I hadn't seen this video before and found it on You Tube. Pertinent to many RLC researchers [many people the 'spiritual' treasure of Sauniere/Boudet is connected to Jesus and whether he died on the Cross] this BBC documentary even features Rennes-le-Chateau. However, for me, the revelation in this video are two of the contributors - Peter Stanford and John Dominic Crossan. Both a breath of fresh air ....
I found this photo of an artists' impression of what a Visigothic village may have looked like [in my collection on my computer. I do not know whose copyright it is, if you know please email me HERE]
I have posted it to remind interested readers - that when Alaric led his people to their own kingdom - he had previously been in the employ of the Roman Empire. The Visigoths did not live like a wild uncultured horde of ruffians. And i think this artists' impression of a Visigothic village amply shows they were quite sophisitcated for their times and compared to other so-called 'barbarians'!
Its not just that Sauniere discovered a tomb - its about what was going on around that discovery ... was the tomb that important that he went to see the 4 colleagues after his retreat? Are they the same colleagues that visited him at Rennes-le-Chateau when he was back from retreat? Did they go down in to the tomb? We know there was something below the church because Claire Corbu reported going down the steps into the tomb during her childhood. This even means access was possible in the 1940's. Did Noel Corbu go into the crypt?
Where did Sauniere go for his retreat? Why employ a new set of Masons to continue the work?
The first 4 colleagues were the priest of Nevian, who is said to have been related in some way to Sauniere. Gelis of course was the priest at Caustaussa. Carriere was a doctor, who just happened to be a cousin of Abbe Lassere, priest of Alet. He was private doctor to the Count of Chambord. And we know Secret refers to Abbe Guilhem, and Cros is the right hand man of Monseigneur Billard.
We assume the tomb is the tomb related to the crypt under the church and not one in the cemetery as he had been carrying out work in the Church. As Paul Saussez says; everything about this discovery suggests that it was unusual!
I have often read that it is anathema - regarding any possible future archaeological discoveries around the Rennes-le-Chateau/Rennes-les-Bains area - to mention any of these artefacts go to a Museum. Robert Howells, in his book: 'Inside the Priory of Sion' said [on page 183]:
"...we are not dispassionate archaeologists, cataloguing and emptying the sacred places of the dead to fill museums with ornaments...'
This statement betrays an ignorance of what archaeologists actually do. Archaeologist's do not 'work' to just fill museums - despite what one might see in films such as 'Indiana Jones and the Ark of the Covenant'! Archaeologists, in fact, are led by a wonder of the past and a love and respect for that past. The sense of connectedness and wonder they feel when meeting their ancestors through archaeology & learning about their beliefs and their knowledge and resourcefulness positively inspires them.
Surely Howell's is exhibiting these same feelings of wonderment when he describes [in his book] looking for the entrances to the fabled Underground Temple, which according to legend, is in the area of Rennes-les-Bains? What is he being led by when he goes looking for the tombs? Indeed, why is he even looking if not for the sense of connectedness and wonder of the past?
I am not sure if Howells has been on a 'dig'. If he has - i'm sure he would have seen that archaeologists are not as he described above. Sites for archaeological 'investigation' are in the main treated respectfully and sometimes even reverentially and with awe in some instances. Artifacts are treated with respect and any bodies found also treated with the utmost dignity and respect. There are laws surrounding that dignity and respect.
Our society today might appear to be dispassionate in all things 'sacred' but only because it has become immune to the sacred in their lives. Immunity comes because of life's daily grind and struggle - and of course the onset of science hasn't helped but science itself helps people to see the 'sacred' in the universe around them! One person should never presume to take from people the opportunity to become in awe of the divine - which can take them beyond their mere existence and touch something divine within themselves!
Of course, Howell's may be referring to tomb-robbers - those notorious thieves who steal from sacred sites and loot for monetary gain. If so, then i agree with him.
For archaeologists artifacts are not viewed as 'ornaments' to fill museums. Maybe if Howell was referring to the very earliest museums that began in the seventeenth and eighteenth centuries - which were essentially created as the private collections of wealthy individuals, families or institutions - he may have a valid point. These museum pieces were often displayed in so-called wonder rooms or cabinets of curiosities. Public access to them were often only possible for the "respectable" [especially to private art collections] but it was mostly always at the whim of the owner and his staff. In fact, one way that elite men during this time period gained a higher social status in the world of elites was by becoming a collector of these curious objects and displaying them.
These first "public" museums, as i said, were often accessible only by the middle and upper classes. In other words the access to them was controlled and determined by who you were. As we saw above the collections were a way for 'elite' men to gain higher social status, pretty much like a modern Secret Society may try to do today - withholding any knowledge that belongs to humanity under the guise of 'when the time is right' or 'not for the profane'. I have often wondered what 'not for the profane' means. Does it mean those who don't believe in God? I'm not sure that I believe in a God in the way it has been fed to me. Does that make me profane? I do recognise the universal connectedness of all things but that was taught to me by science. Does that make me profane?
Howell claims in his book that 'secret' members of the secret society called the Priory of Sion are found within the midst of big institution's, especially the Vatican. One internal group of Priory representatives in the Vatican was referred to as the 'Italian contingent'. This 'Italian contingent', we are told, is withholding the 'truth' surrounding Rennes-le-Chateau emerging. On page 60 of his book Howell tell us why. It is because:
"understandably ...it does not suit the Catholic Church to hurry along its own personal demise, which is what the revelations ultimately imply ...'
