelay contains a few instances of crossed legs which

seemingly symbolize the numeral '4'. This symbolism pops up in the Tarot
cards (figure A-V,8), which date from the 17th-18th centuries, but already
transpires in the tympanum of Vézelay. On the one hand, the fourth evangelist
(figure 2c, left) is depicted with crossed legs. On the other hand, the crossed
legs showing up in compartments L1 and R4 refer to the fourthfold view of the
human being which, according to our reading, lies also at the base of the
occult meaning of the QdC (figures 15,1 and 8).

We derived the occult meaning of the QdC from the signing of chalice and
paten during the Eucharist, Thus, it is indicated to have a last look at the
medallions representing bread and wine in the Vézelay tympanum (figure A-
V,9). Strikingly, the character in the bread medallion holds the bread upon his
crossed legs. We have already discussed the meaning of the knife which is
held flat upon the bread. On the one hand, this knife is placed along a midline
of the bread, thereby mimicking the symbol for Salt. But on the other hand,
the knife placed in this way could also refer to the practice of signing the
bread before consumption. The latter reading is complemented by the bread
being held upon the crossed legs, which mimicks the QdC.

127
At the other side of the tympanum (figure 4), the affected body position of the
character in the wine medallion seems to mimick the QdC (figure A-V,9, right).
The lower arms depict a horizontal stroke which forms a reactangular cross
with the body axis, whereas the right upper arm mimicks the oblique part of
the '4'. It seems very improbable that the symbol of the QdC would transpire
haphazardly in such a way in both medallions. Apparently, this symbol (to-
gether with its connection to the Eucharist) was already known by the monks
of Vézelay, long before the QdC appeared in public life (from the 15th century
onwards).

Figure A-V,9: The 'bread and wine' medallions at either side of the tympanum of Véze-
lay. In the bread medallion, an inverted QdC is evoked by the crossed legs (red). In the
wine medallion, the QdC is evoked by the overall body position (green).

Cathédrale Saint-Gervais-et-Saint-Protais, Soissons (France): keystone.

128
APPENDIX VI: THE ESOTERIC MEANING OF JOHN 1:4
– CHIASTIC STRUCTURE OF JOHN 1:1-13 –
(1) 1 Ἐν ἀρχῇ
(2) ἦν ὁ λόγος, καὶ ὁ λόγος ἦν πρὸς τὸν θεόν, καὶ θεὸς ἦν ὁ λόγος.
(3) 2 Οὗτος ἦν ἐν ἀρχῇ πρὸς τὸν θεόν.
(4) 3 Πάντα δι' αὐτοῦ ἐγένετο, καὶ χωρὶς αὐτοῦ ἐγένετο οὐδὲ ἕν.
(5) Ὃ γέγονεν 4 ἐν αὐτῷ ζωὴ ἦν, καὶ ἡ ζωὴ ἦν τὸ φῶς τῶν
ἀνθρώπων.
(6) 5 Kαὶ τὸ φῶς ἐν τῇ σκοτίᾳ φαίνει,
(7) καὶ ἡ σκοτία αὐτὸ οὐ κατέλαβεν.

6 Ἐγένετο ἄνθρωπος
ἀπεσταλμένος παρὰ θεοῦ,
ὄνομα αὐτῷ Ἰωάννης.

(8) 7 Οὗτος ἦλθεν εἰς μαρτυρίαν, ἵνα

μαρτυρήσῃ περὶ τοῦ φωτός, ἵνα πάντες
πιστεύσωσιν δι' αὐτοῦ.
(9) 8 Οὐκ ἦν ἐκεῖνος τὸ φῶς, ἀλλ' ἵνα μαρτυρήσῃ
περὶ τοῦ φωτός.
(10) 9 Ἦν τὸ φῶς τὸ ἀληθινόν, ὃ φωτίζει πάντα ἄνθρωπον,
ἐρχόμενον εἰς τὸν κόσμον.
(11) 10 Ἐν τῷ κόσμῳ ἦν, καὶ ὁ κόσμος δι' αὐτοῦ ἐγένετο, καὶ ὁ
κόσμος αὐτὸν οὐκ ἔγνω. 11 Εἰς τὰ ἴδια ἦλθεν καὶ οἱ ἴδιοι αὐτὸν οὐ
παρέλαβον.
(12) 12 Ὅσοι δὲ ἔλαβον αὐτόν, ἔδωκεν αὐτοῖς ἐξουσίαν τέκνα θεοῦ
γενέσθαι,
(13) τοῖς πιστεύουσιν εἰς τὸ ὄνομα αὐτοῦ, 13 οἳ οὐκ ἐξ αἱμάτων οὐδὲ ἐκ θελήματος
σαρκὸς οὐδὲ ἐκ θελήματος ἀνδρὸς ἀλλ' ἐκ θεοῦ
(14) ἐγεννήθησαν.

(1) 1 In the beginning

(2) was the Word, and the Word was with God, and the Word was God.
(3) 2 This was in the beginning with God.
(4) 3 Through him all things came into being; and in separation from
Him, not even a single thing came into being.
(5) What has come into being 4 within Him partook in Life, and the
Life partook in the Light of men.
(6) 5 And the Light shines in the darkness,
(7) and the darkness has not overcome it.

6 A man came into being,

sent from God,
whose name was John.

(8) 7 He came as a witness, that he might

testify concerning the Light, that all might
believe through him.
(9) 8 He was not the Light, but came that he might witness
concerning the Light.
(10) 9 He was the true Light who enlightens every man, coming into
the world.
(11) 10 He was in the world, and the world came into being through Him, and
the world did not know Him. 11 He came to the own, and the own did not
receive Him.
(12) 12 Those who received Him, He gave them power to become children of God,
(13) to those believing in the name of him, 13 who - not of blood, nor of will of flesh, nor of will
of man - but of God
(14) were born.

129
Remarks

On the preceding page, John 1:1-13 is presented as a chiastic structure 163,

consisting of 2x7 lines, labelled (1) to (14), and an axial line corresponding to
John 1:6. Chiastically reflecting lines are identified by corresponding colors.
John 1:1-13 covers, following a chronological order, the time from the creation
up to the appearance of Jesus of Nazareth. This is followed by John 1:14,
where the incarnation of the Verb in Jesus of Nazareth (at Jesus' Baptism) is
proclaimed. In the comments below, we focus on line (5), because of its rele-
vance to the tympanum of Vézelay. In order to provide some overall context,
the other lines are also shortly commented.

From one point of view, lines (1)-(3) can be understood as a characterization

of the Holy Trinity. The Greek word usually translated as 'beginning' (i.e. ' ἀρ-
χή') can also be understood in the sense of 'spirit' ('πνεύμα')164, because spirit
is the absolute a priori (spirit precedes and transcends everything, including
categories such as time, space, denumerability etc.). Before creation, the
Verb was in the Spirit, who is the acting first principle of everything, including
time. Thus, John 1:1 can be understood as: “In the Spirit was the Verb, and
the Verb was with God”. This verse produces the cyclic sequence [Spirit ⇨
Verb ⇨ God] while (in the second part: “... and the Verb was God”) also con-
firming the identity [Verb = God]. John 1:2 produces the inverse cyclic sequen-
ce [Verb ⇨ Spirit ⇨ God]. The same inversion also occurs in Genesis 1:27 :
“So created God man in his own image, in the image of God he created
them; male and female he created them”. Here, 'created' reflects the Verb
(in Genesis 1, the act of creation is performed through God speaking, i.e.
through the Verb165), whereas the 'image' reflects the Spirit (i.e. God created
man 'in the Spirit of God'). Genesis 1:27 reveals that the two opposite cyclic
sequences [Verb ⇨ God ⇨ Spirit] and [Spirit ⇨ God ⇨ Verb] correspond to the
male and female principles, respectively (which means that, according to Ge-
nesis 1:27, God is 'male and female')166.

The anomalous use of the preposition 'πρὸς' with accusative (whereas the
verb 'ἦν' does not indicate any motion whatsoever) has been much com-
mented upon167. Clearly, the author of the fourth gospel makes use of this

163
Boismard (“Le Prologue de Saint Jean” Cerf, 1953; p.107) identifies a chiastic structure in
the totality of the prologue (John 1:1-18). However, both wings of this chiastic structure also
contain chiastic reflections. Thus, John's prologue is a chiastic structure, consisting of two
chiastic substructures. Concerning John:1:14-18, see p.3 in:
https://www.academia.edu/36300791/The_Taurus_Portal
164
The 'Archai' or 'Principes' (German: 'Urengel' or 'Urbeginne'; https://anthrowiki.at/Urengel)
are also an angelic hierarchy according to Pseudo-Dionysius the Areopagite, with a special
relationship to time.
165
Genesis 1:1-3 thus mentions the Trinity in the [God ⇨Spirit⇨Verb] order.
166
For more, see p.3 ff in:
https://www.academia.edu/35498631/EISU_KING_AND_PROPHET_IN_JOHNS_GOSPEL
167
“Le mot saillant de la seconde proposition est la préposition πρὸς, qui, avec le
régime à l'accusatif, désigne le mouvement d'approximation vers l'objet ou la personne
qui lui sert de régime (…). Cette préposition est choisie pour exprimer sous une forme
locale comme le font en général les prépositions, la direction tendance, le mouvement
moral de l'être appelé la Parole. Son aspiration tendait à Dieu. La forme, incorrecte en

130
strange construction in order to express the paradoxical fact that the Verb ('ὁ
λόγος') is to be distinguished (in a personal sense) from the Father ('ὁ θεὸς')
whereas, at the same time, both are one. Indeed, 'πρὸς' with accusative
implies separation (and therefore distinction) between that which moves and
that towards which the movement is directed, whereas the corresponding verb
'εἰμί' implies identity.

