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The Mount of Olives

As a fact, the marvelous inward and upward ascension of the Fifth Serpent of Light along the spinal medullar canal of the causal body granted me open access into the initiatic mysteries of the fifth degree of the Venustic wisdom.

If I write in detail all of that which I then learned in the thirty-three holy chambers of the causal world, it is obvious that I would fill immense volumes.

There, as a causal man seated with much humility, I crossed my arms over my chest in order to assist in the final ceremony...

Unfortunately, I had the wrong custom of crossing my arms in such a way that the left was always over the right...

“Thou should not cross thy arms in such a way,” an adept of the temple told me. Then, he added, “The right must go over the left.” I obeyed his instructions.

Have you ever seen an Egyptian sarcophagus? The crossed arms over the chest of the defunct illustrate these affirmations.

Any skull between two crossbones or skeletal bones (usually known as a sign of danger) also represents these affirmations.

The deep significance of this symbol is to perform the will of the Father on Earth as it is in heaven; to die in the Lord...

When the great Kabir Jesus was on the Mount of Olives, he prayed as follows: 

O my Father, if thou be willing remove this cup from me: nevertheless not my will, but thine be done.

And being in an agony he prayed more earnestly: and his sweat was it were great drops of blood falling down to the ground.

And when he rose up from prayer, and was come to his disciples, he found them sleeping for sorrow [with their consciousness asleep], and said unto them, why sleep ye? [Why do you have your consciousness asleep?] Rise and pray, lest ye enter into temptation [because it is clear that the sleeping ones fall into temptation]. - Luke 22:42,44-46

It is written: “Before the cock [the Word] crow [or incarnates within us], thou shalt deny me thrice.” - Matthew 26:34

Peter, Petra, or Rock was the hierophant himself, or in Phoenician, the “interpreter,” from which came the famous evangelical phrase: “Thou art Peter, and upon this rock I will build my church [our inner temple].” [Matthew 16:18]

Busen, in his writing entitled The Place of Egypt in Universal History (volume 5, page 90), comments about an inscription found in the sarcophagus of a great queen of the eleventh dynasty (2,250 years before Christ). It is only a transcription of the Book of the Dead (4,500 years before Christ) that interprets the hieroglyphics of Peter, Patar, Revelation, initiation, etc.

When the old medieval alchemists discovered that the “initiatic Petera” was in our sexual organs, they did not err in any way...

Unquestionably, “to spill the cup of Hermes,” to prostitute the stone of truth is equivalent to denying the Christ...

From the Unknowable Entirety or Radical Zero, the Pythagorean Monad, the Verb, the Arch-Magi or Hierophant, the Unique-One, the Buddhist Aunadad-Ad, the Ain Soph, En Soph or Chaldean Pneuma-Eikon, the Ruach Elohim or divine Spirit of the Lord floating upon the Genesiac waters, the one who exists by himself, Anupadaka, or the Aryan Manu-Swayambu-Narayana, emanates in the beginning of any manifestation or universe.

This particular Monad of each one of us transforms itself into the most sublime Duad — our individual particular Divine Mother Kundalini...

HE and SHE constitute the Gnostic Father/Mother, the Parsi Zeru-Ana, the Dual Protogonos or the Kabbalistic Adam Kadmon, the Theos-Chaos of the Theogony of Hesiod, the Chaldean Ur-Anas or fire and water, the Egyptian Osiris-Isis, the Semitic Jah-Hovah, Jehovah, or Iod-Heve, etc.

The Latin word Romae (Rome) when inverted becomes (amore) love. Therefore, the sacrament of the Church of Rome (Romae, Amore) is love, the Sahaja Maithuna (Sexual Magic).

We must learn to fulfill this holy sacrament by vibrating in tune with the divine couple. 

He must convert himself into the living expression of the Hebraic י Iod, and she must be the living manifestation of הוה Heve.

The Kabbalistic Adam Kadmon, the Rha-Sephira or eternal masculine-feminine, when conciliating themselves above and below in the infinitely large and the infinitely small in perfect harmony, constitute the culminating note of the “Mount of Olives.”