Wednesday, 17 January 2018

The New Temple of Solomon

What happened to the temple treasures of Jerusalem? Get a glimpse in this chapter of the book Discovering the Keystone, Solving the Riddle of The Red Serpent after 40 years by Guillaume Brouillard (Griffel Media, Cape Town, 2009). The tenth stanza of the poem Le serpent rouge is discussed. The focus is on the secret new Temple of Solomon built by the order of the Children of St. Vincent. It once held the keystone with directions to the final resting place of the temple treasures. It is recommended that the BackgroundThe Manuscripts (chapter 1), Pierre Plantard (chapter 2) and The Fountain of the Magdalene (chapter 7) be read before this chapter. Chapters 3-6, 8-9, 11-13 are not published on this blog. 

Vision céleste pour celui qui se souvient des quatre oeuvres de Em. SIGNOL autour de la ligne du Méridien, au choeur même du sanctuaire d'où rayonne cette source d'amour des uns pour les autres, je pivote sur moi-même passant du regard la rose du P à celle de l'S, puis de l'S au P ... et la spirale dans mon esprit devenant comme un poulpe monstrueux expulsant son encre, les ténèbres absorbent la lumière, j'ai le vertige et je porte ma main à ma bouche mordant instinctivement ma paume, peut-être comme OLIER dans son cerceuil. Malédiction, je comprends la vérité, IL EST PASSE, mais lui aussi en faisant LE BIEN, ainsi que CELUI de la tombe fleurie. Mais combien ont saccagé la MAISON, ne laissant que des cadavres embaumés et nombres de métaux qu'ils n'avaient pu emporter. Quel étrange mystère recèle le nouveau temple de SALOMON édifié par les enfants de Saint VINCENT.

Celestial vision for the one who remembers the four works of Em. SIGNOL around the Meridian line, even at the choir of the sanctuary from where radiates this source of love from one to another. I turn around, letting my gaze pass from the rose of the P to that of the S, then from the S to the P ... the spiral in my mind becoming like a monstrous octopus expelling its ink. The shadows absorb the light. I am dizzy and I bring my hand to my mouth, instinctively biting my palm, perhaps like OLIER in his coffin. Curses, I understand the truth, HE HAS PASSED, in doing THE GOOD, like THE ONE of the flowery tomb. But how many have sacked the HOUSE, leaving only embalmed corpses and numerous metal objects they were unable to carry. What strange mystery is concealed in the new temple of SOLOMON set up by the children of Saint VINCENT.

The poet is now taking one to the St. Sulpice Church in Paris. The fact that this entire stanza centres around this church – just like the sixth stanza around the Church of Mary Magdalene in Rennes-le-Château – implies that it is also somehow related to the geometrical pattern in the Rennes-les-Bains area. The poet starts off with a 'celestial vision' of the church, which implies that the layout of the church is particularly significant.

10.1 The St.Sulpice Church

The St. Sulpice Church lies in the heart of Paris, in the part called St.-Germain-des-Prés, just one block north of the gardens of the Luxembourg Palace. The easiest way to get there is to take the metro to the St. Sulpice Station and then walk east from there down Rue du Vieux. The open square of St. Sulpice suddenly appears among the high buildings. In front there is a huge fountain dating from 1844, the Fontaine des Quatre Points Cardinaux, with statues of Bossuet, Fénelan, Massillon and Fléchier. The name of this fountain is ambiguous: It could either mean 'Fountain of the Cardinal Points' or 'Fountain of the Four Cardinals who Never Were' – the latter arising from the fact that none of the aforementioned four churchmen ever became a cardinal.

One subsequently walks down Rue St. Sulpice, which runs along the left side of the church. At the junction of Rue St. Sulpice and Rue Lobineau, a side entrance to the church can be found on the right.

Upon entering a church everyone has a unique and singular experience, and this holds especially true for St. Sulpice. The decorative style is bold, almost overwhelming, and strongly resembles the church of Rennes-le-Château, which is embellished in the same style. (I have to admit that to me, the St. Sulpice Church holds a very distinct charm. It is one of the most magnificent churches I have ever seen – and I have visited quite a few! The shades of golden brown in particular evoke the feeling that the church is 'alive'.)

Once inside, one of the first things one notices is the impressive statue of Mary with the Son in her arms right in the front on the left-hand side, in the Chapel of the Blessed Virgin. She is standing on an enormous serpent that lies stretched out over the globe. The statue is rich in shades of gold and yellow.

