Gerard de Sede has some interesting comments to say about this bas relief in his book L'Or de Rennes.
He writes; 'Here we see Jesus succouring the afflicted, a scene which is no way out of place in a church. Jesus is at the summit of a steep, flower-strewn landscape, covered with thick bushes. On this landscape, clearly visible, is a very large purse-shaped bag with a hole torn in it. And the artist has taken care to locate this flowery piece of land'
De Sede then goes on to record other observations. "Two stretches of country frame it [i.e. the flowery hillside]; on the one to the left, one can identify in the foreground the Bread Rock [ 'pierre du pain'] and on the horizon, the rocks known as the 'Roulers' on the Pla de la Coste, as well as the ruins of Blanchefort'.
De Sede continues; 'On the right is the rock shaped in the form of a gaming-dice, which is at Serbairou and in the background, some ruins which appear to be Coustaussa'.
For me, the descriptions given by de Sede and his impressions seem quite bizarre. He thinks the ruins - i assume he means the white buildings when he refers to the right hand vista - are Coustaussa? Where is the rock that looks like a gaming-dice? Why does he not mention the old corrinthian capital lying on the ground?
And these ruins are Coustaussa?
Why didn't he mention this?
Or is this supposed to be the 'gaming-dice' rock representation?
De Sede happily continues; "One cannot imagine a better way to invite us to hunt in the area of Rennes-les-Bains, the thermal spa where the sick are healed; a flowery landscape - which is to say, a landscape which once belonged to the Fleury family. A terrain, steep, wooded, marked by a cross and concealing the entrance to an opening, which like a purse, holds something precious'.
It perhaps correlates with my last post. That is, the connections of Le Serpent Rouge and Henri Boudet. We had been discussing the Cross of 35cm - which we know Boudet mentioned, in relation to the points and places mentioned by de Sede. For example, the Dolmen described by Boudet as Pierre Levee and the largest (fourteenth) Greek cross on the slopes of Serbairou.On the same level as the dolmens, there is a huge rock which is decorated with a large stone, which is in the round shape of bread [Bread Stone].
De Sede writes further that "we shall find a third reference to this underground place ...' [why are we suddenly now underground?] 'Beneath the altar table , we find a naive picture .....Mary Magdalene is kneeling in a grotto through whose opening one can see the rock of Blanchefort facing the peak of Cardou ...'
" ...and also a rock suggestive of a human profile with a large nose .... beneath this picture there is an inscription with the text taken from one of the manuscripts Sauniere found .... this inscription, being Latin, would not normally have either accents or dots over the Is. Howver there are four which pick out the syllables Je De Ne Ni. Again this is a rebus which must be read, the spoken French giving the sounds of Jais [jet], De [dice], Nez [nose] Nid [nest] .....which hide indications of place names. Jais - a jet mine near Sougraignes, De, a raised stone in the form of a dice near Serbairou, Nez, the rock shaped like a nose ... can be found in the landscape at Peyrolles, Nid, the highest point in the area is the kaolin-rich eagles nest of Cardou'.
Again we can refer to Boudet. The word Dé [de Sedes 'de'?] focus's on something Boudet wrote in his True Celtic Language opus. He wrote:
"One might rightly wonder about these Celtic dolmen monuments. We found seven;. Five on the flanks of Serbaïrou, and two in Roukats. Most notable is located in front of the Borde-neuve, near a large square stone, strangely laid balancing on a rock. This dolmen, closed at one end, offers the image of a cave. By placing them on the path to Sougraignes the eye easily distinguishs the structure of all its parts. At the top, directly above the dolmen, a rock ridge bears a Greek cross carved in stone: it is the largest of all those that we have been able to recognize. Getting closer to the old way of Bugarach, at the same height as the dolmen, a huge rock is decorated with a pretty strong stone with the round shape of the bread. "
The poem, in itself, can be studied for years and still not be understood because it presents so many layers of understanding. Perhaps this reflects the intellect of the author? Surely this author is not a 'prankster' having a laugh at us? It seems like one must wear different hats to read the poem in different ways and approaches.