In other words, humanity and truth are not the first and foremost concerns of those who are suppose to be 'in on the secret'. For the 'Italian contingent' they are protecting their own personal and selfish interests first. Nothing new there then. No noble reasons. Are they the profane? I understand that for many people today the demise of the Catholic church would be detrimental to their mental health - but what about all the people currently suffering today, here and now, because of policies and actions of that Catholic church? I also recognise that the Church has done some 'good things' and that things are never black and white. However, I am persuaded that Dostoyevsky and his parable of the 'Grand Inquisitor' in his novel The Brothers Karamazov is probably nearer the truth.
On page 199 of his book Howell states:
"Imagine for the moment that the relic of all relics - the corpse of Jesus - was discovered. Would it be instantly recognisable, an uncorrupted body, charismatic even in death? What strange worship would grow up around it? Would the Catholic Church and other Christian denominations clamour for Christ's body, claiming right of ownership? Or would they continue to deny its existence? Would they loot the tomb of Jesus and scatter its contents to fill the collection plates of churches, cathedrals or God forbid, museums?'
Most of that paragraph betrays the understanding of times gone past and how institutions such as the Church/Vatican have behaved in relation to artifacts and relics. A way to stop that behaviour is in fact to create a world museum for such a relic as the 'relic to end all relics' to never undergo the processes he describes.
The value of a Museum is the sharing of knowledge and the inspiration it gives us. The objects and stories [artifacts] – are our accounts from the past – that have been accumulated over the centuries and now in the public domain. Museums have been designated by governments as the custodians of this public heritage, in order to carefully preserve it and make it accessible to a wide audience – both now and for future generations. These collections allow us to interpret the present and future by delving into the past.
And what is the social value of museums? Museums have been shown to inspire powerful identity-building among humanity & along with that learning in all ages, be it children, young people or whole communities. They also help create that connectedness that people perhaps are missing - by re-connecting with their ancestry and 'history'. Not dry history - but an understanding of how we got here and why. A recent survey regarding the worth of Museums suggested that they give us:
• Enjoyment, Inspiration, Creativity - 97%
• Knowledge and Understanding - 97%
• Action, Behaviour, Progression - 92%
• Attitudes and Values - 91%
• Skills - 91%
Museums are also powerful in bringing communities together - if used in the right way [i.e. if the archaeological interpretation is not used to bolster a particular political or religious ideology to the exclusion of others and to re-interpret the past incorrectly to bolster the same] and can bring all races and cultures together.
Our idea of sacredness comes from seeing we are part of one big whole. This is mostly shown to us via science and museums. There are four types of 'sacred' that museums can help preserve for us.
Palmer has said the way in which we create sacredness is as follows:
"Communities decide upon a site that is holy to them, and then build a church, chapel, synagogue, mosque or temple .....[..] the second type of sacred might be a raging sea viewed from a cliff top, or a giant redwood forest that stretches to the horizon, or a peaceful grove that dances with sunlight...[...] the third type of sacred place has been made holy by history or legend ...and finally there are the sacred places that mean something special to individuals .... places where you go to think, or where you have experienced great happiness...[...]".
[Sacred Land: Martin Palmer 2012, pp 4-6]
Palmer went on to say:
"All four types of sacred place tell us something about ourselves in relation to a greater story, a purpose greater than merely our individual lives ...[...] They are sacred because they link us to the divine and give us a sense of meaning ...they add significance to what lies around us ....[...]Believing that some places are sacred means that we do not see ourselves as mere selfish genes or as random acts of procreation but as part of a greater narrative within which we have the opportunity to play a part. .....this combination of the sense of sacred and meaning has literally shaped our landscape ...'
[Sacred Land: Martin Palmer 2012, pp 4-6]
Howell reported on page 60 of his book that an alleged Priory of Sion representative said that the aim of Sion 'is all in the service of a greater cause'. He wrote:
"The fundamental goal of the Priory of Sion is the unification of mankind by means of engendered cultural and spiritual shifts in perception and values'.
You would think then that Sion would appreciate and accept the worth of an insitu Museum if it supported the above aims. Let us not forget that those priests such as Sauniere and Boudet, went relic hunting and in some cases were very disrespectful in relation to artifacts. The Priory always refer to a certain affinity they have with the Templars, but even they are not any less 'profane' at times - they were relic hunters and they endeavoured to remove relics from their insitu place of origin - and if legend is to be believed - bring them to a little corner of France once called Septimania. The Visigoths - if you will - in the course of their history - such as history was in those days - had a Sacred place for the Sacred treasure that they had looted. It was called the Sacred Treasure because of its 'sacredness'. If it was found? Then surely there should be an insitu museum where it was found?
After all, it belongs to no one but humanity.
I have recently become interested in Jacques Cholet and how he came by some information relating to the little church at Rennes-le-Château. The information led him to undertake excavations in [and around] the church at Rennes. Cholet and his sources may be of interest to us. A fellow researcher informed me that Cholet had studied the archives of the last surviving line of the Monfort-l'Amaury's - and that he mentions in a report that "he found some papers in another castle (Montfort-Amaury - heirs of Simon de Montfort). These papers showed maps and some hidings [places] within the church of RLC" Read more HERE.
