Alcar -- Sources

Source texts from the books by Jozef Rulof for the article ‘Alcar’.
By Ludo Vrebos, based on the books by Jozef Rulof.
These sources presume the prior reading of the article ‘Alcar’.

Unique contact

The first book that Jozef Rulof received as a medium from his spiritual leader, ‘A View into the Hereafter’, describes how Jozef, who is called André in this book, learns the name of his leader clairaudiently:
Never before had André seen a human being as magnificent as the one standing there before him, and he would recognize him out of thousands.
Now it turned dark around him and the figure had disappeared.
Yet again he heard that soft voice saying: ‘I will tell you my name, listen attentively to the tone of my voice, so you will recognize it amidst others, in case someone tries to impersonate me.
This too happens.
But you will immediately realize that it is not I who is talking to you.
Alcar is my name, Alcar.
Remember that well.
A View into the Hereafter, 1936
Alcar builds up a unique confidential relationship with André.
For instance, he takes André with him to his spiritual dwelling in the spheres of light, so that André can get to know his spiritual personality better.
In the article ‘Fifth sphere of light’, we get to know this spiritual dwelling and the character of Alcar.
An important aspect of the confidential relationship is that master Alcar only comes through for André and not for another medium:
“Master Alcar does not come anywhere else, he has only one instrument and that is André, that is Jozef Rulof.
You still feel that if he were really to start this, he would break the wonderful contact between him and his instrument.
You now know what was needed to build up such a contact.
In the first books of André Master Alcar already says:
“Remember, André, I will not come anywhere else.
You will understand that later.”
It is only now that André understands it.
Master Alcar already expressed this then to prevent misunderstanding and to make sullying of his sacred work apparent.
Spiritual Gifts, 1943
During his last life on earth, Alcar was a well-known painter:
Alcar wore different robes.
When his leader appeared on earth, he usually assumed a condition representing his last life on earth.
He then saw his leader as a painter, the master of centuries gone by.
On this side, however, he saw his earthly garment slowly dissolve, and as they went higher, Alcar’s robe became increasingly beautiful until he had entered his own sphere.
Once in this sphere, his robe remained like those worn by the entities living there and no further change was possible.
That was also amazing.
The spiritual garment slowly began to change into thousands of soft shades.
That is the possession of the spirit, of the human being feeling love, and who is open to every life.
The Origin of the Universe, 1939
In the book ‘The Origin of the Universe’, Alcar gives the name that he had during his last earthly life:
There I was Anthony van Dyck and I was allowed to bring my art which I acquired on this side.
The Origin of the Universe, 1939
Alcar is not ‘coincidently’ the spiritual leader of Jozef Rulof.
They have already known each other for many centuries.
In order to illustrate this, Alcar shows André a scene in which Alcar as Anthony van Dyck makes a life-size portrait of his friend, who later reincarnated as Jozef Rulof:
Look, André, here I am on the spot where I lived while on earth.
Once, hundreds of years ago, this was one of my studios.
I brought you to this place, where I met him who was my friend.
In this house I lived and made my greatest works of art.
Sit down, André, and concentrate on me.’
André did as Alcar wanted and he felt himself sink away.
He saw several human beings in front of him.
He knew how this image was brought about.
To the left and right he saw several paintings and he recognized Alcar’s art.
He saw his leader working on a big canvas
It was the figure of a man and he immediately understood the meaning of this image.
It was Alcar’s friend who he was painting and the portrait was nearly finished.
He also felt the great gifts of his leader.
Alcar descended deeply into this being and André felt the severe concentration it required.
How thankful he was that his leader let him experience this.
This belonged to the past, and yet, he saw it happen again; for nothing could be destroyed.
Whatever man had created, remained.
Amazing, he thought, is everything Alcar shows me.
How great was this sight.
He had experienced this several times, but he always felt the wonderful essence of this connection.
This was the past, yet brought to life once more.
André felt an affectionate bond.
His leader felt great affection for him which he portrayed and also from the human being posing for him radiated a similar affection, but his leader possessed more light; he could see that.
There was a deep bond between them.
Here he felt the quiet of the spirit.
He observed in silent admiration.
His leader had achieved this heightened condition by intense concentration.
Alcar had been young and fair while on earth and how conscious he was of his ability!
This was creation.
He painted his friend life-size.
The vision then faded away and he returned to himself.
Alcar looked at him and said: ‘This happened once, André.
This painting is kept in a museum.
But what I only wanted to let you feel is that I was deeply attached to him.
Something forced us together, of which neither of us was conscious.
I loved him, as I would have loved my own child.
This strength was within me and although I resisted, I could not free myself from it.
A power, stronger than my own, time and again connected me with him.
His sorrow was my sorrow; his feelings were mine.
The Origin of the Universe, 1939
In that life Jozef Rulof (Jeus) was an astronomer:
Jeus first saw in London, along with Master Alcar, that he had lived there and was an astronomer, that Master Alcar is Anthony van Dyck and they were friends!
Jeus of Mother Crisje Part 3, 1952