Today i have my 'MAP' hat on .....
Read these lines: "Rassembler les pierres éparses, oeuvrer de l'équerre et du compas pour les remettre en order régulier, chercher la ligne du méridien en allant de l'Orient à l'Occident, puis regardant du Midi au Nord, enfin en tous sens pour obtenir la solution cherchée, faisant station devant les quatorze pierres marquées d'une croix. Le cercle étant l'anneau et couronne, et lui le diadème de cette REINE du Castel"
We ask ourselves - what are the scattered stones? Stones on the floor? Stones of a ruin? The mechanism to discover the 'cipher' in the Sauniere parchments [i.e. the chessboard and knights moves]? After all the poet said as much on the cover page of the poem - 'Discover, one by one, the 64 stones ...' [i.e. the 8x8 chessboard and its moves to obtain the 'bergere, pas de tentation' cipher].
But why would we need to use a square and compass to do this? That is - to put them [the scattered stones] back together again? Perhaps, as in the theory of Karren - to use the square and compass to obtain the hidden 681 cipher in the small parchment?
However, the following lines of the poem - "look for the line of the meridian in going from the East to the West, then looking from the South to the North, finally in all directions to obtain the desired solution" - surely suggests we are now in a landscape and not looking at pieces of paper?
So what are the 'clues' for the landscape? They are the 'stopping in front of the 14 stones marked with a cross'.
We know there are many 'stones' in the Rennes-les-Bains area 'marked with a cross'. Henri Boudet mentions them. He even has them on the map which accompanies his La Vrai Langue Celtique opus! While we were all pre-occupied with the number 14 and assuming that it [stopping in front of the 14 stones of the Cross] must mean the 14 stations of the Cross in a church, specifically Saint Sulpice - [which it well could be, on another level], we may have missed that really in the present context of looking east to west and for a Meridian - it was a map and a landscape we should have been looking in. Possibly Boudet's landscape.
Stones again are mentioned in the next verse but these are associated with an alignment - an alignment in the landscape where the viewer is 'incapable' of seeing the summit where the secret tomb lies!
Our poet continues in the Libra verse: "At the window of the ruined house I gazed across the trees stripped by autumn to the summit of the mountain. The cross of crete stood out under the midday sun, it was the fourteenth and the biggest of all with its 35 centimetres!"
In Gerard de Sede's L'Or de Rennes - there is a reference to this cross of 35cm! It is in relation to a 'circuit' of the 'Way of the Cross'. The fourteenth Cross of this 'circuit' refers to a dolmen on the way to Sougraine - where here we will find a carved cross on its 'crest' which measures 35cm!
Is it an ancient cross - left by observers of the past? Where is the ruined house and its window associated with this dolmen?
If any of this is on the semblance of the right track - then i now believe the 'cercle étant l'anneau et couronne, et lui le diadème de cette REINE du Castel' refers to the Cercle of the Cromlech [and that perhaps the smaller circle inside the larger cromleck that Boudet refers to is the diadem [or the smaller crown metaphorically on top sitting atop the larger enclosure] of this Queen - i.e Rennes?
Is this all a recent confection - by those associated with the Serpent Rouge poem in its form presented to us in the 1960's? Why not? We know, after all, that Pierre Plantard carved designs on stones in the area - see picture below! How do we know Plantard and Cherisey were not busily marking crosses in areas to match the poem verses?
But wait - we know that on page 244 of La Vrai Langue Celtique Boudet says that by a square rock (the De? Dice?) is the entrance to a cave and dolmen... It states on page 245 that directly above the dolmen, a rock crest bears a Greek cross carved in stone; it is the largest of all those that we have been given. So it seems confirmed - the fourteen stations of the cross of scattered stones is actually those given to us by Henri Boudet and that the most important cross is the one on this dolmen near Serbeirou/ road to Sougraine.