There is an interesting discussion HERE - on the Arcadia Forum - it is about the Tarot cards that Plantard designed and whether any useful information is encoded in them. This led to Wombat [nic-name of a poster on the forum] speculating about the placement of the Temple Rond as pictured above.
This discussion had set me thinking. I had always vaguely wondered how an underground temple would appear 'in the flesh' as it were. I mean, how can you look for something if you don't even know what it looks like?
I had gained a semblance of other peoples' ideas about this 'Temple'. Henri Boudet had described a pagan Temple in the Valley of the Sals .... and chronologically alongside Boudet's wrtings i had read about archaeological finds in the same local area. These finds talked of massive columns and other archaeological features. Dr Paul Courrent reported [in reference to the Hotel de la Reine at Rennes-les-Bains] that: "The hotel is also built on very old substructures. Repairs carried out to a house [near the Hotel?] in 1928, showed "large block foundations" that Mr. ROUZAUD, former president of the Archaeological Survey of Narbonne, attributed to ancient Roman buildings, temples and palaces" [my emphasis].
Boudet also had written at the time: "The southern countries of the Redones had long been part of the Province, and the Romans had built a temple in the valley of the Sals, and baths at the source de la Reine". He seems to be preoccupied with this pagan Temple which was later a Christian church. One he associated with the 'Head of the Saviour' & one which was 'set fire to'. We know that later Cherisey also wrote about a pagan temple which was set fire to and looted by Arab marauders.
This made me wonder - what would a 'temple souterrain' look like! In fact, what are Souterrains?
They are human made subterranean structures like quarries, mines, waterwells, road - and railway tunnels, underground aqueducts, catacomb's, military underground defence systems, troglodyte dwellings etc. The name Temple comes from the Roman templum which is a space separated from the rest of the world. It is a space on earth reflecting the heavens that priests have transcribed on the floor. This is sacred ground, inviolable and includes the building of places of worship built above as well as below ground. What is seldom known is that the temple is not only a building, but a significant portion of the actual space and dimension includes aspects usually only known to priests who were able to perceive it. This space was generally unknown to the faithful, which included the cemetery and rural chapels. These could have a much more considerable size geographically speaking.
It also includes the part of the temple below ground, where the crypts could be found, which sometimes had considerable dimensions such as the one in Apt, and other places of worship. These spaces invariably were without windows. This spiritual darkness helped to isolate the visual perceptions. It is for this reason that the contemplative orders use it. The capitals of the columns would have included no ornaments. The abbey church Valmagne (Hérault) is an example. In this way, the darkness and the silence enabled thought and reflection to enter and meet with the divinity. This silence of thought is also a kind of initiatory step, whether in the Eastern or Western traditions of religious thought.
There is alot of evidence for these type of underground structures. Here are some pictures below:
But by far the most spectacular example is the one pictured below. This seems to correlate with researchers' ideas about an underground Temple in the vicinity of Rennes-les-Bains.
This Church is carved into a mighty cliff overlooking the village. It is thought to have been carved around the eighth century [perhaps even earlier] & was considerably enlarged in the twelfth century by a community of Benedictine monks.
This large church found its origins in an ancient Mithraic sanctuary (this assertion is disputed by scholars ), and was probably transformed into a chapel by the early Christian communities. The original cavity is enlarged in the eighth century (if not before) and this period has remains of a baptismal pool carved into the rock, decorated with a Greek cross. The monolithic church at Aubeterre is a big rectangle of twenty-seven meters long and six meters wide, dimensions which make it one of the largest churches of its kind in Europe. It consists of an vaulted apse semi - cylindrical in shape - preceded by a wide nave, separated from a single aisle with a series of massive pillars an octagonal plan (at the base) to the plane square (at the top), and a long vaulted hall lined with crypts . Arches, cut into semicircular, total almost twenty meters .
At about fifteen meters, the church is surrounded on three sides by a gallery, a kind of triforium , which is accessed by a staircase carved into the rock. Formerly, this gallery was also accessible from the outside. A passage connected also to the castle church, located just above the top of a limestone hill overlooking the valley of the Dronne . The opposite wall, which reached six feet thick, is pierced by three large arched windows, allowing direct illumination of the sanctuary.
This cave church has a unique set comprising an imposing stone reliquary (6 meters), a masterpiece of Romanesque art, a pit of relics, an early Christian baptismal font decorated with a Greek cross and a crypt, prior to the Christian period (medieval stalls are still visible).
Enthroned in the center of the apse, the shrine draws inspiration no doubt from the Holy Sepulchre of Jerusalem, as described by the first Crusaders. This monument, with two floors and its decorated columns and archivaults, in the purest Roman tradition.
Perhaps the Underground Temple alleged to be in the vicinity of Rennes-les-Bains is something akin to this church above? A massive structure hewn into the rock, dating back to Roman times, but used continuously up til modern times? If it is, it would also, according to Plantard and Cherisey be a very important burial temple because it is quite clear that there are important Roman burials there, as well as Christian burials as well as Arab manuscripts, the Gold of Delphi and the Gold of the Visigoths!