Line (4) consists of two parts168.

In John 1:3a (“Through him all things came into being”), the Verb is
identified as the creative principle. Thus, John 1:3a reflects Genesis 1. Note
that the Greek word 'ἐγένετο' ('came into being') also occurs in the Septuagint
(Genesis 1:3 “καὶ εἶπεν ὁ Θεός· γενηθήτω φῶς· καὶ ἐγένετο φῶς” etc.).

John 1:3b (“...and in separation from Him, not even a single thing came
into being”) reflects the biblical fall (Genesis, chapters 2 and 3) which is con-
sidered as a multiple but aborted attempt to '… create in separation from the
Verb'. Mostly, John 1:3b is taken as a redundant repetition of John 1:3a.
However, the occurrence of such a superfluous passage is unthinkable in an
esoteric text such as John's gospel. The use of the expression “...not even
one single thing” (“..οὐδὲ ἕν”) instead of 'nothing' ('οὐδὲν'; compare to John
10:41, 21:3) indicates that the author had in mind effective creative attempts
in separation of the Verb, all of which came to nothing. The preposition 'χωρὶς'
encompasses the idea of separation. Therefore, it is translated not as
'...without' but as '...in separation from' (compare to John 15:5: the separation
of the vine and the branches; 'χωρίζω' = 'to separate', 'to divide'). Thus, John
1:3b implies that, after the creation referred to in John 1:3a, (a) multiple
'attempts to create' have occurred in separation from the Verb, and (b) that all
these endeavors have failed. Just as John 1:3a is followed by John 1:3b, the
creation story of Genesis 1 is followed by the story of the biblical fall in
Genesis 2-3. As explained elsewhere 169, a first (Adamic) fall occurred, to be
placed in between Genesis 2:4a and Genesis 2:4b. This first fall is followed by
the second fall reported in Genesis 3. As a matter of fact, these events can be
considered as aborted attempts to 'create' (in the sense of Genesis 3:4-5) in
separation from the Verb.

apparence, par laquelle Jean rattache une préposition de mouvement (vers) à un verbe
de repos (était), signifie que ce mouvement était son état permanent, c'est-à-dire son
essence (…) Cet emploi de la préposition πρὸς n'a évidemment de sens qu'autant qu'il
est appliqué à un être personnel (…) Le but auquel tend incessamment le Logos est
τὸν θεόν, Dieu (avec l'article)...” (F.Godet, p.408).
168
We attach the words “ Ὃ γέγονεν” to line (4), which is in accordance with Christian tradi-
tion up to the fourth century (see Boismard “Le Prologue de Saint Jean” 1953, p.26-27).
169
The 'first fall' can be seen as the 'falling down' (cfr. Gen 2:18) of the original masculine
human identity, away from the female human identity who did not participate in this fall. See
p.11-18 in: https://www.academia.edu/35498631/EISU_KING_AND_PROPHET_IN_JOHNS_GOSPEL
For an anthology on the first biblical fall, see: Adam Benz (1955) “Adam. Der Mythus vom
Urmenschen” München: Otto-Wilhelm-Barth Verlag (with texts by Jacob Böhme, Emanuel
Swedenborg, Louis Claude de Saint-Martin, Carl Gustav Carus, Wladimir Solowjew, Nikolai
Berdjajew, and others).

131
Line (5) refers to a three-phased event that occurred after the biblical fall and
before historical times. This event is expressed in the eight compartments of
the Vézelay tympanum. As we will discuss further on, it also corresponds to
Steiner's three 'preliminaries to the mystery of Golgotha'170.

Frédéric Godet171 points out that the expression “Ὃ γέγονεν...”, being a

Greek perfectum, has the meaning of a present tense (because it stresses the
present consequences of an action), and should be understood in the sense
of 'What subsists...' ('Ce qui subsiste...') or 'What actually exists...' ('Ce qui
est là actuellement...'). Thus, the overall expression “Ὃ γέγονεν ἐν αὐτῷ”
refers to some part or aspect of the human being, as it has emerged from the
preceding biblical fall and its destructive consequences, and as far as it dwells
'within the Verb' (i.e. 'ἐν αὐτῷ'). Importantly, the expression “... within Him”
(“...ἐν αὐτῷ”) differs from the expression “...through Him” (“... δι' αὐτοῦ”)
found in John 1:3 (and in the chiastically corresponding verse John 1:11;
compare to Col.1:16-17). The words “Through Him” refer to the Verb being
the effective and primordial Creator. Contrastively, the expression “...within
Him” is suggestive of an already existing creature developing or being
restaured by dwelling within the Verb, or by being embedded within the Verb.
The subject of “Ὃ γέγονεν ἐν αὐτῷ...” is neuter singular. Thus, what sub-
sists in the Verb is not one or more human individuals. Rather, it is some part
or aspect of the human being that is not yet '...life' but has the potential to
become part of 'life'. Therefore, the subject of 'γέγονεν' has to be the physical
organization of the human being.

We conclude that during the first phase of the process described in line (5),
the physical body of man becomes 'embedded within the Verb' (“...ἐν αὐτῷ“).
As a consequence of this having been embedded, the physical body is said to
partake in life. Thus, the creature which subsists after the fall, in as far as it
'...within Him', “...takes part in life” (“...ζωὴ ἦν”).

Finally, this 'life' turns out to be '...the light of men' (“...ἡ ζωὴ ἦν τὸ φῶς τῶν
ἀνθρώπων“).

Thus, line (5) reports that after the fall, a three-fased regeneration process
took place, with the embedment in the Verb being followed by the acquisition
of life, and of the 'Light of men'. Again, in the chiastically reflecting line (10),
this true '...Light who enlightens every man' is mentioned. Note that, according
to the fourth gospel, the Verb is both '...the Life' (John 14:6) and '...the Light'
(John 9:5). John 1:4, (including the preceding words 'Ὃ γέγονεν', which are
part of John 1:3) points to a regeneration process claimed to have occurred
after the fall, through a threefold permeation of the human being by the Verb.
In the first phase, the physical organization of the human being is embedded
within the Verb. In a second phase, man acquires life. In a third phase, the
totality of life acquires 'the Light of men', also called the 'true Light' which is

170
https://anthrowiki.at/Vorstufen_zum_Mysterium_von_Golgatha (cfr. R.Steiner, GA 152).
171
F.Godet (1902, 2008) “Commentaire sur l'évangile de Saint Jean” Soleil d'Orient; see
p.414-415.

132
the Verb. Thus, within the living human being, the light of consciousness and
knowledge emerges. Line (5) has been subtly crafted in such a way as to
indicate that the three phases occurred subsequently, at separate times.
Firstly, the perfectum 'γέγονεν' indicates that the embedment of the human
organization within the Verb occurred before this organization becoming part
of 'life'. Secondly, the article ' ἡ' (in “...καὶ ἡ ζωὴ ἦν τὸ φῶς τῶν ἀνθρώ-
πων”) distinguishes the second mentioning of 'ζω ὴ' from the first one: “... ἡ
ζωὴ” refers to life in its totality, or life completed, stating that this completed
life was the Light of men (whereas the first mentioning of 'ζωὴ', which lacks an
article, only implies that what is subsisting within the Verb was partaking in
life). The conjunction 'καὶ' indicates that two subsequent but separate phases
are involved172.

