Poussin’s Mountainous Mystery Part 5
In the earlier parts of this article, I looked at the mystery of the mountain depicted in Nicolas Poussin’s famous painting
The Shepherds of Arcadia (see below), which seems to hold the key to the secret of Rennes-le-Chateau and the strange activities of its former parish priest
Abbé Bérenger Saunière. I discovered an interesting article by a gentleman called
Josh Kroeker, which focused primarily on the mountains depicted in Poussin’s painting. Kroeker came to the conclusion that the landscape portrayed in the painting could, in fact, be a location near Rennes-le-Château, lending credence to his belief that important information may be encoded in the painting.
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The Shepherds of Arcadia by Nicolas Poussin
Quoting Kroeker:
“I can only speculate about the connections in the paintings and what they mean. If the background is an actual landscape near Rennes-le-Château, is Poussin drawing us a map, with clues as to how to get there? Or is his objective simply to draw attention to the shape of this mountain, so that it can be identified elsewhere? After all, Poussin ‘holds the key’ to finding whatever is concealed; but does this mean that it is in his works that the riddles of the Rennes-le-Château mystery can be solved? One thing is certain: Poussin’s depiction of the landscape in Arcadia and the four other connected paintings is intentional and warrants further attention.”
This reference to a “map with clues” made me recall what the C’s had once said about the mystery of Rennes-le-Château:
A: Just look. Now folks, remember: Rennes-le-Château is a means, not an end. Sort of like unlocking the trunk, expecting to find the gold, and merely finding a map.
But Kroeker revealed that Poussin was not the only artist to depict the Arcadian mountain since David Teniers had also cleverly incorporated it in his work Archduke Leopold Wilhelm in his Gallery by displaying it within his miniature recreation of the work of the 16th century Italian Master Titian called Nymph and Shepherd, which Titian painted in 1575, more than 50 years before Poussin painted The Shepherds of Arcadia.
Quoting Kroeker again:
“If the mountain exists near Rennes-le-Château, then is it possible that the artists were creating a visual map that points to a specific location in the area?
Although it would appear that these connections simply raise more questions than answers, it is safe to say that there is a mystery surrounding the mountains portrayed in the paintings, and that those who depicted the landscape placed it with the deliberate intent of passing on a message to those with the means to find it.”
I finished Part I of the article by asking the question that if Poussin was depicting a real mountain, which mountain was it meant to be?
On this key question, I noted subsequently that the English researcher and writer Andrew Collins had investigated Henry Lincoln’s claim that the stone tomb in Poussin’s painting was one which he had found on the outskirts of a village called Arques (a name that conjures up a synchronistic link to the Ark of the Covenant in which the Grail was once contained), which is approximately six miles from Rennes-le-Château. Lincoln claimed that the tomb was identical to the one in the painting – i.e., identical in setting, dimensions, proportions, shape, surrounding vegetation, even in the circular outcrop of rock on which one of Poussin’s shepherds rested his foot. He further claimed that if you stood before the sepulchre, the vista was virtually indistinguishable from that in the painting. He added that when you did so, it became readily apparent that one of the peaks in the background of the painting is Rennes-le-Château. Lincoln then claimed that the tomb would seem to have been standing in Poussin’s time and his painting appeared to be a faithful rendering of the actual site. However, others subsequently claimed that there was no evidence to suggest that Poussin, who came from Northern France and lived most of his adult life in Rome, ever visited the region and therefore he could never have painted the scene there. Moreover, others pointed out that the tomb was far too modern for it to have been painted in 1638-40 by Poussin. Andrew Collins in his book Twenty-First Century Grail the Quest for a Legend, states that Poussin’s Tomb, or the Tomb of Arques, was meant to have been constructed only as late as 1903 and has since been demolished. Nevertheless, Collins went on record and stated that The Shepherds of Arcadia painting appears to show real topographical features in the landscape around Rennes-le-Château, more specifically three sites: the peak of Pech Cardou, the ruins of a castle tower on a promontory called Blanchefort and, on the extreme right, the hill of Rennes-le-Château.
I then noted that in his book Thrice Great Hermetica and the Janus Age, Dr Joseph Farrell also pointed out that even though there is no hard evidence that Poussin ever visited the area, he still, nonetheless, managed to paint the tomb and its local landscape with astonishing accuracy. How was this? Well Farrell notes that even though Poussin spent most of his career in Rome, he was lured back to Paris from 1640-1642 by Cardinal Richelieu for who he was expected to execute several works. While at the court of Louis XIII, Poussin was protected by Sublet de Noyes, the Royal Treasurer and Secretary of State. Farrell believes that it was while he was in Paris during this period that Poussin painted the second version of The Shepherds of Arcadia in 1640. However, Farrell also notes that Sublet de Noyes’s father had in turn been the financial advisor to the household of Cardinal Joyeuse, uncle of the Baron of Arques, who had been exiled to Rome. Farrell then notes that with these connections to Arques and the Languedoc, the question inevitably occurs as to whether Poussin knew the secret of the treasure of the Languedoc. Farrell is here focused on a purely physical treasure as in gold, but I think the clues in Poussin’s painting are directed to something far more valuable than gold and that is the Holy Grail.