Below is a link to a virtual look at the massive structure at Charente: see HERE
Illustration for Charles Perrault's La Belle au Bois Dormant from Histoires ou Contes du Temps passé: Les Contes de ma Mère l'Oye (1697). Gustave Doré's illustrations appear in an 1867 edition entitled Les Contes de Perrault. Sixth of six engravings. http://www.ac-amiens.fr/pedagogie/lettres/lycee/perrault/gravures.htm
This is an exercise in taking Philippe de Chérisey at his word. That word is taken from a line in his poem [Le Serpent Rouge] where we are exhorted thus: "To this, Dear Reader, be careful not to add or remove an iota... meditate, meditate again, the vile lead of my writing contains perhaps the purest gold".
We are going to look at the figure of the Sleeping Beauty found in the verse entitled Belier and follow just his exhortation - meditate, meditate and meditate again indeed!
Belier, that is Aries, is the verse under which we are introduced to the BELLE endormie, the 'sleeping beauty'. This Sleeping Beauty, or more likely, the Beauty STILL asleep in the woods, [if you break down the constituent words] is the object of our poet's seach, for he says: je voulais parvenir à la demeure de la BELLE endormie en qui certains poètes voient la REINE d'un royaume disparu.
A translation can be attempted: 'I wanted to reach the house of the Beauty still asleep in the woods - in whom certain poets saw the QUEEN of a vanished kingdom'.
We know from the previous verse [if we read it as a whole and not in isolation] that the poet is already on this testing pilgrimage to the 'beauty still asleep in the woods' because he has told us:
"Dans mon pélérinage eprouvant, je tentais de me frayer à l'epée une voie à travers la végétation inextricable des bois".
As part of his pilgrimage he tried to make a path with his sword, in other words a path to clear away the tangled vegetation, the knotty wood and the inextricable woodland! Inextricable woods mean those woods impossible to disentangle or separate, originally from a 16th century word - the root being from the Latin inextricabilis, from in- 'not' + extricare 'unravel'.
Also from the previous verse we know where the poet is standing before he starts his path through the tangled vegetation - he is on his white rock scanning towards the south [midday] beyond the black rock."
We can see from the map above where Roc Blanc is and where he is standing. Now if the sword that our poet is using could be seen to be metaphorically representing a Meridian [Cherisey has implied this before in other works] - then it is likely that our poet is standing on the fabled Rose-Line Meridian. In other words, to get to the BEAUTY still asleep in the woods we need to follow the Rose Line. By clearing away the inextricable woods and vegetation on the Rose-Line we will reach the Beauty in the woods, i.e the one who is still buried there!
This very same Rose-Line Meridian, according to de Lens - is indicated by the Edward Boudet map - found in La Vrai Langue Celtique, a book published by his brother Henri Boudet.
Let us dissect the meaning of the verse Belier!
The symbol for Aries/Belier/the Ram is illustrated above. Although Aries later came to represent specifically the ram whose fleece became the Golden Fleece of Ancient Greek mythology, Aries has nevertheless always been represented as a ram since late Babylonian times. In Greek mythology, the ram also represented Chrysomallos, a fantastic creature endowed with speech, and winged with a golden fleece and with horns of gold. Chrysomallos is the son of Theophanes, a Thracian princess and Poseidon. He appears for the first time when summoned by the god Hermes - and is ridden by Phrixus. The Golden Fleece of this ram inspired the saga of Jason and his Argonauts.
Interpretations regarding the meaning of this 'golden fleece' are varied.
"A .... widespread interpretation relates the myth of the fleece to a method of washing gold from streams, which was well attested (but only from c. 5th century BCE) in the region of Georgia to the east of the Black Sea. Sheep fleeces, sometimes stretched over a wood frame, would be submerged in the stream, and gold flecks borne down from upstream placer deposits would collect in them. The fleeces would be hung in trees to dry before the gold was shaken or combed out. Alternatively, the fleeces would be used on washing tables in alluvial mining of gold or on washing tables at deep gold mines. Judging by the very early gold objects from a range of cultures, washing for gold is a very old human activity.
Strabo describes the way in which gold could be washed:
"It is said that in their country gold is carried down by the mountain torrents, and that the barbarians obtain it by means of perforated troughs and fleecy skins, and that this is the origin of the myth of the golden fleece—unless they call them Iberians, by the same name as the western Iberians, from the gold mines in both countries."
Another interpretation is based on the references in some versions to purple or purple-dyed cloth. The purple dye extracted from snails of the Murex and related species was highly prized in ancient times. Clothing made of cloth dyed with Tyrian purple was a mark of great wealth and high station (hence the phrase “royal purple”). The association of gold with purple is natural and occurs frequently in literature". [http://en.wikipedia.org/wiki/Golden_Fleece].
This is probably why the Fleece is sometimes said to be a symbol of authority and kingship.
Further interpretation of this Greek myth is to be found firstly in the culture and beliefs of ancient Greece. The test imposed on Jason is a first step in a journey to a mysterious beyond where he should return transformed: the symbolism of such a journey is similar to that of a "descent among the dead" and takes the form of some sort of initiation. Not unlike our poet searching for the 'Beauty still asleep in the woods'.