The last word of line (5), reflected in line (10), points to the overarching finality
of the threefold process, which is a stepwise rehumanization of the human
being after the fall, through embedment of the human being within the Verb.
This corresponds to the view developed by Rudolf Steiner in a number of
lectures held in 1914173. According to Steiner, the human physical body was
heavily impaired after the biblical fall, unable to spreak 174 or to adopt the up-
right stance175 and with largely disabled sensory organs 176. This state of affairs
is expressed in the two uppermost Vézelay compartments (figures 15, 1-2).
According to Steiner, Christ went through a first sacrifice which permitted the
human being to adopt the upright stance and to acquire adequate sensory

172
Compare this to the conjunction 'καὶ' opening John 1:14 which connects the event of the
incarnation of the Verb (at Jesus' Baptism) to the encoded reference to the mystery of the two
Jesus children in John 1:13 (see comments on lines 13-14). As another example, the
conjunction 'καὶ' opening John 2:1 connects the initiation of Nathanael (i.e. the 'wedding at
Cana') to the preceding verse John 1:51, where this initiation is announced.
173
See the lectures collected under the title “Vorstufen zum Mysterium von Golgotha”
('Prerequisite Stages to the Mystery of Golgotha'), GA 152 (hereafter: VMG). Published in
English under the title: “Approaching the Mystery of Golgotha”.
174
See VMG, p.107.
175
In Steiner's Pforzheim-lecture (March 7th, 1914), the first 'Vorstufe' is linked to the upright
stance of the human being: “Durch das Durchziehen mit dem Christus hat [der spätere
nathanische Jesus] ätherische Menschengestalt angenommen. Damit ist ein Neues in
den Kosmos hineingedrungen, das jetzt ausstrahlt auf die Erde und dem Menschen,
der physischen Erden-Menschenform (…) so daß [im Menschen] lebt die Gestaltungs-
kraft, die ihn ein aufrechtes, ordentliches Wesen werden läßt” (VMG, p.106). As
explained on p.4 to 18 (see especially figure 5 on p.15) of the paper:
https://www.academia.edu/35498631/EISU_KING_AND_PROPHET_IN_JOHNS_GOSPEL
the 'Son of Man', who is part of the original human being, did not take part in the biblical fall.
As a physical human being, the Son of Man was born as the Lukan or nathanic Jesus (on
Friday, January 14th, 1 AD). At the baptism of Jesus of Nazareth (on Sunday, April 1st, 31
AD), the Son of Man united with the Verb (i.e. the 'Son of God') at the physical level.
According to Rudolf Steiner, the three 'Vorstufen' can be understood as the Verb uniting with
the 'Son of Man' at the ethereal level, which is the ontological domain where potentialities are
living (see appendix II). These three events of unison between the Verb and the Son of Man
created for the fallen human being the possibility to introduce the principle of selflessness
subsequently at the levels the physical body, the ethereal body and the astral body.
176
“Wir nehmen die Welt dadurch wahr, daß unser Sinnensystem selbstlos ist” (VMG,
p.153); “...daß meine Sinne nicht Quellen von Schmerzen sind, sondern das Werkzeug
der Wahrnehmung der Herrlichkeit der Welt, das verdanke ich dem ersten Opfer, das
von seiten des Christus als Vorbereitung vorangegangen ist dem Mysterium von
Golgotha” (VMG, p.155).

133
organs. This event, which was of a spiritual nature, clearly corresponds to the
first of the three phases mentioned with respect to John 1:4 ('what has come
into being', i.e. the human physical organisation, could embed in the Verb).
Importantly, Steiner characterized this event as the elimination of selfishness
at the level of the physical body. The two subsequent events, characterized
respectively by the acquirement of object-related language (the ability to
name objects) and of fully developed speech (the ability to engage in conver-
sation), can be understood as the introduction of the principle of selflessness
at the level of the human ethereal body and the human astral body, res-
pectively. These three events are preliminaries to the Mystery of Golgotha,
which occurred in the physical world and which cleared the way for the
coming elimination of selfishness at the level of the human 'I' 177. Following
Steiner, we will use the German word 'Vorstufe' (pl.: 'Vorstufen') for labelling
these three stages or phases of human recovery after the biblical fall.

Vorstufe I

According to Rudolf Steiner, the first Vorstufe introduced the principle of

selflessness at the level of the physical body. He discusses this process from
two points of view. In a lecture of March 7 th, 1914 (Pforzheim), Vorstufe I is
connected to the acquirement of the upright human stance (see figure AVI-1;
p.137). In another lecture (Basel, June 1st, 1914), the introduction of the
principle of selflessness at the level of the sensory organs is stressed. At the
physical level, the introduction of the principle of selflessness manifests itself
through the physical constitution becoming increasingly transparant, so to say,
for the incarnated human 'I'. Thus, we are able to observe the world because
or sensory organs do not manifest themselves but are totally at the service of
the observing 'I'178. In the same sense, the physical body as a whole acquires
a Gestalt, characterized by the upright stance, which renders it suitable for

177
“Die Sinne haben gesagt: Nicht ich, der Christus in uns. Die Lebensorgane haben
gesagt: Nicht ich, der Christus in uns. Die Gemütsorgane haben gesagt: Nicht ich, der
Christus in uns. Des Menschen moralisches und intellektuelles Leben muß lernen zu
sagen: Nicht ich, der Christus in mir. Jeder Schritt in die geistige Welt hinein zeigt uns
dieses” (VMG, p.163).
According to Steiner, 'Vorstufe I', 'Vorstufe II' and 'Vorstufe III' were concerned with the
restoration of the physical body, the etherealal body and the astral body, respectively. They
preceded the mystery of Golgotha, which aimed at the safeguarding of the human 'I' (VMG,
p.125; on the fourfold view of the human being, see appendix II). At each of the three
'Vorstufen', Christ connected with the individuality of the 'Son of Man' at the etherealal level
(VMG, p.106). The etherealal level is the ontological domain encompassing the potentialities
and laws which manifest in the physical world. The 'Son of Man' (i.e. the aspect or part of the
original human being which did not take part in the biblical fall), by being impregnated by
Christ, provided the human beings with the potentiality to absorb, with respect to the physical
body, the etherealal body, and the astral body, the principle of selflessness which
characterizes Christ (“Durch das durchziehen mit dem Christus hat [der spätere
nathanische Jesus] ätherische Menschengestalt angenommen. Damit ist ein Neues in
den Kosmos hineingedrungen, das jetzt ausstrahlt auf die Erde und dem Menschen,
der physischen Erden-Menschenform (…) so daß [im Menschen] lebt die
Gestaltungskraft, die ihn ein aufrechtes, ordentliches Wesen werden läßt” (VMG, p.106).
178
“Wir nehmen die Welt dadurch wahr, daß unser Sinnensystem selbstlos ist” (VMG,
p.153).

134
incarnation by a human 'I'. In 1925 179, Steiner discussed once again (but from
a different viewpoint) the evolutionary stage corresponding to Vorstufe I. He
identifies the Archai as the angelic hierarchy creating the human Gestalt. The
latter is called a “...fully spiritual” (“...durch und durch geistig”) creation, a
divine “...imagination descended into the physical world” (“...eine wirk-
liche Imagination, die in die physische Welt heruntergestiegen ist”), the
contemplation of which “...should bring us in a celebratory state of mind”
(“Feierlich sollte es stimmen...”). Steiner distinghuishes between this human
Gestalt and the physical body proper, which is the totality of the physico-
chemical processes occurring within the Gestalt. The Gestalt permits the hu-
man 'I' to insert itself into the realm of gravitational forces, in balance and with
the possibility to act freely, with arms and hands feelingly emancipated from
gravitation.