Farrell then stated that whatever the answer to this question may be, King Louis XIV, who eventually acquired the painting, certainly acted as if he believed it, for he dispatched his chief minister Colbert to the Languedoc. Colbert in turn is said to have initiated several diggings at Blanchefort, Arques and other local sites, and to have destroyed the original tomb (Farell was relying here on the research of Guy Patton and Robin Mackness for their book Web of Gold: The Secret Power of a Sacred Treasure). If this information is correct, then it provides evidence that Poussin could have taken a break from his work in Paris to visit Arques and to have painted the tomb and the landscape. Poussin was a very exacting artist when it came to his paintings, which would explain how the landscape in his painting so mirrors the landscape that Henry Lincoln and Andrew Collins saw when visiting the tomb’s location centuries later.
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Mt. Pech Cardou
Poussin, who was known as the’ Keeper of Secrets’, may well have been a Rosicrucian adept. If so, just what did he know? This question made me think of the secret enclave of alchemists based in the Pyrenees who the C’s seemed to link with the Rosicrucians in the transcripts. Did Poussin know their whereabouts, and this was why King Louis XIV was so worried about Poussin’s painting, because it may have given away their location at Mt Pech Cardou? Or was it something else completely?
Joseph Farrell makes the important point that the Languedoc accounted for 30 percent of all the Knights Templar’s land holdings in Europe, a huge proportion given how widespread their holdings were. On top of this, the Templars also had significant land holdings next door in Spain. Indeed, it was the Templars who had built the main road that connected Spain and France during the reconquest campaign against the Moors. Was this part of a long-term strategy on their part to establish a separate Templar kingdom? If so, was it an attempt to recreate an earlier kingdom in that region, the ancient kingdom of Arcadia?
It is also interesting to note that two of the main Templar holdings in the Languedoc were located in Douzens and Ma Dieu, having control over Corbières, Razés and Rennes-le-Château. As Farrell notes, throughout the nearly 200 years of their existence, the Templars were able to maintain total military control over this region, exercising virtual sovereignty over its local nobility. I have described before how the town of Bezu, which is close to Rennes-le-Château, was a main base for the Templars in this region and, strangely, it was the only Templar preceptory not to be touched by the forces of King Philip IV of France after he suppressed the order. Furthermore, the C’s may have been trying to draw Laura’s attention to the town of Bezu in the following exchanges:
Session 31 October 1998:
Q: My next thought was that it could indicate actual places or locations in space time on the planet that would be represented by coordinates.
A: Zuber.
Q: What does THAT mean?
A: Research.
Q: Okay. Now. This woman with this book "The Horse of God," talks about the shadow of the horse in the Shepherds of Arcadia painting that is evident if you turn it upside down. I know that I dreamed that the painting was a map. In terms of this map, what would be the zero meridian that one would use to place the map?
A: There need not be a zero meridian.
Session 7 November 1998:
Q: (A) What about ‘zuber’ and this ‘bezu’ mentioned in this book, The Horse of God? Was it an anagram?
A: Oh now, it may just have been.
Q: (L) Well, it freaked ME out, coming the next day after last week’s session... with the mention of ‘chevin’ and the funny numbers representing the Golden ratio and all that... it was amazing, even if the woman does not have a clue of what she is talking about!
A: Learning is such fun. Ludvig put words to his music.
Q: (L) Yes... the poetry of Wolfgang Schiller. His Ode to Joy.
A: What does Schiller, or Schoeller mean?
Q: Now that you brought this up! This is a VERY strange thing because this guy wrote a bunch of cosmic poems to someone named Laura, and they were about universes and gravity and the music of the spheres, and reincarnation, time and time warps, a bunch of funny stuff. He even wrote one that begins: ‘I was in Arcadia born...’ He hung out with Von Eckarthausen and I think he was an alchemist...
A: Was he zuber?
Q: (A) Zauber, in German, means ‘magic.’ (L) Close enough! (A) Does this mean he was a magician?
A: Other close one... Zeuber?
However, we also learned that Bézu was an important gold mining area going back to Roman times. As I have mentioned before, the Templar Grand Master
Bertrand de Blanchefort is said to have begun “clandestine mining activities” using imported German miners who were sworn to strict secrecy so as to restrict any communications with the local inhabitants. Indeed, it is even questionable whether the Templars were mining, since they may have either been looking for something of great value or constructing a large vault for some unknown purpose. Moreover, this was not the only strange occurrence that took place at Bézu over the centuries, since the town was involved in a strange counterfeiting episode in 1339 (a mere 25 years after the Templars had been suppressed) where bizarrely the counterfeit gold coins involved contained more gold than the official currency. As Farrell notes, this is unique and almost without precedent in history, where you have counterfeit good money driving out bad. When the royal treasury ministers investigated the matter, they discovered that the perpetrators were not common villains but instead the town’s nobility, who all received a full pardon for their illegal activities, which was quite exceptional in the circumstances. Interestingly, the source of the gold they used has never been established. Was it from a hoard of treasure or alchemical gold perhaps?