The golden fleece of the ram was reported as a wonderful talisman of power or immortality in the Achaean kingdom and it was said to guarantee fertility: the Golden Fleece was indeed the harbinger heralding the reign of Thyestes.... Such symbolism derives from the magical properties attributed to the skin of the sacrificed animal, particularly its woolly skin. The legend of the fleece also mentions the golden sheen or its purple colour [as mentioned above]: it is purple in the Simonides of Ceos legends and we know that purple is the royal colour; it is also sometimes white & sometimes purple in the Apollonius of Rhodes legends. In its golden or purple lustre, it is a symbol of immortality enveloping its possessor in a living radiation. The work of René Roux confirms that the Golden Fleece is indeed a royal rite.
But the myth also has an initiatory symbolism, since the feat of Jason is also familiar to followers of Pythagoras, featured on the stucco of the Pythagorean Basilica. In the doctrine of Pythagorean- Orphico (Orpheus) tradition - the quest for the Golden Fleece symbolizes a rite of passage into a higher form of human life.
In modern times, commentators have made other comparisons. For example, in Georgia, on the side of Svan (ethnic Georgians people living in the mountains of the Greater Caucasus) the mountain people from the north practice the panning in the rivers of the Caucasus - it has always been done using the fleece of sheep to reap the spangles gold found there in abundance. Is it a coincidence that the legend of the golden fleece takes us to the theater of Colchis, which is in the current Georgia? This may confirm the theory of physician-philosopher Michael Maier, Count Palatine of Emperor Rudolph II, who published around 1614 [in London] a book, agreeing with its author, that the theories of Bracesco, arcanissima Arcana, in which he claims to demonstrate that the Allegory of the Golden Fleece does not mean anything other than getting the gold medicine of the alchemists.
So, in this mythology of the Fleece there are several elements in all these legends associated JUST with the verse of Belier and can be said to be reflected in various Priory of Sion mythology. For example, the panning for gold perhaps lets us think of Poussin and his painting involving the River Pactolus etc [see below].
There are also found in the Priory 'myths' the Line of Belier in several maps:
Perhaps the Belier line illustrated here has correlations with the Belier Verse in Le Serpent Rouge? The verse, as we have seen, has us standing or looking from the - white rock [Roc Blanc] scanning towards the south [midday] beyond the black rock [Roc Negre]. Perhaps we are on the right track as the line of Belier does indeed - according to these maps - lead to Roc Negre! The line extends to the Source du Cercle and the Fauteuil du Diable [the Devils Armchair]. One could perhaps even suggest that these maps are a pictorial representation of the Serpent Rouge poem? [more to come on this later].
So where are we?
We are on the Rose Line, looking from Roc Blanc to Roc Negre. We are to follow this Rose Line Meridian ... where will be found the Beauty still asleep in the Woods. But who or what is this Beauty?
A few more exercises follow in taking Cherisey at his word - i.e. leave no stone upturned!
Beauty is capitalised in the text. Why? Should we examine beauty more closely? The Greeks said that all beauty is mathematics. If that is true then perhaps there is a mathematical code, formula, relationship or even a number that can describe this beauty. Aristotle said:
'The mathematical sciences particularly exhibit order, symmetry, and limitation; and these are the greatest forms of the beautiful'.
And in fact we do know that the ancient Greeks said a definition of BEAUTY [which dates back to antiquity] was that "beauty was represented by a Golden Ratio of 1:1.618"!
On switches the proverbial light-bulb! Why is 1:1:618 a definition of beauty?
It is because "....if we study the beauty of nature, art, or architecture we will discover a common principle running throughout. This common principle is the universal recognition of pleasant proportion. We all have a natural understanding of good proportion much in the same way as we know how to divide a line in half or erect a perpendicular. We easily agree that an object of art has good or bad proportion, or that this face looks too long, or too short and out of proportion. This magical connecting thread of proportion, known since antiquity, is none other than the Golden Proportion, a phenomenon related to beauty". [http://jwilson.coe.uga.edu/EMAT6680/Parveen/welcome.htm].
"In everyday life, we use the word “proportion” either for the comparative relation between parts of things with respect to size or quantity or when we want to describe a harmonious relationship between different parts. In mathematics, the term “proportion” is used to describe an equality of the type: nine is to three as six is to two. The Golden Ratio provides us with an intriguing mingling, it is claimed to have pleasingly harmonious qualities.
The first clear definition of what has later become known as the Golden Ratio was given around 300 B.C by the founder of geometry as a formalized deductive system , Euclid of Alexandria.
In Euclid’s words:
"A straight line is said to have been cut in extreme and mean ratio when, as the whole line is to the greater segment, so is the greater to the lesser."
Thus X is a solution of the quadratic equation:
X2= 1–X or X2+x-1=0
This equation has two solutions:
X1= (-1+5) / 2 ≈ 0.618 and X2 = (-1- 5) / 2 ≈ - 1.618
The length X must be positive, so
X = (1+5) / 2 ≈ 1.61803 or Φ (phi)
According to legend, the Greek Philosopher Pythagoras discovered the concept of harmony when he began his studies of proportion while listening to the different sounds given off when the blacksmith’s hammers hit their anvils. Astonished by this discovery and awed by it, the Pythagoreans endeavored to keep this a secret; declaring that anybody that broached the secret would get the death penalty. With this discovery, the Pythagoreans saw the essence of the cosmos as numbers and numbers took on special meaning and significance. The symbol of the Pythagorean brotherhood was the pentagram, in itself embodying several Golden Means.
