Château de Liberté

From TSL Encyclopedia
Revision as of 23:32, 7 February 2020 by Pduffy (talk | contribs) (Created page with "Pero uno no sólo ve la escultura del ingenio y escucha la música de las esferas, también los toscos intentos de aficionados esperanzados, los tímidos empeños de los princ...")
Jump to navigation Jump to search
Other languages:
English • ‎español
Château Borély, situated near the mouth of the Rhône River on the outskirts of Marseilles, recalls the retreat of Paul the Venetian

En el sur de Francia, a orillas del río Ródano, hay un foco de la llama de la libertad así como el retiro presidido por Pablo el Veneciano, chohán del tercer rayo. La presente descripción del retiro de Pablo corresponde al foco etérico, que es congruente con un castillo, extendiéndose mucho más allá del castillo físico, que está mantenido por el propietario, una familia francesa. Gran parte de los alrededores guardan parecido con el equivalente etérico; sin embargo, el maestro rara vez se manifiesta en la octava inferior. El castillo contiene muchas obras de arte importantes y en ciertos momentos del año se abre al público, igual que las grandes salas del retiro etérico se abren a los estudiantes del Veneciano que vienen a estudiar arte y cultura así como los verdaderos conceptos de la libertad.


Este extenso retiro se presta a las funciones de galería, museo y archivo de arte y artefactos de muchas culturas y civilizaciones. Un Versalles con esplendor propio, contiene un sin fin de aulas donde las obras de arte de todas las épocas están expuestas. Las pinturas de Pablo, de sus estudiantes y otros maestros abundan. Aquí se han celebrado talleres para músicos, escritores, escultores, estudiantes de canto así como oficios de todo tipo; y maestros ascendidos de todos los rayos han introducido nuevas técnicas en todas las especialidades del arte.

El arte de la belleza y el arte de la libertad están evidenciados por doquier. Cuando uno se encuentra en el paisaje de los alrededores, disfruta de la subida y bajada de las aguas de las fuentes de mármol, los trinos musicales de los pájaros de plumaje multicolor, los nenúfares en los estanques, las bellas y fragantes rosas que adornan las elegantes columnas de mármol, y las magníficas estatuas de tantos siglos atrás.

En el interior de los muros presenciamos también una exhibición de la grandiosidad de expresión en la escultura, la pintura y la música: piano, chelo, órgano, arpa y el alegre cantar de las muchas voces de los coros. Los expertos y exponentes de bellas artes –música, escritura, escultura– frecuentan el Château como invitados para imbuirse de la radiación de su belleza.

Pero uno no sólo ve la escultura del ingenio y escucha la música de las esferas, también los toscos intentos de aficionados esperanzados, los tímidos empeños de los principiantes que han dado sus primeros pasos precavidos en la escala del logro. Es fácil disfrutar de la belleza y la fragancia de la flor cuando sus pétalos están abiertos, pero el tierno brote que acaba de asomar por la tierra es el que necesita el cuidado del amor divino.

Within the Château walls, therefore, the crudest of expressions have an honored place. For to the least of these aspirants, the ascended master Paul extends his loving care, lest their first attempts be shriveled and the bud fall from the stem. Within the circumference of his consciousness, he welcomes all those sons with motives pure; for he considers each man’s heart a “Château de Liberté” within which is enshrined the flame of liberty, pulsating to expand some talent, gift or grace—the individual facet of the God-intent for each lifestream. He sees each one’s potential and esteems it his reason for being to help each one refine his crude expressions into beautiful designs—whether in statesmanship, in education, in the fine arts, in science, in medicine, in ministration or in the understanding of pure Truth.

As host at his retreat, he greets—with the dignity and majesty of an ascended one—all these chelas of his heart. Beyond the entrance to the etheric retreat, they enter an expansive hall where they are held spellbound by the radiation from the canvas on the wall ahead. This is Paul’s painting of the Holy Trinity. Its vibrant emanations throughout the entrance chamber inspire in each beholder such reverent awe, he dare not move nor speak for quite some time. The heavenly Father is portrayed by a majestic figure. The likeness of Jesus depicts the Son, and an impressive white dove with a nine-foot wingspan focuses the Holy Spirit. Begun before his ascension and completed thereafter, this great work of art focuses both dimensions of Paul’s service to the earth. Beneath the painting Paul inscribed in gold letters, “Perfect love casteth out fear.”

