THE TOMBSTONE OF MARIE HAUTPOUL
DE BLANCHEFORT
THE KEY OF A SECRET ?
The tomb and tombstone of Marie Hautpoul, both of which have never been found¹, are famously said to contain the ’key of a great secret’. Various line drawings exist of these and a replica of the so called Marie I headstone is reproduced in the Museum at Rennes-le-Château (see photo above left). However, there is also a Marie II stone, a horizontal flat stone which is said to be part of Marie's tombstone's (see 'drawing' above right). It is normally thought that the ‘secret’ associated with these stones relates to ‘Mort Epee’ - a key word found from the ‘errors’ on the Marie I headstone. This keyword is needed to unlock a cipher (the ’Shepherdess, No Temptation’ cipher encoded in the famous parchments Saunière was supposed to have found).
De Sède wrote in his book, The Gold of Rennes, that Saunière uncovered these tombstones in the cemetery at Rennes-le-Château during some building works he had undertaken. This is possible. Saussez has reported that the tombstone(s) could have originally stood against the church wall in this cemetery or perhaps in the garden. De Sède reported that it was a predecessor cure of Rennes-le-Château, Antoine Bigou, who had ’lovingly’ composed Marie's epitaph on these stones and that when Saunière realised the significance of the inscriptions he erased them using quarryman's tools.
As you can see much of the mythology of Rennes-le-Chateau then hinges on these tombstones. This is a great pity as no-one has actually ever seen the two stones! The nearest we get for the Marie I stone is an article published in the archives of SESA which may or may not be fake (see here: http://www.rhedesium.com/1/post/2013/01/the-tomb-of-the-marquise-hautpoul-blanchefort.html, http://www.rhedesium.com/1/post/2012/12/enigma-of-the-tour-magdala.html, http://www.rhedesium.com/1/post/2012/11/the-enigma-of-rennes-le-chteau-rennes-les-bains.html.) and for the Marie stone II we have some possible eyewitness accounts as recorded by the engineer Cros, a friend of Abbe Sauniere (see here: http://www.rhedesium.com/paul-sennier-and-the-treasure-of-the-aniorts.html.) Other than this, there is no evidence on the tombstones of Marie de Blanchefort, only those given to us by the 1956 Priory of Sion (i.e. Plantard and Cherisey).
De Sède believed that by using the tombstone inscription's and the mysterious parchments buried in his church, Saunière discovered a treasure and then took measures to make sure no-one else found out about his discoveries. By effacing the tombstones of Marie the key word required could not be known either - by any of those who followed after him.
In the course of other research I have studied I have come to see that another key is being hinted at. This research was part of an in depth study of the Lobineau documents and Le Serpent Rouge (see elsewhere) which I had been conducting. This 'other key' seems, in some way, to tie in with the theories of another researcher, Isaac Ben Jacob.
In the Henri Lobineau documents (the so called ‘Dossiers Secretes’) there is a page about a Society known as ‘Le Hieron du Val D’or’. The page is presented in the form of an article which is dated 24th June 1926. By adding this date ‘Lobineau’ may well have been drawing our attention to Paul Le Cour. For on 24th June 1926 Le Cour had registered his new Society named Atlantis. He also began to publish a review called Atlantis which discussed such subjects as archaeology and science in relation to a Tradition, a Tradition Le Cour suggested, which had and does exist back to the time of the ‘lost’ continent of Atlantis.
The article on the Hieron in the Lobineau documents is essentially made up of excerpts from a book written by Paul Le Cour ( which was originally published in 1937) which confirms our suspicions that Le Cour might be relevant in some obscure way.
The article by Lobineau in other words had sections of the work of Le Cour cut and pasted as it were from his book and presented as a single article. As other researchers have noted² these themes written about by Le Cour and copied by Lobineau certainly influenced Pierre Plantard and Philippe de Cherisey. The question is - were Plantard and Cherisey simply pilfering the work from Le Cour for some specific reason suggesting that it was Le Cour who was the important source of some mysterious knowledge, or did Plantard and Cherisey appropriate Le Cours work independantly because it fitted their agenda - an agenda which had nothing to do with Le Cour or his work? However, it does seem that something fundamental that Le Cour knew was the basis of the exact same knowledge that Plantard and Chérisey were trying to impart to us. Surely this cant be a coincidence? Or are we to agree that a hoax was played on all by Le Cour too just as they claim for Cherisey?
In Le Cour’s 1937 publication ‘The Age of Aquarius’ we see that on the very last page Le Cour leaves his readers to ponder a diagram³ as reproduced below:
De Sède wrote in his book, The Gold of Rennes, that Saunière uncovered these tombstones in the cemetery at Rennes-le-Château during some building works he had undertaken. This is possible. Saussez has reported that the tombstone(s) could have originally stood against the church wall in this cemetery or perhaps in the garden. De Sède reported that it was a predecessor cure of Rennes-le-Château, Antoine Bigou, who had ’lovingly’ composed Marie's epitaph on these stones and that when Saunière realised the significance of the inscriptions he erased them using quarryman's tools.
As you can see much of the mythology of Rennes-le-Chateau then hinges on these tombstones. This is a great pity as no-one has actually ever seen the two stones! The nearest we get for the Marie I stone is an article published in the archives of SESA which may or may not be fake (see here: http://www.rhedesium.com/1/post/2013/01/the-tomb-of-the-marquise-hautpoul-blanchefort.html, http://www.rhedesium.com/1/post/2012/12/enigma-of-the-tour-magdala.html, http://www.rhedesium.com/1/post/2012/11/the-enigma-of-rennes-le-chteau-rennes-les-bains.html.) and for the Marie stone II we have some possible eyewitness accounts as recorded by the engineer Cros, a friend of Abbe Sauniere (see here: http://www.rhedesium.com/paul-sennier-and-the-treasure-of-the-aniorts.html.) Other than this, there is no evidence on the tombstones of Marie de Blanchefort, only those given to us by the 1956 Priory of Sion (i.e. Plantard and Cherisey).
De Sède believed that by using the tombstone inscription's and the mysterious parchments buried in his church, Saunière discovered a treasure and then took measures to make sure no-one else found out about his discoveries. By effacing the tombstones of Marie the key word required could not be known either - by any of those who followed after him.
In the course of other research I have studied I have come to see that another key is being hinted at. This research was part of an in depth study of the Lobineau documents and Le Serpent Rouge (see elsewhere) which I had been conducting. This 'other key' seems, in some way, to tie in with the theories of another researcher, Isaac Ben Jacob.
In the Henri Lobineau documents (the so called ‘Dossiers Secretes’) there is a page about a Society known as ‘Le Hieron du Val D’or’. The page is presented in the form of an article which is dated 24th June 1926. By adding this date ‘Lobineau’ may well have been drawing our attention to Paul Le Cour. For on 24th June 1926 Le Cour had registered his new Society named Atlantis. He also began to publish a review called Atlantis which discussed such subjects as archaeology and science in relation to a Tradition, a Tradition Le Cour suggested, which had and does exist back to the time of the ‘lost’ continent of Atlantis.
The article on the Hieron in the Lobineau documents is essentially made up of excerpts from a book written by Paul Le Cour ( which was originally published in 1937) which confirms our suspicions that Le Cour might be relevant in some obscure way.
The article by Lobineau in other words had sections of the work of Le Cour cut and pasted as it were from his book and presented as a single article. As other researchers have noted² these themes written about by Le Cour and copied by Lobineau certainly influenced Pierre Plantard and Philippe de Cherisey. The question is - were Plantard and Cherisey simply pilfering the work from Le Cour for some specific reason suggesting that it was Le Cour who was the important source of some mysterious knowledge, or did Plantard and Cherisey appropriate Le Cours work independantly because it fitted their agenda - an agenda which had nothing to do with Le Cour or his work? However, it does seem that something fundamental that Le Cour knew was the basis of the exact same knowledge that Plantard and Chérisey were trying to impart to us. Surely this cant be a coincidence? Or are we to agree that a hoax was played on all by Le Cour too just as they claim for Cherisey?
In Le Cour’s 1937 publication ‘The Age of Aquarius’ we see that on the very last page Le Cour leaves his readers to ponder a diagram³ as reproduced below:
We would be forgiven for thinking that what Le Cour and Chérisey have to say about the above diagram are mere co-incidence if it were not for the fact that Le Cour makes a very interesting statement under his diagram. Seemingly out of nowhere and not related to anything in the previous text of the book Le Cour writes: ‘Compare the Greek letters of the chrisme with the Latin letters of the word PAX’4.
We know that the French word chrisme corresponds to the English word chrismon and that this refers to the so called monogram of Christ (PX). And in this respect Le Cour’s diagram shows us a kind of Labarum (the name given by the Roman Emperor Constantine, or at least his supporters, to a standard he had created bearing the chrismon after Constantine had seen some kind of a Cross of light at midday high up in the sky). Le Cour refers even more directly to this Labarum when he describes the diagram as ‘the true red flag, the Labarum, with the significant name’. It is certain that in later editions of this book new material had been added to the original. Thus in a later re-issue this phrase ‘The true red flag, the Labarum, of the significant name’ is replaced with ‘The Labarum of Constantine, standard of the Christ-King’5. But it still carries the instruction to compare the Greek letters of the chrismon PX with the Latin word PAX.
Le Cour was obsessed with this chrismon. He made references to it in at least three of his books continually and it seems to be central to his thesis about the ‘Coming New Age of Christ’. Is all the nonsense that he talks about regarding this chrismon really shielding some kind of ‘secret knowledge’ in much the same way as Chèrisey seems to have done? For example, in ‘The Esoteric Gospel of John’, Le Cour has the following to say about the chrismon:
‘In Greek, which is the language of the mysteries, the word IRIN [related in some way to INRI from the Crucifixion], we find the word EIRENE, signifying PAIX (peace) and another one the Latin word PAX, formed of the Greek X and P of the chrisme (Chi and Rô) .... The chrisme is the great Christian symbol and also the idea of peace found associated with Christ. The word PAX, a great Benedictine word, radiates at the top of the Cross’6
‘....It forms [Le Cour here is referring to the shape of the hexagon] the star of six branches and the double triangle of the chrisme, the great initiatic initials of the Gnostic Christians ‘by this sign you will conquer’......’7
In ‘The Age of Aquarius’ he writes:
‘...the graphic symbols of AOR - AGNI are the double triangle and the other part, the chrisme, attributed to Emperor Constantine...’8
In ‘Hellenism and Christianity’ he writes:
‘..the year 300, the Emperor Constantine and the Empress Helena were Helleno-Christians. They dedicated the first Christian basilica to Sophia.....Saint Sophia of Constantinople had such symbols as that of Poseidon....... Constantine placed on his Labarum, the Greek Christian initiatic initials, the Khi and Rô interlaced)’9
‘At the origin of Hellenic Christianity ....is the principle symbol of the chrisme, formed of two letters, the X and P (the two Greek letters of the Rose Croix), and that Christ declared ‘I am the alpha and omega’ - Greek letters which are equivalent to the number nine’ 10
‘As for fraternity, impossible to realize, can we replace it by peace? Is it not remarkable that in the word PAX, written in Latin letters, we find the monogram of Christ, written in Greek letters?’11
In all of this Le Cour seems to be continually drumming home the importance of the Greek letters and their Latin equivalents. More specifically this revolves around the word PAX and the Chrisme itself. Chérisey himself does the same and it would seem that this is why the Marie de Nègre diagramatic representation of her tombstone was created (see below). We also note that Le Cour expresses this Greek lettering in relation to the chrisme and its importance as follows:
“K = Chi (or C), K & R = Chi & Rô (which is synonymous with R and C), the Greek X and P = Chi & Rô, the chrisme Chi & Rô = R and C, PAX = XP (in Greek)”12.
You can see here that Le Cour is actually making errors in his transcriptions of letters. Is it deliberate?
We know that the French word chrisme corresponds to the English word chrismon and that this refers to the so called monogram of Christ (PX). And in this respect Le Cour’s diagram shows us a kind of Labarum (the name given by the Roman Emperor Constantine, or at least his supporters, to a standard he had created bearing the chrismon after Constantine had seen some kind of a Cross of light at midday high up in the sky). Le Cour refers even more directly to this Labarum when he describes the diagram as ‘the true red flag, the Labarum, with the significant name’. It is certain that in later editions of this book new material had been added to the original. Thus in a later re-issue this phrase ‘The true red flag, the Labarum, of the significant name’ is replaced with ‘The Labarum of Constantine, standard of the Christ-King’5. But it still carries the instruction to compare the Greek letters of the chrismon PX with the Latin word PAX.