Remember one of the verses in Le Serpent Rouge, Pisces? The line - "This Friend, how to introduce him to you? His name remained a mystery, but his number is that of a famous seal. How to describe him to you?" Although de Cherisey talks elsewhere of the Seal of Solomon, that seal was often depicted in either a pentagram or hexagram shape; the latter also known as Shield of David or Star of David in Jewish tradition. In the Serpent Rouge verses' context, it would appear that the seal of Solomon could be the pentagram.
Euclid proved that the diagonals of the regular pentagon cut each other in "extreme and mean ratio", now more commonly known as the golden ratio. Here we represent the golden ratio by phi. Fn is the nth Fibonacci number.
And of course this diagram looks vaguely familiar to Rennes Researchers. It is the painting by Poussin [if you follow my drift ...], the 'shepherds of Arcadia'!!!
We know that 681 is some kind of key that Poussin holds. It is often found in the Rennes apocrypha as various anagrams and plays on its 'word' ... a play on the key PAX 681. Most notably it is also found in the famous 'bergere, no temptation...' cipher. But how does 1:618 [as Beauty, who still sleeps in the Woods] relate to the poem Le Serpent Rouge?
We know that de Cherisey has already been leading us down the Rose Line Meridian to Rennes-les-Bains. Henri Boudet had himself said: 'One could ask oneself why the name of Rennes is given to our spa; and one finds easily the reason, when one examines closely this strange landscape: in fact its mountains crowned with rocks, form an immense stone circle of sixteen to eighteen kilometres in circumference'. (La Vraie Langue Celtique).
So Rennes-les-Bains and its spa, for Boudet, is named after his imaginary Cromlech. He suggests Rennes is so named because of the strange landscape which forms an 'immense stone circle'. This stone circle surrounds a menhir where a menhir indicates a tomb. Therefore is Rennes-les-Bains named after a tomb or even centred around a pre-existing important tomb? Who is in the tomb?
The circumference of this stone circle around the tomb is 16 to 18 kilometres long i.e 1618 [the Golden Mean/Ratio number, mathematically representing beauty] - perhaps to be seen symbollically as the BEAUTY asleep in the woods. There could be seen some beautiful symmetry in this idea because Boudet associates his tomb with the Resurrection. And Cherisey often alludes to the 'beauty asleep in the woods' as the figure of Mary Magdalene, the woman most definitely associated with THE Resurrection of Christ!
From this it follows that the tomb in Le Serpent Rouge is one and the same as that of the tomb Boudet is drawing attention to in his book. In other words Cherisey is searching within the immense stone circle of sixteen to eighteen kilometres.
Hmmmm - Is this both Pi and Phi - or just pie in the sky?
Where Pi or p (3.14…) is the ratio of the circumference of a circle to its diameter, Phi or Φ (1.618 …) is the Golden Ratio that results -when a line is divided in one very special and unique way.
The Pi-Phi Product and its derivation through limits.
The product of phi and pi,
1.618033988… X 3.141592654…, or 5.083203692,
is found in golden geometries:
Trigonometric functions relating phi (Φ) and pi (Π) - Divide a 360° circle into 5 sections of 72° each and you get the five points of a pentagon, whose dimensions are all based on phi relationships.
We could go on forever i suppose.
The point is that it is quite clear that Ariadne's thread, mentioned in Le Serpent Rouge, Verse Belier - is the mathematical properties of 1618, the PAX 681 and the parchments of 'Sauniere' which also code 681. As Cherisey claimed to be the author of the Sauniere Parchments it follows that Le Serpent Rouge will 'mirror' the knowledge in these Parchments. It is also clear it relates to Boudet's Cromlech!
Once again, tying it all together. The Beauty is still asleep in the woods, on the Rose Line, heading to Rennes-les-Bains and the famous Cromlech of Henri Boudet. Therefore the Beauty is there, inside this Cromlech - and the poet is seeking the same, on his sacred pilgrimage - the same pilgrimage described by Boudet via his Cromlech - a burial associated with the ‘resurrection‘? To find this 'sleeping beauty' is very difficult. The tomb and crypt is not going to be found without the help of the 'parchments'. Of course these parchments are those we have previously encountered ... the ones located by Saunière in legend but really those that Chérisey created to pass on some key information. How can we break these parchments? How can we break them and know how to use them?
Plantard alleged that these two parchments interact together and the trick is obviously to work out how they are used in this way. Only one book and its authors suggest the solution to the parchments as being used together in the way the LSR author and Plantard suggests. It is the book, Tomb of God, by Andrews and Schellenberger. Here the parchments become a map detailing the area of Rennes-le-Château and Rennes Les Bains. We may note that they [Andrews and Schellenberger] also offer up the only solution to the concept of the Rose Line. [Remember in the Verse Belier, we are standing on the Rose Line according to the map of Boudet]. What Andrews and Schellenberger identified from the Saunière parchments were three geometric elements; in Parchment 1 (smaller one) - "two pairs of parallel lines, a titled equilateral triangle and lines radiating out from a point'. In Parchment 2 the square, a hexagram and rotation of that square. The authors suggest that these are the keys Poussin and Teniers 'guard'.
The key that Poussin and Teniers guard, is the PAX 681, and although Plantard said that there may be a material treasure to be found, actually, this 'stupefying' discovery is much bigger than gold alone. As Pierre Plantard hinted, it is a 'spiritual treasure'.
