Alton Towers, Sir Francis Bacon and the Rosicrucians

MJF

Jedi Council Member
I have previously posted a reference to Gary Osborne’s articles on Nicolas Poussin’s paintings at his website Welcome - Gary Osborn.

Unfortunately, when you view these articles some of the wording has been superimposed on other wording making it hard to discern the underlying material. I have therefore reconstructed what I can of the first article on the Shepherds of Arcadia and I am now posting it as a word document so people can read it at their leisure. I am also setting out below extracts from the article, which deal specifically with the second of his Shepherds of Arcadia paintings (he did two), the one we are focusing on in this thread. I aim to do a follow-up posting on the other painting in due course.

I am also posting a few other items from the article, which I think demonstrate how subtle Poussin’s hidden clues are and also reveal the profound scientific discoveries encoded within his work of art, particularly those connected with the Great Pyramid of Giza and the angle of obliquity of the Earth. Remember that he was doing this in the early 17th Century in Catholic France where the inquisition was still in operation. Please bear in mind the fate that befell Giordano Bruno only a few decades before this to understand why Poussin had to be so guarded. If you can find time, I would recommend reading the whole article as it will reveal mathematical truths that underlay the developments that ensued with the Renaissance and the scientific age of discovery born during that period. Please note that I have bolded certain parts of the text since I would like to draw your attention particularly to what is quoted there.

The Poussin Codes​

Gary Osborn

Part 1 Tenet Confidentiam (Keeper of Secrets)

Originally written in 2004. Updated in 2009, 2012 and 2013.

It would perhaps surprise many to learn that the encoded information within the Great Pyramid was first discovered through studying and deciphering the hidden codes in two ‘self-portrait’ paintings by the French artist Nicolas Poussin (1594-65)

In terms of art, the Poussin era was the Baroque period, in-between the Rennaisance of the 16th century and the ‘Age of Enlightenment’ which had its inception in the late 17th century and came to fruition in the 18th.

The Baroque period reflects not only the religious tensions regarding Catholic vs. Protestant, but also a new and more expansive worldview - especially in terms of world exploration and the science that had developed during the Renaissance.

Poussin was a prolific artist. His work is said to be divided between two themes: scenes from the Biblical Scriptures and those featuring the pagan gods Pan and Apollo and the beautiful, idyllic landscapes associated with pagan mythology.

Although he is not as well-known as that other great artist Leonardo Da Vinci, for some readers the name ‘Poussin’ will sound familiar while others will not have heard of him at all, but still he remains a controversial figure in the pages of cryptohistory. As some will already no doubt know, the name “Poussin” crops up constantly in conjunction with the mysteries surrounding a small chuch named Rennes le Chateau

The Rennes Mystery

Located in the Languedoc region in southern France, Rennes le Chateau is said to be connected to Cathars, Gnosticism. The Knights Templar, Rosicrucianism, Freemasonry, the genealogies of the legendary Merovingian Kings of France and hidden treasure

The stories surrounding Rennes-le-Château, which has now become a “cottage industry” in France, was first brought to the public’s attention by the best-selling book, The Holy Blood and the Holy Grail by Michael Baigent, Richard Leigh and Henry Lincoln, and seeing as this was one of the first books of its genre that had interested me deeply, it would serve us well to give a brief outline of the book.

First published in 1983, this book set a precedent for other books of its genre and spawned a whole new international media industry specializing in conspiracy theories, alternative history and the latest study known as ‘cryptohistory’

The central theme of the book is based on what appears to be an “archaic” secret society, the Prieuré de Sion, (the ‘Order of Sion’ or ‘Priory of Sion’), which claims strong links with the Knights Templar. Investigations into the Rennes-le-Château mystery, as outlined in the book, appear to have also uncovered Poussin’s links with the Prieuré de Sion.

On the surface lay the beliefs that the Prieuré de Sion has guardianship over the Holy Grail (thought to be the sacred icon of the Merovingians) and that the Society has an agenda to restore the monarchy in France – the chosen monarch being a descendent of the Merovingian line of Frankish kings who were deposed by the Carolingians and who were themselves former court officials to the kings of the Merovingian dynasty.

It is said that the Merovingians were the descendants of the ancient Hebrews – especially the ‘Tribe of Benjamin’ and the ‘Davidic Line – and therefore Jesus and his “sister”, “wife”, or “lover”, Mary Magdalene.

According to the author’s sources, the Grand Master of the Prieury is known as the Nautonnier - meaning ‘navigator’ or helmsman. According to a document, the Priory of Sion ‘Grand Master List’ includes many historically renowned figures such as the alchemist Nicolas Flamel who was a Grand Master between 1398 and 1418, Rene d’Anjou (1418-1480), Leonardo da Vinci (1510–1519), Sir Isaac Newton (1691–1727), Claude Debussy (1885–1918) and Jean Cocteau (1918–1963). These ........... [some wording missing here] navigation through treacherous waters or perilous terrain towards safety, refuge or sanctuary.

Although this detail is most interesting, again we should be cautious with anything associated with the Prieuré de Sion – especially the history of this secret society, as given by the sources relied on by the authors of The Holy Blood and The Holy Grail. Since the publication of the book, much has been written about the Rennes mystery with some claiming to have solved it, others presenting the story as fact, and others presenting the story as fiction.

The associated themes are now many and convoluted and so I won’t dwell too much on it here – suffice to say that the phenomenon is still going strong, indeed stronger than ever.

However, when we dig deeper into this mystery we find that many of these beliefs have their origin in suppositions, ideas, theories and projections that serve to cover an even greater secret.

Like most things, the Rennes mystery has become a focus for what we believe or ‘want to believe’ in that we tend to project our own ideas and beliefs onto this mystery which has now become a “broth” spoiled by the attendance of too many “chefs.”

It’s possible that many of these theories bear some factual relevance to the whole mystery as everything in existence is closely connected at some ‘deeper level’.

And its indeed possible that some theorists are pointing out certain ‘facts’ that even the “conspirators” of the mystery were/are unaware of, as there also exist the more ‘subjective connections’ which are no less meaningful as everything is intimately linked to the collective human psyche.

I say this because there are some interesting themes associated with the mystery that indeed alludes to the conclusions I am putting forward in this present work.

If much of the mystery surrounding Rennes-le-Château really is a hoax as many now believe, then it’s possible that in their endeavour to falsify or fictionalise certain exoteric and esoteric connections – which on the surface are generally seen as “non-existent” – the “hoaxers” may have tapped into a rich vein of information known only to the ‘mystery schools’ and occult traditions, and which had remained in secrecy for thousands of years.

For example, the ‘Nautonnier’ theme could still warrant further investigation as it could indeed belong to a valid source of information which the “hoaxers” may have tapped into and adopted without knowing the deeper meaning behind it all.

And if so, then Poussin’s connection to the intriguing speculations and mysterious events that surround what might amount to a ‘fictitious’ Prieuré de Sion, may indeed only be a consequence of the information and profound knowledge these “impostors” were exploiting.

That Poussin knew something of profound importance cannot be denied, and we find justification for this in the things the authors of The Holy Blood and the Holy Grail discovered – clues that matched the criterion of esoteric knowledge I had already come to understand to some degree.

For instance we are told that in 1656 Poussin received a visit to his studio in Rome from the Abbe Lois Fouquet, brother of Nicolas Fouquet, Superintendent of Finances to Louis XIV of France. What the two of them discussed will never be known exactly but soon after this meeting Lois Fouquet dispatched a letter to his brother, describing what he had learned from Poussin.

On the request of his king – and not long after receiving his brother’s letter, Nicolas Fouquet (King Louis’ Superintendent) was arrested and imprisoned for life.

The king then seized and inspected all of Fouquet’s correspondence.

We are told by the authors of The Holy Blood and the Holy Grail, that according to some accounts, Fouquet “was held strictly incommunicado – and some historians regard him as a likely candidate for the Man in the Iron Mask”.

In recent times, and since the publication in 1983 of the The Holy Blood and the Holy Grail, the theme of ‘The Arcadian Shepherds’ have become one of Poussin’s most popular and well-known paintings.

We are told that in the years that followed, King Louis went out of his way to secure the original of Les Bergers d’Arcadie (The Shepherds of Arcadia) Version II.

When at last he succeeded in 1685, he ordered that it be locked away in a vault in the Palace of Versailles, and so there it stayed for many years, and though it is now on display to the public, still it has remained a mystery until the day I examined it up close while visiting the Louvre.

The Arcadian Paintings​

There are several paintings cited in the book – paintings like St. Anthony and St. Paul by Teniers, La Fontaine de Fortune by Rene d’Anjou (1457), Et in Arcadia Ego by Guercino (1618), and the two versions of Les Bergers d’Acardie by Poussin (c. 1627 and 1640 respectively) – which by the way, also include the cryptic phrase, “Et In Arcadia Ego” a phrase which has since become a popular slogan for this mystery and one we shall examine in due course.

It is clear that Poussin and these other contemporary painters of the era, David Teniers (the Younger) and Giovanni Francesco Barbieri (otherwise known as “Guercino”) were privy to important information associated with certain mystery schools.

Since the time the book was first published, the consensus opinion is that these paintings each contain a similar cipher or code associated with the Rennes le Château mystery, possible leading to treasure or artefacts relating to the Holy Grail and the secret bloodline of Christ.

The book The Da Vinci Code (2003) by Dan Brown is a fictional work spun from the theories first presented in The Holy Blood and the Holy Grail, however, the bloodline of Christ or the Holy Grail is not what these paintings are about – well not directly in any case.​

In my view, these paintings, which indeed contain revelatory information, have never really been satisfactorily deciphered, and in this regard, my interest is in the paintings of Nicolas Poussin – one of the few artists who are cited in The Holy Blood and the Holy Grail as having held the “key” to an important secret – at least this much is fact.

In my opinion the secrets these paintings convey – especially Poussin's two self portraits – point to one of the most important locations on the Earth – Giza in Egypt – and point to something more incredible than any of the more sensational religious theories that have emerged from the Rennes mystery only to find their way into a recently published fictional novel to then be exploited as the truth.

As I later discovered, and as I have outlined in the previous presentation, it would seem that through associations this painter had with some of the greatest intellectual minds of his day – for example, the famous Jesuit scholar Athanasius Kircher (1602–1680) – Poussin was made aware of certain secrets about the Great Pyramid and Giza; secrets that haven’t seen the light of day since they were first conceived and encoded within the complex geometrical architecture of this magnificent conundrum in stone.

Of course, it’s possible that Poussin’s connections to the mystery have been falsified and that he had nothing to do with the so-called mysteries of Rennes le Chateau.

These subtle references to the tilt angle of the Earth in ancient art have not been acknowledged in the mainstream but are indeed. However, there’s no question that he was respected as an initiate of some standing; associated with some very powerful people: who understood the ancient myths, had adopted the principles of Egyptian mysticism, and who had reason to believe that the ancient Egyptians were heirs to the knowledge and wisdom of a lost civilisation or culture that once flourished during a ‘Golden Age’... an age, in which it was believed – and still believed by some today – that the Earth was once upright, or should be and that with the axis at zero obliquity we would be closer to God than we all are, and everything would be in balance. These beliefs I have also examined to some extent, as they appear to be the answer as to why the angle of 23.5 degrees has been encoded in so many sources – even in Poussin's paintings and the Arcadian paintings – and I approach these beliefs not without some caution and trepidation, as they are beliefs that in the most part, run contrary to the general consensus thought of today and appear to contradict the established facts.

Those who understood the wisdom of the ancients and knew certain truths about the origins of Christianity – information which could undermine the Church – would have had to be seen to “toe the line” and so knowledge, which would have been seen as “heretical” and otherwise suppressed and stamped-out by the Church, would have been encoded – not only to preserve this knowledge, but also to secretly pass it onto others.

The religious persecutions made by the Church which increased between the 15th and 16th centuries culminated in the trial and execution of philosopher Giordano Bruno in Rome in 1600, who was burned at the stake for publically spreading his own ‘infinite’ cosmology of the universe and his own mixed brand of Neo-Platonism and Renaissance Hermetical science. What people don't know is that Bruno was an Illuminatus, (a member of the Illuminati).​

The savage execution of Bruno sent a shock wave throughout Europe . . . the message was clear: “Heretics would not be tolerated”.

It’s no wonder then that we find more paintings with these Earth's axis angle references dating from the 1600s than any other period in history.

Many philosophers, artists, occultists and men of science, were forced “underground”, and so as a way of communicating with each other using symbolism and other means, ancient knowledge and wisdom, as well as the most recent scientific discoveries, were encoded in various sources to preserve it for future generations.

Giving some reference to this knowledge by encoding it, also served as ‘a voice’ for these people – many of them geniuses, who must have felt frustrated knowing things that were closer to the truth but which they could not openly express for fear of attracting the wrong kind of attention and the severest forms of punishment.

Having to encode this knowledge presented a paradox in which these people often walked a knife edge.

Most no doubt had a vain wish in declaring their genius and their depth of knowledge and on things that could possibly change the world, but knowing that at the same time they had to conceal it, painfully dashed any personal desire associated with the imagined good fortune and public recognition, which in an ideal world would arrive naturally with the acceptance of paradigm-changing discoveries.