Similarly, in the late 18th century, a Frenchman from Normandy,
Luc-Siméon Auguste Dagobert, who was descended from the Merovingians, gained permission by the King to re-open mines located in the area and to establish a forge and works in connection with mining operations. In this endeavour he was supported by
Jean-Pierre François Duhamel, who at that time was the Commissioner of Mines and Forges for King Louis XVI. However, in spite of creating such an extensive enterprise, no record exists of the extraction of any metal or other minerals, which suggests the operation was a cover for something else. Perhaps the mining operation was yet again a smokescreen behind which Dagobert and Duhamel were searching for something of great importance.
Finally, you may recall from another of my previous posts that Bézu was also the site where the infamous
Comte Saint-Germaine allegedly had a workshop, which he used for alchemical operations and where he may have participated in clandestine talks with
Benjamin Franklin and senior French military figures concerning French participation in the American War of Independence. This is feasible since the Comte Saint-Germaine had been arrested in England in 1745 as a Jacobite agent after he had been caught with incriminating letters on his person – yet he was mysteriously released without charge.
Gallia
I then pointed out that Jews would establish the unofficial Jewish kingdom of Septimania in the Languedoc region on the (French) north-eastern side of the Pyrenees. This region was variously known as Gallia Narbonensis, Gallia, or Narbonensis. with the city of Narbonne acting as its capital (see map below).
You will note that this region, which includes Bézu, Rennes-le-Château and the mountain of Pech Cardou, was at one time called “
Gallia”. This makes me wonder if this is what the C’s had in mind when they said:
Q: Are the Ishmaelis also the carriers of the knowledge of levitation, the cult of the head or the skull...
A: Try to connect to the Templars.
Q: Did the Templars discover the secrets of the Ishmaelis, the Assassini, and is this what they carried into Europe, and then underground?
A: Buried in Galle.
Can we dare to propose here that the C’s might have meant Gallia? Just to confuse things further, when the C’s were asked whether the Galle was Gaul, the name the Romans gave to what later became the country of France, they said:
Q: (L) What is the difference between Galle and Gaul?
A: Clue.
Q: (L) Do they both refer to France?
A: No.
Q: (L) Does Galle refer to Rhineland?
A: Close.
Q: (L) I discovered today that one of the Maltese islands, the one that is now called Gozo, was once called "Gaul." Is that getting closer?
A: Close.
It is odd that the C’s should respond that Galle did not mean Gaul (now France – which is named after the Germanic tribe called the Franks) but that it was close to the Rhineland in Germany and close to Gozo in Malta. The Visigoths were, of course, a Germanic tribe who conquered that area of France and Spain and the Phoenicians who had settled in Spain had come via Malta. Hence, by this rather indirect path were they trying to draw our attention to Gallia in the French Pyrenees?
Andrew Collins’ Vision
I have previously referred to a psychic vision which Andrew Collins had at the end of his own quest for the Grail, as related in his book
Twenty-First Century Grail. Having found a strange key at the end of his quest, he then used it for a psychometry reading in an attempt to learn something of its history. In setting out below what Collins saw in his psychic vision, we obviously need to take on trust what he describes seeing, as related in his book. I am not asking anybody to accept this account verbatim or at all, but I include it here since it does open up possibilities as regards the present whereabouts of the Grail, recalling here that the Cs said the Grail had been
"retrieved" and put away for safe keeping” by a 4th density STO mission. Here is what Collins said:
“Only flashes of the future and the past came – seven churches in Rome, underground catacombs, the Order of the Apocalypse, a castle aligned to the sun, the Chateau of Arques, and a horse and cart departing from a large fortified medieval citadel in the heart of the French Languedoc. In the front seat were two monks dressed in simple brown hoods. Once they were out of range, they reached behind and pulled away a sackcloth covering to reveal the presence of the Head of God, the two-faced reliquary previously in the hands of the Knights Templar and smuggled out of England with the help of the White Canons*. Realising their dangerous mission was almost over, and that the priceless relic was now safe, the two men turned to each other and smiled knowingly, as they continued the journey unhindered towards their final destination.”
*The White Canons are the monastic order of the Roman Catholic Church known as the Premonstratensians, otherwise known in England as the Norbertines (who still have a presence in England).
There is much in this passage from Collins’ book that piques my interest, given what I have discussed above. The fact that he saw a castle aligned to the sun, which may be the Blanchefort Tower near to Mt. Pech Cardou, as painted by Poussin in two of his works. He then mentions the
Chateau of Arques, which again is near to Mt. Pech Cardou and to the site of the tomb depicted in Poussin’s painting of
The Shepherds of Arcadia. We learn that the two monastic figures were departing from a fortified medieval citadel (Narbonne perhaps?) in the heart of the Languedoc, which we now know fell within the Roman province of
Gallia (Galle?). Moreover, they are carrying a two-faced reliquary (N.B. reminiscent of the two-headed Roman god Janus), something they viewed as representing the ‘Head of God’ or Baphomet, a pure crystal skull according to the C’s. Could this mission Collins and his psychic friend Richard saw be the 4th density STO rescue mission involving the Grail that the C’s spoke of above?