Le Cour was obsessed with this chrismon. He made references to it in at least three of his books continually and it seems to be central to his thesis about the ‘Coming New Age of Christ’. Is all the nonsense that he talks about regarding this chrismon really shielding some kind of ‘secret knowledge’ in much the same way as Chèrisey seems to have done? For example, in ‘The Esoteric Gospel of John’, Le Cour has the following to say about the chrismon:
‘In Greek, which is the language of the mysteries, the word IRIN [related in some way to INRI from the Crucifixion], we find the word EIRENE, signifying PAIX (peace) and another one the Latin word PAX, formed of the Greek X and P of the chrisme (Chi and Rô) .... The chrisme is the great Christian symbol and also the idea of peace found associated with Christ. The word PAX, a great Benedictine word, radiates at the top of the Cross’6
‘....It forms [Le Cour here is referring to the shape of the hexagon] the star of six branches and the double triangle of the chrisme, the great initiatic initials of the Gnostic Christians ‘by this sign you will conquer’......’7
In ‘The Age of Aquarius’ he writes:
‘...the graphic symbols of AOR - AGNI are the double triangle and the other part, the chrisme, attributed to Emperor Constantine...’8
In ‘Hellenism and Christianity’ he writes:
‘..the year 300, the Emperor Constantine and the Empress Helena were Helleno-Christians. They dedicated the first Christian basilica to Sophia.....Saint Sophia of Constantinople had such symbols as that of Poseidon....... Constantine placed on his Labarum, the Greek Christian initiatic initials, the Khi and Rô interlaced)’9
‘At the origin of Hellenic Christianity ....is the principle symbol of the chrisme, formed of two letters, the X and P (the two Greek letters of the Rose Croix), and that Christ declared ‘I am the alpha and omega’ - Greek letters which are equivalent to the number nine’ 10
‘As for fraternity, impossible to realize, can we replace it by peace? Is it not remarkable that in the word PAX, written in Latin letters, we find the monogram of Christ, written in Greek letters?’11
In all of this Le Cour seems to be continually drumming home the importance of the Greek letters and their Latin equivalents. More specifically this revolves around the word PAX and the Chrisme itself. Chérisey himself does the same and it would seem that this is why the Marie de Nègre diagramatic representation of her tombstone was created (see below). We also note that Le Cour expresses this Greek lettering in relation to the chrisme and its importance as follows:
“K = Chi (or C), K & R = Chi & Rô (which is synonymous with R and C), the Greek X and P = Chi & Rô, the chrisme Chi & Rô = R and C, PAX = XP (in Greek)”12.
You can see here that Le Cour is actually making errors in his transcriptions of letters. Is it deliberate?
Using the above comparisons of alphabets and comparing the letters from the Latin & Greek alphabet we get the following:
Le Cour Actual translation
K = Chi (or C). ....... .......................................................................................................................... K is Kappa ( k or c)
K & R = Chi & Rô ............................................................................................................................ K = kappa/C & R (=Rô = P)
Chi Rô synonymous with R + C ............................................................................................................ R=P , No C (or K?)
Greek X & P ..........................................................................................................................................X = Chi & P = Rho
Chi and Rho .................................................................................................................do not = R and C (R and C suggest X and P)
PAX .................................................................................................................................................... Rho, A, Chi
What is Le Cour trying to intimate with his ‘errors’? Especially as in all his works he says that the R + C are the letters of the Chrisme of the Rosicrucians! He equates their Rose Cross (Rose-Croix) not with the more famous Cross with a Rose at its heart but that of the Chi Rho, the chrisme. So essentially the Chrisme that the Emperor Constantine saw, for Le Cour, is in fact some kind of version of a chrisme that the Rosicrucians later used!
Chérisey himself elaborates much more on these concepts, especially in Stone and Paper (a manuscript meant to discredit his whole involvement in the Rennes-Le-Château affair as a joke, but in fact does no such thing).
For example under the paragraph entitled PAX DCLXXI he says:
‘PAX is itself a "mortepee", a "death-sword" that has been used to make the best of things since the death of Abel. PAX has a visual form, signifying the famous vision of Constantine in 312, a radiant hexagram that the Greeks read as χριστοσ and the Latins as PaX. As the Chrisme PX it became firmly entrenched as the sign designating the Roman Emperor Constantine's war cry in 312, "In hoc signo vinces", translated by abbé Saunière in his church as "Par ce signe tu le vaincras". The "le" is superfluous but enables him to have 22-letter phrase, and indicates the devil (Asmodeus) below the motto. In its original Latin it appears in the church at Rennes-les-Bains. The emblem of PAX is known from its religious composition, when it was used by the Papacy incorporating AΩ, Alpha and Omega, and the papacy has long made use of this sign. When interposed between A and Ω as in APXΩ, it becomes "I command". It appears on the dalle at the bottom of the left hand column, thus becoming P + X at the base which is headed A and in the right column headed Ω, taking on its Greek aspect in the Shepherds of Arcadia motto ET IN APXADIA EGO’.13
I think it is clear here that Chérisey is playing around with the same Greek and Latin letterings as Le Cour but surely for a reason? Are these reasons based on the same underpinnings? Surely this is not just word play and joking in the style of those surrealists who thought "on the truth of contradictions and exceptions?"
Chérisey pilfered other imagery from Le Cour (for example the hexagon/hexagram, the APXΩ etc) and interpreted this alongside the Marie de Nègre tombstone ‘fake’ that he may even have created by himself for the use of Priory of Sion in its propaganda! He writes:
‘The privilege that the Roman Church assumed in taking on the emblem of a temporal prince is written in a long conflict about the wearing of this emblem between Byzantium and pontifical Rome. A parallel was drawn between the chasuble decorated by the chrismon and the red cloak worn by the Emperor of Byzantium which was decorated with the Chrisme PX until 507 when Anastasias took the white cloak of the penitent. The Emperor of the Orient then announced to an ovation that in the public interest he was going to revert to his original customs, but he didn't follow it through and so the red cloak with the embroidered gold chrisme passed to the papacy. This same year saw Saint Martin of Tours, the ambassador from the Orient in Gaul, instructed to bring the PAX to Clovis, the Merovingian king recognized by the Roman Church as the new Patrice & Constantine. It was also Saint Martin who, according to legend, cut his red cloak in two with a sword and gave one half to a poor man when he had failed to recognise the Roman emperor, a legend that refers to this event of Martin bringing the PAX to Clovis. Once in Gaul, the sign of the PAX was changed, or replaced by the "Labarum" or symbolic banner, with its red and gold colours which, in turn became the red and gold oriflamme and the war cry "In hoc signo Vinces" became Montjoie Saint-Denis.’14
There is actually so much of interest here. Again, using pilfered imagery from Le Cour Chérisey has constructed a whole scenario around this Labarum and the Chrisme. Of the many pertinent questions to ask:
· How is PAX a radiant hexagram while also correlating to the vision of Constantine?
· Chérisey calls PAX a ‘mortepee’, i.e. does he mean that it is PAX that is another key word?
· Why the confusion over the ‘I command’ phrase, that of APXΩ? Given his instructions and with the help of a hand drawn diagram he provides (in his manuscript Stone & Paper) we can compare this with the dalle of the Marie II headstone which he is surely suggesting for us to essentially ‘spot the difference’?
Chérisey tells us in Stone & Paper that when the chrisme has the A and Ω added to it the ‘word’ becomes “APXΩ [meaning]"I command". It appears on the Marie dalle at the bottom of the left hand column, thus becoming P + X at the base which is headed A, and in the right column headed Ω, taking on its Greek aspect in the Shepherds of Arcadia motto ET IN APXADIA EGO’.
Le Cour Actual translation
K = Chi (or C). ....... .......................................................................................................................... K is Kappa ( k or c)
K & R = Chi & Rô ............................................................................................................................ K = kappa/C & R (=Rô = P)
Chi Rô synonymous with R + C ............................................................................................................ R=P , No C (or K?)
Greek X & P ..........................................................................................................................................X = Chi & P = Rho
Chi and Rho .................................................................................................................do not = R and C (R and C suggest X and P)
PAX .................................................................................................................................................... Rho, A, Chi
What is Le Cour trying to intimate with his ‘errors’? Especially as in all his works he says that the R + C are the letters of the Chrisme of the Rosicrucians! He equates their Rose Cross (Rose-Croix) not with the more famous Cross with a Rose at its heart but that of the Chi Rho, the chrisme. So essentially the Chrisme that the Emperor Constantine saw, for Le Cour, is in fact some kind of version of a chrisme that the Rosicrucians later used!
Chérisey himself elaborates much more on these concepts, especially in Stone and Paper (a manuscript meant to discredit his whole involvement in the Rennes-Le-Château affair as a joke, but in fact does no such thing).
For example under the paragraph entitled PAX DCLXXI he says:
‘PAX is itself a "mortepee", a "death-sword" that has been used to make the best of things since the death of Abel. PAX has a visual form, signifying the famous vision of Constantine in 312, a radiant hexagram that the Greeks read as χριστοσ and the Latins as PaX. As the Chrisme PX it became firmly entrenched as the sign designating the Roman Emperor Constantine's war cry in 312, "In hoc signo vinces", translated by abbé Saunière in his church as "Par ce signe tu le vaincras". The "le" is superfluous but enables him to have 22-letter phrase, and indicates the devil (Asmodeus) below the motto. In its original Latin it appears in the church at Rennes-les-Bains. The emblem of PAX is known from its religious composition, when it was used by the Papacy incorporating AΩ, Alpha and Omega, and the papacy has long made use of this sign. When interposed between A and Ω as in APXΩ, it becomes "I command". It appears on the dalle at the bottom of the left hand column, thus becoming P + X at the base which is headed A and in the right column headed Ω, taking on its Greek aspect in the Shepherds of Arcadia motto ET IN APXADIA EGO’.13
I think it is clear here that Chérisey is playing around with the same Greek and Latin letterings as Le Cour but surely for a reason? Are these reasons based on the same underpinnings? Surely this is not just word play and joking in the style of those surrealists who thought "on the truth of contradictions and exceptions?"
Chérisey pilfered other imagery from Le Cour (for example the hexagon/hexagram, the APXΩ etc) and interpreted this alongside the Marie de Nègre tombstone ‘fake’ that he may even have created by himself for the use of Priory of Sion in its propaganda! He writes:
‘The privilege that the Roman Church assumed in taking on the emblem of a temporal prince is written in a long conflict about the wearing of this emblem between Byzantium and pontifical Rome. A parallel was drawn between the chasuble decorated by the chrismon and the red cloak worn by the Emperor of Byzantium which was decorated with the Chrisme PX until 507 when Anastasias took the white cloak of the penitent. The Emperor of the Orient then announced to an ovation that in the public interest he was going to revert to his original customs, but he didn't follow it through and so the red cloak with the embroidered gold chrisme passed to the papacy. This same year saw Saint Martin of Tours, the ambassador from the Orient in Gaul, instructed to bring the PAX to Clovis, the Merovingian king recognized by the Roman Church as the new Patrice & Constantine. It was also Saint Martin who, according to legend, cut his red cloak in two with a sword and gave one half to a poor man when he had failed to recognise the Roman emperor, a legend that refers to this event of Martin bringing the PAX to Clovis. Once in Gaul, the sign of the PAX was changed, or replaced by the "Labarum" or symbolic banner, with its red and gold colours which, in turn became the red and gold oriflamme and the war cry "In hoc signo Vinces" became Montjoie Saint-Denis.’14
There is actually so much of interest here. Again, using pilfered imagery from Le Cour Chérisey has constructed a whole scenario around this Labarum and the Chrisme. Of the many pertinent questions to ask:
· How is PAX a radiant hexagram while also correlating to the vision of Constantine?
· Chérisey calls PAX a ‘mortepee’, i.e. does he mean that it is PAX that is another key word?
· Why the confusion over the ‘I command’ phrase, that of APXΩ? Given his instructions and with the help of a hand drawn diagram he provides (in his manuscript Stone & Paper) we can compare this with the dalle of the Marie II headstone which he is surely suggesting for us to essentially ‘spot the difference’?
Chérisey tells us in Stone & Paper that when the chrisme has the A and Ω added to it the ‘word’ becomes “APXΩ [meaning]"I command". It appears on the Marie dalle at the bottom of the left hand column, thus becoming P + X at the base which is headed A, and in the right column headed Ω, taking on its Greek aspect in the Shepherds of Arcadia motto ET IN APXADIA EGO’.
If we follow Chérisey to the letter what we then are to look at is the A column with the highlighted letters APX and then the second column headed Ω. What we see is the diagram below, depictions of which are found all over in Christian art and archaeology. It is the ‘chrismon’! This design is found frequently on Roman coinage as illustrated below. The first coin to have A and Ω added to the chrisme appears to have been by Magnentius, not the ‘Papacy’, as stated by Chérisey.
Chérisey also wants us to see the splitting of the word ARCADIA in his drawings of Marie’s tombstones.
Chérisey also wants us to see the splitting of the word ARCADIA in his drawings of Marie’s tombstones.
Magnentius. 350-353 AD. Æ Double Centenionalis (8.88 gm). Amiens mint. If Isaac Ben Jacob is correct, this design is representing an artefact found by Constantine ... Magnentius was a usurper of the Constantinian family. Did he obtain this artefact and use its symbol on his coins? (He was the first to add the alpha and omega to the chrismon). I mention this because according to Cherisey Anastasias seems to have had the ‘chrisme’ until 507 when he gave it to the Papacy.
On both of Chérisey’s diagrams that are accompanied in the Stone & Paper text and by comparing those to the Marie headstone we are also invited to look at the word ARCADIA or more precisely APXAΔIA and the phrase ‘Et in Arcadia Ego’.
In each column of the diagrams the phrase can be separated in a different way: in the Stone and Paper diagram the left column can be read as AP + X (or even AP + XAΔIA) and also APXΩ (AΔIA). In the diagram of the actual Marie headstone one can read A+PXAΔ+IA (or even A+PXA) as well as: A+PXAΔIA (APXAΔI, or APXAΔIA) or perhaps even P+AX (PAX) - AXAΔIA.