Aside from the use of ‘symbolism’, which has been used since ‘time immemorial’, the ideal medium for any code or cipher, and without it being obvious that one has encoded information, is the Arts.

The doctrine espoused by the Church was the ‘Concentric’ or Geocentric view offered by Claudius Ptolemy (100–165AD) that all heavenly bodies – including the Sun – revolved around the Earth.​

The Earth was the centre of all creation; each body was fixed upon a series of rotating celestial spheres, and according to God’s plan, the Earth was perfectly stable, did not rotate and was therefore ‘upright’ and in every way we would use the term.

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Figure 2: The Ptolemaic Cosmological System. The Planets and Sun are shown moving around the Earth which is at the centre. The Universe is divided into eight concentric spherical shells – one for each of the seven planets and one for all the fixed stars.The sphere of stars was seen to rotate daily around the motionless Earth.

Being burdened with this sort of blind ignorance we can see why people also continued to believe the Earth was flat – and this hundreds of years after the ancients – especially the hierophants and adept priests of the scientifically more advanced cultures of Chaldea, ancient Egypt and India had known it all correctly the first time.

As we can see, there’s no doubt whatsoever, that part of the answer as regards these encoded references to the Earth’s obliquity angle and mostly between the 15th and 18th centuries, is associated with the staunch celestial beliefs that were promulgated by the Church and which were later reinforced and with such ferocity in the face of the emerging alternative views that began with the Reformation in the 1500s, and the re-discovery of ancient Greek manuscripts which had been preserved and brought over from the East.​

For example, a Greek philosopher of the Pythagorean school, Philolaus (c. 480–385 BCE), described an astronomical system in which the celestial bodies all revolved about a central fire.

Then there’s the Greek philosopher and astronomer Heraclides Ponticus (387–312 BCE), who proposed that the Earth rotated on its axis.

And finally, we have the Greek astronomer and mathematician Aristarchus of Samos (310 – ca. 230 BCE), who presented the first known heliocentric model of the solar system; his hypothesis was that the fixed stars and the sun remained motionless, that the Earth revolves about the sun in the circumference of a circle, and that the Earth rotates about its axis every 24 hours.

Also we should not be naive in thinking that the ancients didn’t know the Earth was tilted at around 23 degrees.

Long before the Greeks, the earliest astronomers had managed to calculate the tilt of the Earth by measuring the shadows cast by a simple stick, or indeed obelisks and pillars, as was used originally by the ancient Egyptians to determine these facts about the Earth – information and knowledge that was also jealously guarded by many of these ‘astronomer priests’ and hierophants.

Not only was the Earth’s obliquity calculated through using this technique, of which more will be said later, but also the whole circumference of the Earth could be calculated as the Greek astronomer and mathematician Eratosthenes (276–194 BCE) had discovered.

Anyway, these and the new scientific discoveries that were being made with the arrival of the Greek manuscripts, all led to the Renaissance, and it was during this time that the persecutions made by the Church were in full swing to stamp out the “heretical beliefs” that threatened its authority.

However, in the wake of these persecutions, some were bold enough to publish knowledge of the tilted Earth and as early as the late 17th century.

For example, the English poet, John Milton gave vague reference to the tilt (obliquity) of the celestial polar axis in his famous work, Paradise Lost, written sixty five years after Bruno was executed – as did Thomas Burnet in his Telluris Theoria Sacra, (The Sacred Theory of the Earth) – written in 1681.

And we can see how the ideas of Aristarchus were taken up again some 1800 years later: first by Copernicus, whose book De revolutionibus orbium coelestium (On the Revolutions of the Celestial Spheres) was completed in 1543 and just before he died, and developed further by Johannes Kepler and Isaac Newton, when these persecutions by the Church began to wane.

So what we see here, is perhaps a glimpse into the minds of those who defied the wrong and staunchly-defended views of the Church, and who were active as part of a secret ‘covert resistance’ against the Church, by also ‘encoding’ the tilt angle of the Earth in many different sources, thereby bringing to light the true condition of the Earth and its place in the universe for those who had the eyes to see it and all in accord with the knowledge and wisdom of the ancients.

In any case, what comes to mind when viewing the many sources in which this angle is evident, is that these angle references reveal the truly heretical truth that God’s plan is not perfect; that the tilt of the Earth which was seen as unnatural also indicates that the fate of the Earth is uncertain and that its tilted condition may be the result of a global cataclysm in the past.

This of course means that rather than the Earth being a superlative example of God’s creation in which ‘certainty’ and ‘order’ reign and are maintained throughout the universe, that on the contrary, this imperfect image of a ‘skewed’ Earth in orbit around the Sun reveals our planet has an inferior position in the universe and in God’s plan; that it is also vulnerable to ‘uncertainty’ and ‘chaos’ and is therefore prey to the random wanderings of smaller celestial bodies and any series or periodic cycles involving natural cataclysms that may befall it.

There’s no denying that even today the number ‘23’ has some occult significance. In any case, one would be forgiven for suggesting that perhaps some past catastrophic event had caused the tilt in the first place.​

But what makes this particular theory convincing, is that these angle references and what they appear to be conveying, is in stark contrast to the views of the Church which were being enforced at the time when many of these angles were also being added into paintings on certain religious themes; and it is this that reveals both the motive and the reason why these references were subtly added and secretly encoded.

Ironically, we find these codes in paintings that had even been commissioned by elite members of the Catholic Church – many of them unaware that they had been patron to ‘heretic initiates’. No doubt many of these initiates had infiltrated the Vatican and were behind a good number of these commissions, benefactions and investments in art, sculpture and architecture.

Whatever the reason, it appears that the encoding of specific angles associated with the Earth’s geophysics has largely been a tradition with artists and for hundreds of years, because I have found that even today there are artists who appear to be encoding the same angle(s) in their works even though the Church and the Inquisition are no longer active.

One can only conclude from the sheer volume of the references we find to this angle, that the people behind them – artists especially – belonged to a secret fraternity spanning many generations.

If having been passed down by tradition, it’s likely that these angles were used by artists who were initiated into the meaning behind them.

The initiate artists who encoded these angles in their paintings, sketches, woodcuts and other works of art are numerous, and they include Raphael, Da Vinci, Poussin, Tenniers, Heironymous Bosch and also Albrecht Dürer – and really the list goes on and right up to the present day.

But it’s also fair to say – and because of the sheer volume of paintings I have found with references to the Earth’s obliquity angle of 23.5° – that many artists may have just been following tradition, not really knowing the real meaning as to why they should paint swords, spears, trees, staffs, limbs, bones and other linear objects at this same angle.

Again this angle also turns up in Poussin's paintings and any notion that Poussin also encoded secret information in his paintings for initiates like himself, there’s no doubt as the following quote shows

“Poussin himself said his paintings had a definite and even secret import when he suggested that “ . . . these things, (the meaning in his paintings) I believe, will not displease those people who know how to read them”. Art scholar Judith Bernstock says that to ‘receive Poussin’s paintings . . . one must study them continually and closely, always searching them for connections’. As Bernini said Poussin was ‘an artist who works up here' (pointing to his head: i.e. with his brain) and he was someone who was also 'a great storyteller’. The suggestion that the paintings of Poussin have a hidden meaning then comes from the mouth of the artist himself. Poussin had indicated that the meaning in his paintings could be discerned by those who knew how to read them. By this he meant his patrons or others who were able to read the canvases, in other words, those who were initiated.

Anthony Blunt. Nicolas Poussin: The A.W. Mellon Lectures in the Fine Arts, (1958)

Also, it is a fact that Poussin used to sign his work "Tenet Confidentiam"* (“keeper of secrets”).

*The Holy Blood And The Holy Grail by Michael Baigent, Richard Leigh and Henry Lincoln, 1983, p. 185.

Nicolas Poussin, like many other artists who were commissioned by the Church, was a Jesuit but he was also an ‘initiate into the mysteries’ – who again, like many others – encoded sensitive information in his paintings.

I have seen examples where cleverly-concealed insults have been aimed at the Pope and other men of the Church, even in the portraits of these individuals.

For instance the portrait of Pope Julius II (1545) by Titian, which was brought to my attention and pointed out by Australian art collector, Ian Henderson – shows a direct insult using a vague reference to the female anatomy.

Ian’s educated guess was that the insult may have something to do with the fact that Julius II had knocked down the old Roman pagan Temple of Cybele (the Phrygianum) between 1505 and 1506 to pave way for St Peter’s Basilica.

Most of us don’t think about the encoded or additional information in paintings ever dropping to this level, because perhaps having the intellectual capacity to ‘know’ that information was encoded and to be able to discover this for ourselves, we tend to look for information that is more esoteric or arcane.

But really people are human after all and we can see why people would have done this also, as would anyone who knows that such people who are a part of and administer these institutions – especially political and religious ones – are basically and generally hypocritical and corrupt.

It’s natural then that there would be lot of resentment aimed at these institutions of power and their powerbrokers by those who feel trapped and chained to these institutions and as a result have had their god-given rights and freedoms taken from them.

However, in the most part Ancient, spiritual wisdom was also encoded along with the scientific discoveries made at that time.

Again, some artists were even commissioned by ‘initiate’ infiltrators who had secured various influential positions within the Church.

All this secrecy resulted in the emergence of various groups . . . Secret Societies to preserve this ancient spiritual knowledge and wisdom and also perhaps the true history of mankind.

Knowledge based on the arcane secrets of Alchemy, the Qabbalah, Hermeticism and Rosicrucianism – all infused with the esoteric Gnostic teachings also based on ancient Egyptian wisdom (being one of the true sources of the Christian teachings and the Messianic mythos which is universal and really communicates the belief that everyone of us has the potential to reach Godhood as we are all manifestations of God) – was combined with the metaphysical knowledge and wisdom of Mesopotamia, ancient India, China and the Far East.

This Knowledge and Wisdom was associated with the freedom of direct personal experience; communion with the ‘Source-Centre of Creation’ . . . self- empowerment and enlightenment . . . Not dependent on any organised religion, belief or man-made, central power base.

The Poussin Codes​

Having an enquiring mind and having been fascinated by the Rennes mystery, it was between 1997 and 2001 that I devoted my mind and time to the task of examining, and even attempting to decipher the paintings mentioned in the best-selling bookbook by Michael Baigent, Richard Leigh and Henry Lincoln.

Naturally my first choice was the most famous painting by Nicolas Poussin, titled Les Bergers d’Acardie (version II).

On first seeing this painting and when told that there is a code hiding within this enigmatic scene – a code, which has never been deciphered properly and conclusively – most people will immediately examine the angles of the three wooden staffs held by the male shepherds.

Many believe that the angles of these staffs are associated with pentagonal geometry (five-pointed stars).

Some have been able to create large pentacle stars from the staffs that extend beyond the borders of the painting and have then gone onto demonstrate how these pentacles are again associated with Rennes le Château.

By overlaying these pentacles on the map of the Languedoc area, some researchers have found that several important locations line up with the main points of these pentacles, therefore providing evidence or “proof” that the code in Poussin’s painting is all about important sacred locations in the French Languedoc region.

Again, these assumptions are based on the information that has arisen from detailed research into this area and the sensational theories that resulted from this research and then published in the book, The Holy Blood and the Holy Grail.

This book has been so influential that no one has thought of looking elsewhere . . .

Well after some months I discovered that aside from the additional symbolism it contains – notably esoteric in origin and association – this painting also contains a direct reference to the Orion star constellation and the Precessional Cycle of roughly 26,000 years.

The two extreme positions on the Giza Meridian of the Orion star constellation, which historians say was used by the ancients as a ‘gauge-marker’ for this cycle, appeared to be present in the painting . . . how Orion appeared 13,000 years ago - i.e., 11,000 BCE, and how Orion would appear in 2000 AD. (See presentation The Arcadian Shepherds Version II).

However, one could say that we could find anything we want to find in paintings and other symbolic sources; that we will see what we believe.

My attention then turned to Poussin’s other paintings to see if there was anything similar encoded in these that could support what I had discovered in his most famous work.

I suspected that his other paintings would contain either the same information or perhaps information related to what I had previously found in the two versions of The Arcadian Shepherds and so I began looking closely at Poussin’s notable self-portraits of which there are also two versions.

It has been suggested that like the Arcadian Shepherds paintings, these particular paintings do indeed contain a code of some kind.

As one source puts it . . . ‘each detail cries out for decoding, and each has been interpreted in multiple ways’* . . . and this is exactly what we find with these two self-portraits.

*Portrait of the Artist, Nicolas Poussin (1650), Jonathan Jones, The Guardian. Saturday, October 5, 2002.

The background to these paintings is that during his late 50s, Poussin finally decided to paint his own portrait – remarking that there was really no other artist in Rome who was up to the task; surprisingly, both paintings were completed within a period of several months.

The first self-portrait by Poussin, which we will examine later in this presentation, was painted in 1649 and now hangs in the Gemaldegalerie, Berlin, Germany.

The second, which is more interesting and which we will examine first, was painted in 1650 and hangs in the Musée du Louvre Paris, France.