I would make the observation that the Chateau of Arques seems to me to resemble the tower structure depicted in Poussins paintings of the
Triumph of Bacchus and the
Sacrament of Baptism (which could feasibly be an indirect reference to ‘Baphomet’ – the ‘Baptism of Metis’). I set out below a recent photograph of the well-preserved Chateau of Arques together with close-ups of the towers as depicted in Poussin’s paintings so you can make your own comparison. If correct, this may mean that the Blanchefort Tower, which is to the west of Pech Cardou and was a Templar watchtower rather than a major castle, may be a red herring and the Grail castle was in fact the Chateau of Arques.
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Close-up of the small tower in Triumph of Bacchus and Sacrament of Baptism
The Château d’Arques
In a previous part of this article, I mentioned that Mt. Pech Cardou may be connected with the ancient goddess Cardea. She was associated with Janus, the Roman god of beginnings, and she thus symbolised the transition between the past and the future. Janus, known for his two faces representing the past and the future, found solace in Cardea’s ability to perceive the present—an aspect he himself lacked. Their union brought forth a third face for Janus, visible only to Cardea, and together they became the gods of locks, hinges, and doorways (portals). This connection symbolised the harmony between the past, present, and future. Given that Andrew Collins saw in his vision two monks carrying a two-faced reliquary on their cart, leads me to think that if this was the Grail, then the figure of Janus as a two-headed god facing the past and the future simultaneously may suggest a legacy connected to the Grail. Indeed, I have connected the Grail directly to the Mother Goddess who is also the ‘White Goddess’ of English poet and mythologist Robert Graves. Hence, it is interesting to note in this context that Graves claimed in his book that Janus was perhaps not originally double-headed, and he may have borrowed this peculiarity from the Goddess herself who at the Carmentalia, the Roman Carmenta festival in early January, was addressed by the celebrants as Postvorta and Antevorta – ‘she who looks both back and forward’.
The idea of a third face of Janus symbolising the harmony between the past, present, and future may also mirror the threefold nature of the triple god or goddess, as represented by goddesses like the Celtic Brigid, and it may also establish a connection to the three gorgons where the Medusa was the only one of the three sisters who was mortal and could therefore be killed (as she was by Perseus) since she may have represented the present, the only time period we have control over. As commentators have noted, the story of Perseus slaying the Medusa and cutting of her head may be viewed as one of the earliest stories depicting a quest for the Grail. If the Grail really is the pure crystal skull the Knights Templar revered as Baphomet, which may have had a double face or been double-headed, then the figure of Janus and the head of Medusa (with its wild writhing snakes representing wisdom – Metis) would seem very apt.
Cardea’s domain included not only the literal doors and gates but also the gates of knowledge, opportunity, and transformation. The portrayal of Cardea with keys and locks depicted her as the custodian of passage and protection. Sculptures showcased her holding keys, representing her role in unlocking doors and protecting homes. How apt then when you consider that Andrew Collins gained his psychic vision by means of a psychometric reading of a strange key that he and his companions had found in mysterious circumstances outside an ancient English church right under the noses of a group of sinister hooded figures who were carrying out a ritual inside the church at the dead of night, which involved low chants in Latin (the Vicar responsible for the church subsequently confirmed that he knew nothing of these men and confirmed that they were definitely not any choir that he had authorised to use the church for choir practice). For some reason this makes me think of Collins’ reference to the Order of the Apocalypse. If such an order really does exist, could it be controlled by the Quorum who the C’s said acted as watchers who keep track of prophecies? What greater prophecy is there than the Apocalypse with all of its end of the world symbolism?
As to the relevance of a key, this makes me think of the following exchange between Laura and the C’s:
Q: So, the Percys DID know something. I understand that the Percy family has a collection of 62 alchemical manuscripts... which is actually how I found out about Alnwick - I was tracking these alchemical texts....
A: But if you go there, do not ask for the key!
Q: Does the current head of the family know the secret?
A: Getting "warmer."
Q: Has this person also been pursuing the secret?
A: Pour suivant.
Q: What does that mean, Frank? (F) For, to follow. (T) Why did you say that in French?
A: Look for clues, and do not have expectations!
The fact that the C’s used a French expression meaning “for following” in relation to the secret (alchemy), suggests they were pointing to France. However, it is their reference to not asking for the key, which they stressed with an exclamation mark, that intrigues me. Perhaps there is an odd synchronicity here that when Andrew Collins went on his Grail hunt, he ended up finding an old, strangely shaped key buried near to the wall of an old country church. Andrew Collins and his companions have certainly participated in their fair share of psychic treasure hunts over the years, but the C’s have also encouraged Laura to participate in her own treasure hunt too: “A: Much else... You know how you like treasure hunts, Laura?!? Then learn to like this one.”
As to the key to the mystery of Rennes-le-Château and Poussin’s painting, the C’s once told Laura:
Q: (L) You said at one point that I should transfer the search to the United States and quit messing around in Europe. I have pored over maps for days, I have examined the index in the Atlas, and, aside from Hot Springs, Arkansas, and Tempe, Arizona, and the Plains of San Augustin, Socorro, Roswell, Magdalena, etc., nothing has really caught my eye. None of those places configure in any way that makes sense to me. Can you help me out here?
A: Horseheads, N.Y.