Chérisey has already referred to the ‘word’ APXΩ (αρχω) which can variously mean the following: first place, headship; high estate, eminence; authority; a principality, prince, of spiritual existence; to be first; to govern; one invested with power and dignity, chief, ruler, magistrate . APXA (αρχα) also means arkho and ‘to rule’. For example the Greek word hierarchy is made up of hieros = sacred, and arkho = rule.
So Chérisey is having some fun with word play. He invites us to ponder the phrase on the dalle of Marie de Nègre - ET IN APXAΔIA EΓΩ, in English ‘ET IN ARCADIA EGO...’. As it happens, however, there is no such word as APXAΔIA. On the dalle what we would have in English for APXAΔIA is something like AR(K)ADIA to refer to ‘Arcadia’. There is no letter ‘C’ in the Greek language, unless you use the kappa. As O’Reilly pointed out the actual correct Greek spelling for the word Arcadia is APKADIA 15. This is due to the pronunciation of the letter K which is usually rendered C in the English language. It is the sound like the ‘C’ in ‘Cat’ for Arcadia. The word KAI, a variant Greek word of the ‘kappa’ (i.e. K, and sounding like the English K) was used during the Byzantine period and it is possible that the Byzantine variant may be what Chérisey is trying to suggest regarding the importance of the word PAX . We might even be seeing here the origin with Le Cour who muddied the waters with the letters K and C for some reason.
We can also point out that Le Cour described the importance of the word ‘Arche’ as follows:
‘The word ‘arche’ comes from the Greek ’arche’ which means ’Commencement’ and ’archos’ which means ’Commander, Governor’. It is the most important words for the Christian ’kabale’, the ’master word’ ’16.
This echoes Chérisey’s description of the Labarum when it was brought to Gaul and when the A and Ω were added to make the word APXΩ which means ‘I Command’. Let us speculate that if Chérisey wanted to find something to help him further his agenda, that of the chrisme and its Latin and Greek letter variants, may he have taken a cue from Le Cour (as he had done with almost everything else) and looked for a word with ’Arche’ in it? A word that could be split to highlight his word play? Perhaps this is why Chérisey chose the Poussin painting ’The Shepherds of Arcadia’? Chérisey must have thought the painting was a perfect vehicle for his aims.
Some have argued that this painting has nothing to do with Rennes-le-Château (i.e. The
landscape in the picture does not feature a tomb once in the vicinity of Rennes at the time of Poussin. Interestingly a quote by Plantard on this issue was the following: "...the question then is not whether Poussin actually came and painted the landscape of Rennes-le-Chateau - but whether in his painting 'Shepherds of Arcadia' a secret pertaining to Rennes-le-Chateau was being concealed") but this is not the place to discuss the relative merits of that argument here. What I feel cannot be disputed is that Chérisey chose a phrase used by Poussin in his most famous painting which perfectly illustrated the word splitting exercise of Le Cour to draw attention to the ’chrismon’. But if this is the case, isnt it an extraordinary co-incidence that this tomb depicted in the painting was found as a replica in the vicinity of Rennes-le-Chateau?
In each column of the diagrams the phrase can be separated in a different way: in the Stone and Paper diagram the left column can be read as AP + X (or even AP + XAΔIA) and also APXΩ (AΔIA). In the diagram of the actual Marie headstone one can read A+PXAΔ+IA (or even A+PXA) as well as: A+PXAΔIA (APXAΔI, or APXAΔIA) or perhaps even P+AX (PAX) - AXAΔIA.
Chérisey has already referred to the ‘word’ APXΩ (αρχω) which can variously mean the following: first place, headship; high estate, eminence; authority; a principality, prince, of spiritual existence; to be first; to govern; one invested with power and dignity, chief, ruler, magistrate . APXA (αρχα) also means arkho and ‘to rule’. For example the Greek word hierarchy is made up of hieros = sacred, and arkho = rule.
So Chérisey is having some fun with word play. He invites us to ponder the phrase on the dalle of Marie de Nègre - ET IN APXAΔIA EΓΩ, in English ‘ET IN ARCADIA EGO...’. As it happens, however, there is no such word as APXAΔIA. On the dalle what we would have in English for APXAΔIA is something like AR(K)ADIA to refer to ‘Arcadia’. There is no letter ‘C’ in the Greek language, unless you use the kappa. As O’Reilly pointed out the actual correct Greek spelling for the word Arcadia is APKADIA 15. This is due to the pronunciation of the letter K which is usually rendered C in the English language. It is the sound like the ‘C’ in ‘Cat’ for Arcadia. The word KAI, a variant Greek word of the ‘kappa’ (i.e. K, and sounding like the English K) was used during the Byzantine period and it is possible that the Byzantine variant may be what Chérisey is trying to suggest regarding the importance of the word PAX . We might even be seeing here the origin with Le Cour who muddied the waters with the letters K and C for some reason.
We can also point out that Le Cour described the importance of the word ‘Arche’ as follows:
‘The word ‘arche’ comes from the Greek ’arche’ which means ’Commencement’ and ’archos’ which means ’Commander, Governor’. It is the most important words for the Christian ’kabale’, the ’master word’ ’16.
This echoes Chérisey’s description of the Labarum when it was brought to Gaul and when the A and Ω were added to make the word APXΩ which means ‘I Command’. Let us speculate that if Chérisey wanted to find something to help him further his agenda, that of the chrisme and its Latin and Greek letter variants, may he have taken a cue from Le Cour (as he had done with almost everything else) and looked for a word with ’Arche’ in it? A word that could be split to highlight his word play? Perhaps this is why Chérisey chose the Poussin painting ’The Shepherds of Arcadia’? Chérisey must have thought the painting was a perfect vehicle for his aims.
Some have argued that this painting has nothing to do with Rennes-le-Château (i.e. The
landscape in the picture does not feature a tomb once in the vicinity of Rennes at the time of Poussin. Interestingly a quote by Plantard on this issue was the following: "...the question then is not whether Poussin actually came and painted the landscape of Rennes-le-Chateau - but whether in his painting 'Shepherds of Arcadia' a secret pertaining to Rennes-le-Chateau was being concealed") but this is not the place to discuss the relative merits of that argument here. What I feel cannot be disputed is that Chérisey chose a phrase used by Poussin in his most famous painting which perfectly illustrated the word splitting exercise of Le Cour to draw attention to the ’chrismon’. But if this is the case, isnt it an extraordinary co-incidence that this tomb depicted in the painting was found as a replica in the vicinity of Rennes-le-Chateau?
The word splitting exercise of the Et in Arcadia Ego phrase does not seem so bizarre. Poussin certainly seems to invite the same word-splitting game with the word ARCADIA on the face of the tomb in his most famous of paintings. In the painting there is a shepherd pointing at the letter R of the word ARCADIA. In actual fact though we can only see the letters A, R, C & A (making the word ARCA) - the letters D, I & A are obscured by the other shepherds staff. So what we can see most easily is ET IN ARCA- which means something like ‘And in the tomb’. It correlates with the paintings’ theme as the shepherds are studying an inscription on a large tomb in a pastoral landscape, and it also correlates with the et in arcadia ego ... phrase itself.
My Italian colleague and friend has pointed out that ‘Arca” can mean a “chest” and “box” and has some other intriguing meanings like: “prison cell”, “cell”, “coffin” as well as “cistern” and “reservoir”. Oliviero also pointed out the interesting representation of Poussins' most famous painting on his own tomb memorial regarding the splitting of the word ARCADIA.
My Italian colleague and friend has pointed out that ‘Arca” can mean a “chest” and “box” and has some other intriguing meanings like: “prison cell”, “cell”, “coffin” as well as “cistern” and “reservoir”. Oliviero also pointed out the interesting representation of Poussins' most famous painting on his own tomb memorial regarding the splitting of the word ARCADIA.
The only visible letters here are: " T IN ARCA EGO" If we read them as “Tego in arca" the English translation is: To hide [something] into a cell/coffer/casket/bier/coffin (according to the meaning we give to the Latin word "Arca").
For Chérisey though we may ask the following:
· What is the relationship between the chrismon symbol and the red cloak of a Byzantine Emperor? Is the red cloak associated with the Le Cour statement about the ’true red flag’,
the Labarum? How can the Labarum be a red flag?
· What has it all to do with Martin of Tours? When was he an ambassador for the Orient (i.e. the East)?
· What has Clovis to do with anything?
It seems to me that Chérisey is being very literal and is referring to something tangible. Why then has he to speak to us in an obscure flowery language? Why does Le Cour refer to the same exact ideas and couch all these same motifs also in strange flowery language?
Le Cours book ‘The Age of Aquarius’ is about an astrological age where Aquarius traditionally "rules" electricity, computers, flight, democracy, freedom, humanitarianism, idealists, modernization, rebels and rebellion, mental diseases, nervous disorders, and astrology. Other ideas believed to be associated with Aquarius are nonconformity, philanthropy, veracity, perseverance, mankind and irresolution. The appearance or elevation in status of many of these Aquarian developments over the last few centuries is considered by many astrologers to indicate the proximity of the Aquarian age.
This book is subtitled ‘The Advent of Ganymede’where Ganymede was a Greek hero, in fact a divine hero who's homeland was Troy. He was stolen by Zeus and it was left to Hermes to tell his father what had become of his son. Hermes told Ganymede's father that his son had become immortal and was now the cup bearer of the Gods. Zeus made Ganymede a constellation in the sky and named it Aquarius.
In Aquarian mythology this Age is associated with God. As an illustration, in Babylonia the
term ‘the Great one’ referred to God and was associated with the cup bearer. According to the Esoteric Christian tradition the entry into the Age of Aquarius - occurring after the present Age of Pisces or the age ruled by the "Sword" - will bring to the majority of human beings the discovery of the true and real knowledge of the inner and deeper Christian teachings which Christ spoke of in Matthew 13:11 and Luke 8:10. (Mathew 13:11 is about why Jesus speaks in parables. Jesus replied in Verse 11 ‘Because it is given unto you to know the mysteries of the Kingdom of Heaven, but to them it is not given.’). In the Aquarian age a great spiritual Teacher is to come through the school which works as heralds of this age in order "to give the Christian Religion impetus in a new direction’.
Before looking at Chérisey’s important points that he highlighted from Le Cour to construct his Lobineau Hieron article, it is helpful to look at other important motifs that Le Cour used in his various publications, because it could have a bearing on understanding Chérisey’s later texts.
From the Esoteric Gospel of John:
‘The word ‘Kryst in Egyptian signifies ‘possessor of a secret’. p.18
‘Paul called Christ ‘Kyrie’ (the Lord) to distinguish from God’ pp.101-102
‘The word ‘kyrie’ is formed of the two consonants K and R, equivalent to the letters Chi and Rho (of the chrisme), also the letters R + C (the Rose-Croix). This indicates the nature of the secret possessed by Christ (Christos)’ pp101-102.
‘The demiurge that St Paul called ‘Kyrios’ (the Lord) (K + R) is not dead, and his apparitions, after the drama of the Passion, were only ‘passings’’ p147.
‘M. De Sarachaga was named commander of the Order of Constantine, by Pope XIII, who was interested in the work of the Hieron. Sarachaga accused the Roman Church of being ‘false’’ p.166.
‘The Church of John throughout history ...... Agartha, the Greek word Catharos means pure, but esoterically the word can be broken down into AG AR Theos. The two letters G (or C) and R of the chrisme + the true Rose - Croix, the Church of John’ p213
‘The Arms of Rouen have a lamb (agnus agni) with a book (the Apocalypse?), and holding the same Cross, a ‘lègre croix (Light Cross?) with a streamer’ (oriflamme?). p215
‘The role of France is that of the Grand Monarch. Apocalypse. The third Age—the age of the Holy Spirit ... France and the Hieron—Christ King.’ p220.
‘France forms a regular hexagon with six points: Perpignan, Menton, Strasbourg, Dunkerque, Brest and St Jean de LUZ (Lumiere). The Graal (Grail) is an emerald, or a cristal hexagonal. France = the Graal (Grail). The three lines forming the hexagon cross at BOURGES’. p220. (In Circuit, a novel by Chérisey’s he has a depiction of the hexagon over France also highlighting Bourges as the important central point).
‘Alpha and Omega, the XP back to front!’ p.222
‘The Apostle John is charged with instituting the Second Coming of Christ... which will be a superior hierarchy, above that of Peter. It will be known as the Rose Cross, Rose Croix. The Rosicrucians (R + C, COR ROC, the Philosophers Stone, which is Christ). The Cross has eight points .... The true Rose Cross are the arche-mystes, the great symbol is the chrisme, formed of the Greek letters Chi & Rho, corresponding to the letters R & C’ p232
From ‘The Age of Aquarius’:
‘Belle au Bois Dormant—a forest of symbols. The double hache17 of the mysteries. The ‘Labrys’. Virgil wrote in his 4th Eclogue about the cycle of the Bélier: ‘Aspice convexi nutantem pondere munclum’. The tree in Genesis’. p47, p88, p92
‘That the graphic symbols of AOR– AGNI are the double triangle, and the other part, the chrisme, attributed to Constantine...’ p221
‘Paray-le-Monial .... The country of the Eduens....at Autun there existed a great centre for Druid teaching’18 p221
‘The Celts and the Greeks and their divine roles attributed to the Sun .... For the Celts Belen or Abollen, for the Greeks Apollo. The Druids wrote in Greek letters ....’ p109
'The Greek IÉSOUS which has four vowels and two consonants correspond to the number 888, equal to the number 6, the number of the chrisme and the Heaxagon’p142.