*********************************

At this point, I am happy to let people look at the rest of the article dealing with the information encoded in Poussin’s self portraits, which is well worth reading.

However, I think it is interesting to note that Osborn says that: “Nicolas Poussin – [was] one of the few artists who are cited in The Holy Blood and the Holy Grail as having held the “key” to an important secret.”

How secret can be measured by the fact that in 1656 after Poussin had received a visit to his studio in Rome from the Abbe Lois Fouquet, brother of Nicolas Fouquet, Superintendent of Finances to Louis XIV of France, Nicolas Fouquet was arrested and imprisoned for life all of Fouquet’s correspondence was seized and inspected. Fouquet “was then held strictly incommunicado – and some historians regard him as a likely candidate for the Man in the Iron Mask”. King Louis then went out of his way to secure the original of Les Bergers d’Arcadie (The Shepherds of Arcadia) Version II and when at last he succeeded in 1685, he ordered that it be locked away in a vault in the Palace of Versailles, where it remained for many years.

This in itself speaks reams. It must have been a very important secret that caused the King to arrest and imprison for life a senior trusted advisor and functionary and then hunt down the painting in order to lock it away. Could the secret possibly be related to royal bloodlines, the bloodline of the dragon I wonder?

I would also draw attention to where Osborn says:

“Well after some months I discovered that aside from the additional symbolism it contains – notably esoteric in origin and association – this painting also contains a direct reference to the Orion star constellation and the Precessional Cycle of roughly 26,000 years.

The two extreme positions on the Giza Meridian of the Orion star constellation, which historians say was used by the ancients as a ‘gauge-marker’ for this cycle, appeared to be present in the painting . . . how Orion appeared 13,000 years ago - i.e., 11,000 BCE, and how Orion would appear in 2000 AD. (See presentation The Arcadian Shepherds Version II).”


Well 11000 BC places the beginning of the cycle at around the time of the Deluge, which marked the destruction of Atlantis, and 2000 AD places the end of the cycle within our own timeframe. The C’s have had a lot to say about cycles and how the Great Pyramid was possibly a marker for supernovae not just in the past but in the future too. In addition, Laura has speculated whether the next supernova may be the blue giant star Rigel, which forms the right foot of Orion. I have not read his presentation on the second version of the painting but I am currently reproducing Osborn’s comments on the first version of the painting, which is shown below.


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I would also draw attention to what Osborn has to say on the ‘third force’:

It should be noted that this ‘third force’, this ‘middle way’, which Horus represents – signifying equilibrium and balance – is also crucial in re-aligning oneself with the ‘source-centre of creation’ as was believed and also for the soul to re-enter the Kingdom of God (again, so it was believed) which is why the Hermaphrodite and the Androgyne being of combined male and female halves is so common in Alchemical art . . . as it was/is reasoned to be an original state of being that is above and beyond all Duality and so is ‘closer to God’ or the Source of all creation.

Apart from explaining what the C’s meant about the ‘Third Man Theme’, it also touches on what the C’s have said about life at Fourth Density, where you could go to sleep as a woman and wake up as a man, making you in effect an hermaphrodite. This might also explain why Leonardo da Vinci employed androgynous figures in some of his paintings, as he was no doubt tapping into this concept.

I also wonder if this image of the Pythogorean right angle triangle explains what the C’s meant by: “Both times 2 is your square, my dear. In other words, perfect balance.”



1621006992151.png

Finally, I would make reference to his comments on the ‘World Tree’ theme:

“The Giza Meridian is believed by many researchers to have been the world's first Zero Prime Meridian in ancient times, and so again we see here the concept of the shamanic 'world tree' (zero prime meridian) held in place by the 'world mountain' (Great Pyramid).”

Osborn also makes reference to the ‘Nautonnier’ theme as described in the ‘Holy Blood and the Holy Grail’ without pursuing the point but saying it might be worth further investigation. It so happens that I have a copy of the book, so I will look into this. However, ‘Nautonnier’ is old French for the ‘Navigator’ of a boat in mythology and could, therefore, be likened in some ways to a ‘Lodestar’.
 

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OutSky

Jedi
……….
………..​
July 10, 1999 session

A: Be careful of the quotemarks, they bring you to the crossroads. As in: “you take the high road, I’ll take the low road, and I’ll be in Scotland before ye.”
you mentioned this quote in an earlier post:

A: Be careful of the quotemarks, they bring you to the crossroads. As in: “you take the high road, I’ll take the low road, and I’ll be in Scotland before ye.”
………
A: Look folks, we cannot just spill the secrets of all existence all over this board, but we sure can open the doorways, yeah.

…….. the words in quotations are from a famous Scottish ballad 'The Bonnie Banks o' Loch Lomond'.

……. Scotland was occupied by 2 different sets of Celts at different times. Northern Scotland was originally occupied by the Picts in Roman times and the Romans referred to the other people in lowland Scotland as the Caledonians. Subsequently, as the Romans pulled out groups of Brythonic Celts moved in and Scotland became known as 'Alba'. However, further groups of Celts migrated from Ireland and settled firstly in the East of Scotland. ………. One group particularly were called the Scotti whose famous queen was Scotia …….

So, how deep goes the C’s statement?! For one side we have the C's referring to a bold regional song of Celts talking of different paths that may tell of 2 Celtic lineages such as those from Ireland and those from elsewhere. On the other hand we have the C's making deep announcements in what refers the intrinsic quality of the existence. Ah yes, also there are the “trees” mentioned by the C’s; something like, “A: Look for answers, trees will lead you to it” —i.e. to the Nordic Covenant/Sorcerer’s Coven.

So, next follows a C’s introduction in the matter and the lyrics of the song quoted above. But since the poem also fits into another thread, I placed it there too. And over there joins additional commentary.​
July 10, 1999 session

A: You live in a “matter” universe, from your perspective. There is an accompanying energy universe which you largely are unable to perceive as of yet.

Q: (A) But, my question was ...

A: Who/what is Mandlebrot??

Q: (A) Okay, you are talking about fractals now, certainly...

A: Are we?

Q: (A) Mandlebrot is the name of a French mathematician who is famous because he discovered fractals and some laws that govern fractals and chaos. But, as to ‘what’ - some fractal images are also called ‘mandlebrot.’

A: And where does this lead, Ark?

Q: (L) But that doesn’t answer what matter is.

A: We are bringing you to the place where you can begin to path to understanding this.

Q: (A) That brings us to fractal properties of space time and such things.

A: What if matter were the “half-life” of energy?

Q: (C) Well, half-life is the decay factor. What if energy decays into matter? Is that what they are saying?

A: Be careful of the quote marks, they bring you to the crossroads. As in: “you take the high road, I’ll take the low road, and I’ll be in Scotland before ye.”

According to wikipedia, in the traditional Scottish song ‘The Bonnie Banks o' Loch Lomond,’ bonnie means "pretty" in Scots, which often refers to a female. The poem has diverse interpretations called to it but not definitive information, as well as its composer is unknown.
The Bonnie Banks o' Loch Lomond

By yon bonnie banks and by yon bonnie braes,
Where the sun shines bright on Loch Lomond,
Where me and my true love were ever wont to gae,
On the bonnie, bonnie banks o' Loch Lomond.

Chorus
O ye'll tak' the high road, and I'll tak' the low road,
And I'll be in Scotland a'fore ye,

But me and my true love will never meet again,
On the bonnie, bonnie banks o' Loch Lomond.

'Twas there that we parted, in yon shady glen,
On the steep, steep side o' Ben Lomond,
Where in soft purple hue, the highland hills we view,
And the moon coming out in the gloaming.

Chorus
The wee birdies sing and the wildflowers spring,
And in sunshine the waters are sleeping.
But the broken heart it kens nae second spring again,
Though the waeful may cease frae their grieving.

Chorus
O ye’ll tak’ the high road and I’ll tak’ the low road,
And I’ll be in Scotland afore ye.

But me and my true love will never meet again,
On the bonnie, bonnie banks o’ Loch Lomond.

 

moyal

Jedi
So, how deep goes the C’s statement?!​
July 10, 1999
....
Q: (A) ... First, we were told that gravity is essentially the most universal force and that it is from this that everything originates...

A: Gravity is the binder.
[....]
A: Geometry is the correct model.
[...]
A: Consciousness is contained within the expanded realization of the gravity model. [...]
[...]
A: [...] What we can say is this: if one could visualize the inverted representation of the gravity geometric model, one would be squarely on the path to understanding the geometric model of consciousness.
[...]
A: You live in a "matter" universe, from your perspective. There is an accompanying energy universe which you largely are unable to perceive as of yet.
[...]
A: We are bringing you to the place where you can begin to path to understanding this.
[...]
A: What if matter were the "half-life" of energy?
[...]
A: Be careful of the quote marks, they bring you to the crossroads. As in: "you take the high road, I'll take the low road, and I'll be in Scotland before ye."
[...]
A: Look folks, we cannot just spill the secrets of all existence all over this board, but we sure can open the doorways, yeah.

The C's had given this 5 years before:

November 19, 1994

Q: (T) The MIBS are not real, then, in our physical terms?

A: Partly correct. You do not understand technology but we will describe it if you like.

Q: (L) We like. Please describe this.

A: Okay. Get ready. First we must explain further time "travel" because the two concepts are closely related. The first step is to artificially induce an electromagnetic field. This opens the door between dimensions of reality. Next, thoughts must be channelled by participant in order to access reality bonding channel. They must then focus the energy to the proper dimensional bridge. The electrons must be arranged in correct frequency wave. Then the triage must be sent through realm "curtain" in order to balance perceptions at all density levels.

Q: (L) Information in the event that has to be balanced or taken into consideration as to importance so that the program runs correctly. Is this the correct interpretation of triage as you have used it?

A: Sort of. Triage is as follows: 1. Matter, 2. Energy, 3. Perception of reality. That is it folks.

I would recommend reading the works from Henry T. Laurency, escpecially "The Philosopher's Stone".
-> The Official Website of the Henry T. Laurency Publishing Foundation

Here is an excerpt:

2.3 Matter and Energy

...Matter is enormously more composed than the boldest hypotheses have ever dared to assume.
Science knows of three states of aggregation of physical matter: solid, liquid, and gaseous.
In fact, there are seven states of physical matter, and where physical matter ends a new kind of matter begins, which is inaccessible even to scientific instruments. Without the esoteric explanation the composition of matter remains an unsolvable problem.

The energy theory of physics is erroneous.
Principally thermodynamics suggested the immediate, fascinating, and erroneous idea of the indestructibility of energy.
There is no energy without matter, independent of matter, or acting through anything but matter.
Energy is energy only as long as it is motion.
When motion ceases, energy as force is annihilated.
Energy cannot be converted.
No “form” of energy can be turned into another “form”.

The apparent conversions thought to be observed are not processes of conversion but of parallelism.
The latter concept is as yet lacking in scientific physics.

What science calls force, or energy, is matter.
Energy is matter, the action of higher matter on lower matter.
All higher kinds of matter are energy in relation to lower kinds.
Any kind of matter relates to its next lower kind as energy to matter.
Matter dissolves, not into energy but into higher kinds of matter.

2.4 Matter and Consciousness

Matter and consciousness, “body and soul”, is the ordinary, immediately given opposition and union.
Dualism appears to be the natural, the correct view.
If, like Descartes, you call matter and consciousness different substances, or, like Spinoza, one substance with two attributes, yet matter and consciousness remain two different principles, two different aspects.

In dualism can also be included the theory of psycho-physical parallelism, or duplicism, which quotes Spinoza as its authority.

If consciousness could be thought to exist without matter, then consciousness itself must be something substantial.

Therefore Descartes conceived of immaterial substance as a substratum for consciousness, whereas Spinoza correctly assumed the same as hylozoics teaches, namely that the known matter is the bearer of consciousness, that without matter there cannot be any consciousness.
It may be pointed out against Descartes that immaterial substance is a fiction.

There is no substance but matter.
There is nothing immaterial.

Therefore, this dualism should, strictly speaking, be just another name for materialism.
Science attributes consciousness, not to all matter, but only to nerve cells, or possibly all organic matter.
A consistent dualism cannot attribute to some matter a quality that must belong to all matter.
The two different aspects, matter and consciousness, cannot be made identical or parallel.
A “monism” obtained in that way is just a play on words.

The different aspects are always abstractions from a reality that is unitary in itself.
Neither can consciousness be explained by or from matter.
And that which cannot be explained by something else is itself original and its own basis.
Consciousness is as absolute as matter.

Psycho-physical parallelism deprives both matter and consciousness of all independence.
Moreover, it is incapable of explaining satisfactorily force, energy, proper motion, will.
Consciousness without will is passive.

According to esoterics reality has three aspects.

None of these three can be omitted or explained away without the result being unclear, contradictory, misleading.

The three aspects are:

the matter aspect
the motion aspect
the consciousness aspect

Moreover, as regards the theory of knowledge, everything is above all what it appears to be, but besides that, always something quite different and immensely more.

-> http://laurency.com/DVSe/ps2.pdf
http://laurency.com/DVSe/ps2.pdf
Again the C's, quoted already above:
November 19, 1994
A: Sort of. Triage is as follows: 1. Matter, 2. Energy, 3. Perception of reality. That is it folks.
 