Q: (L) Does this mean.... Horsehead, New York?
A: Horseheads.
Q: (A) In what way is this to be related?
A: Is a key. Need lots of keys to unlock the house of gables.
However, the Celts (Gauls) had occupied this part of France long before the coming of the Roman conquerors. Hence, I wonder if the name “Cardou” may have also represented a Celtic goddess, who was then replaced by the Roman goddess Cardea as a close equivalent? The goddess I have in mind is Car. Indeed, if the “dou” in the name of the mountain is an abbreviation of the French word “douce” meaning “sweet” in English, the name of the mountain could then be read as “sweet Car”. Indeed, as Laura noted, when the Rosicrucian manifesto referred to the Philosophers of Dancar, (‘Dancar’ being Doncaster in Yorkshire, England), they could just as easily have meant the ’philosophers of the goddess Car’:
Q: Okay. Tracking the Triple Goddess back to the oldest references, we get to Kali Ma. There are all kinds of derivations of this name, but the thing that strikes me is the relationship to the goddess Kell, or Kella, as well as to the word kell, Celts, and how this might be transformed into the word 'Cassiopaea.' Can you comment on this?
A: Do not the Celts like "kelly" green?!?
Q: Yes. So. What does 'green' have to do with it?
A: Keep searching... learning is accomplished thusly, and learning is fun!
Q: Yes. I know. Okay, if that is related to Celts, then it must also relate to the Goddess 'Car' which would make the 'philosophers of Dancar' the philosophers of the Goddess Car, the equine term for 'mother' being 'dam' which could easily be converted to 'Dan,' not to mention the relation to the Goddess Danae...
Among the ancient British pantheon of gods, the goddess Car stands out as a mysterious and powerful figure. Car, also known as Cale, Io, and Ioua the Moon, is a multifaceted goddess associated with various aspects of nature and magic. Car’s presence weaves through the ancient British landscape, infusing it with magic, mystery, and reverence. She is both the guardian of the wild and the guide to inner transformation. Car, the ancient British goddess, was revered and worshipped in various ways across Britain. Her cult practices were deeply intertwined with the natural world, the changing seasons, and the cycles of life. As the guardian of wild places, Car was especially revered in mountainous regions. Peaks like Ben Nevis (Scotland) and Snowdon (Wales) were considered her abodes.
In bringing several points together in the last part of this article, I provided the following summary, which posed a number of searching questions:
Summary
Did Nicolas Poussin paint The Shepherds of Arcadia using the mountain of Pech Cardou as a background to draw attention to the mountain as the possible hiding place of the Grail or the Enclave of Alchemists. If so, was he aware of the mountain’s name connections to the goddesses Cardea or Car, the latter being a Celtic mother goddess figure like the Egyptian Isis and the Greek Rhea or Demeter, who may well be represented by the female shepherd figure in his painting. By painting the inscription Et in Arcadia Ego on the tomb wall with the bearded figure pointing to the letters Rho-Chi (code for the Rosy Cross or Grail) on it, was Poussin indicating that he knew this area of the Languedoc was the original Arcadia long before the Arcadia of classical Greece and by the word “Ego” was he implying that the Grail was hidden in this location? Had an ancient tomb with that inscription carved into it been erected at the graveyard in Arques to act as a marker stone, the tomb later being destroyed by Chief Minister Colbert on the orders of King Louis XIV, only for it to be replaced by a replica tomb in 1903?
If the Grail was buried somewhere beneath the mountain of Pech Cardou, could it still be there or has it been moved to an alternative hiding place? Are there any tombs or passages within the mountain where you could conceal the Grail? Did Abbé Saunière become aware of any of this? Could there even be a secret group responsible for guarding the Grail (think here of the secret society depicted in Steven Spielberg’s movie Indiana Jones and the Last Crusade who guarded the whereabouts of the Grail - but without the automatic machine guns). These are not questions I wish to tackle in this article, but I do hope to answer some of them in follow-up articles. However, it is worth pointing out that the forces we might think of as the bad guys who are hunting for the Ark of the Covenant and the Grail (including the Rosicrucians, as I hope to show in a subsequent article) are no doubt aware of the general location of the Grail, although they are not sufficiently STO tuned to locate it behind the occlusion, which creates a frequency fence around it:
A: This item is tuned by consciousness. It is of such a frequency that STS gifts are not capable of such precision. The range includes multiple possibility vectors. STS operates within a narrow range.
Q: (R) So they can't make it, but they can use it. So, they have to find one that is already created. (L) Is that possible? (A) Operated by consciousness. (L) They said tuned not operated. First of all we want to ask whether they mean tuned as in tuned when it was created or as tuned as in using. (A) There is this scenario that they will wait until the STO guy will find it and tune it, and still only then they will jump on 'em. (L) Right. Do you mean tuned as in the tuning of the creation or the tuning of the operation?
A: Creation.
Q: (A) Okay. Once it is tuned, it is tuned, right? (R) Yeah. And if it was similar to our simulation then tuning is done by exposing it to similar frequencies. (L) Or maybe assembling it by virtue of frequencies that are produced. But it still needs to be established whether or not they can see it. So we have theorized that the reason they can't find it, the only reason we can see for why they can't find it, is because for some reason it is protected by frequency or something and that they don't know where it is either. Is this correct?