The choir chancel is at the centre of the church, and around this chancel, the chapels are arranged against the outer walls of the church. As the guide to the church describes it: '[The] choir ... ends in a semi-circle, surrounded by an ambulatory, which opens into chapels radiating from the centre.' The last chapel on the left-hand side, at the rear of the church, is the Chapel of the Holy Angels, wherein Delacroix had painted three works with angels as the central theme. One's eyes are also drawn to the imposing wooden organ case at the back of the church, which resembles the facade of an ancient temple.

Image result for delacroix st sulpice heliodorus
Some temple treasures shown in Delacroix's painting: Heliodorus driven from the Temple
According to the poet, one has to go to the meridian indicated by the copper strip across the floor, which represents the Rose Line. This strip is to be found at the centre of the church and runs diagonally from the southern to the northern transept. The reason it runs diagonally across the floor is that the church does not face exactly east-west but in the direction of the rising sun. The strip crosses the front of the choir, exactly as the poet states: '... around the Meridian line, even at the choir of the sanctuary ...'

One is looking for the four 'works' of 'Em. SIGNOL' around this meridian. There are two paintings by Emile Signol – a contemporary of Delacroix – against the walls on either side of the meridian in the northern transept. In the one, Judas's betrayal is depicted, and in the other, Jesus's death. The paintings are signed 'Em Signol'.

In their article, 'Notes on Le serpent rouge' [53], Marcus Williamson and Corella Hughes remark that the anagram 'La Signol' yields the word 'Langlois'. Langlois was the engineer responsible for completing the gnomon in the St. Sulpice Church in 1744. He performed four tasks in the erection of the gnomon, which are most probably the 'works' that the poet is referring to: He laid the copper strip across the floor indicating the meridian; fixed a lens in the southern window in order for the sunlight to fall on the copper strip each day at noon; erected a marble obelisk of 10.72 m (on which an inscription and the symbol of the Lamb of God appear) on the northern side, which catches the sunlight in winter, and also fixed a marble plaque (that had once been covered with copper) on the southern side, which catches the sunlight in midsummer.

This gnomon enabled the Cassinis (father and son, who succeeded each other as directors of the Paris Observatory) to determine the change in the angle of the earth's axis as a result of the precession of the equinoxes. According to their calculations, it had been 45 seconds per century, which is very close to the computation acquired by means of modern technology, namely 46.85 seconds.

The name Signol clearly alludes to some or other 'sign'. It could therefore be that he, just like Delacroix and Poussin, had specifically been chosen as the painter on account of the meaning that could be linked to his name. The fact that Emile Signol had painted the paintings 'around' the meridian could relate to this 'sign'. It could therefore be that one is dealing with something 'around' a point on the meridian.

'Langlois' also sounds a lot like the French word 'langouste', which refers to a crayfish. This calls to mind the fact that there are also other objects in the church that are associated with sea animals. There are two holy-water stoups of giant clam (Tridacna gigas), which had been a gift from the Venetian Republic to Francis I of France. The fact that the poet refers to an octopus calls to mind that the word 'pulpit' is quite similar to the French 'poulpe', which means 'octopus'. (The impressive pulpit in this church dates from 1788.) These sea animals could therefore be connected with the 'sign' around the meridian.

10.2 Rotating P and S

The letters P and S now enter the spotlight. On the floor plan of St. Sulpice in the notes in Le serpent rouge, these are written on either side of the meridian. The S appears to the right of the southern transept and the P to the left of the northern transept. They therefore relate to the meridian. There is of course also the PS symbol above the vertical line on Marie de Blanchefort's tombstone that has a bearing on the Rose Line, which is represented by this meridian. The poet indeed also mentions the 'rose' of the P and S, which clearly alludes to the Rose Line.

Interestingly, one also finds P's and S's combined with a rose in the nearby located church of St.-Germain-des-Prés (mother church of St. Sulpice). In the Chapel of St. Peter and St. Paul, two SP symbols appear across from each other high up on the walls, referring to the names of these saints. A rose is depicted between the S and P in each of the symbols – which could surely be indicative of something other than the obvious.