For Chérisey though we may ask the following:
· What is the relationship between the chrismon symbol and the red cloak of a Byzantine Emperor? Is the red cloak associated with the Le Cour statement about the ’true red flag’,
the Labarum? How can the Labarum be a red flag?
· What has it all to do with Martin of Tours? When was he an ambassador for the Orient (i.e. the East)?
· What has Clovis to do with anything?
It seems to me that Chérisey is being very literal and is referring to something tangible. Why then has he to speak to us in an obscure flowery language? Why does Le Cour refer to the same exact ideas and couch all these same motifs also in strange flowery language?
Le Cours book ‘The Age of Aquarius’ is about an astrological age where Aquarius traditionally "rules" electricity, computers, flight, democracy, freedom, humanitarianism, idealists, modernization, rebels and rebellion, mental diseases, nervous disorders, and astrology. Other ideas believed to be associated with Aquarius are nonconformity, philanthropy, veracity, perseverance, mankind and irresolution. The appearance or elevation in status of many of these Aquarian developments over the last few centuries is considered by many astrologers to indicate the proximity of the Aquarian age.
This book is subtitled ‘The Advent of Ganymede’where Ganymede was a Greek hero, in fact a divine hero who's homeland was Troy. He was stolen by Zeus and it was left to Hermes to tell his father what had become of his son. Hermes told Ganymede's father that his son had become immortal and was now the cup bearer of the Gods. Zeus made Ganymede a constellation in the sky and named it Aquarius.
In Aquarian mythology this Age is associated with God. As an illustration, in Babylonia the
term ‘the Great one’ referred to God and was associated with the cup bearer. According to the Esoteric Christian tradition the entry into the Age of Aquarius - occurring after the present Age of Pisces or the age ruled by the "Sword" - will bring to the majority of human beings the discovery of the true and real knowledge of the inner and deeper Christian teachings which Christ spoke of in Matthew 13:11 and Luke 8:10. (Mathew 13:11 is about why Jesus speaks in parables. Jesus replied in Verse 11 ‘Because it is given unto you to know the mysteries of the Kingdom of Heaven, but to them it is not given.’). In the Aquarian age a great spiritual Teacher is to come through the school which works as heralds of this age in order "to give the Christian Religion impetus in a new direction’.
Before looking at Chérisey’s important points that he highlighted from Le Cour to construct his Lobineau Hieron article, it is helpful to look at other important motifs that Le Cour used in his various publications, because it could have a bearing on understanding Chérisey’s later texts.
From the Esoteric Gospel of John:
‘The word ‘Kryst in Egyptian signifies ‘possessor of a secret’. p.18
‘Paul called Christ ‘Kyrie’ (the Lord) to distinguish from God’ pp.101-102
‘The word ‘kyrie’ is formed of the two consonants K and R, equivalent to the letters Chi and Rho (of the chrisme), also the letters R + C (the Rose-Croix). This indicates the nature of the secret possessed by Christ (Christos)’ pp101-102.
‘The demiurge that St Paul called ‘Kyrios’ (the Lord) (K + R) is not dead, and his apparitions, after the drama of the Passion, were only ‘passings’’ p147.
‘M. De Sarachaga was named commander of the Order of Constantine, by Pope XIII, who was interested in the work of the Hieron. Sarachaga accused the Roman Church of being ‘false’’ p.166.
‘The Church of John throughout history ...... Agartha, the Greek word Catharos means pure, but esoterically the word can be broken down into AG AR Theos. The two letters G (or C) and R of the chrisme + the true Rose - Croix, the Church of John’ p213
‘The Arms of Rouen have a lamb (agnus agni) with a book (the Apocalypse?), and holding the same Cross, a ‘lègre croix (Light Cross?) with a streamer’ (oriflamme?). p215
‘The role of France is that of the Grand Monarch. Apocalypse. The third Age—the age of the Holy Spirit ... France and the Hieron—Christ King.’ p220.
‘France forms a regular hexagon with six points: Perpignan, Menton, Strasbourg, Dunkerque, Brest and St Jean de LUZ (Lumiere). The Graal (Grail) is an emerald, or a cristal hexagonal. France = the Graal (Grail). The three lines forming the hexagon cross at BOURGES’. p220. (In Circuit, a novel by Chérisey’s he has a depiction of the hexagon over France also highlighting Bourges as the important central point).
‘Alpha and Omega, the XP back to front!’ p.222
‘The Apostle John is charged with instituting the Second Coming of Christ... which will be a superior hierarchy, above that of Peter. It will be known as the Rose Cross, Rose Croix. The Rosicrucians (R + C, COR ROC, the Philosophers Stone, which is Christ). The Cross has eight points .... The true Rose Cross are the arche-mystes, the great symbol is the chrisme, formed of the Greek letters Chi & Rho, corresponding to the letters R & C’ p232
From ‘The Age of Aquarius’:
‘Belle au Bois Dormant—a forest of symbols. The double hache17 of the mysteries. The ‘Labrys’. Virgil wrote in his 4th Eclogue about the cycle of the Bélier: ‘Aspice convexi nutantem pondere munclum’. The tree in Genesis’. p47, p88, p92
‘That the graphic symbols of AOR– AGNI are the double triangle, and the other part, the chrisme, attributed to Constantine...’ p221
‘Paray-le-Monial .... The country of the Eduens....at Autun there existed a great centre for Druid teaching’18 p221
‘The Celts and the Greeks and their divine roles attributed to the Sun .... For the Celts Belen or Abollen, for the Greeks Apollo. The Druids wrote in Greek letters ....’ p109
'The Greek IÉSOUS which has four vowels and two consonants correspond to the number 888, equal to the number 6, the number of the chrisme and the Heaxagon’p142.
From these quotes above we can see that some of the motifs later appear in the work of Chérisey - did Cherisey get many of his ideas from Le Cour? For example: · Did he adopt the Zodiac symbolism from Le Cour that he used in Le Serpent Rouge? · Is the ‘secret’ of the Rosicrucian’s the same as the secret of Saunière? · Is the idea of ‘The Beauty Asleep in the Woods’ - that of the poet trying to find the hidden queen the same motif as the hidden tomb of the Queen referred to in the verse Aries of Le Serpent Rouge? |
· The oriflamme?
· The role of France and the Grand Monarch? · If the hexagon is equal to the chrisme and Iésous - is this the two times IS IS detailed in Le Serpent Rouge? This would mean that IS IS equals a hexagon which is also the two interlaced double triangles (i.e. the Seal of Solomon .... also referred to in Le Serpent Rouge’). It is the origin of Cherisey using the hexagon over France with its centre at the important town of Bourges! · The AOR-AGNI would seem to be linked to Christ, the chrisme and this Seal of Solomon i.e. something of a Jewish nature? |
· Paray-le-Monial and the work of the Hieron?
· The Eduens, a Celtic tribe who built the town of Autun. It was at Autun that the Emperor Constantine may have had his first vision of the ‘chrisme’. IE not in Rome but in France. All this, it has to be said, is fully supported in the work of Chérisey. The fact that there is so much close association means that Le Cour and Cherisey were referring to the same ideas or information. So far the only theory that fits these component parts is the work of Isaac Ben Jacob and the suggestion that it all relates to the existence of an archaeological artefact. |
Chérisey has copied verbatim, then, from Le Cour, no doubt to let us know what was important to him when he put together his fake Hieron article in the ‘Dossiers Secrete’. The first paragraph of the Hieron article begins:
‘The Greek philosophers were ignorant of the source of the knowledge contained in their mythology. Aristotle said that it came from the barbarians, and holy Clement of Alexandria expressed the same opinion. The word “barbares” is without a doubt closer to the Hebrew word “Ber.” It is remarkable then that the Hebrew root “BER” means “source”, an idea which is associated with that of an “origin.”
Cesar notes that the Welsh Druids used writing of a Greek nature. We are thus incited to see in Greek the writing of those who, along with bronze, brought to the Mediterranean basin their worship and their gods. It is also on these premises that they would have conceived of the myths collected by the Greeks.
The men of prehistory had, to our knowledge, been inclined towards the constellations of the North, and to the Great Bear (Grand Ourse), the one named and illustrated by the ancients. However, the word “Aour” means light in Hebrew. The Great Bear is the great light but what word is it in our language? The answer is rather unexpected and I give it without any reservations. Indeed, in Hebrew, as always, the name of the animal called “the Bear” is “CHR TZ”, where one discovers the word Christ. The astonishing mystery is a source of constant admiration when one sees the relationships between the words, or the words by which the verbs manifest!’19
These lines are from page 186 -188 of my version of Le Cours book (The Age of Aquarius). They come from a chapter entitled ’The Signs of the Fore-Runners’ indicating the signs that have gone before and which have been heralding this Age of Aquarius. Specific forerunner signs that Le Cour highlighted were:
· The Reformation of the 16th century
· The French Revolution
· The spread of the Gospels throughout the world.
· Development of atheism
· Foundation of the International Tribunal of the Hague (and S.D.N)
· Development of Social laws
· Electricity
· The return of the Jews to Palestine
· The resurrection of Atlantis
· The development of occultism
· The devotion to the Sacred Heart and Christ the King.
· The red flag and the ‘international’
· The foundation of a new Roman Empire
· The two ideologies that divide the world
· Television
· The revelation of the name ‘Aor Agni’
The next section in the ‘Lobineau’ Hieron article is the following:
‘Is it not already obvious that to speak a poor French dialect that originated elsewhere will not make mankind become one single family, and that it is the call to transformation alone which must bring together the people into a single herd, led only by a single pastor?
As for the red flag, it is that of the Sacred Heart. Previously, a red cloth was thrown derisively on the shoulders of Jesus in front of Pilate, who then scoffed at his alleged office of King of the Jews. And in the Apocalypse, XIX, 13, it is covered in a red cloak that Christ returns in royal majesty. Red is indeed the crimson colour of the kings, this primitive race having given to the world its rules and its laws, because all the people of Europe living on the banks of the Atlantic Ocean can claim the priestly heritage. Red is the colour of the primitive solar religion. If the skeletons of the Celtic epoch were buried in red earth, then the Peaux-Bouges, who polish the body in red in certain instances, are presently heirs to the Celtic tradition. The colour red is that of Hermes (that of the kermes). The black colour (of anarchy) must, in the transformations of the substance principle, transform itself into a red colour. The red flag has, besides other things, a long history which is connected to the universal Tradition in general and with that of France in particular.
When the Roman Empire extended itself down into Scotland, a red standard called the “vexillum” or “cantabrun” was used as the exclusive insignia of the more venerated armies. During battle, it was carried at the head of the troops. The guard was entrusted to fifty Praetorians chosen from among the strongest and bravest men. This standard consisted of a crossed lance made from a stick, from which fell a crimson veil with fringes of gold. The pole was surmounted with an eagle made of gold. After the famous vision of the monogram
of Christ (not the cross like they mistakenly say) and his apparition in the Sun - a vision of that took place in Autun, which was accompanied by a voice saying to him, “By this sign you
will overcome” - the emperor Constantine placed this monogram at the top of the pole of the red standard, consequently giving it the significant name of “labarum.”
In fact, the monogram of Christ, about which they little question themselves, contains the necessary elements and symbolic systems sufficient to penetrate the labyrinth. A red flag was thus the first French flag, and this idea brings to mind the famous oriflamme (golden flame) preserved in the basilica of Saint-Denis, which on many occasions led the French to victory with the cry of “Montjoie Saint-Denis” , and which was a red banner cut out in points at the bottom, spangled with lily of gold, and bordered with a fringe of gold.
This standard was originally the banner of the Abbey of Saint Denis. Its colour indicates that of the wine devoted to Dionysus, because between Saint Denis and Dionysus there is an etymological relationship. The holy Denis lost his head, having been decapitated. Dionysus lost his heart. However, he who discovers the relationship which exists between the two legends has penetrated one of the mysteries of esotericism. Dionysus is the divine spirit of evolution throughout the universe, the radiant spirit, alive with intelligence. We know that he was torn apart by the Titans, who devoured his members and interred his heart, but that Minerva (Athena) carried this heart into the sky, captioning an entire teaching of the Orphic tradition. The word Orpheus contains “Or-phos.” It is it a word composed of two words, the one Hebrew and the other Greek, and significantly both mean “light.”.20
Lobineau (Chérisey?) spends an inordinate amount of time on the above information throughout all his works. It is predominate in Stone & Paper. It is also mentioned in
passing in the novel ‘Circuit’. So one wonders whether Chérisey appropriated the words of Le Cour to further his aims or whether they, that is Le Cour and Chérisey, are talking of the same knowledge?
Chérisey took the above sections of words from Le Cours chapter called ‘The Resurrection of
Atlantis’ on pages 206-209. They occur under the subtitle of ‘The International Red Flag’. Here we see Le Cour referring to this red flag as that of the Sacred Heart and also as a red cloak that was once thrown over Christ. In Stone and Paper Chérisey follows the same lines equating a red cloak with the Emperor of Byzantine which carried the chrismon symbol and which was given up by Anastasius eventually to be given to the Merovingian King Clovis. Le Cour equates the red flag with the universal Tradition and with France in particular. Just as Chérisey does Le Cour also associates a red robe/banner/standard with fringes of gold with that of Constantine's Labarum.