A: Mostly. They have a general idea.
Q: What specifically prevents them from isolating the exact spot and getting it?
A: Occlusion.
Q: (A) What is occlusion? (R) I think that's similar to ...
A: Frequency fence.
Q: (R) Which is similar to what we've been talking about. If you don't have the same frequency it's ... (L) Or they can set a frequency around it that these guys can't tune to and can't penetrate. (R) It becomes invisible in some sense. (L) But they can still in some way detect a region or something. But it can be like noise or something maybe; so much noise that they can't isolate the signal. Is this the reason these people keep coming after us, because they want us to help them find this thing? Is this the reason?
A: More or less. Though not the only one.
As to the STS bad guys referred to above, let us recall that Guy Patton and Robin Mackness in their book Web of Gold: The Secret Power of a Sacred Treasure learned from a British intelligence operative that the British Secret Service, MI6 (the equivalent of the American CIA), had a whole room dedicated to the mystery of Rennes-le-Château. Why is this? In addition, a former head of Britain’s wartime Special Operations Executive (SOE), who subsequently became a CEO of a leading British financial institution, used his influence via an antiquarian front organisation to purchase a copy of one of the parchments found by Abbé Saunière at his church at Rennes-le-Château from the niece of Abbé Emile Hoffet, who whilst still a student at the Seminary of Saint Sulpice in Paris had been tasked with deciphering the parchment for Saunière. Hoffet had retained the copy and his niece who had inherited it upon his death put it up for sale. Incidentally, the church of Saint Sulpice has an interesting connection to the Mother Goddess, since the original church was built upon the ruins of a Roman temple dedicated to the goddess Isis. Patton and Mackness learned from the man’s daughter that her father had frequently gone on walking holidays in the Pyrenees. This might have been a pure coincidence, of course, and he may simply have enjoyed visiting the region for a ‘get away from it all’ style holiday. However, seldom are things so straight forward with former directors of spying agencies.
It could be that the British Secret Service are interested in discovering hidden treasure within the Languedoc region, whether this be the famous Visigoth hoard from the Temple of Jerusalem or the lost treasure of the Knights Templar. They certainly would have been aware of Nazi efforts to locate such treasure during the Second World War on the basis of Otto Rahn’s Grail theories as expressed in his book Crusade against the Grail. However, even if such treasure were found, I would have thought it would automatically be claimed by the French government along with its finders. Hence, I think it more likely that MI6’s true interest lies in locating the Ark of the Covenant and/or the Grail, especially when you consider that today’s MI6 is the successor of the English Secret Service set up by Sir William Cecil (Lord Burleigh) and later headed by Sir Francis Bacon, a known alchemist and a suspected leading Rosicrucian, who the C’s have linked with the mystery of the Oak Island treasure, which they have told us is concerned with a 'TDARM' (a Trans-dimensional Atomic Remolecularisation Machine) that is buried deep underground.
What’s in a Name?
When I do my research, I tend to approach it with an open mind and just see where it takes me. This is especially true when it comes to the mystery of Rennes-le-Château, where red herrings abound everywhere. This draws to mind what the C’s once said about this matter:
Q: (L) This gal, Martha Neyman, taking the story [MJF: the Rennes-le-Château mystery] at face value, has walked around there and found all kinds of funny things, and she lines them up based on her formula, and they form ‘amazing patterns’ and so forth. Well, everybody has a different formula, everybody has a different theory and method, and they all seem to be finding things.... Their findings just seem to ‘mesh’ so synchronously with their theories and methods... it is totally amazing! It is like the UFO phenomenon. No matter what assumptions you start with, you can find evidence to prove your point! Things miraculously are THERE to support you!
A: That is why we gently prod you upon your quest, all the while suggesting patience, and no anticipation.
In the previous parts to my article on Poussin’s Mountain, I have linked the name “Cardou” to the Roman goddess Cardea (a goddess of doors, which, of course, are also portals!) and the Celtic goddess Car, the latter being a Celtic mother goddess figure like the Egyptian goddess Isis (see above). Hence, it came as a surprise to me to learn from a website called
Rennes-le-Château Or the story of a great secret … (see:
Le Pech Cardou (1) - Rennes-le-Château Archive (rennes-le-chateau-archive.com)) that the name” Cardou” might not be linked to a goddess at all. According to this website, the name may derive from the French word for “Thistle”, i.e.,
Carlina Acanthifolia, which grows in abundance on one of the mountain’s slopes. However, they admit that there is nothing to confirm this etymology. Instead, the author claims that the mountain was in the 19th century called the “
Mountain of Cardon” or more simply “
the Cardon”.