Aim of Alcar

On earth, Alcar was already convinced of an eternal life after death:
On earth, André, I was an artist, a painter, at the time when the masters lived on earth.
My paintings are still kept in museums, even though hundreds of years have since gone by.
On earth I was convinced of a life everlasting, because I too sensed that I was being helped.
Every artist is, to a certain extent, a medium.
I knew that an artist is able to receive his aspirations from higher sources, depending on his attunement.
There were times when I clearly sensed how I was being influenced by invisible forces.
On rare occasions I saw these powers and forces in the shape of a figure, and I tried to link up with that power, which helped my abilities to develop.
But only on this side did I see the truth.
I passed on at an early age.
I was forty-two when I went on my last journey.
During my career I mainly painted religious subjects, such as the exodus from Egypt, Golgotha, the Last Supper and many others, too many to mention.
My art was my life.
I can and may honestly say, André: I didn’t come to grief.
I didn’t mess up my life.
On this side I understood the great blessing of my early transition.
Here I got to know myself.
Here I understood the meaning of my life on earth and also what a blessing it is to be allowed to possess one of God’s gifts on earth.
It was here that I learnt that these masters won’t ever return, not even after a thousand years, and this also applies to those who possess the gift of music.
So a second Beethoven will never be born, because that art which finds attunement in the second sphere has already been given there.
But more about that later.
A View into the Hereafter, 1936
On The Other Side he had to experience that the human being on earth was difficult to reach for the reality of an eternal life after death:
When I had become convinced of the existence of many conditions on this side, I returned to earth.
To my dismay I saw that many of my friends were following a dark path and had to be considered lost.
Also my mentor was in a similar position.
It hurt me to see them succumb, which made me decide to help them.
I tried to support them from here, but I had to give it up because they could not be reached in that way.
This knowledge caused me a lot of sorrow.
Those whom I loved were in the hands of demons.
In the end I returned to the spheres.
In the third sphere I learnt how to act upon man.
Years went by.
I also got to know the human body, as one can also master these studies on our side.
I studied this science in order to return to earth one day and help mankind.
Again I hastened back to earth and stayed there for quite some time and wandered around.
I experienced all the things that interested me as an invisible onlooker.
Afterwards I returned to the spheres and descended to help in the dark spheres, which enabled me to get to know that kind of life too.
It will be clear to you now why I can find my way around so well down there.
A View into the Hereafter, 1936
On The Other Side, the convincing can be easier:
My friends passed on one after the other.
Some were happy, but others were in a dark condition.
I was soon able to convince them of this life, as they knew that I had already died before them.
I made it clear to them how they could develop and attain a higher attunement.
A View into the Hereafter, 1936
However, master Alcar wanted to convince in the first place the human being on earth of an eternal life after death:
Again I returned to earth.
I experienced thousands of situations, of which I have shown you many from within my own condition.
I helped unfortunate creatures there too.
I also got acquainted with the powers that enabled me to do useful work on earth.
I saw their needs and their sorrow, their lack of spiritual nourishment and their ignorance of eternal life, and I clearly sensed that man first of all needed to get to know himself.
I lived on earth as a spirit for years on end.
Afterwards I returned and asked my master to help me.
It was Ubronus who supported me in everything.
He helped me to find a useful instrument on earth to whom I wanted to pass on all the wisdom I had acquired so that it would be made known on earth.
I primarily wanted to convince them of a life that continues forever.
A View into the Hereafter, 1936


Master Alcar finds his work via Jozef Rulof much more important than his earlier art:
Master Alcar said to me: ‘If I convince one human being, really convince of life and death and God, then I will have achieved more than in all the years of my art.’ And he was Anthony van Dyck.
And it is true, madam, you can see Rembrandt again in the spheres.
I saw Rembrandt there.
I saw many of those great masters here.
He says: ‘If only I had had that and this, then I would have done it differently.’
Of course, we look at those beautiful things, it is something of the human being in order to depict.
‘But, to know what our life is like, they are products of creation’, master Alcar says as Anthony van Dyck, and Rembrandt says that, Titiaan says that, and Leonardo da Vinci and the great ones, ‘that is so awe-inspiring for the human being, in order to paint that, in order to materialize, to analyse that, that is the authority of space, and the highest possession for the human being.’
Questions and Answers Part 2, 1951
After all, through his earlier art he also caused disharmony:
Master Alcar said: “Look, they are now selling the paintings for millions and the human being ... I have brought the human being that far in order to steal those things.
And there are people imprisoned, there are people locked up as a result of my art.
But we must – God created all life, God brought everything to spiritualization and materialization – we must live in His harmony and then you will no longer paint, because then you know: there is also an unconscious one who really wants to possess that art and closes himself off for years in a prison, therefore I bring disorder.
I brought disorder as a result of my art.”
“Thank God”, Bach, Beethoven and Mozart said, “that they can only interpret that art of ours and then it flies back to the space.”
But just materialize the Divine feelings here on earth and hang them on a wall and the human being likes them and he steals them away – and you have created disharmony.
Lectures Part 1, 1950
Master Alcar now no longer works for a royal court on earth, but for the cosmos:
Jozef also says: ‘Master Alcar works for the cosmos, master Zelanus for the Other Side and is the first follower of master Alcar in that universe.
I am their instrument for the earth and nothing else!
My books give you the proof of it.’
Questions and Answers Part 1, 1950
In his current work, master Alcar is not alone.
He is also always under the leadership of the higher masters, as a result of which he can for instance connect André with the ‘Fourth Cosmic Grade of Life’:
Since this is now possible, André, and others who are open to it have advanced that far and understand it, I can now connect you with the fourth degree, because I am being connected through the masters.
This is part of my work and it is my task, otherwise it would not be given to me.
The masters constantly, as at this moment, guide me and they give me the powers by which I can connect you.
The Origin of the Universe, 1939