Surely something is being intimated here? But what? Le Cour says the Sacred Heart is that
of the Christ King. He says that the vision which led Constantine directly to the creation of the Labarum took place at Autun. There is an historical Latin panegyric in which a vision is reported as being seen by Constantine. It was written by someone from Autun. It was written for the occasion of the celebrations of Constantine's reign and the rebuilding of the town of Trier. The vision was of the god Apollo. It occurred at the June Solstice21 and the god assured him of a reign of thirty years. There is, however, no mention of the Chi Rho vision so one wonders if it is two significant events that he witnessed? The one at Autun and then the famous CHI RHO vision later?
What is interesting is that there are some examples of the chrismon appearing with the
word PAX in tympanums of churches in France from the 11th and 12th centuries.
‘The Greek philosophers were ignorant of the source of the knowledge contained in their mythology. Aristotle said that it came from the barbarians, and holy Clement of Alexandria expressed the same opinion. The word “barbares” is without a doubt closer to the Hebrew word “Ber.” It is remarkable then that the Hebrew root “BER” means “source”, an idea which is associated with that of an “origin.”
Cesar notes that the Welsh Druids used writing of a Greek nature. We are thus incited to see in Greek the writing of those who, along with bronze, brought to the Mediterranean basin their worship and their gods. It is also on these premises that they would have conceived of the myths collected by the Greeks.
The men of prehistory had, to our knowledge, been inclined towards the constellations of the North, and to the Great Bear (Grand Ourse), the one named and illustrated by the ancients. However, the word “Aour” means light in Hebrew. The Great Bear is the great light but what word is it in our language? The answer is rather unexpected and I give it without any reservations. Indeed, in Hebrew, as always, the name of the animal called “the Bear” is “CHR TZ”, where one discovers the word Christ. The astonishing mystery is a source of constant admiration when one sees the relationships between the words, or the words by which the verbs manifest!’19
These lines are from page 186 -188 of my version of Le Cours book (The Age of Aquarius). They come from a chapter entitled ’The Signs of the Fore-Runners’ indicating the signs that have gone before and which have been heralding this Age of Aquarius. Specific forerunner signs that Le Cour highlighted were:
· The Reformation of the 16th century
· The French Revolution
· The spread of the Gospels throughout the world.
· Development of atheism
· Foundation of the International Tribunal of the Hague (and S.D.N)
· Development of Social laws
· Electricity
· The return of the Jews to Palestine
· The resurrection of Atlantis
· The development of occultism
· The devotion to the Sacred Heart and Christ the King.
· The red flag and the ‘international’
· The foundation of a new Roman Empire
· The two ideologies that divide the world
· Television
· The revelation of the name ‘Aor Agni’
The next section in the ‘Lobineau’ Hieron article is the following:
‘Is it not already obvious that to speak a poor French dialect that originated elsewhere will not make mankind become one single family, and that it is the call to transformation alone which must bring together the people into a single herd, led only by a single pastor?
As for the red flag, it is that of the Sacred Heart. Previously, a red cloth was thrown derisively on the shoulders of Jesus in front of Pilate, who then scoffed at his alleged office of King of the Jews. And in the Apocalypse, XIX, 13, it is covered in a red cloak that Christ returns in royal majesty. Red is indeed the crimson colour of the kings, this primitive race having given to the world its rules and its laws, because all the people of Europe living on the banks of the Atlantic Ocean can claim the priestly heritage. Red is the colour of the primitive solar religion. If the skeletons of the Celtic epoch were buried in red earth, then the Peaux-Bouges, who polish the body in red in certain instances, are presently heirs to the Celtic tradition. The colour red is that of Hermes (that of the kermes). The black colour (of anarchy) must, in the transformations of the substance principle, transform itself into a red colour. The red flag has, besides other things, a long history which is connected to the universal Tradition in general and with that of France in particular.
When the Roman Empire extended itself down into Scotland, a red standard called the “vexillum” or “cantabrun” was used as the exclusive insignia of the more venerated armies. During battle, it was carried at the head of the troops. The guard was entrusted to fifty Praetorians chosen from among the strongest and bravest men. This standard consisted of a crossed lance made from a stick, from which fell a crimson veil with fringes of gold. The pole was surmounted with an eagle made of gold. After the famous vision of the monogram
of Christ (not the cross like they mistakenly say) and his apparition in the Sun - a vision of that took place in Autun, which was accompanied by a voice saying to him, “By this sign you
will overcome” - the emperor Constantine placed this monogram at the top of the pole of the red standard, consequently giving it the significant name of “labarum.”
In fact, the monogram of Christ, about which they little question themselves, contains the necessary elements and symbolic systems sufficient to penetrate the labyrinth. A red flag was thus the first French flag, and this idea brings to mind the famous oriflamme (golden flame) preserved in the basilica of Saint-Denis, which on many occasions led the French to victory with the cry of “Montjoie Saint-Denis” , and which was a red banner cut out in points at the bottom, spangled with lily of gold, and bordered with a fringe of gold.
This standard was originally the banner of the Abbey of Saint Denis. Its colour indicates that of the wine devoted to Dionysus, because between Saint Denis and Dionysus there is an etymological relationship. The holy Denis lost his head, having been decapitated. Dionysus lost his heart. However, he who discovers the relationship which exists between the two legends has penetrated one of the mysteries of esotericism. Dionysus is the divine spirit of evolution throughout the universe, the radiant spirit, alive with intelligence. We know that he was torn apart by the Titans, who devoured his members and interred his heart, but that Minerva (Athena) carried this heart into the sky, captioning an entire teaching of the Orphic tradition. The word Orpheus contains “Or-phos.” It is it a word composed of two words, the one Hebrew and the other Greek, and significantly both mean “light.”.20
Lobineau (Chérisey?) spends an inordinate amount of time on the above information throughout all his works. It is predominate in Stone & Paper. It is also mentioned in
passing in the novel ‘Circuit’. So one wonders whether Chérisey appropriated the words of Le Cour to further his aims or whether they, that is Le Cour and Chérisey, are talking of the same knowledge?
Chérisey took the above sections of words from Le Cours chapter called ‘The Resurrection of
Atlantis’ on pages 206-209. They occur under the subtitle of ‘The International Red Flag’. Here we see Le Cour referring to this red flag as that of the Sacred Heart and also as a red cloak that was once thrown over Christ. In Stone and Paper Chérisey follows the same lines equating a red cloak with the Emperor of Byzantine which carried the chrismon symbol and which was given up by Anastasius eventually to be given to the Merovingian King Clovis. Le Cour equates the red flag with the universal Tradition and with France in particular. Just as Chérisey does Le Cour also associates a red robe/banner/standard with fringes of gold with that of Constantine's Labarum.
Surely something is being intimated here? But what? Le Cour says the Sacred Heart is that
of the Christ King. He says that the vision which led Constantine directly to the creation of the Labarum took place at Autun. There is an historical Latin panegyric in which a vision is reported as being seen by Constantine. It was written by someone from Autun. It was written for the occasion of the celebrations of Constantine's reign and the rebuilding of the town of Trier. The vision was of the god Apollo. It occurred at the June Solstice21 and the god assured him of a reign of thirty years. There is, however, no mention of the Chi Rho vision so one wonders if it is two significant events that he witnessed? The one at Autun and then the famous CHI RHO vision later?
What is interesting is that there are some examples of the chrismon appearing with the
word PAX in tympanums of churches in France from the 11th and 12th centuries.
Chérisey adds a footnote to his Hieron article (that however originally appears in the Le Cour text at the end of his paragraphs about Saint Denis). It reads: ‘The city and abbey of Saint Denys had taken on a great importance thanks to king Dagobert. Because of him he founded
the fair of Saint Denys which then had a considerable influence on the religious, economic and intellectual life of the Middle Ages. The roads of Paris and Saint Denys were full of pilgrims, merchants, jugglers etc.’22
After Chérisey speaks about Le Cour's ‘penetrating the symbolic elements of the chrismon
and entering the Labyrinth’ he added the following footnote which is not in Le Cours book:
‘Compare with the word Labarum, one with the other, which calls to mind the interior of the arch-mystic...’ He seems to implicitly ask us to compare chrismon symbolism directly with the word Labarum. Chérisey then moves to a section from Le Cour entitled ‘The Devotion to the Sacred Heart’:
‘In reality, the devotion towards the Sacred Heart is nothing more than a popularisation of a very old cult, that of the Heart of the Sky (the Sun). It is by a radiant heart that we represent the heart of Christ, that within which we do not see a gross materialization. The Church, in its psalms, glorifies it “In sole posuit tabernaculum suum.” They thus regarded it as the gate to the vault of divinity, and, as in the famous credo, “that which is Lumen of Lumine.” With far less devotion to Him, such consideration gives a considerable breadth and antiquity to Him, and unites with something larger the one and single Tradition to which belongs the Christian religion.
The crowned heart figure on megalithic monuments is part of the religious tradition of solarism. It was carried to Crete on vases dated several millennia ago, and it is not without some emotion that I have seen, in the windows of certain museums, Egyptian amulets representing a heart surmounted with a cross, identical to the modern badges of the Sacred Heart.
The Templars, attached to a very old Tradition, held great honour for the crowned heart. A radiant heart in front of which a character is in worship is reproduced on one of the walls of the keep of Chinon, where there were imprisoned a certain number of Templar's who covered the walls with graffiti. The image of the radiant heart can be seen also in their English commanderies’.23
There then follows the diagram of this crowned heart with a cross associated with the Sacred Heart.
the fair of Saint Denys which then had a considerable influence on the religious, economic and intellectual life of the Middle Ages. The roads of Paris and Saint Denys were full of pilgrims, merchants, jugglers etc.’22
After Chérisey speaks about Le Cour's ‘penetrating the symbolic elements of the chrismon
and entering the Labyrinth’ he added the following footnote which is not in Le Cours book:
‘Compare with the word Labarum, one with the other, which calls to mind the interior of the arch-mystic...’ He seems to implicitly ask us to compare chrismon symbolism directly with the word Labarum. Chérisey then moves to a section from Le Cour entitled ‘The Devotion to the Sacred Heart’:
‘In reality, the devotion towards the Sacred Heart is nothing more than a popularisation of a very old cult, that of the Heart of the Sky (the Sun). It is by a radiant heart that we represent the heart of Christ, that within which we do not see a gross materialization. The Church, in its psalms, glorifies it “In sole posuit tabernaculum suum.” They thus regarded it as the gate to the vault of divinity, and, as in the famous credo, “that which is Lumen of Lumine.” With far less devotion to Him, such consideration gives a considerable breadth and antiquity to Him, and unites with something larger the one and single Tradition to which belongs the Christian religion.
The crowned heart figure on megalithic monuments is part of the religious tradition of solarism. It was carried to Crete on vases dated several millennia ago, and it is not without some emotion that I have seen, in the windows of certain museums, Egyptian amulets representing a heart surmounted with a cross, identical to the modern badges of the Sacred Heart.
The Templars, attached to a very old Tradition, held great honour for the crowned heart. A radiant heart in front of which a character is in worship is reproduced on one of the walls of the keep of Chinon, where there were imprisoned a certain number of Templar's who covered the walls with graffiti. The image of the radiant heart can be seen also in their English commanderies’.23
There then follows the diagram of this crowned heart with a cross associated with the Sacred Heart.
Here Chérisey not only brings in the Templars but he also means to suggest
that this Egyptian amulet from a Museum at Rennes (does he direct us to a different Rennes?) is the symbolism of the Sacred Heart. The diagram to the left here appears on page 131 of the Le Cour book from a chapter entitled ‘The Lessons of the Bible’. For Le Cour, as you can read, he associated the Templars with this ancient and universal Tradition regarding Atlantis. |
The Sacred Heart emblem of our modern times however, is a flaming heart, shining with divine light, pierced by a lance-wound, surrounded by a crown of thorns and surmounted by a cross and bleeding. It has an interesting history, going back to the Middle Ages, and in particular the devotions of the Benedictines and Cistercians. Its modern incarnation stems from the visions of Marguerite Marie Alacoque, who was born in Lhautecour, a village in the diocese of Autun. She received visions of Christ and his Sacred Heart and reported everything she saw to Father de la Colombière, and he, acknowledging the vision as an action of the Spirit of God, consecrated himself to the Sacred Heart and directed her to write an account of the apparition. He was a superior at a Jesuit house at Paray. It was in fact the Jesuits who promulgated this Sacred Heart more fervently than any other religious group.
Chérisey then is equating the vision of Constantine at Autun with the visions of Marie Alacoque, who also had her visions Autun. Marie saw the vision of a flaming heart surmounted with a Cross whereas Constantine saw a vision of Apollo at Autun.
The last few paragraphs of Cherisey ‘s article on the Hieron in the ‘Secret Dossiers’ is the
following:
‘The association of the heart of Christ with the Sun appears clearly in certain marble engravings dating from the XIIIth century and coming from Carthusians from Saint Denis-of-Orques. The wounded heart is indeed reproduced on this marble surrounded with the planetary signs, and signs of the zodiac. It is in France, in Paray-le-Monial, that they have given birth to the devotion towards the Sacred Heart, which is the entitlement of the Hieron du Val d’Or. In Autun 1893 someone found, on the tomb of a Christian woman dating from the VIth century, an inscription in Greek letters (recall that the Druids wrote in Greek letters). It comprises eleven lines, and the first letter of the first five lines form the word ICHTUS. Here is part of this inscription:
“O divine race of the celestial fish, receive with a respectful heart in immortal life among the mortals the waters of the divine ones. Friend, remake your heart with the eternal flood of the wisdom which gives treasures. It is a reservoir of nourishment, soft like the honey of the Saviour of the saints. Eat with hunger: you hold the fish in your hands.”24
The whole 'tract' of Cherisey was signed: Paray-le-Monial, February 5, 1926. (Le Poulpe - The Octopus).