Boudet is our observer of the past?
And there is more .... on the physical ground are places known as the Holy Water Stoup [where the River Blanque and Sals merge], the fountain of the Cercle, the Devils Armchair - all of which are referenced in the Serpent Rouge poem & could all be markers on the ground ....!
There is also the Antoine Rocher map which shows a Croix of 35cm ....
But this cross of 35cm is nearer to the church of RLC ....and not Rennes-les-Bains!!
More to follow.....
New magazine about Rennes-le-Château - was the "discovery of a tomb" that of the tomb of Jean Bigou?
A brand new magazine - the brainchild of Patrick Mensior - which is published jointly by ARTBS (Yves Lignon), APARC (Paul Rouelle), ODS (Philippe Marlin), Pégase (Michel Vallet), Association Rennes-le-Chateau.doc (Patrick Mensior) and Association Légendes d'Oc (Stéphanie Buttegeg) has arrived. Patrick Mensior - in my humble opinion - is an excellent researcher and always turns up little snippets of important information. Paul Saussez, another excellent researcher - wrote an article for the magazine. Paul had this to say about Patrick's article for the first issue:
"I wanted to revisit the article by Patrick "21 September - Granes letter - discovery of a tomb - evening rain".
First, bravo Patrick for the scoop, result of a patient search [through the] archives, where the Gabrielle Bigou testament reveals that Antoine Bigou was not the nephew of Jean Bigou, but his brother...
Further patient research, and Patrick gives us the will of this Jean Bigou, which expresses the wish that his 'body be buried at the door of the sanctuary said Rennes'.
The rest of the article however seems to me to be questionable: are we sure that Jean Bigou wished to be buried at the door of the Church? This seems to me incongruous.
Indeed, in the ecclesiastical vocabulary of the time (just read SAUNIÈRE about his Church), the 'Sanctuary' refers to what is more commonly called today the choir, this is to say what there is beyond the barrier of communion (formerly the chancel), where the high altar.
The "gate of the sanctuary" should designate this invisible separation between the chancel and the nave, at the base of the triumphal arch, and thus, Jean Bigou, Member of the secular clergy, more likely wished to be buried in the nave, just in front of the altar.
The "discovery of a tomb" seems to me therefore to be that of the tomb of Jean Bigou. SAUNIÈRE manoeuvres in the days that followed this discovery (dismissal of workers, visit to the bishopric, absence of several days, hiring of new workers from elsewhere, etc.) seem inconsistent with a 'discovery' enough little of importance, in sum".
Patrick followed this up with: " the word "sanctuary" which is used in the testament, ...accepts 2 definitions: 1) the sacred place which surrounds the altar; (2) the Church in General as a religious building. I of course asked the question about its meaning in the testament, and the door of the Church seemed the more
[appropriate]...because the priest Jean Bigou's desire is "to be buried at the door of the sanctuary of the said Rennes for being host to the foot by these PARISHIONERS and other in punishment of these sins...". So I thought it was ... the door of the Church to the altar. In addition, this same burial place was also desired by Gabrielle Bigou .... in his will without however wishing that his body be trodden under foot. The real question is to know if the remains of the body of the Abbé Jean Bigou were actually deposited in the Church after his burial in the cemetery. I think so because the priest who will take his [place] is not an unknown but Antoine Bigou and I believe that he will have respected the last wishes of his brother. Anyway, I remember that bones, including a skull, were discovered in the Church during the 1950s. It is therefore not impossible that the remains of several bodies have been buried under the paving over the centuries".
These exchanges took place on Paul's Facebook page.
It is so exciting to discover knew information. Oh how i wished i could speak fluent French, it must be such a buzz - researching in the archives - and uncovering tiny interesting snippets of information relating to all our favourite passions's - that of Rennes!