One of the verses mentions 'the brothers of the 'BEAUTY of the dark wood‘ - which may refer to those guardians of the Sleeping Beauty, who remains asleep in the dark woods.It could also at the same time refer to the guardians of her sanctuary. These brothers of the 'Beauty in the Dark Wood', whose sanctuary we are trying to locate.
Dark Wood may also refer to Isis, a goddess symbolised as black. Isis and this 'sleeping beauty' seem to be interchangeable metaphors for that which we are seeking. The brothers searching for, or guarding the sanctuary could also refer to a kind of 'fraternity'.
The last sentences then seems to suggest a fraternity of 'secret' guardians associated with a white fort, i.e. Blanchefort. Does this suggest the Knights Templar? Who knows? Not much is known regarding the history of Blanchefort. There is a suggestion that there may have been some sort of Visigothic foundation on this rock which is in the vicinity of Rennes-le-Château and Rennes les Bain but it is only in 1125, that the castle was signed over to the bishopric of Alet (-les-Bains) by its master Bertrand de Blancafort who swore allegiance to the Viscount Bernard Aton of Alet. Around 1130 he allegedly asked the Knights Templar to start exploiting a goldmine near the castle. It was whispered that this operation was a cover up to dig up the treasure of the Visigoths, much of which was gathered during the sack of Rome on 24th August 410 by the Visigoth leader Alaric I the Goth. In 1209 the castle was conquered by Simon de Montfort in the Albigensean Crusade. He gave the castle, which was now called Château de Blanchafort and the surrounding lands to his comrade in arms Pierre de Voisins. (http://ww.rlcresearch.com/2007/12/22/chateau-de-blanchefort/).
In the 'Tomb of God' the authors discuss a document that had as a witness one Raymond, Abbot of Alet les Bains. They suggest that Blanchefort was owned by the Abbey of Alet from 1132 - 1180. And that both were owned by the Templars. However the guardians of Blanchefort and perhaps the sanctuary could just as easily have been a family affair. It was a property held by the Hautpoul and Fleury families both central to the 'story' of the Rennes Affair.
The author of our poem seems to be implying that when Blanchefort was usurped [i.e. when the area of Blanchefort was handed over to Simon de Montfort and through him to Pierre de Voisins] those that guarded this mountain originally may have left clues for later observers to follow [so who owned Blanchefort before it was usurped? Presumably it is this group who may have left some 'clues'. A noble family? The Abbey of Alet? The Knights Templar?]. He describes these clues as '64 dispersed stones' .... which on one hand would apply to the parchments Saunière found but it could also apply to other clues left. What clues would the 'brothers of the beauty of the dark wood' leave for posterity?
The abbè of Rennes-les-Bain, Boudet, had this to say about Blanchefort:
"On the left bank of the Sals, the stone circle starts towards the crag of Blancfort. The natural point of this rock has been raised, in the middle ages, to allow the construction of a fort serving as an observation post. There remain some ruins of masonry testifying to the existence of this fort."
For Boudet then this fort was deliberately constructed to serve as an 'observation‘ post. But to observe what? Usually medieval watchtowers scanned for invading forces. Who manned this watchtower? Or was it more specifically to watch a site of particular importance? If Blanchefort was a watchtower and the guardians had to flee this watchtower in the wake of usurpers ....presumably then the dispersed stones mentioned in the poem could be seen as clues
associated with Blanchefort? Again it is the authors of Tomb of God who suggest Blanchefort was an observation post for a site on the opposite mountain called Cardou. And in fact the evidence on the ground suggests that there was never a chateau at Blanchefort but a tower, or maybe two.
Cardou is associated further by Boudet with a very cryptic comment in his book the True Celtic Language. A formation of rocks on the flank of Cardou Boudet described as 'this last rock, separated from Cardou and presenting several points reunited at the base, gave our ancestors the idea of small beings comprising a family .... And poetically named these needles as Lampos. This word derives from 'lamb', or to lamb', when speaking of the sheep ...‘
On his brother's map illustration for his book, Edward has drawn in another Meridian that makes this Lampos point interesting. It was determined by Edward Boudet using his ‘double cross’ [which looks remarkably like the Cross of Lorraine] at the top of the title header of his map. It runs through LAMPOS on the flank of Pech Cardou.
And also according to Andrews and Schellenberger - they tell us that on the flank of Cardou, where those guardians at Blanchefort would have kept watch over a particular important site, one will find where the Rose Line crosses a certain line of latitude that the Rose Cross would appear!
This seems to be borne out by the illustration on the front of the cover of the poem Le Serpent Rouge, shown above. If this is the Rose Line and linked to the dates 1099 - 1188 then this may link it to the Templars. This is not as far fetched as it seems - because the usurper Simon de Monfort has ancestry that that links back to the earliest Templars [this will appear in an article soon].
The first point to note about this 'rosa crux' logo (i.e. rose cross) is that between the words 'rosa crux' there is depicted a ‘Sun Cross’. That is a cross within a circle. This same sun cross pattern is occasionally referred to as a Cardinal Cross. Since the 16th century, 'north, south, east and west' have been called the 'Cardinal Points' where cardinal meaning something that is vitally important. Other definitions for the word Cross/Crux are: a difficult problem; a puzzling thing , or the essential or deciding point, or a small S constellation near the celestial pole containing the Coalsack; or the Southern Cross; the Cross.