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Palinurus

The Living Force
@ MJF
This is the second time you complain about this overlap of text which is due to obsolete formatting rules.

Firefox browser has a built-in feature to undo this via the open reader view/display F9 function which is accessible as follows:

click: Image > Open Reader View F9, or simply click F9 instead.

Image is part of the menu bar. If you don't have that ready you can activate it by right clicking on an empty space at the top of your browser and choose Menu bar.

The browser reworks the convoluted page into a perfectly readable one, without any overlaps and with all illustrations intact and all links active.

Hope this will be helpful for future cases. :-)
 

MJF

Jedi Council Member
I have been reading the Holy Blood and the Holy Grail for further clues and, although I have not found anything to tie into the Nautonnier theme yet, I have uncovered some useful information. Please remember that the authors of that book focused their attention on the bloodline of Jesus Christ and his purported offspring with Mary Magdalen. However, what they uncoverd may have more bearing on the bloodline we are pursuing.

The book gave far more detail about Nicolas Fouquet's arrest and imprisonment and the reasons why this occurred. For those who know their French history or have read the Musketeer books of Alexander Dumas, then you will know that the real power behind the throne of King Louis XIV was Cardinal Mazarin.

Among the most powerful of Mazarin's enemies was Nicolas Fouquet, the brother of Abbe Louis Fouquet who met with Poussin. In 1653 he had become the Superintendent of Finances. He is described as a gifted, precocious and ambitious man. Within a few years of his appointment he had become the weatlhiest and most powerful individual in the kingdom. Apparently, he was sometimes called the true king of France. It was even rumoured that he was intending to make Brittany (Amorica) an independent duchy with himself as its duke.

Fouquet was a prominent member of the Compagnie du Saint-Sacrament (Company of the Blessed Sacrament),a religious organisation whose members were opposed to Cardinal Mazarin. So ws his brother, Charles Fouquet, the Arcbishop of Narbonne in the Languedoc (former Cathar territory) and his brother Abbe Louis. Indeed, it was Nicolas Fouquet who dispatched Abbe Louis to Roem in 1656 for reasons which, though not necessarily mysterious, have never been explained. It was from Rome that Abbe Louis wrote the letter to Nicolas, after his meeting with Nicolas Poussin (the 'Keeper of Secrets') and a secret "which even kings would have great pains to draw from him", that would lead to Fouquet's arrest in 1661 and his downfall.
@ MJF
This is the second time you complain about this overlap of text which is due to obsolete formatting rules.

Firefox browser has a built-in feature to undo this via the open reader view/display F9 function which is accessible as follows:

click: Image > Open Reader View F9, or simply click F9 instead.

Image is part of the menu bar. If you don't have that ready you can activate it by right clicking on an empty space at the top of your browser and choose Menu bar.

The browser reworks the convoluted page into a perfectly readable one, without any overlaps and with all illustrations intact and all links active.

Hope this will be helpful for future cases. :-)
Thank you for this. I don't pretend to be a computer expert. My knowledge is pretty basic but I do use Firefox so will try and do what you suggest. I just thought the problem lay with the website.
 

MJF

Jedi Council Member

So, how deep goes the C’s statement?! For one side we have the C's referring to a bold regional song of Celts talking of different paths that may tell of 2 Celtic lineages such as those from Ireland and those from elsewhere. On the other hand we have the C's making deep announcements in what refers the intrinsic quality of the existence. Ah yes, also there are the “trees” mentioned by the C’s; something like, “A: Look for answers, trees will lead you to it” —i.e. to the Nordic Covenant/Sorcerer’s Coven.

So, next follows a C’s introduction in the matter and the lyrics of the song quoted above. But since the poem also fits into another thread, I placed it there too. And over there joins additional commentary.


According to wikipedia, in the traditional Scottish song ‘The Bonnie Banks o' Loch Lomond,’ bonnie means "pretty" in Scots, which often refers to a female. The poem has diverse interpretations called to it but not definitive information, as well as its composer is unknown.
The Bonnie Banks o' Loch Lomond
This is very interesting. I hadn't realised that the name "Lomond" was connected with Elm trees.

What's in a name? ... The name Loch Lomond was earlier Loch Leamhain (loch LEFin), named after the River Leven 'elm water'; the region is known in Gaelic as Leamhnachd (LEH-oon-uchk, anglicised Lennox), also from the river name. Interestingly, I am descended from the Duke of Lennox.

My understanding is that the song was originally meant to be a sad Jacobite lament about the aftermath of the Battle of Culloden.

What is the story behind Loch Lomond?
"Loch Lomond" tells the story of two Scottish soldiers who were so imprisoned. One of them was to be executed, while the other was to be set free. According to Celtic legend if someone dies in a foreign land, his spirit will travel to his homeland by "the low road" - the route for the souls of the dead. I set out below an account of what the song entails:


Mr. HOWARD: And everybody thinks somehow that it's just a sweet little Scottish song about boys and girls making love beside a lake.

Mr. HOWARD: It doesn't mean anything unless you know that it's connected with the Jacobite Rebellion in Scotland and their earnest desire to return bonnie Prince Charlie as Scottish king.

Mr. HOWARD: And the last serious battle of the war between Scotland and England was fought on the field of Culloden.

Mr. HOWARD: And after the Battle of Culloden, a great number of what the English, no doubt, referred to as the ringleaders of the Scottish rebellions and what the Scots, no doubt, referred to as the young, brave laddie heroes, were taken to London for a series of show trials. Whilst they were waiting for their trials, many members of their families came from Scotland down to London. And it is quite certain that all of the people who came to the trials walked that distance. And so the wives were all there and the girlfriends and the family members and the mates and everything else. And they were all found guilty, and they were all executed in the vilest means possible.

Mr. HOWARD: Once the acts of execution were complete, in order to be an example to anyone likely to step out of line, the bodies and the bits and most particularly the heads on the tops of spikes were exhibited in all of the towns between London and Glasgow in a monstrous procession. Meanwhile, all of the families had to return to Scotland by exactly the same method in which they had arrived.

Mr. HOWARD: And so when we're talking about `you'll take the high road, and I'll take the low road,' the high road, meaning the bodies of the men that were going to be exhibited, were being taken by coach on the most important road in the country. And the ordinary poor people of Scotland, who'd seen their menfolk burn to deat
h, all had to shuttle back by the ordinary roads that ordinary working people had to use. So that's how it was."

I am not sure this explanation helps us much though. I have been to Culloden and there is still a lingering feeling about the place that makes you sense something terrible happened there in 1746. My father's family were jacobites, so it has a certain resonance for me. I once drove down the Loch Lomond road in the twilight in late summer. Belive it or not it was still daylight at 22.00. It is a very beautiful spot and in better times it attracts a lot of tourists.
 

MJF

Jedi Council Member
This is very interesting. I hadn't realised that the name "Lomond" was connected with Elm trees.

What's in a name? ... The name Loch Lomond was earlier Loch Leamhain (loch LEFin), named after the River Leven 'elm water'; the region is known in Gaelic as Leamhnachd (LEH-oon-uchk, anglicised Lennox), also from the river name. Interestingly, I am descended from the Duke of Lennox.

My understanding is that the song was originally meant to be a sad Jacobite lament about the aftermath of the Battle of Culloden.

What is the story behind Loch Lomond?
"Loch Lomond" tells the story of two Scottish soldiers who were so imprisoned. One of them was to be executed, while the other was to be set free. According to Celtic legend if someone dies in a foreign land, his spirit will travel to his homeland by "the low road" - the route for the souls of the dead. I set out below an account of what the song entails:


Mr. HOWARD: And everybody thinks somehow that it's just a sweet little Scottish song about boys and girls making love beside a lake.

Mr. HOWARD: It doesn't mean anything unless you know that it's connected with the Jacobite Rebellion in Scotland and their earnest desire to return bonnie Prince Charlie as Scottish king.

Mr. HOWARD: And the last serious battle of the war between Scotland and England was fought on the field of Culloden.

Mr. HOWARD: And after the Battle of Culloden, a great number of what the English, no doubt, referred to as the ringleaders of the Scottish rebellions and what the Scots, no doubt, referred to as the young, brave laddie heroes, were taken to London for a series of show trials. Whilst they were waiting for their trials, many members of their families came from Scotland down to London. And it is quite certain that all of the people who came to the trials walked that distance. And so the wives were all there and the girlfriends and the family members and the mates and everything else. And they were all found guilty, and they were all executed in the vilest means possible.

Mr. HOWARD: Once the acts of execution were complete, in order to be an example to anyone likely to step out of line, the bodies and the bits and most particularly the heads on the tops of spikes were exhibited in all of the towns between London and Glasgow in a monstrous procession. Meanwhile, all of the families had to return to Scotland by exactly the same method in which they had arrived.

Mr. HOWARD: And so when we're talking about `you'll take the high road, and I'll take the low road,' the high road, meaning the bodies of the men that were going to be exhibited, were being taken by coach on the most important road in the country. And the ordinary poor people of Scotland, who'd seen their menfolk burn to deat
h, all had to shuttle back by the ordinary roads that ordinary working people had to use. So that's how it was."

I am not sure this explanation helps us much though. I have been to Culloden and there is still a lingering feeling about the place that makes you sense something terrible happened there in 1746. My father's family were jacobites, so it has a certain resonance for me. I once drove down the Loch Lomond road in the twilight in late summer. Belive it or not it was still daylight at 22.00. It is a very beautiful spot and in better times it attracts a lot of tourists.
Here is another take on the meaning of the song:

HISTORICAL BACKGROUND: At the time in Scottish history when "Loch Lomond" was a new song, the United Kingdom (which united Scotland, England, and Wales) had already been formed. But the Highland Scots wanted a Scottish, not an English King to rule. Led by their Bonnie Prince Charlie (Prince Charles Edward Stuart) they attempted unsuccessfully to depose Britain's King George II. An army of 7,000 Highlanders were defeated on April 16, 1746 at the famous Battle of Culloden Moor. It is this same battle that indirectly gives rise to this beautiful song. After the battle, many Scottish soldiers were imprisoned within England's Carlisle Castle, near the border of Scotland. "Loch Lomond" tells the story of two Scottish soldiers who were so imprisoned. One of them was to be executed, while the other was to be set free. According to Celtic legend if someone dies in a foreign land, his spirit will travel to his homeland by "the low road" - the route for the souls of the dead. In the song, the spirit of the dead soldier shall arrive first, while the living soldier will take the "high road" over the mountains, to arrive afterwards. The song is from the point of view of the soldier who will be executed: When he sings, "ye'll tak' the high road and I'll tak' the low road" in effect he is saying that you will return alive, and I will return in spirit. He remembers his happy past, "By yon bonnie banks ... where me and my true love were ever wont to gae [accustomed to go]" and sadly accepts his death "the broken heart it ken nae [knows no] second Spring again." The original folksong uses a six note scale; the seventh scale degree is absent from the melody. The lyric intertwines the sadness of the soldier's plight with images of Loch Lomond's stunning natural beauty.

However, there is another meaning to "High Road" and "Low Road", which is as follows.

To "take the high road" means doing the right thing, even if it may not be easy or popular with the majority. In short, righteousness. For example, if someone has wronged you, you can "take the low road" and seek revenge. In most situations, taking the high road is commendable and will actually make things turn out better for you. It's a classy way to handle a situation, and it's often the best choice in a professional setting

Any method, practice, or course of action that is unethical, unscrupulous, underhanded, or otherwise base or vile. Most often used in the phrase "take the low road." It's unfair that those who work the hardest will be undermined by those who choose to take the low road to success.

And there is yet a third meaning that may be relevant to us as well:The synaptic self

The synaptic self - American Psychological Association

https://www.apa.org › monitor › nov02 › synaptic

The synaptic self​


Without synaptic plasticity, learning--and the self--would be impossible.

By ETIENNE BENSON

November 2002, Vol 33, No. 10

If who we are is shaped by what we remember, and if memory is a function of the brain, then synapses--the interfaces through which neurons communicate with each other and the physical structures in which memories are encoded--are the fundamental units of the self. That was the message of a talk given at APA's 2002 Annual Convention by New York University psychologist and neuroscientist Joseph LeDoux, PhD.

"Synapses are pretty low on the totem pole of how the brain is organized, but I think they're pretty important," said LeDoux.

The self, he suggested, is the sum of the brain's individual subsystems, each with its own form of "memory," together with the complex interactions among the subsystems. Without synaptic plasticity--the ability of synapses to alter the ease with which they transmit signals from one neuron to another--the changes in those systems that are required for learning would be impossible.

LeDoux's research has focused on the network of brain regions responsible for detecting and responding to threatening stimuli. At the center of that network is the amygdala, the almond-shaped cluster of neurons near the base of the brain that stores memories of fearful stimuli and triggers fear responses.

Studies have shown that there are two pathways through which the amygdala's fear responses can be triggered: a fast "low road" from the thalamus to the amygdala, and a slower "high road" that passes from the thalamus to the neocortex and only then to the amygdala, said LeDoux. The two paths do not always reach the same conclusions, he explained. The relatively crude "low road" may respond to a long, thin object as a dangerous snake--and trigger an immediate fear response--while the slower "high road" is determining that the object is a harmless stick.