According to Steiner, the human 'I' lives, in a direct and immediate way, within
the gravitationally dominated complex of biomechanical forces which cha-
racterizes the human body (figure A-VI,1, p.137). With respect to human con-
sciousness, the 'I' identifies with these forces. According to Steiner, a free
human act which derives from the 'I' does not come about indirectly, by the
human 'I' steering in some way the nervo-muscular system. Instead, the hu-
man 'I' acts directly, in a magical way, by identifying with these forces 180. From
179
“Um recht zu verstehen, was die Hierarchie der Archai vollbrachte, als sie in ihrem
Chor die menschliche Gestalt schuf, muß man bedenken, daß ein gewaltiger
Unterschied ist zwischen dieser Gestalt und dem physischen Leib des Menschen.
Physischer Leib ist, was sich physisch-chemisch im Menschenwesen abspielt. Das
geschieht bei dem gegenwärtigen Menschen innerhalb der menschlichen Gestalt.
Diese selbst aber ist ein durch und durch Geistiges. Feierlich sollte es stimmen, ein
Geistiges mit physischen Sinnen in der physischen Welt als Menschengestalt
wahrzunehmen (...) der Menschengestalt [ist] eine wirkliche Imagination, die in die
physische Welt heruntergestiegen ist (…) der Mensch [verdankt] dieser Schöpfung der
Archai-Hierarchie, daß [er] in die Schwereverhältnisse der Erde in aufrechter Stellung
hineinfügen kann, daß er innerhalb dieser Schwereverhältnisse das Gleichgewicht in
freier Bewegung bewahren kann, daß er Arme und Hände der Schwere entreißen und in
Freiheit gebrauchen kann, das und noch manches andere, das zwar im Innern liegt,
aber doch Gestaltung ist” (R.Steiner, GA 26, p.185-187).
180
“Die Ich-Organisation ergreift nicht bloß den ätherischen und den physischen Leib,
wenn sie zurückgeht beim Aufwachen, sondern sie ergreift im menschlichen Leibe die
äußere Welt, die Kräfte der äußeren Welt (…) das Ich schlüpft hinein in den physischen
Leib, ergreift den physischen Leib, aber schlüpft so weit hinein, daß es den physischen
Leib unschwer macht; der physische Leib verliert, indem das Ich hineinschlüpft, seine
Schwerkraft. Wenn ich also als wacher Mensch aufrecht stehe, so ist für mein Bewußt-
sein, für das Ich selbst, für die Ich-Organisation, die auch im Wärme-organismus ihren
physischen Ausdruck hat, die Schwerkraft überwunden. Es ist keine Möglichkeit vor-
handen in mittelbare Beziehung zur Schwerkraft zu treten. Das Ich tritt in unmittelbare
Beziehung, stellt sich als Ich in die Schwerkraft hinein, schaltet also den physischen
Leib aus. (...) Sie stellen sich fortwährend in die wirkliche Schwerkraft der Erde hinein
mit der Ich-Organisation, wenn Sie gehen, nicht auf dem Umwege durch den physisch-
en Leib, Sie treten in unmittelbare Beziehung zu dem Tellurischen (…) Mit allen Kräften
der Erde, mit der ganzen physischen Welt steht unsere menschliche Organisation in
Beziehung, und zwar in direkter unmittelbarer Beziehung, nicht in indirekter Bezieh-
ung. (…) das, was die Physiker Materie nennen, das gibt es ja nicht. In Wirklichkeit ex-
istieren nur Kräfte, und die Kräfte sind durchaus ähnlich wie zum Beispiel die Schwer-
kraft - es gibt natürlich noch andere Kräfte, gewisse elektrische Kräfte, magnetische
Kräfte - , mit allen steht die Ich-Organisation in unmittelbarer Beziehung und ist
während des ganzen Wachzustandes im normalen Menschen darinnen (…) Wir wachen

135
a logical point of view, this has indeed to be the case. By its very nature, the 'I'
acts 'I-wise', so to say, i.e. immediately and not through intermediaries. Strictly
speaking, the 'I' does not perform the act; it manifests as the act. The unique
biomechanical organisation of the human body reflects the unique fact that an
'I' incarnates into the human being. The upright human stance, structured
within the normal plane (figure AVI-1), reflects the autonomy of the 'I' with res-
pect to external impulses, appeals and influences. The nature of the human
Gestalt as a divine imagination manifests itself in the fact that the human body
is organized according to the principle of biomechanical forces balancing and
resting upon themselves, permitting the human body to keep upright without
additional expenditure of energy. From a biomechanical point of view, the hu-
man body is organized according to the ideal of weightlessness i.e. internal
emancipation from earthly gravition. As such, the unique biomechanical sys-
tem of humans provides an immediate image of the 'I' which, by its very natu-
re, rests upon and within itself. As a matter of fact, the incarnated 'I' cannot
but live within a physical structure which directly reflects the emancipated na-
ture of the 'I', with which the 'I' can identify as an acting being. The ideal nor-
mal stance shown in figure A-VI,1 is, so to say, the 'zero point' out of which the
free human act emerges. In this sense, the human body is truly a divine ima-
gination projected into the physical realm.

The upright human stance and the normal plane are expressed in two uni-
versal human gestures which refer to the 'I'. On the one hand, the upwardly
pointed index181 mimicks the upright human stance, and as such symbolizes
the human 'I' (which lives directly within this stance, as a complex of bio-
mechanical forces conceived). This imagery is used in compartment L2 of the
Vézelay tympanum (figure 15-3). On the other hand, the outstreched hand
held parallelly to the normal plane and making a left⬄right waving movement,
also represents the 'I', again by reference to the human body and its upright
stance. This waving gesture has two basic meanings. When the arm is held
upwardly above the head, this waving gesture acts as a long-distance
greeting signifier ('I am over here'). When held in front of the chest, the waving
gesture expresses the 'I' refusing some invitation or proposal. Gesturing in
this sense is shown in compartments L3 and R3 (figures 15-5 and 6).

auf und stellen uns als Geist mit unserer Ich-Organisation in die Welt der irdischen
Kräfte hinein. Unsere Beziehung ist in Wirklichkeit nicht eine physisch vermittelte,
sondern eine magische. Nur daß diese nur räumlich ausgeübt werden kann, rein räum-
lich begrenzt durch die Grenzen unseres Organismus” (R.Steiner GA 317, p.44-46;
Dornach, 27. Juni 1924).
181
The use of the index for pointing toward objects is a uniquely human gesture, typically
appearing in 10 months old babies (see also: Richard Tallis “Michangelo's Finger” London:
Atlantic Books; 2010). No animal, not even chimpanzees, are able to understand or to learn
this pivotal gesture. On the one hand, questioningly pointing towards an object implies aware-
ness of things having a deeper identity or nature, and correspondingly also a name. Ipso
facto, the act of pointing also points out that (a) the pointing human being is endowed with this
awareness, and (b) that it expects the viewer of the act of pointing to share that awareness.
Thus, the pointing index finger operates as a direct physical expression of the community of
human beings living within a realm of concepts and meanings which transcends the sensory
realm. The uplifted index finger acts as an 'inverted pointer' i.e. a signifier for the 'I' (in the
sense of '...here I am', '...I am willing to do this' etc.). Additionally, this 'sense of the I' also pro-
vides a natural starting point for the concept of the natural numbers. Hence, the uplifted finger
is also a natural signifier for the number '1'.

136
Figure A-VI,1:
Left: The upright human stance182. Visual axis directed towards the horizon.
Right: Three successive stages (juvenile, adolescent, adult) stages of a macaque skull
(Macaca nigra)183 illustrating increasing dehumanization and imbalance of the primate
head as growth procedes.
The human being is not just a bipedal creature such as, for instance, birds or jerboas.
In the 'normal position' shown above, the broken line indicates the 'normal plane' i.e.
the frontal plane which runs through the center of gravity of the human body (1). The
subordinate centers of gravity also lie in this plane: head (2), torso (3), upper arm (4),
forearm (5), hand (6), thigh (7), lower leg (8). This is also the case for the major joints:
atlas (a), shoulder (b), elbow (c), hip (d), knee (e), ankle (f), and for the vestibular sys-
tem (sense of balance and spatial orientation; orange point). This accumulation of
centers of gravity, joints, and vestibular system within a particular frontal plane (named
the 'normal plane') is a unique characteristic of man and no animal organism comes
even close to it. In the course of evolution, the head was the last part of the body to
become integrated into this system (even Home erectus and Homo sapiens neander-
thalensis did not yet achieve head balance). One consequence of this human charac-
teristic is the fact that an upright standing human does barely use more energy as
compared to a human being lying down. A typical quadruped animal, such as a dog,
uses about twice as much energy standing on all fours as compared to lying down 184.
According to Rudolf Steiner, the acquisition by man of the upright human stance
resulted from 'Vorstufe I'. This acquirement of the upright gait is closely interwoven
with an integration of the human senses. As a primordial example, we can consider the
organ for the sense of balance and spatial orientation (the vestibular system) in the
inner ear, which seems (from an engineering point of view) optimally placed in hu-
mans, whereas the location of the same system in quadrupeds looks suboptimal. Thus,
the location of this organ suggests that the original bauplan of mammals was human-
like, and that the loss of the upright stance was a secondary phenomenon.

182
See: J.Verhulst “Developmental Dynamics in Humans and Other Primates” 2003; p.151
(adapted from: Braune and Fischer, Abhand.math.-phys. Kl. Königl. Sächs. Ges. Wiss. 15,
p.561-672 + Fig.; 1890).
183
Ibid., p.268 (from: Dabelow, Gegenbaurs Morph. Jb. 59:493-560 (1928).
184
See: M.Abitbol (1988) “Effect of posture and locomotion on energy expenditure”
American Journal of Physical Anthropology 77, p.191-200.