As they become accustomed to this exalted state, the students move across the tessellated floor and descend the stairs, passing through the corridor that leads to the auditorium known as the Flame Room. The threefold flame of liberty is in the center of the room, focused within a golden chalice. Within the base of the chalice is a concentration of the crystal fire mist, the white light out of which the threefold flame proceeds. The focus of the flame of liberty was brought by the Goddess of Liberty from the Temple of the Sun near what is now Manhattan just before the sinking of Atlantis, when the physical structure of the Temple of the Sun was destroyed by cataclysmic action.

The radiance from the flame renders the room as bright as the sun. Paintings done by Paul depicting the saints and sages of all times grace the circular walls of the room. Devotees enter the Flame Room to pay their respects to the flame and to briefly absorb its pulsations, which expand as the rhythm of a giant heartbeat. The focus is so intense that they are asked to meditate in other rooms of the retreat provided for that purpose. The entire retreat vibrates to the rhythm of the liberty flame.

The fleur-de-lis design that we see in the retreat is the symbol of the threefold flame. It is no mere coincidence that the crowned heads of France adopted this symbol as their emblem, for the real liberty flame blazed upon their native soil.

Attending the retreat

For centuries Paul has felt that beauty is a necessary part of the thought and feeling processes of those who desire spiritual progress, who desire to obtain their freedom and the liberty to do the will of God. He feels that one’s capacity to appreciate eternal beauty is expanded in accordance with one’s adoration to his own God Presence. Speaking to his chelas, he has said:

I come as the lord of the third ray of God’s divine love, to strengthen the children of God by the power of the LORD’s strength wherewith he strengthened his prophet of old....

I would impress upon you the very patterns that issue from the heart of God—patterns that, as floral cups, are made up of the exact geometry that is required to sustain a momentum of love upon the planet in the last days.

Precious hearts, it is one thing to have in the mind an idea of love, to think of love, to accept love when all is going well; but I would train you to magnetize love as a vortex of pulsating light-essence that is not moved—that cannot be moved—come what may. To sustain a focus of love when all the world is confounded by the volleying of their hatreds is the calling of the avatars and of their chelas who count not the cost as they give their all for the salvation of a planet and its people.

Now then, I would take you into my drill sessions. Yes indeed, we do drill in my retreat. Those of you who think that we spend all our days and nights in painting and sculpture and divine arts must realize that each of the seven rays issues forth from the white-fire core of God’s Being, and in that white-fire core is the full complement of his consciousness. And so, I have an army of beauty-bearers, those who bear the consciousness of beauty to mankind; and they do march in formation and most lovingly come under the disciplines of Serapis Bey. For they see that out from the flaming center of ordered purity comes forth the pattern whereby they can not only precipitate beauty, but they can also release it to mankind and impress it upon the consciousness of the race.

Patterns of loveliness are the salvation of mankind, for each perfect design that originates as divine blueprint within the fiery center of life and is then embellished by the adoration of the cherubim and the flaming-pink angels presents to the consciousness of mankind a passion for living, for striving and for reaching the ultimate goal of reunion with the God Self....

In our drill exercises we impress upon the neophytes as well as the advanced disciples in our retreat the necessity of discipline in outpicturing beauty. We drill the mind through meditation upon perfect forms. We drill the emotions of God-control; and we show how each one may command the perfect feelings of God to be the receptacles of God’s light within his consciousness and how he can, in the name of the risen Christ, refuse to admit aught else, especially the teeming emotions of the mass mind.

This can be done, precious hearts. Do not doubt that you, even in your present state, can rise quickly—no matter what your level of attainment—to greater self-mastery and greater control of the fires of creation. For when you come right down to it, the fires of creativity held within the forcefield of man determine what he can accomplish in his earthly span.

If you are ready for the disciplines of love, then I invite you to come to France, to the Château de Liberté. Come on wings of song and wings of glory.[1]

See also

Paul the Venetian

Goddess of Liberty


Mark L. Prophet and Elizabeth Clare Prophet, The Masters and Their Retreats, s.v. “Le Château de Liberté.”

  1. Paul the Venetian, “The Opening of the Temple Doors III,” Pearls of Wisdom, vol. 16, no. 12, March 25, 1973.