This talk is dedicated to some of the research paths of the essayist from Turin by sifting through themes and motifs little investigated by the critical literature and presenting some still unpublished materials. First and foremost, it is intended to be a reinterpretation of the volume Il linguaggio delle pietre (successfully published in 1978 by the publisher Rizzoli), linking it with Furio Jesi’s multiple interests (anthropological and cultural-historical) and placing it against the background of the author’s singular biographical events that underlay it: from his travels to Greece and Turkey to his journey on an expedition organized by the Mondadori group of Storia illustrata in 1964 in search of the “Grotta della Sibilla” in the Umbrian Marchigiano Apennines. Jesi’s discussion with scholars of dolmens and menhirs, as well as with experts in mythology and the history of ancient religions, brings out the original approach of his thinking also regarding megalithic civilization, which he approaches with great hermeneutic caution and which he regards as the testimony of mythological processes inherent in the sphere of mystery and initiatory secrecy, presenting dolmen and menhirs as expressions of the intertwining of life and death in the world of men, thus as thresholds, boundary places with another world (that of the dead). In the last part of this contribution, we first come to grips with the Jesians’ interpretation of the protective genius Bes, in his own way the “guardian of the threshold”, a minor figure in the Egyptian pantheon linked to the Gnostic sphere and the initiatory tradition. Secondly, we are confronted with Jesi’s interest – beginning with Egyptian symbolism – in the figurations found on some bogomile tombstones of the medieval period (the stécci of the Radimlja necropolis) that he visited in his youth, hinting then also at the attention he paid to the bogomile heresy in his 1978 essay Neoclassicism and Vampirism dedicated to the Goethian ballad The Bride of Corinth, reread in a totally original way.