We read here about the Abbe Cauneille and his possible authorship of two books, The Golden Centre and the Line of Sight. As Tina Flynn pointed out to me - the author of the book as shown at the website is not Francois Pierre Cauneille (the abbe of Rennes-les-Bains at the time of Bigou) but his brother Jean Francois Cauneille. However, on further checks it seems there was no brother by this name. We have recorded the following names; Peter Dominic Cauneille and Jean-Pierre Cauneille.
In the book by Cherisey called CIRCUIT, Cherisey has a character called Salavador explain:
"The abbe Cauneille was a cure of a small parish in the Languedoc, exiled by the revolution to Sabadell .....then he came to Lanzarote accompanied by a servant who was my ancestor ....". According to Salavador this Caunielle 'left a little handwritten book which we have passed down from father to son".
It was described as being a 'pretty little volume bound in red Moroccan leather and decorated with a picture of a small child, who, with an object which resembles a set square or a pick axe, looks as if he is about to smash up the binding ..."
Of course, this descriptions does not match the image given at the website. However, the descriptions of the cover given by Cherisey would fit with the geometrical concept i discussed with the title of the second book - The Line of Sight.
Concerning the Golden Cross
Had we been able, we would have insisted that the sacred, life-giving cross, healing banner of our savior's eternal victory, of which the apostle says, "God forbid that I should glory except in the cross of Christ" (Gal. 6:14), be adorned all the more gloriously inasmuch as it is "the sign of the Son of Man who will appear in the heavens" (Mtt. 24:30) at the end, not only to men but to angels, and we would have greeted it perpetually as did the apostle Andrew: "Hail, cross, dedicated to Christ's body and adorned with his members like pearls." Nevertheless, since we could not do as we wished, we wished to do as well as we could and, God providing, we worked to fulfill our plans. Thus, searching all about (personally and through our agents) for a large supply of precious pearls and gems, preparing as costly a supply of gold and gems as we could find for such ornamentation, we called together the most experienced artisans from various places. Working cautiously and accurately, they were to exalt the venerable cross on its reverse side by the addition of these wondrous gems, while on the front, in sight of the sacrificing priest, they would display the sacred image of our lord and savior in remembrance of his suffering and as still suffering on the cross. Of course the blessed Denis had lain in that same spot for five hundred years and more, from Dagobert's time to our own.
We do not wish to pass in silence over one humorous yet noble miracle which the Lord displayed to us in this connection. Just when I was in need of gems and unable to purchase enough (for rarity makes them more expensive), monks from three abbeys belonging to two different orders - that is, from Citeaux, from another abbey of the same order, and from Fontevrault - entered our little room adjoining the church and offered for sale a greater supply of gems than we would have hoped to find in ten years. They had obtained them as alms from Count Theobold, who had received them through his brother King Stephen of England from the treasury of his uncle the late King Henry. Theobold had stored them up throughout his life in marvelous vessels. We, however, freed from the burden of searching for gems, thanked God and paid four hundred pounds for the whole collection, although they were worth a good deal more.
In order to perfect such a holy ornament, we added, not only these, but a great number of other expensive gems. If memory serves us correctly, we recall having applied around eighty marks of refined gold. Through the work of several Lotharingian goldsmiths -sometimes five, sometimes seven - we were able to have completed, in barely two years, the pedestal adorned with the four evangelists, the pillar upon which the sacred image stands, the story of the savior with testimonies of allegories from the Old Testament indicated on it, and the capital above which renders wondrously the death of our Lord.
Hastening to exalt the decoration of such a fine and holy instrument, the mercy of our savior brought us Pope Eugenius to celebrate holy Easter as is the custom with popes visiting Gaul, honoring the sacred apostolate of blessed Denis just as we had seen his predecessors Calixtus and Innocent do before him. He solemnly consecrated the crucifix on that day. From the title "Of the True Cross, which exceeds Each and Every Pearl," he assigned to it a portion from his own chapel. Publicly, in the presence of all, by the sword of the blessed Peter and the sword of the Holy Spirit, he anathematized whoever should steal anything from this place or recklessly raise his hand against it; and we had this anathema inscribed at the foot of the cross.