Evolutionarily speaking, it may make sense for the faster pathway to err on the side of caution, said LeDoux; after all, "it's probably better to treat a stick as a snake than a snake as a stick." But the disconnection between "low" and "high" roads, which was first discovered in rats but has since been corroborated in humans, could also be responsible for some psychopathologies. "We know that lots of people have fears that they can't come to conscious terms with," said LeDoux. "People who have pathological fears may be treating sticks as snakes all the time, metaphorically."

One of the biggest challenges in neuroscience, said LeDoux, is discovering how individual systems like the fear network are related to other systems, and how all of the brain's systems together create the collection of behaviors we call the "self." Although we know of a number of factors that could bind the brain's subsystems together--including shared inputs, neural "convergence zones," and the diffuse effects of neurotransmitters like serotonin--the details remain a mystery, said LeDoux.

The insights we gain from exploring the brain can give us new ways of thinking about psychology, he added. For instance, research on the neural underpinnings of emotion and cognition has shown that the amygdala sends projections to almost every part of the brain, including regions responsible for high-level cognition, but the number of projections back to the amygdala from cognitive regions is small. That insight may help explain why emotion can sometimes overpower cognition.

"Emotional systems tend to monopolize brain resources," said LeDoux. "It's much easier for an emotion to control a thought than for a thought to control an emotion."

Also

What is the high road of emotion?​

The High Road involves an indirect pathway to the amygdala. In this case thalamic info is transmitted to the sensory cortex where it is further processed and evaluated for level of threat prior to being sent to the amygdala.

What is the low road of emotion?​

See Emotion processing and the amygdala: from a ‘low road’ to ‘many roads’ of evaluating biological significance for whole article

A subcortical pathway through the superior colliculus and pulvinar to the amygdala is commonly assumed to mediate the non-conscious processing of affective visual stimuli. We review anatomical and physiological data that argue against the notion that such a pathway plays a prominent part in processing affective visual stimuli in humans. Instead, we propose that the primary role of the amygdala in visual processing, like that of the pulvinar, is to coordinate the function of cortical networks during evaluation of the biological significance of affective visual stimuli. Under this revised framework, the cortex has a more important role in emotion processing than is traditionally assumed.

There is tremendous interest in the question of how salient, emotional and socially-charged visual stimuli are processed by the brain. This topic is important because it addresses a fundamental question regarding how biological ‘value’ is assigned by an animal to stimuli in its environment: which stimuli are good and which are bad; which should be approached and which should be avoided. The topic is also intriguing because it fuels questions about modularity in the brain (that is, whether there is a specialized way of, or even dedicated neural substrates for, the processing of affective stimuli). The overarching ‘standard hypothesis’ runs roughly as follows: ecologically important (emotional and social) stimuli are processed initially by a dedicated, modular system that operates rapidly, automatically (without the need to pay attention) and largely independently of conscious awareness. Defects in this system are suggested to underlie phobias, mood disorders and post-traumatic stress syndrome, and variability in its functioning reflects individual differences at the genotypic and personality level.

The hypothesis has two central and related components. The first component is the purported role of the amygdala in the rapid, automatic and non-conscious processing of emotional and social stimuli.The second central component is the proposal of a specific subcortical route of information processing — the so-called 'low road' — that bypasses the presumably slower, resource-dependent cortex and that culminates in the amygdala by way of the superior colliculus and the pulvinar nucleus of the thalamus.

I appreciate that Laura has paid particular attention to this subject in her writings. Hence, it is possible the C's may have had several meanings involved with that one quote from this popular Scottish song. Remember that "self" is "id" or "ego" (Latin for "I" from where we derive the term egotistic).

 

MJF

Jedi Council Member
I am posting some further Information on Nicola Poussin, which I found within a commetary from Laura. It proves there is a lot more to his Shepherds of Arcadia painting than meets the eye:

"First thought I might post this for those who are interested- with regards to the Shepherds of Arcadia painting, Laura suggests that it was of importance because “it depicted the true parentage of Louis XIV and made a rather bold statement about it as well” (pg 304).

In the Phosphorus and The Frequency of Light thread, Laura further posits that there may have been much more to Poussin the painter and that he may have have discovered something important to do with perpetual lamps relating to phosphorescence. Below is the excerpt from Laura’s initial post in that thread, but it’s worth reading it in whole (it’s truly amazing to see how she connects all the dots!):

Having disposed of most of the elements of the Rennes-le-Chateau
> story, particularly Plantard and his "club" Le Prieure de Sion, what did we
> have left?
>
> We had Cathars and Templars who were destroyed.
> We had Grail stories that emerged at the approximate same time...
> We had an icon that appeared on a beach in the Canary Islands,
> accompanied by lights and chanting processions...
> We had a pit dug at Oak Island and something buried that was NOT
> meant to be dug up.

>
> Meanwhile, we have this bunch of guys following all these false
> leads... Exerting themselves all over the place to find what is NOT hidden,
> though they think it is because their understanding is darkened.
>
> And we come back to Arcadia.
>
> There is NOTHING hidden in the picture. It is clear and plain.

>
> And what does it tell us?
>
> Well, let's think about Nicolas Poussin and recap what we know about
> him.
>
> What is important is this: Nicolas Poussin spent most of his
> adult life in Rome. Arriving there in 1624, he suffered a
> serious breakdown in 1629 either just after or just before
> painting the first version of the Arcadian Shepherds. One
> cannot help but wonder about this breakdown.
>
> He returned to Paris for little more than a year in 1640.
> But, what was he doing there?
>
> In regard to this, I was reading Josephson's paper on the theory of
> music, and he has an interesting idea there, though it is not new:
> Gurdjieff talked about "objective" music.
>
> So, I thought about this and decided that the "emotional" state
> evoked by art is a VERY important part of the message. Not that this
> is necessarily emotional in the usual sense of the word, but that it
> is an "exciting" of some essential nature. And, depending on the
> essential nature, the results of this excitation can be varied.
>
> For example, Mr. Mann sees the pregnant Shepherdess as representative
> of a "hidden fifth" element.
>
> The fifth house of the zodiac is the house of love and creativity and
> children and physical creation in general, including physical sex.
>
> So, I asked myself why he would perceive it this way?
>
> And why do I NOT perceive it this way? What is the difference?
>
> Well, perhaps it is because he sees it all as some power OUTSIDE of
> himself that must be sought and obtained and controlled.
>
> I see it as simply who and what I am.
>
> But, getting back to the painter of this picture.
>
> Anyway, his first few years in Rome coincided with a great
> deal of ancient site excavation activity that was going on.

>
> During this period of history, patronage of the arts on a lavish and
> international scale was quite common. This was the period of Rubens
> (who I like because his women look like ME!) and he painted in a rich
> and lavish style which transformed the lives of the royalty into
> dramatic Olympian statements! This, naturally, increased their egos
> so that they actually attempted to lead such lives, and led
> ultimately to the Revolution because of their excesses. They
> completely missed the point of the imagery and attempted to express
> all of it materially.

> Well, it seems that while Rubens was painting grandiose semi-mythical
> murals incorporating his royal patrons into the scenery, Poussin was
> working on minor decorations. He left for Rome. Why? Because there
> was something in the Parisian atmosphere that offended him, I expect.

> But, he had a solid reputation and a patron: Cardinal Richelieu. It
> was because of the Cardinal (notice the C+R) that Poussin came back
> to Paris to decorate the grand gallery of the Louvre. He received a
> shower of favours and the title "First Painter to the King." But, he
> was shortly made so miserable by the intrigues that grew up around
> him, that he left for Rome again. He became the "artistic
> ambassador" from France, and all the French artists were sent to him
> for supervision under government subsidy.
>
> He was a student of the classics, and needed the freedom to work out
> his own ideas and principles. His main themes were myth, religion,
> history and architecture. All of these are part of the "clues," so
> it seems that our Poussin may have been privy to certain "inside
> circles," even if only through inspiration, or "channelling," of an
> artistic sort.


> But, nevertheless, he had suffered a breakdown. WHY?
> During his illness he was nursed by, and then married, the
> daughter of Jean Dughet, the cook to the Cavaliere del Pozzo,
> who was in charge of the excavations.(!)


> Of this Dughet, it was recorded: "Near Capo di Bove was found buried
> a most curious treasure, including a room much decorated with silver;
> but by the intervention of a spy, those that found it gained little
> by it, for the great part of them were thrown into prison.
> Only the father-in-law of Monsieur Poussin was exempted, on
> account that he was cook to the senator."


> Now, I think that Capo di Bove means "head of the cow." So, we have
> a head and a cow. Remembering the cattle image and that the goddess
> Hera was often called "cow faced," and there were a lot of other cow
> images relating to creation and the goddess aspect.

> Anyway, what was dug up? What did they find? No one in this book on
> art history seems to know or care. Which is fine, because they are
> just talking about art and trying to interpret it aesthetically.
> But I sure wish somebody knew something about this mysterious episode.

> They say that Poussin spent a lot of time in the Roman museums,
> studying the figures there and modeling many of his figures on them.
> His "judicious use of opposites" is commented upon. And, it is
> further commented that Poussin had a "constant preoccupation with
> antique sculpture" which is shown by his clearly defined figures who
> look as though they have been chiseled out of stone, and that certain
> groups are DIRECTLY derived from some of these sculptures. In his
> "Rape of the Sabine Women," he clearly represents the Sabines in the
> poses of the statues of Gauls. His buildings are painted to exact
> descriptions by ancient writers. In his desire for accuracy of
> detail, he left nothing to chance.
>
> His "Et in Arcadia Ego," is described as a pastoral poem out of
> Vergil. They are described as being "pensive" and "melancholy" that
> it is a "meditative study."

> But, interestingly, the "art experts" also say that the Shepherdess
> is the continuation of the "vertical axis" of the tree while the
> shepherd on the left, with his resting arm, provides the horizontal
> axis, and that every gesture and line follows this initial "cross,"
> with "all the cool logic of a geometrical theorem."

> Well, I wonder if art critics REALLY see all this sort of thing in a
> painting, or if they just want to sound clever. I do notice that the
> shepherdess' head is right in the middle of a tree branch, almost as
> if it were a halo. But, I don't know what kind of tree it is.

> Well, nevertheless, the figure is pointing to the RhoChi of the
> Rosicrucians,
shepherds are depicted, a woman as a type of a tree,
> and we get ARAIGNEE AT ICOD, out of the words also. And, this is
> most important, even if the hoaxers made the parchments and stone
> images, because of the spider image on the painting of Christ at the
> church of Rennes-les-Bains. There, the spider is depicted as the
> crown of thorns on Jesus head. And, we know that the Arachnea, the
> spinner, was transformed into a spider by a Jealous Hera, the "cow
> faced." But was THEN represented as the "menstruating Moon Goddess."
> And, Ariadne gave the clues to Theseus, but was THEN loved by
> Dionysus.

> Well, if the shepherdess in this painting is pregnant, then she is
> NOT menstruating!

> It goes on: "The current rumour in Rome was that some of the
> diggers were Goths, who had come from the north on the faith
> of ancient tradition to seek for treasure."
>
> Well, the only thing we know of these Gothic traditions is that I
> think they were what became the Grail stories.
[^55788]

> But, the most interesting thing is where it is said:
> In 1656 Nicolas Fouquet, finance minister to Louis XIV, sent
> his brother, Louis, to Rome and suggested he see Poussin.
> Shortly after arriving, Fouquet wrote to his brother:

> > "I delivered to M. Poussin the letter that you did him the
> > honour to write to him; he evinced all the joy imaginable.
> > You would not believe, Monsieur, either the pains that he
> > takes in your service, or the affection with which he takes
> > them, nor the worth and integrity that he brings to all
> > things. He and I, we have planned certain matters that I
> > could, in a little undertake to the end for you, by which M.
> > Poussin could provide you with advantages that kings would
> > have great pains to get from him, and that, after him,
> > perhaps no one in the world could recover in the centuries to
> > come; and, what is more, this could be done without much
> > expense and could even turn to profit, and these are things
> > so hard to discover that no one, no matter who, upon this
> > earth today could have better fortune or even so much..
."

> Well, we know that Poussin was supervising government subsidized
> artists, so this could be the "pains taken in your service." Rather
> simple and not at all mysterious! "Worth and integrity" are
> certainly important in regards to seeing that the government's money
> is not being wasted!!!

> But, the things that are "hard to discover," and would provide
> advantages that Kings would like to have, and which no one could
> recover for centuries????? What in the WORLD???

> But, it is OBVIOUSLY NOT alchemy, in the "metaphysical" sense, or
> "transmutation," nor can it be uncovered treasure! Because, it is
> mentioned that it would involve a little expense to DO it, and that
> it MIGHT turn to profit! So, it seems that Poussin has a little
> discovery that could be like an "invention." Something useful.


> And, I think that I have found what this is.