Chérisey then is equating the vision of Constantine at Autun with the visions of Marie Alacoque, who also had her visions Autun. Marie saw the vision of a flaming heart surmounted with a Cross whereas Constantine saw a vision of Apollo at Autun.
The last few paragraphs of Cherisey ‘s article on the Hieron in the ‘Secret Dossiers’ is the
following:
‘The association of the heart of Christ with the Sun appears clearly in certain marble engravings dating from the XIIIth century and coming from Carthusians from Saint Denis-of-Orques. The wounded heart is indeed reproduced on this marble surrounded with the planetary signs, and signs of the zodiac. It is in France, in Paray-le-Monial, that they have given birth to the devotion towards the Sacred Heart, which is the entitlement of the Hieron du Val d’Or. In Autun 1893 someone found, on the tomb of a Christian woman dating from the VIth century, an inscription in Greek letters (recall that the Druids wrote in Greek letters). It comprises eleven lines, and the first letter of the first five lines form the word ICHTUS. Here is part of this inscription:
“O divine race of the celestial fish, receive with a respectful heart in immortal life among the mortals the waters of the divine ones. Friend, remake your heart with the eternal flood of the wisdom which gives treasures. It is a reservoir of nourishment, soft like the honey of the Saviour of the saints. Eat with hunger: you hold the fish in your hands.”24
The whole 'tract' of Cherisey was signed: Paray-le-Monial, February 5, 1926. (Le Poulpe - The Octopus).
Above right is the logo of Le Poulpe as it appears in Le Cours ‘Age of Aquarius’. It is a symbol of the Tradition. The same logo is also presented in ‘Hellenism and Christianity’ as 'the symbol of the demiurge’. In the Secret Dossiers the same logo is used but it has just been reversed!
Le Cours work says that Paray Le Monial has not only given birth to the devotions of the Sacred Heart but also to that of the Christ King.25
The section (in the Secret Dossiers) beginning ‘In Autun, 1893 ...’ is taken from Le Cours work on page 97. It has been slightly changed by Chérisey. The original is as follows:
‘An inscription in Greek letters was discovered in the environs of Autun, a town which was the centre of influence for Druidism, on a stone Christian tomb. As indicated, the Druids wrote in Greek, and it is interesting to find a religious inscription in Greek letters in Roman Gaul. Here is part of that inscription:
“Race divine du celeste Ichtus, garde un Coeur saint Toi qui as recu une vie immortelle parmi les mortals, Ichtus, accorde moi donc cette grace, je la desire ardemment, Que ma mere repose in paix, je t’en supplie, Maitre et Sauveur, o lumiere des morts26.
(“Divine race of celestial Ichtus, guard a holy Heart You who received an immortal life among the mortals Ichtus, thus grants to me this grace, I desire it ardently, That my mother rests in peace, I beg you, Maitre [and Saviour, O light of deaths (or the dead)”
These lines come from a chapter entitled ‘The Cycle of the Fishes’ which refers to the Age before the ‘Age of Aquarius’. Chérisey ends his Hieron article with an image of an Octopus said to be the logo of that Tradition. The logo appears on page 135 in Le Cours work and represents this ‘primitive Tradition’. It is from a chapter called ‘The Bible and the Past’ which speaks of among other things a solar primitive Tradition. Le Cour refers to works by various authors including one who ‘envisaged the existence of a unique universal original language’ which is evidenced in Genesis (with its connotations of the work's by Henri Boudet).
Le Cour brings up the Ark of Noah spelt the ARCHE of Noah where ARCHE is attached to the Greek word ARCHE meaning ‘commencement’ and ‘ARCHOS’ which means commander, governor’ (which in some way may be related to Chériseys suppositions on the word I COMMAND referred to above). The word ARCHE, for Le Cour, is the most important word in the ‘Christian Kabale’ indicating the ‘master word’. Le Cour adds a small note, talking of the extreme importance of the arrival of the Primitive Tradition from Asia Minor in Europe
and the West. He says this is hidden in the myth of Prometheus as well as the myth of the Golden Fleece.
The Octopus design is also seen on the horizontal Marie tombstone. It is referred to in the
poem Le Serpent Rouge where it expels its ink and is associated with the P & S symbols at Saint Sulpice. What do the letters P S refer to? There are several possibilities in the context of this article:
· Saint Sulpice church
· Saint Germaine des Pres church
· The chrismon symbols which have a P S detailed
· The Marie de Negre tombstone, which has a P S symbol as well as an Octopus
So, what are the following points that Chérisey is trying to highlight for us in his Hieron article and the changes he has made? They are:
· An ancient and primitive Solar religion
· A red flag (of the Sacred Heart)
· A red cloth thrown over Christ
· The Roman Empire, a vexillum and the monogram of Christ
· The Labarum
· Oriflamme and Saint Denis, both the martyr and the Abbey
· The Sacred Heart, Templars, Paray-le-Monial, Heiron du Val D’or
· Ichtus
· Le poulpe
As mentioned above, some of these themes are found on the Marie de Négre tombstone. There is the P - S logo, the so called Octopus, the chrismon associated with the PX (ie the Chi Rho), its relation to the word PAX, the interest in the words highlighted by Le Cour with ARCHE, which is perhaps why ’Et in Arcadia Ego ...’ was used. What has all this to do with Saunière in the mind of Chérisey? Because the Poussin painting shows the word Arcadia (ARCHe?) it must have been, as we mentioned above, a stroke of genius that a tomb resembling that in the Poussin painting was found in the vicinity of Rennes-le- Château. Chérisey must have thought it a God send. Or are we to see that Poussin was also familiar with this ‘secret knowledge’!!!!?
A possibility arises that all of this symbolism is somehow associated with Rennes-le-Château and Saunière. Was Chérisey able to manipulate the motto on the Poussin tomb to get across his message about PAX, PX (the Chi Rho), the Chrismon etc? Are we supposed to also add the Δ + I together from the Marie tombstone? Or the group of letters A Δ (D) and I? This gives us DIA, which we have seen could refer to:“Dia”, a rare female adjective, an archaic (but also used in the Ist century B.C.) poetic form for the more common Diva” (from divus, -a, -um adjective) meaning “divine” in the nominative, vocative and ablative case. Chérisey continually alludes to the historical Jesus Christ and Mary Magdalene and a tomb .....perhaps he muddied the waters because he saw Arca Dia as signifying a divine female tomb? There is on the Marie tomb the two times IS (Reddis, Regis, Cellis, Arcis) that is Isis. As you can probably follow these are all themes found also in Le Serpent Rouge, and Cherisey certainly muddies the water again with verses referring to a sepulchre related to Magdalene who is mistaken for Isis (From her that I wanted to free, rose towards me the emanations of perfume which permeate the sepulchre. Once some called her: ISIS, queen of the beneficent springs, COME TO ME ALL YOU WHO SUFFER AND WHO ARE OVERWHELMED AND I WILL COMFORT YOU, otherwise: MADELEINE, with the famous vase full of healing balm. The initiates know the true name: NOTRE DAME DES CROSS).
Marie's tombstone, which remember, has never been found and which only appears as illustrated texts emanating from the so called Priory of Sion is probably a concoction by Chérisey to draw attention to the Chrismon, PaX, a divine tomb, that of Isis, two times IS IS which could refer to Isis, or Iséous (Jesus) or any number of interpretations. In conjunction with the P-S we may also be being drawn to a Meridian. Isis is associated with the ‘eternal white lady of the Legends’ and although Le Cour does reference Isis, the mother of the Gods and the ‘divine feminine’ these are not areas accentuated by Chérisey in particular.
I have procured other works of Le Cour and there is every indication that Chérisey did the same. He seems to have read Le Cours ‘The Esoteric Gospel of John’. In the footnote Chérisey added to his Hieron article noted above there is a correlation with a sentence found in Le Cours ‘Esoteric Gospel of John’. Chérisey’s footnote, you recall, is the following: ‘Compare with the word Labarum, one with the other, which calls to mind the interior of the arch-mystic...’ Le Cour himself refers to these arch mystics and for him they are the Rosicrucians. He says ‘The true Rose-Croix are the arch mystics and their great symbol is the chrismon, formed by the Greek letters Chi and Rho and correlated with the letters R C’. Again even phonetically the term ARCH mystics is interesting (Not Arch but Ark mystics!) suggesting again a propenderance on this word ARCHE!
For Le Cour then, the arch mystics are the Rosicrucians and for Chérisey he asserts that by comparing the chrismon with the word Labarum one can penetrate the mysteries of these Rosicrucians. The Rosicricians do refer to a kind of Labarum in their ‘Chemical Wedding’ text:
"...I went to the letter, which was now so heavy, that had it been mere gold it could hardly have been so weighty. Now as I was diligently viewing it, I found a little seal, on which a curious cross with this inscription, IN HOC SIGNO VINCES, was engraved. Now as soon as I espied this sign I was the more comforted, as not being ignorant that such a seal was little acceptable, and much less useful, to the Devil."
In the light of my research several things jump out at me in this paragraph. They are as follows;
1) I went to the letter (recalls the obsession of Le Cour & Cherisey to compare the Greek letters of the chrisme with the Latin letters of the word PAX).
2)If the letter is synonymous with a kind of Cross associated with Christ, why was it weighty and as heavy as Gold? (A Gold Cross?)
3)Why was the Cross curious? Because it was not actually a Cross seen by Constantine? But the Chrismon, the Chi Rho?
4)This Cross was of no use to the Devil.
Here we have gold, a Cross, IHSV, a seal, the devil and letters - all elements arguably found in the Asmodeus Devil statue as you enter Sauniere's church! Not so unlikey in a Christian Church of course, but intriguing none the less when we find that these people and groups are not even referring to the Christian cross but the Crismon!
Of course Chérisey also refers to the Order of the Rose Cross in his Dossiers Secrets.
Finally one mysterious line of the cipher discovered in the Large Parchment (allegedly by Sauniere) was probably created by Chérisey to draw attention to all these points and made out to have been found by Saunière which refers to PAX. The line is as follows:
‘That Poussin Teniers, Guard the Key, PAX 681, By the Cross and this horse of God’.
Is it to be seen that Poussin and Teniers guard a key related to this PAX or the chrismon? In
Stone & Paper we have a description of understanding by Chérisey regarding the meaning of the ‘Shepherdess Cipher’. He says under the PAX681 (PAX DCLXXXI) that this PAX had a visual form, that of a radiant hexagram. After referring to the Marie tombstone and the Chrismon/PAX/Labarum he then has the next heading as: The Key to the Cross. Presumably this key relates to the Cross referred to in the description of the Cross seen by Constantine
(that of the PX) and it is here that Chérisey elaborates more on the vision of Constantine as that of a radiant hexagram. He says (in Stone & Paper) after talking about various Cross forms, the
following:
‘A corresponding hexagonal form exists between the Jewish star27, the Chrismon, the fleur de lis, the territory of France and the Cross of Lorraine that Gallic propaganda rightly sets among its emblems at the centre of the Land. It is well known, from another angle, that if the Merovingian kings are ‘idle’ it is on account of the parable of the ‘lily of the valley’ that neither toils nor spins but Solomon ‘in all his glory’ was not arrayed as one of these.’ As for the Lords of Rennes, it should be noted that the arms of the Blancheforts carry the Seal of Solomon’.
Here again Chérisey is creating confusion by correlating the chrismon with the Merovingian's and Solomon and that this radiant hexagram seen by Constantine28 is linked perhaps to the Blancheforts. The key to the Marie de Négre (she herself is a Blanchefort!) tombstone is the chrismon or Labarum as opposed to or as well as the key word ’mort epee’. The key is related to France, the fleur de lis, Solomon, Merovingian's and the Jewish star of David (radiant hexagram). All these themes are most certainly referred to elsewhere by Chérisey 29.
However, as a final note and in a bizarre twist into what i suspect is a much deeper mystery, although Cherisey may have, as Plantard suggested, doctored the Parchments he does not appear to have been the originator. For at least, in the smaller Parchment, there lies a fascinating Renaissance code discovered by my friend and colleague, Paul Karren. Independantly discovering this link he has categorically linked this knowledge to Saint Sulpice church and also to Henri Boudet.30
************************************
NOTES
1)These tombstones have never been found. There is a depiction supposedly in the SESA archives after members of this group visited Rennes-le-Château in 1905. There are some, however, who believe this article to be ‘manufactured’. The Museum has a ‘replica’ of the upright stone at Rennes-le-Château. The horizontal stone, the famous ‘Reddis Cellis’ stone has been reconstructed from documents made by Ernest CROS, who interviewed locals about the tombstone in the cemetery in the 40’s.