137
A comparable remark could be made with respect to the sense of discriminative touch
which is optimally concentrated in the human hand, permitting fine exploration of
objects. This special ability characteristic of the human hand has been made possible
by the development of the upright human stance which liberates the human hand.
Then again, the liberation of the human hand induces a dramatic liberation of the skull,
in the sense that the development of a snout for purposes of grasping and manipu-
lating becomes superfluous. And again, this liberation has important consequences for
the sensory organs. For instance, most non-primate mamals lack stereoscopic vision,
because of the highly developed snout separating both eyes.
Comparison of the human gestalt with mammals generally strongly suggests that the
human form was primordial and that quadrupedality is a secondary phenomenon. This
is illustrated in figure A-VI,1 (right), where it is shown that the primate skull develops
from a rather human-like initial shape, with the expansion of the snout producing an
increasingly imbalanced skull during the later stages of ontogeny. A comparable phe-
nomenon shows up in the hand: whereas the human hand sticks to the original penta-
dactyle configuration, most quadrupedal mammals have lost many of its original fea-
tures (figure A-VI,2). For instance, horses and bovines have kept only one, respectively
two of the original five digits; except for primates, almost all mammals have lost the
ability to perform axial rotation of the forearm; even when four or five digits are still
present, they are mostly clumped together (as, for instance, in dogs or elephants), etc.
This paradoxical phenomenon of primordiality of the human body, where the exceptio-
nal abilities of man (speech, tool manufacture etc.) are facilitated not by evolutionary
specialization but by sticking to the original and generalized Gestalt (which is refined
and rendered more explicit, but not specialized one-sidedly) can be understood as a
direct result of 'Vorstufe I'.
In the tympanum of Vézelay, the loss of the human shape of the skull is illustrated in
compartments L1 (dogheads; figure 15-1) and R1 ('Sciritae'; figure 15-2). The general
loss of the upright human stance is illustrated in compartment R1. Both compartments
also illustrate the impairment of the sensory organs. The recovery of the human gestalt
at the physical level, which corresponds to 'Vorstufe I', is illustrated in compartments
L2 and R2.
★

Figure A-VI,2: Comparison of human and equine hands. The human hand is the more
primitive form, with pentadactyly and 2-3-3-3-3 digital formula (primitive for mammals).
The equine hand has only one highly specialized digit, derived from the third ray. The
splint bones, indicated as *, are reduced remains from the second and fourth meta-
carpals. Whereas the primordial form of the human hand allows for multifunctional
use, the derived or specialized form of the equine hand has been adapted for a small
array of functions, mainly locomotion. The human hand, while liberated from locomo-
tory functions, is closely interwoven with speech and functions as a versatile signifier
(right: archangel Gabriel's occult gesture; Isenheimer Altar, Colmar, France).

138
Vorstufe II

Whereas Vorstufe I corresponds to John's “What has come into being with-
in Him...”, Vorstufe II corresponds to “...partook in Life”. Thus, in Vorstufe I
the physical body of the human being was permeated by the principle of the
Verb, which is the principle of selflessness, whereas in Vorstufe II the ethereal
body underwent a transformation or restoration in the same sense. The
ethereal body can be thought of as the domain of the human being containing
the potentialities for change and development of the physical body. Basically,
these potentialities are not living in space, but in time, and they continuously
change through time. As a simple example, a physical law can be considered
to be part of the 'ethereality' of lifeless substance. Physical law determines
which changes and processes are possible. However, in lifeless objects, phy-
sical law as such does not manifest in the actual form. It resides, so to say,
outside of substance. In living organisms, the ethereal body is incarnated in
the living substance, manifesting itself through the phenomenon of
functionality. For instance, it makes sense to ask “what for?”-questions with
respect to a plant leaf, whereas it makes no sense to ask a similar question
with respect to, say, a feldspar crystal embedded in some lump of granite. In
functional form, laws of nature manifest themselves directly, united to the
actual form of the substance, which thereby becomes a functional form.
Generally, functional forms in a living organism are 'selfless': they do not exist
for their own sake but are at the service of the organism as a whole (i.e. in the
organism as a whole reside the answers to the “what for?”-questions 185).

Just as physical laws apply to inanimate nature as a whole, every living being
has its own particular 'law' which coincides with what that being actually is. At
the core of an oak is an etherealal 'oak law', at the core of a rose is an
185
It is a common 'scientific mistake' (i.e. a mistake heralded by scientists in the name of
science) to think of living organisms as machines in the sense that processes and pheno-
mena exhibited by living organisms are reducable, at least in principle, to the laws derived
from inorganic and physical processes. This mistaken belief is derived from (a) the correct
observation, that living organisms never exhibit phenomena at variance with the laws of
physics, which is combined with (b) the erroneous idea that the fine structure of the living
organism can be observed, i.e. actually known, with the same degree of precision as a piece
of experimental equipment used by a physicist. Thus, the counterpart of the functionality of a
living organism is a certain degree of indeterminateness at the micro-physical level. As far as
the living organism is physically determinable, it acts in accord with the laws of physics; but
the living organism has not the same degree of determinateness as the physical apparatus
used by the physicist. Niels Bohr seems to have been the first leading physicist to have
grasped this point: ”If we were able to push the analysis of the mechanism of living or-
ganisms as far as that of atomic phenomena, we should scarely expect to find any fea-
tures differing from the properties of inorganic matter (…) however, (…) the necessity
of keeping the object of investigation alive imposes a restriction on the former, which
finds no counterpart in the latter. Thus, we should doubtless kill an animal if we tried to
carry the investigation of its organs so far that we could describe the role played by
single atoms in vital functions. In every experiment on living organisms, there must re-
main an uncertainty as regards the physical conditions to which they are subjected,
and the idea suggests itself that the minimal freedom we must allow the organism in
this respect is just large enough to permit it, so to say, to hide its ultimate secrets from
us. On this view, the existence of life must be considered as an elementary fact that
cannot be explained, but must be taken as a starting point in biology” (Niels Bohr “Light
and Life” Nature 131, p.421-423 and 457-459; 1933; see p.458).

139
etherealal 'law of the rose'. Such a law, which lives at the etherealal level 186,
also operates within the human being. This 'law of the human being' is of a
unique type, re-flecting the fact that Vorstufe II injected the principle of
selflessness into man's ethereal body. This selflessness characterizing the
human ethereal body mani-fests in man being the 'giver of names'. The
human etherealal body is such, that its own central law has become:
pronouncing, objectively and selflessly, the 'laws' i.e. the inner names of other
beings187. According to Steiner, Vor-stufe II provided the human being with the
ability “...to grasp that which is ob-jective”. Without this ability, human
speech would have developed into “...a mere sum of interjections” in the
sense that man would be able “... only to poorly express his subjective
feelings of pain and joy, of lust and frustration”. This ability of human
speech to cover the objective outside world was restored when the Verb (i.e.
Christ) again permeated, at the ethereal level, the 'Son of Man' (the human
being that had not gone through the fall, and that later was to become the
nathanic Jesus)188.
186
The ethereal realm is the ontological domain encompassing the objectively existing po-
tentialities of the physical world. Thus, a particular quantum mechanical wavefunction, being
an abstract description of the potentialities connected with the apparatus used in a physical
experiment, reflects what lives in the ethereal realm with respect to that apparatus. In the
case of a physical experiment, the physical parameters of the apparatus are supposedly
known with perfect precision, whereas a superposition of different possible outcomes of the
experiment are encompassed by the wavefunction. Inversely, a biological phenomenon is
focused on one possible outcome (which reflects the fact that biological phenomena are
'teleological'; by their very nature, they reflect functionality), whereas the counterpart of the
physical apparatus, i.e. the biological organ or organism, is an 'anti-superposition', so to say,
of many different physico-chemical configurations (in this regard, Bohr makes the important
observation that “...we cannot even tell which atoms really belong to a living organism,
since any vital function is accompanied by an exchange of material, whereby atoms
are constantly taken up into and expelled from the organisation which constitutes the
living being”; L&L, p.458). Thus, in living organisms, potentiality precedes form, and forms
superpose conforming to potentiality so that the latter is enabled to manifest as functionality.
On the contrary, in inanimate substance form takes precedence over potentiality, and the lat-
ter does not express any function: “The essence of reductionism in biology is to keep the
matter of which an organism is made, and throw away the organization, with the belief
that, since physicochemical structure implies function, the organization can be effecti-
vely reconstituted from the analytic material parts. Relational biology, on the other
hand, keeps the organization and throws away the matter; function dictates structure,
whence material aspects are entailed (…) Thus, the principles of relational biology may
be considered the operational inverse of (and complementary to) reductionistic ideas”
(A.H.Louie “The Reflexion of Life” Springer 2013, p.xx).
187
This ability to name things is not yet full speech (the latter lives between two or more be-
ings listening and speaking). The competence of naming things can be compared to the
narrative in Genesis 2, where Adam is said to name the animals and birds (Gen.2:19-20).
According to Genesis 2, this event was preceded by Adam acquiring a physical body and
coming to life (Gen.2:7), and was followed by Adam engaging in full speech (Gen.2:23). Thus,
it looks as if the pattern of the Vorstufen can be recognized also in Genesis 2, after the first
'Adamic' fall (the male human principle 'falling way' from the female principle, cfr. Gen.2:18,
but before the second fall, cfr. Gen.3).
188
“Durch den luziferischen und ahrimanischen Einfluß hätte im Sprechen alles unedel
werden müssen, wenn der Mensch nur der Erde überlassen worden wäre (…) Der
Mensch würde seine ganze Lebenskultur so entwickelt haben, alle seine Lebens-
organe, Kehlkopf, Zunge, Rachen und so weiter, ja auch die tieferliegenden Organe wie
Herz und so weiter (…) wenn nichts geschehen wäre durch den Christus, daß der
Mensch nur fähig gewesen sein würde, in ärmlichem Lallen auszusprechen (…)
dasjenige, was ihm egoistisch Schmerz, Freude, Lust, Wollust bereitet; (…) in seinem

140
This means that the human ethereal body clears the way for man to become,
in the full sense of the word, the '...being which speaks truth'. The ethereal
body organizes the physical body in such a way, that man is enabled, not just
to utter his own inner needs and feelings and desires, but to objectively reflect
the nature of the beings in the outer world. What is acquired at this stage is
not yet fully developed speech, but the ability to reflect other beings according
to their own nature (i.e. according to their own 'law'). This is equivalent to the
ability to speak out the 'true name' of these beings. As such, the human being
starts to '...partake in Life' 189. In a general sense, life appears in as far as an
organism is organized according to its own unifying 'law', which defines and
determines the nature of that organism. However, the human being partakes
in life in a unique sense: through the Verb, his own 'law of life' has become the
rendering of the laws of life of all of creation, making him into the 'giver of
names'. As such, the human being is enabled to reflect the Verb, which is the
'Being Truth'. And we human beings not only '...partake in life'; we '...partake
in Life' (John 14:6).