Back to the St. Sulpice Church, where the poet states that he is looking from the rose of the P (that is the northern side of the meridian) to the rose of the S (the southerly direction of the meridian) and then again from the S to the P. He is therefore turning around, as he indeed mentions, and then keeps spinning until he is dizzy. The description '[t]he shadows absorb the light' also alludes to this dizziness. It is furthermore an embroidering on the theme of light and darkness; white and black. This repeated going in circles of the poet leads one to suspect that the Rose Line, which is defined by the P and S, also has to be 'circled', in other words, rotated.

The most logical point to rotate the meridian around would surely be the centre of the church, in the middle of the copper strip across the floor, which also cuts through the choir chancel. The rounding of the choir around this point also suggests that it should be rotated as such.

This centre point is also called the 'heart' of the church – to which the poet actually refers: '... around the Meridian line, even at the choir of the sanctuary from where radiates this source of love from one to another'. This phrase contains very clever wordplay: The poet is employing the similarity between the French words 'choeur' ('choir') and 'coeur' ('heart') – which corresponds with the fact that the 'heart' of the church lies in the choir chancel. It is indeed from the heart that the 'love from one to another' flows (cf. John 13:34-35). The line therefore without a doubt has to be rotated around this 'heart' of the church.

10.3 The octopus

The fact that the poet connects the rotation of the meridian with an octopus is certainly not without reason. As was already mentioned, the octopus could allude to the pulpit. One therefore possibly has to draw a line athwart the meridian so that it runs through the centre of the church as well as the pulpit.

The pulpit is located in front of the fourth chapel, which is dedicated to Joan of Arc, and this is where the martyrdom of St. Maurice and his companions is commemorated. This is the third chapel after the Chapel of the Holy Angels on the southern side of the church.

Drawing the above-mentioned line athwart the meridian, one discovers that it runs through the chapel just to the right of the door through which one had entered. This chapel is dedicated to St. Louis, Blanche of Castille's son, as well as St. Theresa of Lisieux. This Carmelite nun is holding a bunch of roses in her hands according to her vow to let it rain roses. This indicates that one is still on the right track.

In the centre of the church, this line crosses the meridian at an angle of 65.5º. On the western side, it runs through the pulpit to the first chapel in which Delacroix's paintings appear. Since these paintings figure exceptionally prominently in the whole mystery, it is highly unlikely that this orientation is coincidental. It may therefore very well be that the St. Sulpice Church was specifically laid out as such that this line would cross the meridian at the exact mentioned angle.
Fig. 33. A depiction of the rotated meridian on the floor plan of St. Sulpice
What immediately strikes one, however, is that this line across the meridian corresponds exactly with the 17th January line of sunrise in the Rennes-les-Bains area! Both these lines cross the meridian (the Rose Line) at an angle of 65.5º (114.5º in respect of the horizon implies an adjacent angle of 65.5º). The line in the St. Sulpice Church also runs past the plaque against the wall at the Chapel of the Holy Angels on which reference to the mud-fountain is made. This corresponds to the 17th January line in the Rennes-les-Bains area, which actually runs through a mud-fountain (the Fountain of Dogs) (see Figure 27).

The geometrical layout of the St. Sulpice Church therefore corresponds exactly to that of the area around Rennes-les-Bains. The fact that the 17th January line of sunrise is indicated in the St. Sulpice Church is clearly also very fitting since it is the holy day of this saint!

Fig. 27. Map of the area with lines of sunrise (taken from chapter 8)
If one now tilts this line in the church 2.5º, just like the 17th January line in the Rennes-les-Bains area (obviously in the same direction), one discovers that it runs almost directly through the middle of the painting of Heliodorus – close to exactly where the tiny cross on Heliodorus's chest appears and which had earlier also been linked to the cross at Roc d'en Clots!

In the Rennes-les-Bains area, this line corresponds with the one running from the Fountain of Lovers through the 'fountain of love' (the Holy-water Stoup) to Roc d'en Clots. This line therefore literally runs through 'this source of love' to 'another', as the poet states. He therefore indeed draws parallels between the layout of the church and that of the Rennes-les-Bains area, although the latter only implicitly comes under discussion.