2)O’Reilly, P. The Vine. Issue 1
3)Le Cour. P. (1937) The Age of Aquarius Imprimerie BIÈRE. Vincennes, Paris. p257
4)Ibid
5)Ibid
6)Le Cour, P (1950) The Esoteric Gospel of John. Editions DERVY. Paris. p145
7)Ibid, p220
8)Le Cour, P (1937) The Age of Aquarius. Vincennes, Paris. p221
9)Le Cour, P (1951) Hellenism and Christianity. Editions Dervy. Paris. P10
10)This is wrong. The R C letters of the Rose Cross do not correspond to Greek XP (Chi Rho)
11)Le Cour, P. (1951) Hellenism and Christianity. Editions Dervey. Paris. P72
12)Ibid, p142
13)Chérisey, P (2007) Stone & Paper. Tr. Published in the Rennes Observer (2007) Issue 50 + 51.
14)Ibid.
15)O’Reilly, P. The Vine.
16)Le Cour, Paul. (1937) The Age of Aquarius. Imprimerie BIÈRE. Vincennes, Paris. P134.
17)Hache translates as ‘axe’. There is much esoteric work regarding artistic representations of a double headed axe in Antiquity, found on many archaeological artefacts from prehistory.
18)Le Cour seems to be referring to Grand Camp, in Vosges. In roman times, Grand was a water sanctuary dedicated to the Gallic Apollo, Apollo Grannus, a healing God and oracle. The function of the sanctuary is directly linked to this main divinity of Apollo Grannus. Le Cour refers to this area as the country of the Aedui, who were a Gallic people of Gallia Lugdunensis, who inhabited the country between the Arar (Saône) and Liger (Loire). Before Caesar's time they had attached themselves to the Romans, and were honoured with the title of brothers and kinsmen of the Roman people. The Aedui were also the first of the Gaul's to receive from the emperor Claudius the distinction of jus honorum. So why would Le Cour bring up the Aedui? Probably because of the Druidic sanctuary as well as the rhetorician Eumenius (born c. 260 - died between 330 and 340), who was one of the Roman panegyrists and author of a speech transmitted in the collection of the Panegyrici Latini, which referred to a vision of the god Apollo which was seen by the Emperor Constantine. Eumenius was born at Autun where this vision of Constantine occurred. He says Constantine stopped off at Autun especially to visit this Temple.
In The Cambridge Companion to the Age of Constantine the following is written:
‘JULY 310 - While Constantine was returning to Trier after having defeated Maximian, he had turned off the main road to visit a Temple of Apollo, probably at Grand, Vosges. There he claimed to have seen, to his amazement, not just gods’ Temple, but the god himself. “For you saw, I believe, O Constantine, your
Apollo, accompanied by Victory, offering you laurel wreaths, each one of which carries a portent of thirty
years. For this is the number of human ages which are owed to you without fail - beyond the old age of a Nestor. And, now why do I say ‘I believe?’ - you saw and recognised yourself in the likness of him to whom the divine songs of the bards had prophesied that rule over the whole world was due’.
The panegyrists description has long been taken to relate to an image commonly portrayed on an imperial ‘vota’ coin that displays a series of X’s inside a circular laurel wreath, with each X representing a decade (X years) of imperial rule. Constantine must have seen something that looked like this: XXX, or perhaps ☼ in the heavens. The fact that the vision occurred near the Temple of Apollo, and had been in braod daylight was interpreted to mean that it had been sent by the god of the Sun. Not surprisingly, from 310 onwards, Constantine began trumpeting the idea that he had a special connection to Apollo, or an even popular sun god, Sol Invictus ..... What precisely Constantine saw that day in 310 remains a matter of dispute ... Suffice to say that Constantine believed he had seen a divine vision, that, at this time, he believed, had come from the god of the Sun’.
Le Cour had associated this with Paray-le-Monial, in other words the church of the Sacred Heart and the Hieron du Val D’or. Some illustrations of coins of Constantine showing the three XXX in a laurel wreath is pictured below.
Le Cours work says that Paray Le Monial has not only given birth to the devotions of the Sacred Heart but also to that of the Christ King.25
The section (in the Secret Dossiers) beginning ‘In Autun, 1893 ...’ is taken from Le Cours work on page 97. It has been slightly changed by Chérisey. The original is as follows:
‘An inscription in Greek letters was discovered in the environs of Autun, a town which was the centre of influence for Druidism, on a stone Christian tomb. As indicated, the Druids wrote in Greek, and it is interesting to find a religious inscription in Greek letters in Roman Gaul. Here is part of that inscription:
“Race divine du celeste Ichtus, garde un Coeur saint Toi qui as recu une vie immortelle parmi les mortals, Ichtus, accorde moi donc cette grace, je la desire ardemment, Que ma mere repose in paix, je t’en supplie, Maitre et Sauveur, o lumiere des morts26.
(“Divine race of celestial Ichtus, guard a holy Heart You who received an immortal life among the mortals Ichtus, thus grants to me this grace, I desire it ardently, That my mother rests in peace, I beg you, Maitre [and Saviour, O light of deaths (or the dead)”
These lines come from a chapter entitled ‘The Cycle of the Fishes’ which refers to the Age before the ‘Age of Aquarius’. Chérisey ends his Hieron article with an image of an Octopus said to be the logo of that Tradition. The logo appears on page 135 in Le Cours work and represents this ‘primitive Tradition’. It is from a chapter called ‘The Bible and the Past’ which speaks of among other things a solar primitive Tradition. Le Cour refers to works by various authors including one who ‘envisaged the existence of a unique universal original language’ which is evidenced in Genesis (with its connotations of the work's by Henri Boudet).
Le Cour brings up the Ark of Noah spelt the ARCHE of Noah where ARCHE is attached to the Greek word ARCHE meaning ‘commencement’ and ‘ARCHOS’ which means commander, governor’ (which in some way may be related to Chériseys suppositions on the word I COMMAND referred to above). The word ARCHE, for Le Cour, is the most important word in the ‘Christian Kabale’ indicating the ‘master word’. Le Cour adds a small note, talking of the extreme importance of the arrival of the Primitive Tradition from Asia Minor in Europe
and the West. He says this is hidden in the myth of Prometheus as well as the myth of the Golden Fleece.
The Octopus design is also seen on the horizontal Marie tombstone. It is referred to in the
poem Le Serpent Rouge where it expels its ink and is associated with the P & S symbols at Saint Sulpice. What do the letters P S refer to? There are several possibilities in the context of this article:
· Saint Sulpice church
· Saint Germaine des Pres church
· The chrismon symbols which have a P S detailed
· The Marie de Negre tombstone, which has a P S symbol as well as an Octopus
So, what are the following points that Chérisey is trying to highlight for us in his Hieron article and the changes he has made? They are:
· An ancient and primitive Solar religion
· A red flag (of the Sacred Heart)
· A red cloth thrown over Christ
· The Roman Empire, a vexillum and the monogram of Christ
· The Labarum
· Oriflamme and Saint Denis, both the martyr and the Abbey
· The Sacred Heart, Templars, Paray-le-Monial, Heiron du Val D’or
· Ichtus
· Le poulpe
As mentioned above, some of these themes are found on the Marie de Négre tombstone. There is the P - S logo, the so called Octopus, the chrismon associated with the PX (ie the Chi Rho), its relation to the word PAX, the interest in the words highlighted by Le Cour with ARCHE, which is perhaps why ’Et in Arcadia Ego ...’ was used. What has all this to do with Saunière in the mind of Chérisey? Because the Poussin painting shows the word Arcadia (ARCHe?) it must have been, as we mentioned above, a stroke of genius that a tomb resembling that in the Poussin painting was found in the vicinity of Rennes-le- Château. Chérisey must have thought it a God send. Or are we to see that Poussin was also familiar with this ‘secret knowledge’!!!!?
A possibility arises that all of this symbolism is somehow associated with Rennes-le-Château and Saunière. Was Chérisey able to manipulate the motto on the Poussin tomb to get across his message about PAX, PX (the Chi Rho), the Chrismon etc? Are we supposed to also add the Δ + I together from the Marie tombstone? Or the group of letters A Δ (D) and I? This gives us DIA, which we have seen could refer to:“Dia”, a rare female adjective, an archaic (but also used in the Ist century B.C.) poetic form for the more common Diva” (from divus, -a, -um adjective) meaning “divine” in the nominative, vocative and ablative case. Chérisey continually alludes to the historical Jesus Christ and Mary Magdalene and a tomb .....perhaps he muddied the waters because he saw Arca Dia as signifying a divine female tomb? There is on the Marie tomb the two times IS (Reddis, Regis, Cellis, Arcis) that is Isis. As you can probably follow these are all themes found also in Le Serpent Rouge, and Cherisey certainly muddies the water again with verses referring to a sepulchre related to Magdalene who is mistaken for Isis (From her that I wanted to free, rose towards me the emanations of perfume which permeate the sepulchre. Once some called her: ISIS, queen of the beneficent springs, COME TO ME ALL YOU WHO SUFFER AND WHO ARE OVERWHELMED AND I WILL COMFORT YOU, otherwise: MADELEINE, with the famous vase full of healing balm. The initiates know the true name: NOTRE DAME DES CROSS).
Marie's tombstone, which remember, has never been found and which only appears as illustrated texts emanating from the so called Priory of Sion is probably a concoction by Chérisey to draw attention to the Chrismon, PaX, a divine tomb, that of Isis, two times IS IS which could refer to Isis, or Iséous (Jesus) or any number of interpretations. In conjunction with the P-S we may also be being drawn to a Meridian. Isis is associated with the ‘eternal white lady of the Legends’ and although Le Cour does reference Isis, the mother of the Gods and the ‘divine feminine’ these are not areas accentuated by Chérisey in particular.
I have procured other works of Le Cour and there is every indication that Chérisey did the same. He seems to have read Le Cours ‘The Esoteric Gospel of John’. In the footnote Chérisey added to his Hieron article noted above there is a correlation with a sentence found in Le Cours ‘Esoteric Gospel of John’. Chérisey’s footnote, you recall, is the following: ‘Compare with the word Labarum, one with the other, which calls to mind the interior of the arch-mystic...’ Le Cour himself refers to these arch mystics and for him they are the Rosicrucians. He says ‘The true Rose-Croix are the arch mystics and their great symbol is the chrismon, formed by the Greek letters Chi and Rho and correlated with the letters R C’. Again even phonetically the term ARCH mystics is interesting (Not Arch but Ark mystics!) suggesting again a propenderance on this word ARCHE!
For Le Cour then, the arch mystics are the Rosicrucians and for Chérisey he asserts that by comparing the chrismon with the word Labarum one can penetrate the mysteries of these Rosicrucians. The Rosicricians do refer to a kind of Labarum in their ‘Chemical Wedding’ text:
"...I went to the letter, which was now so heavy, that had it been mere gold it could hardly have been so weighty. Now as I was diligently viewing it, I found a little seal, on which a curious cross with this inscription, IN HOC SIGNO VINCES, was engraved. Now as soon as I espied this sign I was the more comforted, as not being ignorant that such a seal was little acceptable, and much less useful, to the Devil."
In the light of my research several things jump out at me in this paragraph. They are as follows;
1) I went to the letter (recalls the obsession of Le Cour & Cherisey to compare the Greek letters of the chrisme with the Latin letters of the word PAX).
2)If the letter is synonymous with a kind of Cross associated with Christ, why was it weighty and as heavy as Gold? (A Gold Cross?)
3)Why was the Cross curious? Because it was not actually a Cross seen by Constantine? But the Chrismon, the Chi Rho?
4)This Cross was of no use to the Devil.
Here we have gold, a Cross, IHSV, a seal, the devil and letters - all elements arguably found in the Asmodeus Devil statue as you enter Sauniere's church! Not so unlikey in a Christian Church of course, but intriguing none the less when we find that these people and groups are not even referring to the Christian cross but the Crismon!
Of course Chérisey also refers to the Order of the Rose Cross in his Dossiers Secrets.
Finally one mysterious line of the cipher discovered in the Large Parchment (allegedly by Sauniere) was probably created by Chérisey to draw attention to all these points and made out to have been found by Saunière which refers to PAX. The line is as follows:
‘That Poussin Teniers, Guard the Key, PAX 681, By the Cross and this horse of God’.
Is it to be seen that Poussin and Teniers guard a key related to this PAX or the chrismon? In
Stone & Paper we have a description of understanding by Chérisey regarding the meaning of the ‘Shepherdess Cipher’. He says under the PAX681 (PAX DCLXXXI) that this PAX had a visual form, that of a radiant hexagram. After referring to the Marie tombstone and the Chrismon/PAX/Labarum he then has the next heading as: The Key to the Cross. Presumably this key relates to the Cross referred to in the description of the Cross seen by Constantine
(that of the PX) and it is here that Chérisey elaborates more on the vision of Constantine as that of a radiant hexagram. He says (in Stone & Paper) after talking about various Cross forms, the
following:
‘A corresponding hexagonal form exists between the Jewish star27, the Chrismon, the fleur de lis, the territory of France and the Cross of Lorraine that Gallic propaganda rightly sets among its emblems at the centre of the Land. It is well known, from another angle, that if the Merovingian kings are ‘idle’ it is on account of the parable of the ‘lily of the valley’ that neither toils nor spins but Solomon ‘in all his glory’ was not arrayed as one of these.’ As for the Lords of Rennes, it should be noted that the arms of the Blancheforts carry the Seal of Solomon’.
Here again Chérisey is creating confusion by correlating the chrismon with the Merovingian's and Solomon and that this radiant hexagram seen by Constantine28 is linked perhaps to the Blancheforts. The key to the Marie de Négre (she herself is a Blanchefort!) tombstone is the chrismon or Labarum as opposed to or as well as the key word ’mort epee’. The key is related to France, the fleur de lis, Solomon, Merovingian's and the Jewish star of David (radiant hexagram). All these themes are most certainly referred to elsewhere by Chérisey 29.