Vorstufe III

After Vorstufe II, the human being is enabled both to objectively observe the
physical constitution of other creatures (this was realized after Vorstufe I,
when sensory organs became permeated by selflessness) and to objectively
grasp their 'inner law' (which is the ability to truly 'name' these other
creatures).

Lauten würde er nur Ausdrücke gefunden haben für das, was ihm im Innern lebt (…)
Die ganze Sprache wäre eine Summe von Interjektionen geworden. Während wir jetzt
unsere Empfindungsworte auf ein kleines Maß zusammendrängen, wäre die mensch-
liche Sprachkunst mit aller Kompliziertheit nur zu Interjektionen hinaufentwickelt
worden. Das wurde abgewendet von der menschlichen Entwicklung. Die Unordnung in
dieser Sprachkraft (…) wurde abgewendet durch das zweite Christus-Ereignis,
dadurch, daß sich die Wesenheit in Ätherhöhe, die später der nathanische Jesusknabe
wurde, das zweite Mal durchdrang mit der Christuswesenheit, und daß sie eine solche
Wesenheit annahm, die nunmehr die Leibesorgane des Menschen so durchdrang, daß
der Mensch jetzt fähig wurde, etwas anderes als bloße Empfindungsworte auszu-
stoßen. Daß er fähig wurde, das Objektive zu ergreifen, das ist durch das zweite
Christus-Ereignis ermöglicht worden” (GA 152, p.108-109; Pforzheim, March 7th, 1914).
189
One could also say, using the concept of the living organism as a superposition of different
forms rather than as a single form, that the human being, in a quite literal sense, through this
superposition encompasses the forms and shapes of all other creatures. In this sense, the act
of acquiring knowledge is not to be considered as some knowledge-acquiring activity ema-
nating from the 'knower' and reaching the object of knowledge from the outside. Rather,
knowledge is acquired from the inside, because the knower encompasses the object of
knowledge. This is expressed in Rudolf Steiner's 'Philosophy of Freedom': “Die Frage: wie
bekomme ich Kunde von dem Baume, der zehn Schritte von mir entfernt steht, ist
völlig schief gestellt. Sie entspringt aus der Anschauung, daß meine Leibesgrenzen
absolute Scheidewände seien, durch die die Nachrichten von den Dingen in mich
hereinwandern. Die Kräfte, welche innerhalb meiner Leibeshaut wirken, sind die
gleichen wie die außerhalb bestehenden. Ich bin also wirklich die Dinge; allerdings
nicht Ich, insoferne ich Wahrnehmungssubjekt bin, aber Ich, insofern ich ein Teil
innerhalb des allgemeinen Weltgeschehens bin”; from “Die Philosophie der Freiheit”,
GA004 , p.104; compare to notes 92 and 147, on pages 79 and 121).

141
According to Rudolf Steiner, Vorstufe III concerned the astral body of man. At
this level, the human being has also major 'organs' (“Gemütsorgane”; GA 152,
p.163), which can be referred to as 'thinking', 'feeling' and 'willing'. Vorstufe III
resulted in these three major 'organs' of the astral body to be permeated by
the principle of selflessness190. Without this permeating of the three major
functions or 'organs' of the human soul, man would of necessity succumb into
madness or hypochondria191. Vorstufe III leads to a new condition of the hu-
man being, who starts experiencing himself as emancipated from the spiritual
world, and feeling separated as an individualized entity with respect to the
surrounding world192. Although the mystery of Golgotha has initiated a fourth
phase, which logically follows Vorstufe III by proposing the human 'I' to identify
with the principle of selflessness, its consequences are still largely to develop.
By and large, we humans still live in the regime that came into existence after
Vorstufe III, while very slowly processing the impact and consequences of
Christ's earthly incarnation, death and resurrection.

This integration according to the principle of selflessness, of the functions of

thinking, feeling and willing, leads to the acquisition of fully developed speech,
implying that words could be used as 'signs' for what existed in the external
world, so that speech could be used for communication 193. As a matter of fact,
human speech consists of 'statements' which, by their very nature, implicitely
confirm their own truthfullness. Thus, the speaker 'feels' the content of the
statement to be true, with this feeling resulting from a thinking effort aimed at
the uncovering of thruth. This implies feeling, willing and thinking acting in an
integrated way, at the service of truth, which is the Verb.

190
“Notwendig war es für die Menschheitsentwicklung, daß Denken, Fühlen und Willen
sich als selbstlose Dinge der Gesamtheit der Seele einfügten (…) Da tratt dann (…) das
dritte Christus-Ereignis ein. Wiederum verseelte sich die Christus-Wesenheit in einem
Erzengelwesen, und die Kraft, die in der überirdischen Welt dadurch entstand, daß der
Christus ein Erzengelwesen durchdrang, die ermöglichte die Harmonisierung von
Denken, Fühlen und Wollen” (GA 152, p.158-159); “Die Gemütsorgane haben gesagt:
nicht ich, der Christus in uns” (GA 152, p.163).
191
“Wenn Denken, Fühlen und Wollen nicht in richtigem Maße ineinanderwirken, dann
kommt der Mensch entweder in übergroße Hypochondrie oder bis Wahnsinnszustande
hinein (…) das dritte Christus-Ereignis (…) hat bewirkt (…) daß maßvolle Harmonie in
die Seelenkräfte des Menschen, in Denken, Fühlen und Wollen, gebracht worden ist”
(GA 148, p.195; Berlin, February 10th, 1914); “Was wäre aus dem Menschen geworden,
wenn dieses dritte Christus-Ereignis nicht eingetreten wäre? Furienhaft würde er erfaßt
worden sein von seinen wilden Begierden, von seinem Willensleben. Rasend hätte er
werden können, trotzdem auf der andern Seite wiederum sein Verstand selbstsüchtig
höhnisch gedacht hätte über dasjenige, was rasend der Wille vollbringt. Das ist
abgewendet worden durch das dritte Christus-Ereignis (...)” (GA 152, p.159; Basel, June
1st, 1914).
192
“Als drittes Stadium tritt erst das gegenwärtige auf. Der Mensch erlebt sich in seiner
Menschengestalt, losgelöst von der göttlich-geistigen Welt; und er erlebt die Welt als
Umgebung, der er individuell-persönlich gegenübersteht” (GA26, p.182; 1925).
193
“Die Kraft [der] Christus Jesus-Wesenheit durchdrang (…) ein zweites Mal im
menschlichen Leibe Organe, insofern diese Organe in der Sprachkraft zum Ausdruck
kommen. Damit war der Sprachkraft die Möglichkeit gegeben, mit den Worten wirkliche
Zeichen zu schaffen für das, was äußere Umgebung ist, und dadurch über die
einzelnen Gebiete der Menschheit die Sprache als Verständigungsmittel zu schaffen”
(GA 152, p.109).

142
Lines (6)-(7) refer to the mystical event occurring on the first Christmas night
(Sunday, December 25th, 1 AD) and which is described in Rev.12:1-6. As
explained elsewhere194, this date does not correspond to the physical birth of
Jesus of Nazareth (see comments concerning line 13), but to the Verb con-
necting to the realm of the Earth and of human history 195. According to eso-
teric tradition, this event went with the occurrence of a nightly burst of light 196
emanating from constellation Virgo, which is indicated in Rev. 12:1 as “...a
woman clothed with the Sun”. In the gospel by the same author, this pheno-
menon is characterized as “...Light [shining] in the darkness”. As indicated
in Rev.12:4-6, the darkness (corresponding to the “...red dragon” in Revela-
tion 12:4) did not overcome the Light (i.e. the dragon did not succeed in swal-
lowing the Child). Thus, starting from John 1:5, we enter historical times,
which is indicated by the present time popping up in this verse (“...the Light
shines...”).