The line from the Fountain of Lovers to Roc d'en Clots was discovered after inspection of Marie de Blanchefort's tombstone (see Figure 24), on which a vertical line (the Rose Line) with the letters P and S appear at the top and the words 'PRAE-CUM' appear at the bottom thereof. To the right appears the letters AD (as part of the inscription ET IN ARCADIA EGO), which has a bearing on 'Des Amours' (its mirror image, as discussed), and to the left the letters RC (written as PX on the tombstone), which is linked to Roc d'en Clots at the mud-fountain. Right underneath 'PRAE-CUM' appears the symbol of an octopus, which hints at the rotation around the Rose Line (like in the St. Sulpice Church), according to which a line linking the mentioned two landmarks has to be drawn across the Rose Line. This implies that the person who created the depiction on the tombstone must certainly have been aware of the wordplay contained in 'octopus' in the St. Sulpice Church.

Fig. 24. The horizontal tombstone of Marie de Blanchefort (taken from chapter 8)
The symbolism in both the St. Sulpice Church and on Marie de Blanchefort's tombstone undoubtedly refers to the same element – the geographical layout of the Rennes-les-Bains area. The depiction on the tombstone is however much less complicated and therefore easier to decipher. No wonder Saunière removed it!

There is also no doubt whatsoever that the geometrical layout of the church, which corresponds exactly to the geometry of the area, had been devised calculatingly. This means that, right from the beginning, this church had been designed to include the geometry of the Rennes-les-Bains area, and also that the detail had been added over hundreds of years to form a link with this geometry. As the church of Rennes-le-Château was laid out to indicate the route through the area (see the previous chapters), the St. Sulpice Church was laid out according to the geometry of the area in which the route lies.

It is a phenomenal discovery that an entire church was laid out to incorporate a secret geometry. Although Saunière had certainly taken particular trouble with the design of his church, it does not compare to the fine planning the St. Sulpice Church must have required!

This can mean only one thing: The Rennes-les-Bains area was irrefutably not laid out as a mystery for the sake of a mystery; the design was planned and executed with the greatest care for literally centuries to hide a secret of the utmost significance. The magnitude of the work that went into the St. Sulpice Church is an indication of just how incomparable this treasure is!

10.4 Olier and De Fleury

The poet subsequently refers to Jean-Jacques Olier, the founder of the new St. Sulpice Church, of which the cornerstone had been laid in 1646. He states: 'I am dizzy and I bring my hand to my mouth, instinctively biting my palm, perhaps like OLIER in his coffin'. The fact that this gesture reminds him of Olier in his coffin could allude to silence and secrecy.

In view of the close connection between the St. Sulpice Church and the area around Rennes-les-Bains, it is to be remarked that the poet refers to Paul-Urbain de Fleury in the same breath – 'THE ONE of the flowery tomb'. The French word 'fleurie' clearly alludes to 'Fleury'. This echoes the structure of this stanza, wherein the St. Sulpice Church is in the foreground and the geometry of the Rennes-les-Bains area all the while implicitly in the background. The graves of both Olier and De Fleury are now under discussion, from which one can derive that De Fleury – the grandson of Marie de Blanchefort – had probably played equally as big a role in the geometrical layout of the area as Olier in the erection of the new St. Sulpice Church.

The poet uses the words 'IL EST PASSE ... en faisant LE BIEN' ('HE HAS PASSED ... in doing THE GOOD') – which corresponds exactly to the words on the grave of Paul-Urban de Fleury in the Rennes-les-Bains cemetery. Here it is stated that he was born on the 3rd of May, 1776, and died on the 7th of August, 1836. On another tombstone, at the foot of De Fleury's grave, the words 'Restes transférés' appear, which indicates that his remains had been moved here. According to this tombstone, he died on the 7th of August, 1856, at the age of 60!

10.5 Terrain Fleuri

The extraordinary fresco at the back of the Rennes-le-Château Church, right above the confessional, could also be connected with the mentioned De Fleury grave. As was mentioned earlier, it is a depiction of the Sermon on the Mount, in which Jesus is standing at the top and the disciples are half sitting, half lying around Him against the hill. This hill is called Terrain Fleuri ('Flowered Terrain'), obviously due to the many flowers growing on it.

As was also mentioned, the confessional seemingly represents the church of Rennes-les-Bains (in Saunière's scheme). The fact that the fresco is behind the confessional could therefore imply that the De Fleury grave is right behind that church – where it indeed is.