The author(s) of the website then refers us to
Abbé Henri Boudet, who was the parish priest of the nearby parish of
Rennes-les-Bains and a good friend of Abbé Bérenger Saunière. He too seemed to be the recipient of large funds (according to one estimate more than 15 million gold francs) like Abbé Saunière and a third local priest Abbé Gélis, who was shockingly murdered in 1897, suggesting that all three priests may have been in on an important secret of some kind. Indeed, Jean-Luc Chaumeil claimed that Sauniere’s “handler” was actually Boudet, who is said to have orchestrated all of Sauniere’s activities, including the remodelling of his church and the surrounding domains. Boudet was also purportedly the middleman who passed along the hush money - not to Saunière himself but to his housekeeper, Marie Deneraud, who was also in their employ and to whom all cheques were made payable.
Boudet in character was the complete contrast to Saunière, being less flamboyant and more scholarly than the latter. He was passionate about history and was recognised for his competence as both an historian and archaeologist. As a fine scholar, he took a great interest in the history and traditions of the local area and read all the works he could discover relating to the region. He also produced his own works on the history of the Languedoc, which he sent to various learned societies of the period. One book he certainly would have read was
Louis Fédié’s 1880 work
Rhédae la Cité des Chariots. There are many who claim that the ancient city of Rhedae was the old name for Rennes-le-Château, although I believe that by “chariots” Fédié was referring to Visigoth carts drawn by bullocks. As I have mentioned before, the remains of a Celtic Bronze Age chariot (dating from the same time period as Princess Meritaten) were found in the last century near to the neighbouring town of Quillan. Rhedae was cited as being “located at the crossing point of four major roads". This makes it a much better candidate to have been the ancient city of Rhedae than Rennes-le-Château since Quillan is a major crossroads town located about 20 kilometres south of Limoux in the heart of the ancient County of Razès, now in the Aude district. By contrast, Rennes-le-Château is perched on an isolated hilltop
(for more on this click on the link: Rennes-le-Château and Rhedae).
But Henri Boudet was also passionate about the study of languages and their origins, researching the etymology of words and carrying out detailed studies on phonetics (including the language of the Birds or “Green Language”
*). Surprisingly for a Frenchman, he was also very much an Anglophile and shared the strange belief that all ancient languages, e.g., Hebrew, Latin and the ancient Celtic languages, had Saxon English as their common root. Boudet would even publish a book in 1886 promoting these ideas called
The True Celtic Language and the Cromlech of Rennes-les-Bains. Boudet had been obsessed since his childhood that the names of towns, villages and hamlets, geographical names and words in daily use concealed the roots of a forgotten or lost language known only to our distant ancestors. This lost language was the origin of all the languages spoken in the world and by all men without exception.
*The Language of the Birds is postulated as a mystical, perfect divine language, Adamic language, Enochian, angelic language or a mythical or magical language used by birds to communicate with the initiated. In Kabbalah, Renaissance magic, and alchemy, the Language of the Birds was considered a secret and perfect language and the key to perfect knowledge, sometimes also called the langue verte, or “Green Language”. For example, the English occultist John Dee likened the magical Enochian language he received from his communications with angels to the traditional notion of a Language of Birds.
This may sound like a far-fetched theory until one appreciates that Saxon English is a Germanic language (
N.B. modern English is supposedly based on an old Frisian Dutch dialect) and the C’s have recently confirmed that the language today that is closest to that spoken in Atlantis before its demise is old High German from which Saxon English is obviously derived. Hence, its seems that Abbé Boudet may have really been on to something here. It is somewhat ironic to note then that English, ultimately derived from old High German, which itself is closely derived from the once universal Atlantean language, is today the lingua franca of the modern world, which according to the C’s is about to go through a re-run of the demise of Atlantis. Thus, the C’s seem to be right in more ways than one when they say this really is re-run or repeat performance of Atlantis.
For a well-read scholar, Boudet’s book is full of errors and omissions as well as deliberate puns and allegories. The book can therefore be read on several different levels. This has led many to conclude that Boudet was subtly leaving clues in his work to the secret of
Rennes-le-Château. Indeed, the author of the Rennes-le-Château Archive constructs an ingenious argument to prove that Boudet was indirectly drawing attention to Nicolas Poussin’s painting of
The Shepherds of Arcadia within his book through mentions of sheep and references to Hercules (who he identifies, like me, with the kneeling bearded shepherd figure in the painting) and by extension to Jason and the Argonauts and the quest for the Golden Fleece – Hercules had originally been a member of the crew until he departed on another quest. Boudet viewed Hercules or Heracles as the personification of the Celtic people. He also likened Hercules to the Celtic god Ogmios who can be identified in turn with the Irish mythic giant Ogme of the Tuatha de Danann. Although the author does not say so, these references lead me to suspect that Boudet had tied these things together with the Grail, which was the real object of the mystery of Rennes-le-Château. Did he suspect that the Grail might have been hidden within Mt. Pech Cardou? For more on this see:
Boudet, his writings - Rennes-le-Château Archive (rennes-le-chateau-archive.com)
So, using the Language of the Birds or the Green Language, what did Boudet make of the name “Cardou”? Boudet chose to employ his favourite device by using English to split the word into two English words “
cart” and “
how”. Boudet’s rationale for this was that the Celts (Gauls) when they first encountered the mountain, which was accessed by a narrow, steep gorge, were concerned as to how they could traverse it, since its slopes were so steep. Hence, they left their memory of this first encounter by naming the mountain “Cardou” meaning “to cart”, to “travel in a chariot” how or in what way, i.e., “cart how”? According to linguists, the English word “cart” derives from the Norse word “
kartre”, which is akin to Old English word “
craet” meaning a chariot, cart or wagon (
MJF: this amuses me somewhat since we often refer to an old car today as being “a crate”). In a strange way this lead us back to the Celtic goddess Car, Dancar and the enclave of alchemists, who may be based within or near to Mt Pech Cardou since the C’s also enjoy puns. This point was exemplified in the following extract from the transcripts:
Q: Okay. Who are the 'philosophers of Dancar?'