> > "It was a common practice among the early Egyptians, Greeks, and
> > Romans to seal lighted lamps in the sepulchers of their dead as
> > offerings
. Later, as the custom became generally established, not
> > only actual lamps but miniatures of them in terra cotta were buried
> > with the dead. Some of the lamps were enclosed in circular vessels
> > for protection; and instances have been recorded where the original
> > oil was found in them, in a perfect state of preservation after more
> > than 2,000 years. There is ample proof that many of these lamps were
> > burning when the sepulchers were sealed, and it has been claimed that
> > they were STILL BURNING when the vaults were opened hundreds of years
> > later.
The possibility of preparing a fuel which would renew itself
> > as rapidly as it was consumed has been a source of considerable
> > controversy among medieval authors. After due consideration of the
> > evidence at hand, it seems well within the range of possibility that
> > the ancient priest-chemists DID manufacture lamps that burned, if not
> > indefinitely, as least for a considerable period of time.


> > "While conclusions reached by different authors are at variance, a
> > majority admit the existence of these phenomenal lamps. Only a few
> > maintained that the lamps would burn forever, but many were willing
> > to concede that they might remain alight for several centuries.
> > [...]
> > "In a tomb on the Appian Way which was opened during the papacy of
> > Paul III [^88241] was found a burning lamp which had remained alight in a
> > hermetically sealed vault for nearly 1,600 years. According to an
> > account written by a contemporary, a body of a young and beautiful
> > girl with long golden hair was found floating in an unknown
> > transparent liquid as well preserved as though death had occurred but
> > a few hours before. Those entering the sepulcher said that the draft
> > caused by the opening of the door blew out the light and it could not
> > be relighted. Kircher reproduces the epitaph supposedly found in the
> > tomb: TULLIOLAE FILIAE MEAE, but Mountfaoucon says this never
> > existed. The body was believed to be that of Tulliola, the daughter
> > of Cicero.
> > [...]
> > "St. Augustine described a perpetual lamp, guarded in a temple in
> > Egypt sacred to Venus, which neither wind nor water could extinguish.
> > He believed it to be the work of the Devil. (Why are we NOT
> > surprised!)
> > [...]
> > "During the early Middle Ages, a lamp was found in England which had
> > burned since the third century after Christ. The monument containing
> > it was believed to be the tomb of the father of Constantine the Great.

> > [...]
> > "In England a curious tomb was found containing an automaton which
> > moved when certain stones in the floor of the vault were stepped upon
> > by an intruder. At that time the Rosicrucian controversy was at its
> > height, so it was decided that the tomb was that of a Rosicrucian
> > initiate. A peasant discovered the tomb and entering, found the
> > interior brilliantly lighted by a lamp hanging from the ceiling. As
> > he walked, his weight depressed some of the floor stones. At once a
> > seated figure in heavy armour began to move. Mechanically it rose to
> > its feet and struck the lamp with an iron baton, completely
> > destroying it, and thus preventing the discovery of the secret
> > substance which maintained the flame.

> > "It is now believed that the wicks of these perpetual lamps were made
> > of braided or woven asbestos, called by the alchemists 'salamandar's
> > wool,' and that the fuel was one of the products of alchemical
> > research."


> So, this is what I think that Poussin discovered - light.
> He was "illumened," as the C's said!!!


> But, the most curious thing about this is that there is a funny
> reference in the Canary Island book to "strange wicks," too!!!
> Our Friar Alonso, of the Order of Preachers writes:

> > "While the holy image of Candelaria was at Chinguaro, or in the small
> > cave near it, where it remained for many years, the native Guanches
> > often heard celestial sounds and saw many burning lights in form of a
> > procession. They were not so frequent at first as they became when
> > the holy image was removed to the cave of San Blas.
> > [...]
> > "The processions formed by the angels, as well on the beach where the
> > holy image was, as on that of Socorro where she first appeared,
> > became very frequent, both by night and day, with solemnity and
> > harmony, music from softest voices, a great company in perfect order
> > with lighted candles. So, they made their processions from the
> > hermitage they now call Santiago to the cave of San Blas, there being
> > a wide beach all the way. These processions were so frequent that
> > the natives ceased to be surprised. This is so perfectly true, that
> > now, in these times, persons who have seen it go to the beach and
> > find candles with the wax burnt out. They have even found some
> > lighted and fixed to rocks. ...great quantities of drops of wax are
> > found...
> > [...]
> > "I speak of what I have seen and heard, and keep the wax in my power.
> > I have heard the same from many others. The candles they find are
> > not very white, and it is not known of what the wicks consist. They
> > are not cotton nor tow, but look more like twisted white silk.
> > [...]
> > "There also appeared on this island, twenty years before it was
> > conquered, a great quantity of white wax in loaves, in an adjacent
> > port, which for this reason was called the Port of Wax. ... some of
> > the loaves of wax appeared to weigh ten or twelve pounds and even
> > fifteen to twenty pounds; in this present year, there appeared loaves
> > of 20 pounds and more. In this present year, at the time when the
> > said wax appeared, there were no candles for saying Mass, nor for the
> > Benediction on the day of the Purification of Our Lady. For in this
> > island, there are no bee-hives for the supply of wax, nor is it
> > brought from Gran Canaria.
> > [...]
> > "For this wax always appeared four or five days before the feast of
> > Candelaria, that these might be the means of making candles for its
> > celebration."

> So, we have connected some tombs in Italy to some tombs in England,
> to our Poussin and his funny tomb... to the Canaries!!! All by a
> thread, literally! A candle wick!!!


> So, this is a VERY funny thing. What did the C's say? "Look for the
> frequency of light."

This is very useful information but I think there is still more to the painting and I hope to demonstrate this in my next post.
 

MJF

Jedi Council Member
I have been doing research into apples for the purposes of understanding the references to apples in the transcripts and in myth. I came across this extract in a thread to an exchange from an undated session and would like to know what session it was from since it contains a reference to 'TDARM'. I have tried tracking it down through the search engine but could not find anything. Can anyone help? Here is the exchange:

Q: (M) He says: I've had three experiences with aliens, who kindly provided me with silicone beads of some kind. Were these physical abductions or just projections?
A: One begets the other. A projection involves Tran dimensional atomic remolecularization.
Q: (M) When and where was the last experience?
A: April and in sleep state. There is a window which overlooks sloping meadow. Fruit trees, possibly apple, nearby.
Q: (L) Why did you bring up this window and this meadow and fruit trees? Is this the window through which this occurred?
A: Let it play out.

With thanks in advance.
 

Palinurus

The Living Force
The exchange is from Session 21 November 1998 which has not been officially transcribed yet, according to the list.

Nevertheless, some of it was mentioned in a thread entitled Inter-dimensional windows and Seth's co-ordinate points, notably here . You have to scroll down quite considerably to reach it.

That post also gives a source where they took it from. That was this one where you can find the whole session (in a pirated version).
 

MJF

Jedi Council Member
The exchange is from Session 21 November 1998 which has not been officially transcribed yet, according to the list.

Nevertheless, some of it was mentioned in a thread entitled Inter-dimensional windows and Seth's co-ordinate points, notably here . You have to scroll down quite considerably to reach it.

That post also gives a source where they took it from. That was this one where you can find the whole session (in a pirated version).
Many thanks for doing this. The fact that this particular session is not on the Forum yet may explain why my search didn't work. The thread you referred to also looks very interesting. I will look into it. Like you, I was a Sliders fan but I think the series lost its way once John Rhys Davies left. A great actor. Apparently, he upset a new producer on the show at a Holywood party and that is why he got dumped from the show.

BTW: I think the reference to "RV" in that session is to remote viewing.
 

avia

Padawan Learner
Hi MJF, I recently made an observation about one of the clues included in this discussion. The sun is currently conjunct the fixed star, Algol, i.e. "The Eye of Medusa". It will be exact in a few hours.
I have found that Algol aspects are usually present for life changing events, especially the conjunctions. I know this has been the case for me and several of my close friends.

The word "algol" is the root of the word "alcohol". Algol aspects involve moving from one state of consciousness to another. Sober/intoxicated, life/death, present circumstances changing in a heartbeat, a flash of inspiration that connects the dots in a way you hadn't considered. Maybe Sol conjunct Algol will bring you a flash of inspiration through the Eye of Medusa, moving you into another state of consciousness. I thank you for all the research you have been pursuing on "the trail of the Grail".
 

MJF

Jedi Council Member
Hi MJF, I recently made an observation about one of the clues included in this discussion. The sun is currently conjunct the fixed star, Algol, i.e. "The Eye of Medusa". It will be exact in a few hours.
I have found that Algol aspects are usually present for life changing events, especially the conjunctions. I know this has been the case for me and several of my close friends.

The word "algol" is the root of the word "alcohol". Algol aspects involve moving from one state of consciousness to another. Sober/intoxicated, life/death, present circumstances changing in a heartbeat, a flash of inspiration that connects the dots in a way you hadn't considered. Maybe Sol conjunct Algol will bring you a flash of inspiration through the Eye of Medusa, moving you into another state of consciousness. I thank you for all the research you have been pursuing on "the trail of the Grail".
Hi Avia,
Thank you for your post. Your mention of a flash of inspiration through the Eye of Medusa has a certain resonance for me. I think I did move into another state of consciousness in April. I have withheld saying anything about this up to now because I am not somebody who takes too much notice of their dreams but I havein fact had a few strange dreams in the last month rather like Outstky who has been following this thread.

First, there was a reference to the 'Eye of Medusa' in the session on 13th June 1998:

Q: Okay, so what is the point of who spoke for Andromeda? What does that have to do with the 1/3 of 33?

A: Your searches sooner or later "net" results.

Q: Okay, one interesting thing that we just discovered was that Hyakatuke and Hale Bopp both crossed the eye of Medusa, the star Algol, on April 11th exactly one year apart. What is the significance of this?

A: You must remember mosaic, matrix... When you are on the verge of quantum changes or discovery, the realities begin to reveal their perfectly squared nature to you.

Q: Is that the only thing you want to remark about the crossing of the comets in front of the eye of Medusa?

A: Can you not picture all reality as a curving and bobbing journey through a transparent, undulating matrix mosaic?

Q: Well, do you have anything else to say about Andromeda? (It's VERY HOT in here!) Okay, Medusa 11. So, this was 11 of the 33, and assuming that you were not saying that there were 11 heads, but that Medusa was one of three heads, is that what we are getting at here, that there are three heads and Medusa was one?

A: Or both times 2.

Q: What do you mean? I don't understand.

A: Both times 2 is your square, my dear. In other words, perfect balance.

Q: Okay...

A: No! Ponder, do not jump around so much, lest ye lose the chance to learn!

Q: So, Medusa represents both heads times 2, and that is the square and balance. But that is only 22 or 121. So where does the 33 come from?

A: All these 1s 2s and 3s... hmmm...

Q: Well, if Medusa is one of the heads, what is the other head called?

A: Who are your prime numbers?

Q: The dwellings or the mystics, or do you want specific numbers?

A: Yes.


I checked back on the Forum and found that I did my first post on the 11th April 2021 in the Duke of Edinburgh thread, which led to the creation of this thread at Laura's suggestion.

If you start laying out the prime numbers you will soon see a set pattern when considering the differences between each number. The gaps are either 2, 4 or 6. Hence, I think, the reference to 1s ,2s and 3s by the C's. Four is obviously two squared and six is 2x3. Try it yourself:

1,3,5,7,11,13,17,19,23,29,31,37,43

The difference will always be either 2, 4 or 6.

As for dreams, I had my first strange dream on 23rd April, which led me to do a post the next day picking up on certain things Laura had said about family trees.

The dream involved me feeling my way around the outside of some building with a large window (it could symbolise the Forum). I the found myself being dragged through the window into a dark void. However, I was being pulled back by others. I woke up in a state since it was a bit of a nightmare. However, the one word I heard in my mind was "Lodestar". This one term may hold the key to all of this, although it may have multiple meanings.

The second dream reminded me of the one "M" had when he joined the 21 November 1998 session as a guest by telephone. He mentioned a dream where he had a blow on the head.

Q: (M) My friend M*** had a dream a few nights ago which he feels is related to the previous one. He was hit in the head by a 2X4 wielded by a child, which immediately woke him up. He caught sight of a movement out of the corner of his eye when he woke up. What was the moving object or creature?

Well I had a similar dream, where I dreamed somebody (unseen) hit me on top of the head and I rembered going "ouch". This reminds me of the following quote I found on the Forum:

Magnetite by K.A.H.

LIGHT BURSTS FORTH IN THE MAGNETITE THAT COLLECTS IN THE TEMPORAL LOBES as a result of repeated "heating" of the crucible by thinking with a hammer. One has to chisel away the barriers to truth, one hammer blow at a time. And it is a long, arduous, and difficult work.

The third inspiration came when waking and one word came into my mind and that was "seed", perhaps as "[per]seid".

This insight led me to think more of the exchange in this session on family trees.


Session 12 July 1997:

A: Genus is family tree.

Q: And what family is it a family tree for?

A: Check your Magna for lesson.

Q: My magna? What in the world? Okay, "blue apples:" Stones or grapes?

A: Why not both?

At first I thought this might be a reference to Sir Richard de Percy, 5th Baron Percy, a Magnate from the North of England, and a participant in the First Barons' War. He was the son of Agnes de Perci, suo jure Baroness Percy, the heiress of the Percy estates, and her husband Joscelin of Louvain, who was styled "brother of the queen". He was one of the twenty five barons appointed to enforce the observance of Magna Carta.