The axis of the chiastic structure corresponds to John 1:6. The Baptist is
introduced. The words Ἐγένετο ἄνθρωπος ('a man came into being') evokes
both the chiastically connected expressions 'Πάντα δι' αὐτοῦ ἐγένετο' (line 4)
and 'ὁ κόσμος δι' αὐτοῦ ἐγένετο' (line 11) and the word 'ἄνθρωπος' chiastical-
ly occurring in lines (5) and (10). This suggests that the Baptist is not some
random individual, but has a special connection to the creation of man.

Lines (8)-(9) implicitely identify John the Baptist as Adam reincarnated.

Indeed, in order to witness concerning the Light, the individuality of John the
Baptist must have experienced the Light (i.e. the Verb or the Creator) in an
exceptional way not shared by other human beings. Adam corresponds to the

194
See appendix II (p.44 ff) in:
https://www.academia.edu/35498631/EISU_KING_AND_PROPHET_IN_JOHNS_GOSPEL
195
The incarnation of the Verb into Jesus of Nazareth (John 1:14) occurred at Jesus' baptism
which can be dated on Sunday, April 1st, 31 AD. See:
https://www.academia.edu/36300791/The_Taurus_Portal
196
This burst of light can be interpreted as the counterpart of the darkness that occurred,
according to the Synoptics, at the day of Christ's death (Friday, April 3rd, 33 AD). Curiously, a
burst of light occurred above the Russian republics of Bashkortostan, Udmurtia, and Tatar-
stan, on Sunday, January 7th, 2018, around 0:24 a.m., which was Christmas night for ortho-
dox Christians. At that time, the Moon was again “...under the feet” of Virgo, and constel-
lation Virgo had again just risen in its totality above the eastern horizon. Interestingly, the
event coincided with a conjunction Mars-Jupiter in Scorpio (on Sunday, December 25th, 1 AD,
both planets also stood in Scorpio). Mostly, this strange phenomenon was interpreted as a
meteoric event. Yuri Nefed'ev, director of the Engelhard Astronomical Observatory (located in
Tatarstan), believed that some unknown phenomenon of atmospheric electricity was involved:
“I rather prefer the second possibility: atmospheric electricity. Firstly, the atmosphere
had a complex structure. Secondly, this complex structure encompassed many electri-
cally loaded parts. Then, under certain circumstances and with certain parametric va-
lues, luminous phenomena can occur, or phenomena that are connected to global
events. Think of the Tunguska meteorite, of which even today nobody known what it
was” (“Я более склонен ко второму варианту – атмосферному электричеству. Во-
первых, атмосфера имеет сложную структуру. Во-вторых, в этой сложной структуре
присутствует много заряженных частиц. При определенном стечении oбcтoятeльcтв и
при определенных параметрах могут происходить различные световые явления или
явления, связанные с глобальными происшествиями. Если вспомнить Тунгусский
метеорит, то до сих пор не понятно, что это было”).
https://sntat.ru/obrazovanie/bolid-ili-atmosfernoe-elektrichestvo-uchenye-sporyat-o-prichinakh-vspy/

143
human individuality as it existed after the first biblical fall, but before the
second fall (described in Genesis 3). As such, he had a unique experience
with 'the Lord' who came to his rescue after the first fall (Genesis 2).

Line (10) (i.e. John 1:9) can be read as a direct continuation of line (5), ex-
plaining that the three-phased process described in line (5) results from a des-
cent of the Verb into the 'world' (i.e. into the creation), thereby illuminating the
developmental path to be taken by humans. At the same time, line (10) is also
a continuation of John 1:6-8, indicating that the entering of the Verb into the
world is still continuing, leading to His incarnation into the physical world.
Thus, John 1:9 characterizes the coming incarnation of the Verb (cfr. John
1:14) as a continuation of the three-phased event mentioned in line (5).

Line (11) chiastically reflects line (4) where the Verb is mentioned as the
Creator and where the biblical fall is alluded to. In parallel, line (11) again cha-
racterizes the Verb as the Creator, but adds that the Verb has now entered the
world (cfr. line 5). The Verb is not recognized or known by 'the world', although
people had obtained restauration of their physical, ethereal and astral bodies
through his descent into the world.

Lines (12)-(14), which contain John 1:12-13, presents us with a conundrum. It

seems impossible to produce a coherent and meaningful translation. The two
main problems are the following:

Firstly, the antecedent of the relative pronoun 'οἳ' is problematic. Often, 'οἳ' is
understood to refer to 'τοῖς πιστεύουσιν' ('to those who believed') which is also
masculine plural. However, this reading makes no sense from a semantic per-
spective: if 'those who believed' are already 'born of God' (which is indicated
by the aorist 'ἐγεννήθησαν') then ik makes no sense to give them the power
'...to become children of God'.

As an alternative, 'τέκνα θεοῦ' ('children of God') has been proposed as

antecedent of 'οἳ'197. Because τέκνον ('child') is neuter whereas 'οἳ' is
masculine, the sentence has to be interpreted as a constructio ad sensum198.
On the one hand, this produces a difficult reading, because of the interjection
'τοῖς πιστεύουσιν εἰς τὸ ὄνομα αὐτοῦ'. On the other hand, the semantics
remain problematic: How could one become a '...child of God' if that child is
already born of God ('becoming or being a child of God' can be supposed to
have the same meaning as 'being born of God') 199.

197
See for instance Frédéric Godet “Commentaire sur l'évangile de saint Jean”, 1902;
p.439-440.
198
“Il semble au premier coup d’œil, en raison du verbe au passé : qui sont nés, que
l’apôtre place, la régénération avant la foi, ce qui est naturellement impossible. Mais,
comme le fait observer avec raison Meyer ('Kritisch exegetisch Handbuch über das
Evangelium des Johannes', Göttingen 1862, p.66), le relatif οἵ, qui, ne se rapporte point au
mot τοῖς πιστεύουσιν, ceux qui croient, mais par une construction ad sensum au
substantif neutre τέκνα θεοῦ, enfants de Dieu. Le v. 13 développe ce terme : 'enfants de
Dieu' (...)”
199
On the 'constructio ad sensum' see for instance: https://en.wikipedia.org/wiki/Synesis.

144
Secondly, the conjunction 'καὶ' ('and') which opens John 1:14 strongly
suggests a close semantic connection linking John 1:12-13 to John 1:14. John
1:14 refers to the incarnation of the Verb into a human being. Thus, we expect
John 1:12-13 to refer to some event or situation closely connected to that
incarnation, and logically preceding that incarnation 200.

In almost all translations, these problems remain without solution. On the one
hand, the translators seem to accept the impossible idea that those who
received the power to become children of God are identical to those who are
already born of God. On the other hand, the translations show a semantic gap
separating 1:12-13 from John 1:14, notwithstanding the conjunction 'κα ὶ' con-
necting both passages.

A clear and very surprising meaning emerges from 1:12-13, if we accept that
the author of the fourth gospel (who was an extremely sophisticated writer)
has embedded into his text an unusual 'constructio ad sensum' and that he
did so on purpose, in order to refer to the mystery of the two Jesus children. It
is reasonable to accept that the majority variant of 1:13 is original and that the

John Pryor (“Of the Virgin Birth or the Birth of Christians? The text of John 1:13 once
more” Novum Testamentum 27 (4), p.296-318, 1985) characterizes the problem as “...the
difficulty of determining the antecedent of οἳ and the unsuitability of the tense of
ἐγεννήθησαν. If the antecedent is τέκνα then one has the difficulty of a predicative
clause passing over a phrase in apposition. Whether the verse goes with πιστεύουσιν
or with τέκνα one would have expected either a present or a perfect tense. As it pre-
sently reads, those who receive authority to become God's children are already so by
reason of a prior birth from God” (p.298). The author proposes to neglect the problem: “...it
is more likely that τέκνα is the antecedent of οἳ. If the latter be taken as a simple rela-
tive pronoun, then, as long been recognized, οἳ is chosen ad sensum instead of ἅ. In
this case, there is admittedly a certain awkwardness in the placement of the apposi-
tional phrase τοῖς πιστεύουσιν. However, one wonders whether the application of strict
grammatical rules must be the criterion for determining the rightness of a reading. As
in modern writing, the demands of the author may at times compel a breaking of the
'rules' (...)” (p.301). Finally, the author rejects striving for a solution as “...an attempt to be
too fine in the reading of the text” (p.302).
200
Edwyn Clement Hoskyns (“The fourth gospel” Londen: Faber and Faber 1940, 1947)
writes: “The evangelist did not write simply The Word became flesh, as though he were
beginning a new topic. He wrote And the Word became flesh. That is to say, he links
v.14 closely to v.13” (p.164). On p.163-166, Hoskyns discusses a textual variant of John
1:13, where a singular replaces the plural (“who is born of God” instead of “who were born of
God”). This variant “...is found in the Verona Codex of the Old Latin Version, but in no
other known manuscript of the gospel. Tertullian, however, not only assumes a similar
reading, but denounces the reading who were born as a falsification by the Valen-
tinians (…) Tertullian goes on to argue that the whole verse must be taken to refer to
the birth of Jesus of the Virgin Mary (...)” (p.163). Hoskyns refers to other Church Fathers
and concludes (p.165) that “...the language of v.13 was felt to be naturally applicable to
the Virgin Birth (…) it would not seem unreasonable to assume that, at the beginning of
the second century, phrases such as not by the will of man, but by the will of God were
actually current or at least wholly natural with reference to the Virgin Birth of Jesus,
and that the evangelist and his readers were familiar with such language or that it
would possess an obvious application to the birth of the Lord. If so, a background is
provided for the sequence of vv.12-14 in the prologue, and the Evangelist employs
phraseology actually used of or obviously suggestive of the Virgin Birth, transferring
or applying it to the desired spiritual miracle of Christian regeneration, but in such a
way that the reference to the miraculous birth of Jesus is preserved and presumed ...”.