A: Philosophers who ride around in Dan's car.
Q: That was a serious question! Where and what is Dancar?
A: Why do you suppose the response was light-hearted?
Q: Well, come on! What is Dan's car?
A: We ask you to define as best you can.
Q: A 'car' belonging to Dan. The subject was talked about in the 18th century.
A: Yes.
Q: To what place were they referring when they talked about Dancar?
A: British.
Q: Why would they call it Dancar?
A: Locator.
Q: There is no place called Dancar.
A: No?
Q: Supposedly, Christian Rosencruetz was initiated by the 'philosophers of Dancar.' I want to know where this blasted place is! Okay, skip it. One of the Rosicrucian manifestos said: 'God has sent messengers and signs in the heavens, namely the new stars in Serpentarius and Cygnus, to show that a great council of the elect is to take place.' What do they mean by a 'great council of the elect?'
A: Pyrenees.
I would make two observations on the C’s pun about the philosophers of Dancar being Philosophers who ride around in Dan's car. The first is that “Dan” could represent the ancient goddess “Danu” or Danae who is the goddess linked with the Tuatha de Danaan, a tribe (the biblical Tribe of Dan?) who may have settled in Yorkshire, given the presence of the Bronze Age Egyptian boats found at North Ferriby on the Humber Estuary into which the river Trent flows when it reaches the sea (see my earlier article ‘The Epic Voyage of Meritaten’). As I said above, Dancar is almost certainly the Yorkshire town of Doncaster where the prefix Don is a variant on Dan or Danu, a goddess who can be directly compared to the Celtic goddess Car as a mother goddess. Indeed, Laura made this exact same connection here:
Q: Okay. Tracking the Triple Goddess back to the oldest references, we get to KaliMa. There are all kinds of derivations of this name, but the thing that strikes me is the relationship to the goddess Kell, or Kella, as well as to the word kell, Celts, and how this might be transformed into the word 'Cassiopaea.' Can you comment on this?
A: Do not the Celts like "kelly" green?!?
Q: Yes. So. What does 'green' have to do with it?
A: Keep searching... learning is accomplished thusly, and learning is fun!
Q: Yes. I know. Okay, if that is related to Celts, then it must also relate to the Goddess 'Car' which would make the 'philosophers of Dancar' the philosophers of the Goddess Car, the equine term for 'mother' being 'dam' which could easily be converted to 'Dan,' not to mention the relation to the Goddess Danae...
The second observation is that the C’s made a joke here about riding around in Dan’s (or Car’s) car. They were obviously referring to “car” as meaning a “motor car”, which is an abbreviated form of a motorised cart or chariot, which brings us back to Henri Boudet and his own pun on the meaning of “Cardou” as “cart how”. It may just be a coincidence or synchronicity, but were the C’s by making this pun, trying to draw us to the work of Abbé Henri Boudet and by extension the hiding place of the Grail, which the C’s say is buried in Galle? It does seem that Boudet like his fellow priest Saunière knew far more than he let on about the mystery of Rennes-le-Château. Whereas Saunière left clues to the mystery in symbolism like the stations of the cross in his church and the Tour Magdala, it seems Boudet preferred to leave his clues within his written works. If time permits, I may try to write a separate article on the mysterious Abbé Boudet. If Boudet was discretely drawing our attention to Mt Pech Cardou (as was Nicolas Poussin), did he think the Grail might be buried within the mountain?
Finally, Boudet’s reference to a “cart” being embedded in the name Cardou makes me think of the two medieval monastic figures the author and researcher Andrew Collins claimed to have seen in a psychic vision, who may have been Templars (or Cistercians) who appeared to be taking the Holy Grail to safety by means of a cart somewhere in the south of France? Was that place of safety Mt Pech Cardou I wonder? If this vision was true, then it would not be the first time that the Templars had used a cart to transport the Grail to safety for as Laura noted in the transcripts:
Q: It seems that the Templars were in charge of building the Cathedral at Chartres, and there is a tableaux on one of the porches of Melchizedek and the Queen of Sheba. Equidistant between them is the Ark of the Covenant in a cart. Melchizedek is holding a cup that is supposed to be the Holy Grail. Inside this cup is a cylindrical object of stone. What is this?
A: Greater sight.
Q: What?! (A) Is it a symbol or a device?
A: Why cannot it be both?
Q: (A) It can be both, but is it both?
A: Yes.
There is good reason to believe that the Templars smuggled the Ark of the Covenant and the Grail out of Jerusalem, as it was being besieged by the Saracens, through a network of secret tunnels under the city and then used a cart to transport it to the city of Acre.
Continued in my next post