We hastened to decorate the main altar of the blessed Denis, which had only a beautiful and sumptuous frontal panel from the time of Charles the Bald, the third emperor; for at this very altar we had been dedicated to the monastic life. We had it entirely covered, adding gold panels on each side. And a fourth, even more precious one, so that the whole altar would appear to be gold all the way around. On the sides we placed two candlesticks of King Louis, the son of Philip, so that they would not be stolen on some occasion. We added hyacinths, emeralds, and various other precious gems, ordering a diligent search for others which could be added. These are the verses on the panels: On the right side,
The Abbot Suger put up these altar panels - In addition to the one already given by King Charles.Make the unworthy worthy by your forgiveness, VirginMary.Let the fountain of mercy wash away the sins of king and abbot.On the left side,
If an impious man should plunder this excellent altar,Let him perish along with Judas, equally damned.The rear panel, a product of marvelous workmanship and lavish expenditure - for the barbarian artists were more lavish than our own - we exalted with a relief that was marvelous in both form and material so that certain people might say, "The workmanship surpassed the material." Much of what we had acquired and an even greater number of previously-owned ornaments which we were afraid of losing - for example, a gold chalice with a mutilated foot and several other things - we had fastened there. And since the variety of materials - the gold, gems and pearls - cannot be understood easily through visual examination bereft of verbal description, we crowned this work, which discloses its meaning only to the literate and shines with the radiance of delightful allegories, with a written explanation. So that these allegories might be clearly understood, we affixed verses explaining them.
Crying out with a loud voice the people shout "Hosanna" to Christ.The true victim given in the meal bears all. He who saves all on the cross hastens to bear the cross.The flesh of Christ seals the promise to Abraham's offspring.Melchizadech makes an offering because Abraham defeats the enemy.They who seek Christ with the cross bear a cluster of grapes on a staff. When, out of affection for the Church, we contemplate these new and old ornaments, seeing that admirable cross of St. Eloi, the lesser crosses, and that incomparable ornament commonly called "the crista" all placed on the golden altar, I say, sighing right down to my heart, "Every precious stone was thy covering, the sardius, the topaz, and the jaspar, the chrysolite and the onyx, and the beryl, the sapphire and the carbuncle, and the emerald" (Ez. 28:13). Those familiar with the properties of gems note to their astonishment that no type except the carbuncle is lacking here, but rather all abound in great number.
Thus sometimes when, because of my delight in the beauty of the house of God, the multicolour loveliness of the gems has called me away from external cares, and worthy meditation, transporting me from material to immaterial things, has persuaded me to examine the diversity of holy virtues, then I seem to see myself existing on some level, as it were, beyond our earthly one, neither completely in the slime of earth nor completely in the purity of heaven. By the gift of God I can be transported in an anagogical manner from this inferior level to that superior one.
I used to confer with Jerusalemites, and I was eager to learn from those who had seen the treasures of Constantinople and decorations of Hagia Sophia whether these here were worth anything in comparison. When some considered these here to be greater, it seemed to us that, through fear of the Franks, those marvelous objects of which we had once heard had been prudently put away lest by the impetuous greed of a few stupid people the friendship nurtured between Greek and Latin should suddenly change to sedition and warfare; for cunning is a preeminently Greek characteristic. Thus it may be that there is more displayed here, where it is safe, than there, where it is unsafe because of disorders. From many trustworthy men, and from Archbishop Hugh of Laon, we have heard wonderful and nearly incredible reports concerning the superior ornamentation of Hagia Sophia and other churches. If these reports are true - or more precisely, because we believe their testimony is indeed true - then such inestimable and incomparable treasures should be set out for the judgment of many people. "Let every man abound in his own sense" (Rom. 14:5).
To me, I confess, it always has seemed right that the most expensive things should be used above all for the administration of the holy eucharist. If golden vessels, vials and mortars were used to collect "the blood of goats or calves or the red heifer, how much more" should gold vases, precious stones and whatever is most valuable among created things be set out with continual reverence and full devotion "to receive the blood of Jesus Christ" (Heb. 9:1 3f). Certainly neither we nor our possessions are fit to perform this function. Even if by a new creation our substance should be changed into that of the holy cherubim and seraphim it would still offer an insufficient and unworthy service for so great and ineffable a victim. Nevertheless, we have such a great propitiation for our sins.