The arrangement of the people sitting around Jesus also corresponds greatly to the depictions of the blessed (deceased) in Paradise in accordance with Dante's description of it as a 'rose'. Their half sitting, half lying postures is how the blessed are portrayed in the petals of the rose in an illustration of the Celestial Rose in Dante's Divina Comedia by Giovanni di Paoli. In this case, it clearly has a bearing on the cemetery. The fact that a rose is under discussion confirms that the De Fleury grave lies close to the Rose Line.

Fig. 34. At the top, the mural 'Terrain Fleuri', and above, an illustration of the Celestial Rose by Giovanni di Paoli in Dante's 'Divine Comedy'. Note the similarities in the depictions.
According to Pierre Jarnac, this fresco could also portray the miracle performed by St. Germaine of changing a bag of bread into roses, which would explain the bag at the bottom of the fresco. Fact is that Jarnac's interpretation also relates directly to roses and the Rose Line.

However, this bag could also be indicative of a money bag, which could imply that something had been hidden in the De Fleury grave. The fact that the bag has a hole in it could mean that it had been removed from the grave. In that case, it would relate to the epitaph 'Restes transférés'. Some of the items could have been robbed – as allegedly happened with the items that were found in the crypt of the Rennes-le-Château Church. The fact that the poet speaks of 'embalmed corpses' that remain could mean he is referring to the tomb (possibly in the church). He curses the robbers when he realises what had happened – that they had 'sacked the HOUSE'.

10.6 The new temple of Solomon

Opposite the 'house' that had been pillaged stands a new 'temple' that had risen – a glorious temple, which is even called 'the new temple of SOLOMON'. Since this is exactly what the St. Sulpice Church embodies, this name is everything but unintentional. As Tatiana Kletzky-Pradère writes in Rennes-le-Château: A Visitor's Guide: 'St. Sulpice [is] an esoteric temple copied from the Temple of Solomon' [54]. This description, however, applies just as much to the geometry of the Rennes-les-Bains area. It is not by accident that both the St. Sulpice Church and the geometry of the area are set as parallels in this stanza.

It is noticeable as to how many times in the poem reference to Solomon is made. His famous seal is mentioned, there is an allusion to his ring, and now his new temple is under discussion. What is more – the Compagnie du Saint-Sacrement, whose headquarters were at St. Sulpice, were also called Les Enfants de Salomon ('The Children of Solomon'). This implies that one is dealing with a group like the Freemasons or the Templars, in which Solomon's Temple is a central theme. Maybe the 'ship' the group is associated with (cf. the second stanza) is nothing other than the ship of Solomon one reads about in the Grail legends.

The fact that a 'strange mystery' is hidden in this new temple of Solomon clearly hints at some or other treasure, and the treasure that is above all associated with Solomon's Temple, is obviously the temple treasures. The temple treasures are then also what is depicted in Delacroix's painting in the St. Sulpice Church, being 'the new temple of SOLOMON'. This very clearly implies that this is the treasure that is under discussion here. It is therefore 'the new temple of Solomon' wherein it is hidden.

However, the 'temple' that is under discussion is most probably not the one that is so pertinently mentioned in this stanza, but rather the one that lies beneath the surface – the geometric layout in the Rennes-les-Bains area.

10.7 The Children of St. Vincent

It is significant that the poet applies the description 'HE HAS PASSED, in doing THE GOOD' to both Jean-Jacques Olier and Paul-Urban de Fleury. It could possibly be a Rosicrucian motto, which means the poet is implying that they had been part of a Rosicrucian organisation. This could refer to the Compagnie du Saint-Sacrement, which later appears to have been called the 'Children of St. Vincent'. According to the poet, this group had been responsible for erecting the new temple.

It appears that the Compagnie du Saint-Sacrement was founded by Henry Levis in 1629. He must surely have been a member of the Levis or Levy family, who had been linked to the Plantards from very early on. Merovée Levi, the knight who is said to have brought Sigebert to Rhedae in 681, was certainly an ancestor of this family. They seem to have been the most important and loyal supporters of the Plantard family throughout the centuries. Robert II Saint-Clair-sur-Epte married Isabelle Levis (Levy) in 1188 – the same year in which the Rosicrucian Order the Prieuré de Sion was allegedly founded. This marriage has possibly resulted in their support shifting to the Plantards. The Plantards later on married descendants from this marriage and consequently acquired the title of St. Clair.