However, I now think the reference to "Magna" could in fact be a reference to Magna Grecia. Magna Graecia if anyone wants to pursue this suggestion. It could even be both ideas given the C's response. The reference to "blue apples" is definitely a refererence to bloodlines as I believe it connects with the daughters of Akhenaten, including Kore/Hagar. Akhenaten had six daughters, three of whom died during the Egyptian plagues mentioned in Exodus. I think they were immortalised as the Nmyphs in the Garden of the Hesperides, the goddess daughters of Night, who guarded the golden apples beyond Ocean in the far west of the world. An ancient vase painting attests the following names as four: Asterope, Chrysothemis, Hygieia and Lipara; on another seven names as Aiopis, Antheia, Donakis, Calypso, Mermesa, Nelisa and Tara. I find it fascinating that the last named nymph is called "Tara" who is remembered in Irish legend as Princess Tara of the Tuatha de Danaan. Is this just coincidental? There are many stories connected with the Garden of the Hesperides and some of them involve Hercules or Heracles who was one of the Argonauts and is represented in Poussin's painting as the bearded figure. He also has a constellation named after him and a certain star, which may be very important to our quest since it was a pole star or lodestar (by which sailors navigated to true north). In addition, in one version of the story, three nymphs were turned into trees. Hespere (Hespera) became a poplar; Erytheis an elm; Aigle (Aegle) a sacred willow. Up to now, I have not been able to identify who Kore is save for that reference to Tara. You can't seem to get away from trees on this thread.

Evidently Nefertiti/Sarah is the goddess of Night, which given that she was a Hittite, who were moon worshipers, suggests that she should be linked with Selene, a moon goddess. This is appropriate given that in reality she was a subterannean-world hybrid. You can see that there are a multitude of connections here within mythology and its underlying meaning, including planets and comets in the mix. This also links with 'mystery cults' revolving around a Divine Mother and her son or, as in the worship of Demeter and Kore (Persephone), her daughter.

Finally, Laura doesn't get off the hook where this exchange goes:

"Now, having gone through all the shamanic stuff, all the information about the world tree, the world axis, and your remarks about building a staircase, which is another variation on the world axis or world tree, and having some kind of mission, and the mission being piercing the spider, which relates again to the world axis and the world tree, which one climbs one step at a time. Then, you talked about Jack and the Beanstalk, which is another example of the world tree. Over and over again we are having all these representations of trees which basically has something to do with some sort of destined action, and it is almost as though you are hinting that some person has to be physically tuned as a transducer of some sort to "stand in the gates of time," for the rest of humanity. Then, you made the remark recently about lodestar. Well, there might have been a time in my life when I might have thought that it was me who could do something like that. And, if I ever did, maybe it was even ego thinking. However, I am getting a little old for that sort of thing, so I don't really think that it is my role. But, I do think that there is somebody in the world whose role that is, and I would like to know if that is somebody we are supposed to be looking for, or that we are going to find this person?

A: Perhaps you shall find, or perhaps they will find you!"


I still think the C's meant Laura since I came across a session on the pirated transcripts where Laura discussed with the C's a very strange dream she had involving a head of the family. The session concerned is that of 8th August 1998. She was worried for him because she could discern that there were all sorts of plots to kill him. I think the head of the family was Pharaoh Akhenaten who would eventually be drowned in the Nile. She mentions that one minute he looked like an aryan, the next an Egyptian. She then comments on seeing twin girls. Now I don't know if Akhenaten had twin girls who survived as two of his six daughters but in Tutenkhamun's tomb they found the mummified remains of twin girls who may have died in child birth. Archeologists assumed they may have been Tutenkhamun's daughters but they could also have been his baby sisters. In the dream, Laura says that she was meant to prepare herself for some task "because of my decision to do 'what was right' that I had demonstrated that I was the 'chosen' one who would become the heir in some way. Well I don't know what you think but I feel she has got the job after reading this.

To conclude, I feel that I have had certain inspirations when posting here but that doesn't preclude having to do a lot of research. There are those on this Forum who have been here a long time and probably have all sorts of insights that may help us in this quest, so please feel free to chip in whenever. I do have a road map but it takes time to set out all the evidence required to prove what a clue from the C's may entail. Hence, please be patient as there is a lot more to come. I am working to a methodical order, which may change as I get further insights re-reading old threads and sessions. However, just for the time being I am sticking with Nicolas Poussin as there is more to reveal in his works.
 
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MJF

Jedi Council Member
I have previously posted the first part of this article inadvertently by mistake, as it got attached to another response I was making to a Forum member. I have since tidied it up and completed it and I now set it out below in full.

I have been reading the Holy Blood and the Holy Grail for further clues and, although I have not found anything to tie into the ‘Nautonnier’ theme as yet, I have uncovered some useful information. Please remember that the authors of that book focused their attention on the bloodline of Jesus Christ and his purported offspring with Mary Magdalene. However, what they uncovered may have more bearing on the bloodline we are pursuing in this thread.

The book gave far more detail about Nicolas Fouquet's arrest and imprisonment and the reasons why this occurred. For those who know their French history or have read the Musketeer books of Alexander Dumas, then you will know that the real power behind the throne of King Louis XIV was the infamous Cardinal Mazarin.

Among the most powerful of Mazarin's enemies was Nicolas Fouquet, the brother of Abbe Louis Fouquet who met with Poussin in 1656. In 1653 he had become the Superintendent of Finances in France. He is described as a gifted, precocious and ambitious man. Within a few years of his appointment he had become the wealthiest and most powerful individual in the kingdom. Apparently, he was sometimes called the true king of France. It was even rumoured that he was intending to make Brittany (Amorica) an independent duchy with himself as its duke.

Fouquet was a prominent member of the Compagnie du Saint-Sacrament (Company of the Blessed Sacrament), a religious organisation whose members were opposed to Cardinal Mazarin. His brother, Charles Fouquet, the Arcbishop of Narbonne in the Languedoc (former Cathar territory) and his younger brother Abbe Louis Fouquet were also members. Indeed, it was Nicolas Fouquet who dispatched Abbe Louis to Rome in 1656 for reasons which, though not necessarily mysterious, have never been explained. It was from Rome that Abbe Louis wrote the letter to Nicolas, after his meeting with Nicolas Poussin (the 'Keeper of Secrets'), about a secret "which even kings would have great pains to draw from him", that would subsequently lead to Fouquet's arrest in 1661 and his eventual downfall.

The charges against Fouquet were extremely general and nebulous. There were vague accusations of misappropriation of funds, and others, even more vague, of sedition. On the basis of these accusations, all Fouquet’s goods and property were placed under royal sequestration. Oddly, however, the King forbade his officers to touch Fouquet’s papers or correspondence. Instead, he insisted on sifting through them – personally and by himself. This seems most bizarre behaviour for a king.

The ensuing trial dragged on for four years becoming the sensation of France and polarising French public opinion. Abbe Louis Fouquet was dead by then but his mother and surviving brother enlisted the support of the Compagnie du Saint-Sacrament whose membership included one of the presiding judges. Louis XIV, who was not usually considered a bloodthirsty man, demanded nothing less than the death sentence for Fouquet. However, the court refusing to be intimidated by the king passed a sentence of perpetual banishment on Fouquet. The enraged king, still demanding the death sentence, removed the recalcitrant judges and replaced them with a more obedient bench but the Compagnie still defied him. Finally, the court imposed a sentence of perpetual imprisonment in 1665. On the king’s orders, Fouquet was kept in strict isolation and he was forbidden writing implements and all means by which he could communicate with anyone. Even more draconian, any soldiers or guards who conversed with him were allegedly confined to prison ships or, in some cases, hanged.

Nicolas Poussin died in Rome in 1665. Subsequently, in the years that followed, Louis XIV persistently endeavoured through his agents to buy one painting, ‘The Shepherds of Arcadia’. In 1685 Louis finally managed to do so. However, the painting was never put on display or even hung in a royal residence. Instead, it was confined to the king’s private royal apartments, where no one could view it without the king’s personal authority.

I think Louis XIV’s behaviour can be taken to indicate that the painting held a secret of such a devastating nature that the king used all his considerable power and influence to make sure it remained hidden. I would suggest that the secret was not simply the angle of obliquity of the Earth, as suggested by Gary Osborn (significant though that is), but it had something more to do with royal bloodlines or even perhaps something of such power that its knowledge or possession could decide the fate of nations.

The writers of the Holy Blood and the Holy Grail discussed the antecedents to Poussin’s painting including the themes of the underground stream of Alpheus (the river god and lord of the underground stream), Arcadia and Arcadian shepherds, which all featured in ideas promoted by the nobleman René d’Anjou one of the best connected men of the 15th Century. It can be shown that René d’Anjou had connections with Joan of Arc, Christopher Columbus (who he employed), Michel Nostradamus’ grandfather (who he retained as a court astrologer) and the Medici family of Florence. His daughter, Marguerite, married Henry VI of England and she would play a prominent role in the War of the Roses. He may well have had a large influence in helping to kick start the Renaissance. Indeed, it was probably he who helped to introduce the themes of Arcadia, King Arthur and the Knights of the Round Table and the Holy Grail into Renaissance art. Please remember that the writers of the Holy Blood and the Holy Grail were seeking to prove the existence of a secret society called the ‘Priory of Sion’ based on documents supplied to them by Pierre Plantard. However, Plantard would subsequently be exposed as a hoaxer who with others had fabricated the documentation. Although there may never have been any Priory of Sion that does not mean to say that what they were discovering in their researches did not point to the existence of a secret society since, in my view, I think that what they may have been exposing was in all likelihood the Illuminati (and not Adam Weishaupt’s organisation of the same name created in 1776 either).

What is of most interest to us though is René’s links to the imagery and themes of Arcadia. His works frequently denoted a fountain or a tomb, both of which were associated with an underground stream. This stream is usually associated with the river Alpheus, which is a coastal river located in the actual geographical Arcadia in Greece, which flows underground and is said to surface again at the Fountain of Arethusa in Sicily. The river has always been deemed sacred from antiquity and its very name derives in Greek from ‘first’ or ‘source’.

The writers then add that for René, the motif of an underground stream seems to have been extremely rich in symbolic and allegorical meaning. “Among other things, it would appear to connote the ‘underground’ esoteric tradition of Pythagorean, Gnostic, Cabalistic and Hermetic thought. But it might also connote something more than a general body of teachings, perhaps some very specific, factual information; a secret of some sort, transmitted in clandestine fashion from generation to generation and it might connote an unacknowledged and thus ‘subterranean’ bloodline.”

In my previous postings on Poussin, I have drawn attention to the possible Pythagorean concepts that he may have incorporated into his paintings, so there is certainly something to what the writers are arguing here. However, when they talk of a subterranean bloodline, they have in mind a bloodline stemming from that of Jesus and Mary Magdalene (a Davidic line), which is the main cornerstone of the theory promoted in their book, one which Dan Brown would seize on and make a very profitable fictional book (and later a film) out of. But what if the bloodline was literally a subterranean bloodline, one which stemmed from Akhenaten and Nefertiti, who we know from the C’s was a subterranean-world hybrid?

The writers point out that during the sixteenth century Arcadia and the ‘underground stream’ became a prominent cultural fashion. In England it inspired Sir Philip Sydney’s most important work, ‘Arcadia’. This is relevant to us since Sir Philip Sydney was close to John Dee and he had met with Giordano Bruno in London. This therefore links the subject to the Rosicrucians. They point out that from René d’Anjou, the motif seems to have passed to the Medicis, the Sforzas, the Estes and the Gonzagas. These families then transmitted the image to their protégés in the arts. We have, of course, encountered the Estes family before since they would go on to establish the House of Orange and the Hanoverian dynasty through the marriage of Frederick of the Palatinate (a probable Rosicrucian) to Elizabeth Stuart, the daughter of James I of England.

The writers of the Holy Blood and the Holy Grail also sought to discover the antecedents of the phrase ‘Et in Arcadia Ego’. It had appeared in Poussin’s earlier version of the Shepherds of Arcadia in 1630 or 1635 in which the tomb was surmounted by a skull and where it does not constitute an edifice on its own but is embedded in the side of a cliff instead.

In the foreground, there is a bearded water-deity reposing in an attitude of brooding moroseness. This is the river god Alpheus, lord of the underground stream. This figure is absent from the second painting unless he can be glimpsed perhaps as the shadow of a horse, thereby referring possibly to Neptune or Poseidon the Roman/Greek god of the sea. Moreover, there is no skull sitting openly on display in the second painting, which I think is a significant difference and a point I would like to revisit in a subsequent post. In many ways, as I think you will agree, the second painting is completely different in style and setting from the first. This suggests to me that the two paintings were intended to convey (or conceal) two different messages.

1621297672802.jpeg

The phrase ‘Et in Arcadia Ego’ first made its public debut sometime between 1618 and 1623 in a painting by the artist Guercino, which constituted the real basis for Poussin’s work. In Guercino’s work (see below) two shepherds have entered a clearing in a forest and come upon a stone sepulchre with a skull resting on top of it. The tomb also bears the famous inscription as in Poussin’s paintings.