To be sure, those who criticize us argue that holy mind, pure heart and faithful intention should suffice for this task. These are, we agree, the things that matter most; yet we profess that we should also serve God with the external ornaments of sacred vessels, in all internal purity and in all external nobility, and nowhere is this to be done as much as in the service of the holy sacrifice. For it is incumbent upon us in every case to serve our redeemer in the most fitting way for in all things, without exception, he has not refused to provide for us, has united our nature with his in a single, admirable individual, and "setting us on his right hand" he has promised "that we will truly possess his kingdom" (Mtt. 25:33f.) He is our lord who "lives and reigns forever" (Tobit 9:11; Rev. 1:18, etc.).
Posted HERE on the 13th July was a picture of the cover of the rare and thought to be non-existent book - LE RAYON D'OR DE L'ABBE CAUNEILLE. There is no further information about the provenance of the book etc or how the book was obtained etc. And no further information about its contents. As you can see - the book cover depicts the date of 1792, with an illustration of a bee alighting on a hive in the shape of honeycombs. Lets hope more information will soon be forthcoming ...
Why is it interesting in regard to Rennes-le-Chateau?
Since Gerard de Sede wrote L'Or de Rennes (Ed. Julliard 1967), the role of Father Cauneille in the history of Rennes-le-Château established a timeline as follows: Abbé Emile Francois Cayron, the parish priest of St Laurent de la Cabrerisse in the Aude allegedly received a "Great Secret" orally from the Abbé Cauneille (who had received it directly from Antoine Bigou). Abbé Cauneille also passed the same ‘secret’ on to Abbé Jean Vié, parish priest of Rennes-les-Bains from 1840 to 1870. Abbé Henri Boudet who succeeded Jean Vié as the parish priest of Rennes-les- Bains was himself from a poor family in Quillan who was educated and formed by the same above mentioned Abbé Cayron.
Father Cauneille was then discussed at greater length in 1971 by Philip de Chérisey pages 68 and 69 of his typescript Circuit. In 1982, we also find the chain of priests having transmitted said "secret" explained by Jacques Brétigny and Jean-Pierre Deloux on page 32 of their book Rennes-le-Château secret capital of history of France (Ed Atlas). Taking Philip Chérisey at his word, these two authors credited Father Cauneille a hypothetical publication of two books: The Golden Centre and/or The Line of Sight.
Regarding the idea of priests transmitting the "secret" in this way only after a few elementary checks, it becomes obvious that it does not withstand analysis. Indeed, as already written before, François-Pierre Cauneille died in 1804 from a serious illness while Geraud de Cayron was born in 1807 and Father Jean Vié in 1808 as we learn from his death certificate. Accordingly, neither of the last two could have known the Father Cauneille!
So, what was Chérisey's purpose in drawing our attention to such concepts?
It seems, once again, that Chérisey is referring us to geographical concepts and surely alerting us to a specific point in a landscape by the titles of these two books? Rayon means a line, or line from a centre, which he describes as gold and mathematically speaking the concept can also refer to an end segment which is the centre of a circle, a sphere, a disc, a ball - the other being a point of the circle of the sphere or the border of the disc or of the ball; length of this segment. In other words, perhaps Boudet's Cromlech?
La trace du feu/ the line of Sight refers to - if we keep the mathematical and geometrical concepts in context here - means an intersection of a line or a plane with one of the plans projection. This is descriptive geometry - where Descriptive Geometry is the graphical solution of point, line and plane problems in space. These solutions are accomplished by means of the same principles of orthographics projection which are used in making a 3 view drawing of an object. The Line of Sight is the vector path from the viewer to a particular point on an object. Principal Views (planes) - are any of the six orthogonal image planes defined by the six mutually othogonal LOS.
Put simply the line of sight is a straight line along which an observer observes an object. It is an imaginary line that stretches between observer's eye and the object that he is looking at. Suppose an observer observes an bird on a tower. In the following figure, AB represents a tower and P be the position of a man who is standing on the horizontal ground watching a bird at the top of the tower. So, the line joining the eyes of the man and the bird is called the line of sight. So, PB represents the line of sight. [http://math.tutorvista.com/trigonometry/line-of-sight.html].