145
alternative reading referred to by Tertullian is a late 'correction' introduced by
copyists who were not familiar with the distinction between the solomonic and
the nathanic Jesus. However, the text should be understood in the sense that
the antecendent of the relative pronoun 'οἳ' (the first word of verse 1:13) is just
the immediately preceding word 'αὐτοῦ' (the final word of verse 1:12). Thus,
the relative pronoun 'those' is connected to the antecedent 'him' by an
extremely unusual type of constructio ad sensum (correspondence with
respect to gender but not with respect to number; replacing 'αὐτοῦ' by 'αὐτῶν'
would produce a 'normal' sentence) built into the text in order to reflect the
extremely unusual event of the transformation of the Lukan Jesus in the
temple. Thus, the unusualness of the text reflects the unusualness of the
event referred to in the text. The extremely unusual transformation of twelve
year old Jesus in the temple (Luke 2:41-52), where two people become one,
is reflected in the text, where the plural of the relative pronoun 'ο ἳ' points to
the singular 'αὐτοῦ'. In many cases, a 'constructio ad sensum' amounts to
sloppy use of language, but in John 1:12-13, the construction is an example of
hyper-precise esoteric language 201. Normally, the pronoun and its antecendent
share the same number (singular or plural) and the same gender (masculine,
feminine, or neuter) because in general, number and gender of the people
involved in the event described are invariant. However, the number of people
involved in the event referred to in John 1:12-13 does change: two people
(plural) become one (singular). The facts that (a) both children share the
same name 'Jesus', and (b) both are claimed to be of virgin birth (Matthew
1:25; Luke 1:34) conform to our reading of the text. The word 'αὐτοῦ' refers to
Jesus of Nazareth, after the transformation of 12-year old Jesus in the temple
(Sunday, May 14th, 13 AD; Pesach Sheni) but before Jesus' Baptism at age 30
(Sunday, April 1st, 31 AD; Easter). Therefore, John 1:12 does not refer to
'...those believing in Him' but to “...those believing in the name of him”: the
belief does not yet refer to Jesus of Nazareth before the Baptism, but to the
Logos incarnated. The latter also has the earthly name 'Jesus of Nazareth'.
But in a much deeper sense, the Logos incarnated is identicial, by his very
nature, to His own name. Thus, whoever believes in the name of the Verb
incarnated, believes in the Verb.

Note that the reading of John 1:12-13 here proposed also resolves the
problem of the conjunction linking John 1:12-13 to John 14. Indeed, the
transformation of the nathanic Jesus in Jerusalem's temple is the last major
event before the incarnation of the Verb at Jesus' Baptism, and no
intermediate event is openly mentioned in the New Testament. Thus, the word
'καὶ' naturally links both passages, in an historical sense.

201
Also, the chiastic correspondence connecting the anomalous expression “...πρὸς τὸν
θεόν” in John 1:2 (line 2) to the anomalous constructio ad sensum “...αὐτοῦ, οἳ” in John 1:12-
13 (line 13) should be noted. As we have mentioned, the use of 'πρὸς' with an accusative
(although the verb involved does not express any motion whatsoever) expresses the
relationship connecting the Father and the Son, who are both one and two distinct divine
Persons. A comparable paradoxical relationship, referred to in passages such as John 5:36-
38, connects the individualities of the solomonic Jesus and the nathanic Jesus and as a
matter of fact, the latter relationship can be considered as a reflection of the former.

146
 ADDENDUM
A WALK THROUGH THE COUNTRYSIDE AROUND THE BASILICA.

The Burgundian countryside around Vézelay is particularly beautiful. As we

have seen, the basilica of Vézelay is deeply embedded within the surrounding
landscape. The walk described here (about 9 km) is a closed loop connecting
Vézelay, Saint-Père-sous-Vézelay, the hamlet of Nanchèvre, and Asquins and
offers outlooks upon the hill of Vézelay from different directions. It can be
combined with visits to Vézelay's Madeleine and Saint Père's Notre-Dame.
The description starts at the bridge over the river Cure at Saint-Père.

The walk from Saint-Père (1) to Nanchèvre (5).

From the bridge over the Cure (from where the basilica can be seen; 1) take
the D957 in the direction of Avallon (northeast) and turn left after a few meters
(Rue de Marsay). Follow the right bank of the Cure over about 0.5 km, then
turn right before the ponds (2). Follow the track uphill, reaching point (3) after
660 m. Along the straight track (3)-(4) (420 m), view upon the eastern side of
Vézelay and Saint-Père with its magnificent church, down below in the Cure
valley. Turn left at (4), following the asphalted Route de Saint-Père which
leads to the small village of Nanchèvre. In Nanchèvre, keep left, following the
Route de Saint-Père and its prolongation, the Rue du Lavoir (where indeed an
ancient lavoir can be seen). Avoid the streets at right (Route de Fontette and

147
Rue des Prés). After about 830m, the last house (nr. 23) of the Rue du Lavoir
is reached (5). Take the track on the left, immediately behind that house. After
about 270m, before the main track turns to the right, take a lesser path at left,
which descends into a small forest (6). After about 430m, this track turns 90°
to the right (7), reaching a segment (7)-(8) (about 930m) with magnificent
views upon the Cure valley, the village of Asquins and the northeastern side of
the hill of Vézelay. At (8), the track joins a larger road which turns around a
farm (8)-(9) (330m) and leads to an asphalted road called Les Champs du
Pont (9). Take this road to the left, in the direction of the Cure and Asquins. At
the crossroad, keep left (Route de Givry) crossing two branches of the Cure
and thereafter the D951 (Route d'Avallon) (9)-(10) (430 m). At right, a tabac
where un petit café can be taken.

Walking from Nanchèvre to Asquins (10) and La Cordelle (13).

At point (10), take the first street at left, the Grande Rue which is the main
street of Asquins. Follow for 570m, where the street bifurcates into the Rue de
Vézelay (left) and the Chemin de Saint-Jacques (right) (11). Take the Chemin
de Saint-Jacques and follow straight away for about 550 m, ignoring a few
streets and roads at either side, until a minor crossroad (12) is reached, with
two iron crosses on the right. Follow the track at left for about 320 m, until the
minor road Les Champs de la Cordelle is reached (13). At right, the small
franscican cloister La Cordelle, with the Chapelle Sainte-Croix which can be
visited. In front arises the cross commemorating Saint Bernard preaching the
second crusade at this location. Take the track upward which passes along
the right side of this cross. After about 230m, the Porte Sainte Croix is
reached (14). Enter this gate, following the path among the trees.

148
 Reaching the Basilica (15) and returning to Saint-Père (21).

An additional 270m lead up to the basilica of Vézelay (15; Place de Made-

leine, in front of the church).
Descend 270m along the Rue Saint-Pierre and another 280m along the Rue
Saint-Etienne, reaching the Place du Champ de Foire, which is the main gate-
way of the town (16).
Turn left following the main road D951, ignoring the Chemin de la Corderie at
left. After 120m, the road splits in three, with the D951 turning to the left, the
Route de l'Etang to the right, and the D957 in between. Cross the D951 and
take the D957 up to the entrance of the parking lot (60m). Here, cross the
D957 (17) and follow the grassy shoulder for about 130m (18). Take the track
at left, which is the Chemin de Saint-Christophe. At the cross-roads (after
about 780m; 19), continue straight on. Splendid views on the hill and the ba-
silica from the southern side. Descend until reaching Saint-Père after 820m;
20). The Chemin de Saint-Christophe joins the Rue du Moulin des Margueri-
tes, which can be followed over another 160m into the village until the city
hall. The magnificent Église Notre-Dame is 90m to the right, and can be
visited. From the City Hall, follow the D958 to the left for 200m, where you
reach the bridge of Saint-Père (21=1).

149