However, as a final note and in a bizarre twist into what i suspect is a much deeper mystery, although Cherisey may have, as Plantard suggested, doctored the Parchments he does not appear to have been the originator. For at least, in the smaller Parchment, there lies a fascinating Renaissance code discovered by my friend and colleague, Paul Karren. Independantly discovering this link he has categorically linked this knowledge to Saint Sulpice church and also to Henri Boudet.30
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NOTES
1)These tombstones have never been found. There is a depiction supposedly in the SESA archives after members of this group visited Rennes-le-Château in 1905. There are some, however, who believe this article to be ‘manufactured’. The Museum has a ‘replica’ of the upright stone at Rennes-le-Château. The horizontal stone, the famous ‘Reddis Cellis’ stone has been reconstructed from documents made by Ernest CROS, who interviewed locals about the tombstone in the cemetery in the 40’s.
2)O’Reilly, P. The Vine. Issue 1
3)Le Cour. P. (1937) The Age of Aquarius Imprimerie BIÈRE. Vincennes, Paris. p257
4)Ibid
5)Ibid
6)Le Cour, P (1950) The Esoteric Gospel of John. Editions DERVY. Paris. p145
7)Ibid, p220
8)Le Cour, P (1937) The Age of Aquarius. Vincennes, Paris. p221
9)Le Cour, P (1951) Hellenism and Christianity. Editions Dervy. Paris. P10
10)This is wrong. The R C letters of the Rose Cross do not correspond to Greek XP (Chi Rho)
11)Le Cour, P. (1951) Hellenism and Christianity. Editions Dervey. Paris. P72
12)Ibid, p142
13)Chérisey, P (2007) Stone & Paper. Tr. Published in the Rennes Observer (2007) Issue 50 + 51.
14)Ibid.
15)O’Reilly, P. The Vine.
16)Le Cour, Paul. (1937) The Age of Aquarius. Imprimerie BIÈRE. Vincennes, Paris. P134.
17)Hache translates as ‘axe’. There is much esoteric work regarding artistic representations of a double headed axe in Antiquity, found on many archaeological artefacts from prehistory.
18)Le Cour seems to be referring to Grand Camp, in Vosges. In roman times, Grand was a water sanctuary dedicated to the Gallic Apollo, Apollo Grannus, a healing God and oracle. The function of the sanctuary is directly linked to this main divinity of Apollo Grannus. Le Cour refers to this area as the country of the Aedui, who were a Gallic people of Gallia Lugdunensis, who inhabited the country between the Arar (Saône) and Liger (Loire). Before Caesar's time they had attached themselves to the Romans, and were honoured with the title of brothers and kinsmen of the Roman people. The Aedui were also the first of the Gaul's to receive from the emperor Claudius the distinction of jus honorum. So why would Le Cour bring up the Aedui? Probably because of the Druidic sanctuary as well as the rhetorician Eumenius (born c. 260 - died between 330 and 340), who was one of the Roman panegyrists and author of a speech transmitted in the collection of the Panegyrici Latini, which referred to a vision of the god Apollo which was seen by the Emperor Constantine. Eumenius was born at Autun where this vision of Constantine occurred. He says Constantine stopped off at Autun especially to visit this Temple.
In The Cambridge Companion to the Age of Constantine the following is written:
‘JULY 310 - While Constantine was returning to Trier after having defeated Maximian, he had turned off the main road to visit a Temple of Apollo, probably at Grand, Vosges. There he claimed to have seen, to his amazement, not just gods’ Temple, but the god himself. “For you saw, I believe, O Constantine, your
Apollo, accompanied by Victory, offering you laurel wreaths, each one of which carries a portent of thirty
years. For this is the number of human ages which are owed to you without fail - beyond the old age of a Nestor. And, now why do I say ‘I believe?’ - you saw and recognised yourself in the likness of him to whom the divine songs of the bards had prophesied that rule over the whole world was due’.
The panegyrists description has long been taken to relate to an image commonly portrayed on an imperial ‘vota’ coin that displays a series of X’s inside a circular laurel wreath, with each X representing a decade (X years) of imperial rule. Constantine must have seen something that looked like this: XXX, or perhaps ☼ in the heavens. The fact that the vision occurred near the Temple of Apollo, and had been in braod daylight was interpreted to mean that it had been sent by the god of the Sun. Not surprisingly, from 310 onwards, Constantine began trumpeting the idea that he had a special connection to Apollo, or an even popular sun god, Sol Invictus ..... What precisely Constantine saw that day in 310 remains a matter of dispute ... Suffice to say that Constantine believed he had seen a divine vision, that, at this time, he believed, had come from the god of the Sun’.
Le Cour had associated this with Paray-le-Monial, in other words the church of the Sacred Heart and the Hieron du Val D’or. Some illustrations of coins of Constantine showing the three XXX in a laurel wreath is pictured below.
19)Twyman, T translation at: ww.bibliotecapleyades.net/sociopolitica/esp_sociopol_priorysion09.htm
20)Ibid
21)In the Esoteric Gospel of John Le Cour refers to the early symbols of Jesus. He details the chrisme being found on tombs in the first few centuries, but that in Byzantine churches Jesus is not showed as Christ crucified, but as Christ in Majesty, the so called Christ Pantocrator. The Cross (Crox ansee, or croix gammee) were the traditional forms of the Cross. Le Cour goes on to say that the idea of a God who died and was resuscitated/resurrected is a survivance of the religion of the people of a ‘vivant jadis’, under a latitude where the sun ‘disappears’ in Autumn and reappears in Spring.
22)Le Cour, P (1937) The Age of Aquarius. Vincennes, Paris. p209
23)Ibid, p200
24)Twyman, T translation at: www.bibliotecapleyades.net/sociopolitica/esp_sociopol_priorysion09.htm
25)A publication in 1900 by the Hieron discusses their mission regarding the Christ King. Incidentally this same publication suggests a partial explanation of the ‘Pommes Bleues’ imagery used by Chérisey in the cipher and also in his novel Circuit. You can read about this here: http://www.rhedesium.com/partial-explanation-of-pommes-bleues.html
26)Le Cour. P. (1937) The Age of Aquarius Imprimerie BIÈRE. Vincennes, Paris. p97
27)Chérisey, P (2007) Stone & Paper. Tr. Published in the Rennes Observer (2007) Issue 50 + 51.
28)Here we have the two interlacing triangles: the Jewish star, the ‘Seal of Solomon’. Le Cour has already referred to this. Chérisey is equating the Jewish star and the Crismon together along with the Fleur de Lis etc. Chérisey links all this to Solomon.
29)The radiant hexagram would appear to be none other than the Solomons Seal.
20)Ibid
21)In the Esoteric Gospel of John Le Cour refers to the early symbols of Jesus. He details the chrisme being found on tombs in the first few centuries, but that in Byzantine churches Jesus is not showed as Christ crucified, but as Christ in Majesty, the so called Christ Pantocrator. The Cross (Crox ansee, or croix gammee) were the traditional forms of the Cross. Le Cour goes on to say that the idea of a God who died and was resuscitated/resurrected is a survivance of the religion of the people of a ‘vivant jadis’, under a latitude where the sun ‘disappears’ in Autumn and reappears in Spring.
22)Le Cour, P (1937) The Age of Aquarius. Vincennes, Paris. p209
23)Ibid, p200
24)Twyman, T translation at: www.bibliotecapleyades.net/sociopolitica/esp_sociopol_priorysion09.htm
25)A publication in 1900 by the Hieron discusses their mission regarding the Christ King. Incidentally this same publication suggests a partial explanation of the ‘Pommes Bleues’ imagery used by Chérisey in the cipher and also in his novel Circuit. You can read about this here: http://www.rhedesium.com/partial-explanation-of-pommes-bleues.html
26)Le Cour. P. (1937) The Age of Aquarius Imprimerie BIÈRE. Vincennes, Paris. p97
27)Chérisey, P (2007) Stone & Paper. Tr. Published in the Rennes Observer (2007) Issue 50 + 51.
28)Here we have the two interlacing triangles: the Jewish star, the ‘Seal of Solomon’. Le Cour has already referred to this. Chérisey is equating the Jewish star and the Crismon together along with the Fleur de Lis etc. Chérisey links all this to Solomon.
29)The radiant hexagram would appear to be none other than the Solomons Seal.
All this discussion and hinting by Chérisey is as follows: A corresponding hexagonal form exists between the Jewish star, the Chrismon, the fleur de lis, the territory of France and the Cross of Lorraine
that Gallic propaganda rightly sets among its emblems at the centre of the Land. It is well known, from another angle, that if the Merovingian kings are ‘idle’ it is on account of the parable of the ‘lily of the valley’ that neither toils nor spins, but Solomon ‘in all his glory’ was not arrayed as one of these.’ As
for the Lords of Rennes, it should be noted that the arms of the Blancheforts carry the Seal of Solomon’ must have some basis in logic for Chérisey. But what?
He continues to create confusion by correlating the chrismon with the Merovingian's and Solomon and this radiant hexagram seen by Constantine. The same image is linked somehow to the Blancheforts and further to the Jewish star of David! The artefact that Cherisey every now and then refers to - a Gold Cross of Solomon - which Childebert obtained when he made war on the Visigoths at Toledo is the only real and tangible constant. Childebert had thought that this gold Cross had belonged to or was made by Solomon. Solomon is not associated with a Gold Cross but he is of course associated with the Star of David or perhaps a ‘radiant hexagram’.
When Chérisey talks of a ‘radiant hexagram’ seen by Constantine (“a radiant hexagram that the Greeks read as χριστοσ and the Latins as PaX.“), he seems to be correlating together the form of:
· A radiant hexagram
· The Jewish Star of Daivd
· A Cross of Solomon
· The chrismon
In Le Serpent Rouge we are told that "This Friend, how to introduce him to you? His name remained a
mystery, but his number is that of a famous seal". The famous seal is the Seal of Solomon.
So Chérisey is alerting us to something specific.
Imagine then, my surprise, when researching the church at Limoux and its sanctuary Notre Dame de Marceille, I read that it had had in front of its magnificent ancient wooden doors a Gold Cross of Solomon depicted on the pavement? I quickly sought to locate a picture of this. What would a Gold Cross of
Solomon look like? Solomon was an Old Testament king where the Cross was not known. I found an old photo of this Gold Cross of Solomon courtesy of Christian Attard who kindly gave me permission
to reproduce the photo here (see below). Should I really have been surprised to see a Seal of Solomon depicted here?
One wonders if Notre Dame de Marceille had anything to do with Chériseys musings? It is somewhat odd that Notre Dame de Marceille would describe a design as a Gold Cross of Solomon on the pavement outside the main doors of the sanctaury when they could see quite clearly that it was a ‘radiant hexagram’?
that Gallic propaganda rightly sets among its emblems at the centre of the Land. It is well known, from another angle, that if the Merovingian kings are ‘idle’ it is on account of the parable of the ‘lily of the valley’ that neither toils nor spins, but Solomon ‘in all his glory’ was not arrayed as one of these.’ As
for the Lords of Rennes, it should be noted that the arms of the Blancheforts carry the Seal of Solomon’ must have some basis in logic for Chérisey. But what?
He continues to create confusion by correlating the chrismon with the Merovingian's and Solomon and this radiant hexagram seen by Constantine. The same image is linked somehow to the Blancheforts and further to the Jewish star of David! The artefact that Cherisey every now and then refers to - a Gold Cross of Solomon - which Childebert obtained when he made war on the Visigoths at Toledo is the only real and tangible constant. Childebert had thought that this gold Cross had belonged to or was made by Solomon. Solomon is not associated with a Gold Cross but he is of course associated with the Star of David or perhaps a ‘radiant hexagram’.
When Chérisey talks of a ‘radiant hexagram’ seen by Constantine (“a radiant hexagram that the Greeks read as χριστοσ and the Latins as PaX.“), he seems to be correlating together the form of:
· A radiant hexagram
· The Jewish Star of Daivd
· A Cross of Solomon
· The chrismon
In Le Serpent Rouge we are told that "This Friend, how to introduce him to you? His name remained a
mystery, but his number is that of a famous seal". The famous seal is the Seal of Solomon.
So Chérisey is alerting us to something specific.
Imagine then, my surprise, when researching the church at Limoux and its sanctuary Notre Dame de Marceille, I read that it had had in front of its magnificent ancient wooden doors a Gold Cross of Solomon depicted on the pavement? I quickly sought to locate a picture of this. What would a Gold Cross of
Solomon look like? Solomon was an Old Testament king where the Cross was not known. I found an old photo of this Gold Cross of Solomon courtesy of Christian Attard who kindly gave me permission
to reproduce the photo here (see below). Should I really have been surprised to see a Seal of Solomon depicted here?
One wonders if Notre Dame de Marceille had anything to do with Chériseys musings? It is somewhat odd that Notre Dame de Marceille would describe a design as a Gold Cross of Solomon on the pavement outside the main doors of the sanctaury when they could see quite clearly that it was a ‘radiant hexagram’?
30)You can read about this discovery here http://www.rhedesium.com/interview-with-paul-karren.html and you can read about some investigations into the thesis here http://www.rhedesium.com/more-on-the-codex-bezae.html
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c. SAH ca.2009/10
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c. SAH ca.2009/10