The Rosa Crux logo also carries the P—S symbols at top and bottom of the logo, north and South as it were, of the Sun Cross [we will return to this below]. Recall elsewhere [see HERE] that the arch mystics were the Rosicrucians and their Cross was the Chrismon. Perhaps this is the importance of the Rosa Crux (Rose Cross = Rosicrucians) here in the Serpent Rouge design?
Returning to the Sun Cross mentioned above it is a design also used in Astronomy. In astronomy although the device used to signify the sun is a circle with a black dot inside it, the cross in a circle is used to denote the Earth as a Globe with an equator and a Meridian. [Remember also that there is a Croix du Cercle in the environs of Rennes-les-Bains and on the Belier maps of Cherisey!]. This may turn out to be fundamentally important. At the top of the rosa crux logo, the Solar Sun Cross depicts (at midday if you will) at North the letter P. And directly underneath, due South as it were, is the letter S. So we have a PS logo associated with a Cross which can be seen to denote a Meridian. It occurs between the two words Rose Cross, where the Meridian line is the Rose Line.
Again, what does the Rose Cross signify? It supports the Andrews & Schellenberger assertion that where their chosen vertical line (a Meridian) and a horizontal line (their chosen line of latitude) cross - one gets the Rose Cross. It is related to their suppositions that on the Rose Line is where they identify a grave or tomb of importance. This Rose Cross was suggested by Andrews and Schellenberger to be the point where their Meridian crosses a horizontal line (that horizontal line of Latitude being the line that established their identified tomb location geographically). They suggested that this line of latitude was the East - West ‘rose line’ and where that line crossed the Rose Line Meridian the Rose Cross would appear.
Does anything spring to your mind when thinking of a P and S in relation to a Meridian, if this is what the Sun Cross and P—S logo are hinting at on the cover of Le Serpent Rouge? Indeed it should. In the area of the two Rennes are the villages of Peyrolles and Serres. And Peyrolles is indeed north of Serres. With this insight we think immediately of the Rose Line Meridian said to run through Peyrolles and Serres. Peyrolles and Serres are in the area of Rennes-les-Bains, lying at the foot of Pech Cardou. It possibly explains a strange statement by Beaucean; 'if the parishes of Peyrolles and Serres are the twin children of Saint Vincent, then the parish of Rennes les Bains guards the heart of the Roseline’.
Saint Vincent would, in our context, refer to Saint Germaine des Pres (this church was originally known as Saint Vincent) so perhaps these small churches in Peyrolles and Serres are related in some way to the Meridian highlighted at Saint Germaine? Pierre Plantard indeed referred to a Meridian which supposedly ran through Peyrolles and Serres. He calls this 'Le Méridian' even though he most certainly knew that the Paris Meridian runs to the east of Pech Cardou. 'Le Méridian' of Plantards' does run through Peyrolles and Serres, and in fact, very close to the Boudet graves in the cemetery at Rennes les Bains. The Paris Meridian however runs to the east of Serres. Plantard called the Boudet grave Meridian the 'Roseline'.
It is this Meridian associated esoterically with the resurrection!
If de LENS is right then this Rose Line Meridian, runs near Blanchefort, and through the Cap de l’Homme as illustrated by Edward Boudet on his map for La Vrai Langue Celtique.
This may all refer to something important associated with the 'children of Saint Vincent' (ie Saint Germain des Pres) which is related to something concealed near to Rennes-les-Bains on or near the Rose Line. It is confirmed when Plantard and Chérisey, under various pseudonyms relate that 'this Meridian owes its prestige to Saint Germaine des Pres, and what the Priory of Sion calls the Church Meridian. This Meridian was never officially used and in 1681 it just remained the concern of a ‘hermetic Society’ that is, the Society of Sulpice, created by Olier'.
This is very important - considering we now know that the PAX 681 key held by Poussin and Teniers is found at Saint Sulpice and embedded in the Poussin painting 'Shepherds of Arcadia' - it would appear that Olier and the hermetic Society he created was paying some kind of homage to this Meridian that owed its prestige to Saint Germaine des Pres and the Rose-Line as well as the PAX 681 key! And this 'hermetic' society was probably the second invention of the founding of the Priory of Sion. Even the date of its creation evokes Beauty, and 618, related to 681 and 1618!
And later, Plantard and Cherisey come along - looking for something. They leave their own thread of Ariadne ....... and some might say that their threads are beautiful like mathematics. The way Plantard and Cherisey appear to have pulled all these disparate connections of maths, geometry, art, history, legend and reality together could be seen to 'exhibit [a kind of ] order, symmetry, and limitation; and these are the greatest forms of the beautiful'. That BEAUTY is in their construct of the 681 key and the fact that "beauty was represented by a Golden Ratio of 1:1.618"!
Is it kind of sublime or indeed is it just wishful thinking? Are we just having a joke made at our expense? Or is Cherisey himself - whose stock-in trade amply contributes to his rôle as a Bateleur - involving us in one huge pataphysical joke?
Welcome to the blog of Rhedesium
My name is Sandy Hamblett, inspired and passionate researcher of the mysteries at Rennes-les-Bains.