To me, it is very Le Serpent Rouge-ish! I will dig out my copy of Circuit to refresh my memory regarding what Cherisey writes regarding these books....
My friend and fellow researcher Tina Flynn drew my attention to a text i had read many many times before - but somehow missed this - the Abbe Delmas and his reference to the stones of a mosaic pavement that were alternately black and white ....
Tina said that the 'Abbe Delmas writes about the remains of these ancient stones as they are washed into the river .......
"Il y a des marques de murailles d'une épaisseur extraordinaire le long de la rivière, l'endroit où on se baignait était pavé de grandes pierres et sur celles étaient enchâsse de petits morceaux de marbre. La grosseur et longueur du petit doit à la mosaïque. Le curé à de ce pave dans son cabinet en haut vers la montagne. Il y a des marques de quantités de petites chambres qui étaient apparemment les appartements que nous avons dit se trouver aux anciens bains de Rome. On faisait porter l'eau par tout les logements par des canaux de plomb qu'on trouve. On y ramasse de temps en temps de grandes pierres de marbre blanc et noir, quoique dans ce pays il n'y ait aucune carrière de marbre ouverte. Le logement était couvert de briques plate, épaisses de quatre doits qui avait au revers en haut on y en a trouvé de petites rondes qui se partageait en quatre parties égales".
So perhaps the line in Le Serpent Rouge about this mosaic is nothing to do with the church at RLC? The verse is:
"Les dalles du pavé mosaïque du lieu sacré pouvaient-être alternativement blanches ou noires, et JESUS, comme ASMODEE observer leurs alignments , ma vue semblait incapable de voir le sommet où demeurait cachée la merveilleuse endormie. N'étant pas HERCULE à la puissance magique, comment déchiffrer les mystérieux symboles gravés par les observateurs du passé. Dans le sanctuaire pourtant le bénitier, fontaine d'amour des croyants redonne mémoire de ces mots : PAR CE SIGNE TU le VAINCRAS."
Fascinating. Thanks Tina.
Those of you who follow my blog will know that recently i have spoken about that fascinating poem, Le Serpent Rouge. And as we know, the poem is set in the landscape around Rennes-le-Chateau and Rennes-les-Bains. So - the line in the Libra verse which reports 'At the window of the ruined house I gazed across the trees stripped by autumn to the summit of the mountain' [A la fenêtre de la maison ruinée, je contemplais à travers les arbres dépouillés par l'automme le sommet de la montagne] where can we find such a ruined house? Could it be indicating a window of the old Chateau [house? It was someone's house in the past!] at Coustaussa? For the old chateau of Coustaussa does have ruined windows which observe a mountain. The mountain of course is Cardou [see image below].
An objection may be raised on the grounds that Coustaussa was never a house, but a defensive castle. But see HERE where the author feels that the chateau is not wholly defensive but was made for comfort and elegant living. That is, a House!
While doing some preliminary research about Coustaussa i came across references to a 'tomb of the Lords' in/under the church at Coustaussa. One François de Montesquieu, seigneur de Trilla, made a will before his death. This document says that 'François demanda à être enseveli dans le tombeau de ses ancêtres dans l'église de Coustaussa' [Francis asked to be buried in the tomb of his ancestors in the church of Coustaussa.] This essentially amounts to another Tomb of the Lords just like the one at Rennes-le-Chateau.
The son of this François also wrote in a document "que s'il en mourait, il voulait être enseveli dans l'église Saint-Michel de Coustaussa, dans le tombeau de son père François, seigneur de Trilla." [that is "if he died, he wanted to be buried in the church of Saint-Michel Coustaussa in the tomb of his father Francis, Lord Trilla"].
It's interesting that Coustaussa is claimed to be founded on Visigothic foundations, just as the little church at Rennes is. Viz: "Il semble, comme dans de nombreux site de la région, qu'un site wisigoth existe en ce lieu dès 730". So resembling its sister church at Rennes-le-Chateau - which also has a 'tomb of the Lords' and is alleged to be of Visigothis origin, Coustaussa differs in that it does not have a legendary association with 'treasure'
Welcome to the blog of Rhedesium
My name is Sandy Hamblett, inspired and passionate researcher of the mysteries at Rennes-les-Bains.