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The writers point out that Guercino was well versed in esoteric tradition but he also seemed to be conversant with the lore of secret societies including Freemasonry even though Freemasonry was not yet properly established in England and Scotland at that point in time. As the writers say, whatever the origin of the phrase ‘Et in Arcadia Ego’, it seems to have been more than a line of elegiac poetry for Guercino and Poussin. In their view, the phrase enjoyed some secret significance, one which would be identifiable to certain other people in the know, like a Masonic password or sign.
 

MJF

Jedi Council Member
Part 2 of the Investigation of The Holy Blood and the Holy Grail

Previously, I have alluded to Abbé Louis Fouquet’s letter to his brother Nicolas. Part of the letter has been made public and here is what it reveals:

“He [Poussin] and I discussed certain things, which I shall with ease be able to explain to you in detail – things which will give you, through Monsieur Poussin, advantages which even kings would have great pains to draw from him, and which, according to him, it is possible that nobody else will ever rediscover in the centuries to come. And what is more, these are things so difficult that nothing now on this Earth can prove of better fortune nor be their equal.”

I think you will agree with me that it is unlikely that the angle of obliquity of the Earth, as recorded in the Great Pyramid of Giza, is probably not the secret that Poussin was protecting since an intelligent man like Poussin would know that eventually people would work that fact out. Nor do I think it is necessarily a secret bloodline, although that may be tied up with the secret. It is more likely that the Unified Field Theorem (UFT) would be closer to the mark as that opens up the pathway to higher dimensions, which will facilitate long distance space travel and possibly time travel too and who knows what else. Could people in antiquity have known of the UFT? I think almost certainly that the Atlanteans did. Could they have passed on the secrets of UFT in myths and fables post the Deluge? Could they have encoded its secrets into the Great Pyramid of Giza, since many have claimed to discover all sorts of mathematical truths incorporated within its dimensions, e.g., the exact measure of the radius of the Earth, the speed of light, Plank’s Constant to name but a few? There was no doubt good reason why Sir Isaac Newton, the father of the ‘Theory of Gravity’ and President of the Royal Society, spent so much time studying the Great Pyramid.

Many people thought the background and tomb in Poussin’s painting of the Shepherds of Arcadia was wholly mythical and a product merely of Poussin’s imagination. However, in the early 1970’s, a real tomb was found that was identical to the one in the painting. It was identical in setting, dimensions, proportions, shape, surrounding vegetation, even in the circular outcrop of rock on which one of the shepherds rests his foot. The tomb is located on the outskirts of a village called, Arques, which is about six miles from Rennes-le-Château. Apparently, if you stand before the sepulchre, the view or vista is virtually indistinguishable from that in the painting. The writers of the Holy Blood and the Holy Grail even realised that one of the peaks in the background of the painting is in fact Rennes-le-Château. They also determined that the tomb seemed to be standing at the time of Poussin’s painting. However, there was no inscription on the tomb, which suggests that either Poussin added that feature or it had weathered away with time.

Interestingly, the name “Arques” derives from the French verb “arquer” meaning to bow or bend. As an adjective it means ‘bandy-legged’ or bent outwards at the knee. This could be significant to us, since in some earlier posts there was a suggestion that the bearded figure’s (Hercules) knee, which is bent, might be depicting a map pointing to Nova Scotia. It is also worth recalling Laura’s exchange with the C’s on the subject of knees:

Q: One thing that has been driving me nuts is the repeated representation of knees. I mean, they are everywhere. In the zodiac of Dendara, there is even a leg with the knee joint as a constellation. And in the Bacchus and Ariadne painting, someone is brandishing a leg. What is it with this knee? I know that the word is related to genes, and that the word 'patella' is related to the root of platter, and thus 'grail,' all of these funny ideas are connected to the knee. Even my name!

A: Yes, so leave it until you have more pieces.”


Hence, the fact that Poussin chose to paint a tomb located in a village called ‘Arques’ near to Rennes-le-Château may have some significance for us. It is worth remembering that the writers of the Holy Blood and the Holy Grail were on a treasure hunt and the C’s had also referred to Laura embarking on a treasure hunt. However, I think by treasure the C’s had something different in mind from gold, silver and jewels, as in the treasure of the Temple of Solomon or that of the Visigoths, which is what the writers were focused on.

The authors then looked into the inscription ‘Et in Arcadia Ego’, which in English translates to ‘And in Arcadia I ...’. They correctly noted that the inscription lacked any verb to make it a proper sentence. They pondered why the verb should be missing. They wondered whether it might be for some philosophical reason; i.e., the preclusion of all tenses, of all indication of past, present or future might be intended to imply something eternal. They also considered whether the inscription might be an anagram, which would explain why the verb was omitted. One of the TV viewers of Henry Lincoln’s programme thought so and suggested that it was an anagram of “Tego Arcana Dei” meaning “Begone! I conceal the secrets of God”.

The authors would subsequently take this to be an indication that they were on the right trail; that trail in their view being the royal blood of Jesus and Mary Magdalene passed on though their descendants. However, from our point of view, the explanation of the anagram, if correct, could have another meaning altogether, one that is tied up with a very different Holy Grail.

It turns out that Rennes-le-Château was an important town in the 12th and 13th centuries and something of a Cathar (Albigensian) bastion (and in the 5th and 6th centuries a Visigoth bastion too). Indeed, it turns out that many peasants in the area still hold to this day Cathar sympathies and there was still a Cathar church and a so-called ‘Cathar pope’ who lived in the village of Arques up to his death in 1978. All this would not have been lost on Abbé Saunière, the priest around whom the mystery of Rennes-le-Château revolves. This would lead the authors to research into the Cathars and the Knights Templar and their links to the area. However, I do not wish to review what they subsequently found since their bloodline search is, I think, a different one from ours. That is not to say that what they uncovered may not be relevant to us, particularly where the Knights Templar are concerned, as I hope to show subsequently in a post on the Holy Grail.

Instead, I would just focus on one of their lines of inquiry and that is the tribe known as the Franks, from which France draws its name, and in particular the last Merovingian, Frankish king, Dagobert II.

The Merovingian dynasty issued from the Sicambrian tribe of the Germanic peoples, collectively known as the Franks. In the period spanning the 5th and 7th centuries AD, the Merovingians ruled over large parts of what today is France and Germany during what we now term as the ‘Dark Ages’. The authors went into some depth about the origins of the Merovingian kings, which is steeped in the legend of how the founder of the dynasty, Merovee, was born of two fathers after his mother, who was already pregnant, had gone swimming and was impregnated a second time by a beast of Neptune or a Quinataur. Laura has previously commented on this legend, so suffice to say what we are probably looking at here is an abduction and genetic tweaking to produce a new line of hybrids who would become the Frankish kings. As the authors point out, the Merovingian dynasty was always surrounded by an aura of magic, sorcery and the supernatural.

Merovingian kings were by tradition occult adepts, initiates in arcane sciences and practitioners of esoteric arts, effectively the sorcerer kings. This to some extent reminds me of the Tuatha de Danaan in Ireland and the Pharaohs of ancient Egypt who were looked upon as priest kings embodying the divine. But what is possibly of most interest to us is that the Merovingian monarchs all supposedly bore a distinctive birthmark, which rendered them immediately identifiable and which purportedly attested to their semi-divine or sacred blood. This birthmark reputedly took the shape of a red cross, either over the heart or between the shoulder blades. Could this possibly be another reason why the Rosicrucians took the Croix Rouge or Red Cross for their name?

Interestingly, there is an exchange in the transcripts with the C’s concerning a strange red mark shared by Laura, her brother and Ark:

Session 12 April 1997

Q: It's just perception. This is a funny question: I have a red birthmark on the back of my head, in the hair, my brother has one, and I noticed that Ark has one, too. What is the significance of this birthmark, if any?

A: Later.
Q: Okay. Not gonna answer that.


I wonder if there could be any connection between these two sets of birthmarks. I also wonder whether the C’s ever did answer this question. It is notable that the session also had a reference to the ‘Council of Nine’, which may become more important to us as our quest proceeds.

The authors then pointed out that the Merovingian monarchs were also called the ‘Longhaired Kings’ since, like Samson in the Bible, they were loath to cut their hair, as it contained the essence and secret of their power. This issue of the powers bestowed by long hair has also been covered on the Forum. I would just add that I recall in the Second World War, the US Army used Native American Indian scouts in some of the Pacific island campaigns against the Japanese because of their superb tracking skills. However, when the Army cut their hair to the Marine standard ‘crew cut’, it seemed to badly affect their tracking abilities. As a result, they were allowed to keep their hair long. In addition, I have written about the famous female mediums used by the Thule/Vril Societies to contact the Aldeberans, who were led by Maria Orsic. They all kept their hair in very long ponytails (at a time when fashionable women had their hair styled in bob cuts) since they claimed it helped their powers of communication/receivership. Hence, there would appear to be something to this legend.

I would like to make two more points on the Merovingians before wrapping this up. The first relates to the tomb of King Childeric I, the son of Merrovee and father of the famous Clovis. The tomb found in 1651 contained much that you would expect to find in a royal tomb. However, it also contained items less characteristic of royalty and more in keeping with magic, sorcery and divination. These were: (1) a severed horse’s head - a reference to the Horsehead Nebula perhaps, which is located just to the south of Alnitak, the easternmost star of Orion's Belt; (2) a bull’s head made of gold, which reminds me of the golden calf incident in Exodus, which the children of Israel worshipped in Moses’s absence – the Egyptian’s and Minoans also held the bull to be a sacred animal, just think of the Apsis bulls; and finally (3) a crystal ball, which is generally a device associated with divination. All in all a very strange mix of articles for a king’s grave but items which may give away something of the history and origins of this tribe.

The Merovingians also claimed direct descent from ancient Troy, which if true would provide a link with Abraham, who the C’s told us was also Paris, prince of Troy. More contemporary writers have tried to trace the Merovingians to ancient Greece and specifically the area known as Arcadia and to its royal house. If this is correct, it would link the Merovingians to the Peloponnese where Hercules fought the Nemean lion and gods walked the earth, meddling in mortal affairs. This also links us to Minoan Crete (who were bull worshippers) and the Mycenaean civilisation, which originated and evolved from the society and culture of the Early and Middle Bronze Age in mainland Greece under influences from Minoan Crete. The Mycenaean Greeks established themselves in Greece sometime around 1600 BC and their civilisation would flourish until around 1100 BC. Their capital city Mycenae is an ancient city located on a small hill between two larger hills on the fertile Argolid Plain in Peloponnese, Greece. The Mycenaean period became the historical setting of much ancient Greek literature and mythology including the Trojan Epic Cycle. Hence, the Merovingians connect us back to Poussin’s painting of the Shepherds of Arcadia with its overt links to Hercules and the twins Pollux and Castor, all crew mates together on the Argo in the quest for the Golden Fleece. They also link us back to certain stars and constellations.

As regards the Citadel of Mycenae, although it was built by Greeks, the name Mukanai is thought not to be Greek but rather one of the many pre-Greek place names inherited by the immigrant Greeks. Legend has it that the name was connected to the Greek word mykēs (μύκης, "mushroom"). Pausanias, a Greek traveler and geographer of the second century AD, ascribes the name to the legendary founder Perseus, who was said to have named it either after the cap (mykēs) of the sheath of his sword, or after a mushroom he had plucked on the site. Perseus, the son of Danae, established the Perseid line that would carry on through Akhenaten and his daughter Kore. Hence, were the Merovingian Kings descendents of the Perseid family and was their special birthmark indicative of this fact? Where was Arcadia really located? Was it the Peloponnese in Greece as most scholars now think? Was it Egypt at the time of the 18th dynasty or was it in fact Troy in what is now Cambridge, England in the late Bronze Age, where according to Homer a large contingent of Arcadians was present at the famous siege? Remember, the C’s have told us that the story of the siege of Troy was transposed from England to Greece and Asia Minor through the emigration of Celtic migrants in the wake of the collapse of the Bronze Age civilisation, which occurred at the time of the last cycle of the cometary cluster.

Part of the answer may lie in the fact that the name ‘Arcadia’ derives from ‘Arkados’, which means ‘People of the Bear’. The ancient Arcadians claimed descent from Arkas the patron deity of the land whose name means ‘bear’. According to Greek myth, Arkas was the son of Kallisto, a nymph associated with Artemis (Athena) the Huntress. Kallisto is now linked astronomically with the constellation of Ursa Major, the Great Bear. As it happens, the Sicambrian Franks, from whom the Merovingians derived, also gave the bear a similar exalted status and like the ancient Arcadians, they worshipped it in the form of Artemis (Athena and by extension Brigid) or her Gallic equivalent Arduina, the patron goddess of the Ardennes. Apparently, the mystery cult of Arduina persisted well into the Middle Ages. It should also be noted that the Welsh word for bear is ‘arth’ from which the name ‘Arthur’ derives and, of course, Arthur and his Knights of the Round Table are associated with the quest for the Holy Grail.​

The question we need to ask though is where did Poussin think Arcadia was located?
 
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