Le cycle des conférences à Rennes-le-Château regagne "Le Jardin de Marie" du 11 juillet au 29 aout. Des conférenciers connus y présenteront des sujets sur les templiers (Georges Kiess, Charly Samson), les cathares, Henri Buthion (table ronde), l'église Marie-Madeleine - le lac de Rhedae - le mausolée (Jean Alain Sipra), etc.
In the Facebook group - Il Mistero di Rennes-le-Chateau -
Fabio Bocciardi wrote yesterday about the "Green Snake", a short story by J. W. Goethe. He said that this story was an esoteric fairy tale in which symbols are found such as a Green Snake, a river & an underground temple - inside the Temple are Kings and many other symbols. He draws a parallel with motifs often associated with RLC saying that it may be 'nothing' but points out that Goethe, coincidentally, put the motto "Auch ich in Arkadien", the German translation of ET IN ARCADIA EGO, on the title page of his famous essay about his trip to Italy [published in 1816].
Bocciardi was right to wonder about whether this could have been some of the inspiration for Cherisey and his poem the Red Serpent.
Goethe's story is described as the following:
"The Green Snake and the Beautiful Lily (German title: Märchen or Das Märchen) is a fairy tale by Johann Wolfgang von Goethe published in 1795. The story revolves around the crossing and bridging of a river, which represents the divide between the outer life of the senses and the ideal aspirations of the human being. The tale begins with two will-o'-the-wisps who wake a ferryman and ask to be taken across a river. The ferryman does so, and for payment, they shake gold from themselves into the boat. This alarms the ferryman, for if the gold had gone into the river, it would overflow. He demands as payment: three artichokes, three cabbages, and three onions, and the will-o'-the-wisps may depart only after promising to bring him such. The ferryman takes the gold up to a high place, and deposits it into a rocky cleft, where it is discovered by a green snake who eats the gold, and finds itself luminous. This gives the snake opportunity to study an underground temple where we meet an old man with a lamp which can only give light when another light is present. The snake now investigates the temple, and finds four kings: one gold, one silver, one bronze, and one a mixture of all three.
The story then switches over to the wife of the old man, who meets a melancholy prince. He has met a beautiful Lily, but is distressed by the fact that anyone who touches her will die. The snake is able to form a temporary bridge across the river at midday, and in this way, the wife and prince come to the beautiful Lily's garden, where she is mourning her fate. As twilight falls, the prince succumbs to his desire for the Beautiful Lily, rushes towards her, and dies. The green snake encircles the prince, and the old man, his wife, and the will-o'-the-wisps form a procession and cross the river on the back of the snake.
Back in the land of the senses, and guided by the old man, the Lily is able to bring the prince back to life — albeit in a dream state — by touching both the snake and the prince. The snake then sacrifices itself, and changes into a pile of precious stones which are thrown into the river. The old man then directs them towards the doors of the temple which are locked. The will-o'-the-wisps help them enter by eating the gold out of the doors. At this point, the temple is magically transported beneath the river, surfacing beneath the ferryman's hut — which turns into a silver altar. The three kings bestow gifts upon the sleeping prince and restore him. The fourth, mixed king collapses as the will-o'-the-wisps lick the veins of gold out of him. We also find that Lily's touch no longer brings death. Thus, the prince is united with the beautiful Lily, and they are married. When they look out from the temple, they see a permanent bridge which spans the river — the result of the snake's sacrifice — "and to the present hour the Bridge is swarming with travellers, and the Temple is the most frequented on the whole Earth".
It has been claimed that Das Märchen was born out of Goethe's reading of The Chymical Wedding of Christian Rosenkreutz and that it is full of esoteric symbolism. In 1786, Goethe observed that The Chymical Wedding contains “a pretty fairy story”. [http://en.wikipedia.org/wiki/The_Green_Snake_and_the_Beautiful_Lily]
Welcome to the blog of Rhedesium
My name is Sandy Hamblett, inspired and passionate researcher of the mysteries at Rennes-les-Bains.