St. Vincent de Paul was one of the most prominent people in the Compagnie du Saint-Sacrement. At some stage he, together with Jean-Jacques Olier and Nicolas Pavillon, had been at the helm of this order. According to the authors Jean-Pierre Deloux and Jacques Brétigny (who were friends of Pierre Plantard), the well-known story of St. Vincent de Paul – according to which Barbary pirates captured him close to Marseille, took him to Tunisia and sold him to an alchemist – refers to him being brought to the Barberie castle, where he had met the alchemist Jean Plantard. This could confirm that the Plantards had indeed been the power behind the Compagnie, and that the destruction of their castle in the time of the struggle between the Compagnie and the French throne did indeed have something to do with this very fact. It appears that St. Vincent de Paul had also been one of the first people to refer to Sigebert.

After the apparent dissolving of the Compagnie in 1665, it would seem that it had been refounded on the 17th of January, 1681. According to the statutes of the Prieuré de Sion, it was the order known as the Children of St. Vincent that was founded on this day in 1681. One could deduce that this is the same secret order that is under discussion since it is said that the Children of St. Vincent also existed before 1681. This 'St. Vincent' possibly not only refers to the early St. Vincent that is associated with the monastery of St.-Germain-des-Pres, but especially to St. Vincent de Paul. The priests who studied under Olier at the St. Sulpice seminary, as well as those who studied under Pavillon at the seminary at Alet-les-Bains, close to Rennes-le-Château, would have been candidates for this Children of St. Vincent order. According to Boudet, the latter had also been in charge of the church of Marseille. It is interesting to note that Saunière himself had been the vicar of Alet-les-Bains prior to his moving to Rennes-le-Château.

According to the Vaincre of September, 1989 – a paper of which Thomas Plantard de Saint-Clair (Pierre's son) had been the editor – the order that came into existence on the 17th of January, 1681, was founded by Jean-Timoleon Nègre d'Ablès, Blaise d'Hautpoul and the abbot André-Hercule de Fleury. They represented the most important families of the Razès. If they had been involved with the same organisation as the priests of St. Sulpice, it would explain why the layouts in Paris and the Rennes-les-Bains area correspond to the extent that they do. Paul-Urbain de Fleury also descended from one of these families. His parents were Paul F. Vincent de Fleury and Gabrielle de Blanchefort, the daughter of the famous Marie.

10.8 The families of the Razès area

Just as St. Vincent de Paul is associated with the Plantards, so are some of the other families in the Razès, and this association apparently goes back a long time. According to Généalogie des rois mérovingiens, the Blancheforts had originally descended from a branch of the Plantards. The Blancheforts' ancestor was Aureol, the son of Rotaude Plantard (who died in 855) and who was the sister of Argila, through whom the Plantard line ran. It appears that Aureol's sister, Anne, was married to a descendant of Mérovée Levi.

The goldmine in which the treasure seems to have been hidden initially was on Blanchefort land, and if it is true that the treasure belongs to the Plantards, the Blanceforts would have safeguarded it on their behalf.

The Blancheforts can be linked to all of the parchments Saunière allegedly discovered. The earliest association goes back to the time when the religious group the Cathars had been active in the Languedoc. One of the main figures during this time, Ramon (Raymond) d'Aniort (Niort), can be directly linked to the Blancheforts: His son Ramon was married to Alix de Blanchefort, as Jean Markale points out in Rennes-le-Château et l'énigme de l'or maudit. Ramon was the person who in 1244 acted as the negotiator between the besieged Cathars in the mountain fortress of Montségur and the Inquisition. According to the authors Jean-Pierre Deloux and Jacques Brétigny, the commander of Montségur, Pierre-Roger de Mirepoix, was Ramon d'Aniort's father-in-law. Pierre-Roger de Mirepoix himself had apparently also been a direct descendant of Mérovée Levi, who is said to have brought Sigebert to Rhedae.

Following the escape of four Cathar Perfects with a certain 'treasure' from Montségur, Ramon's delegate, Escot de Belcaire, struck up a fire to signal Pierre-Roger de Mirepoix up in Montségur that the mission had been successful. This could mean that Ramon d'Aniort had indeed received the 'treasure', which possibly consisted of certain documents. In this regard, it is interesting to note that the oldest of the parchments Saunière is said to have discovered, also appears to date from 1244. Furthermore, Ramon, despite his Cathar associations, was later received with much hospitality by Louis IX, the son of Blanche of Castille (whose seal is said to appear on the mentioned parchment). Later, in 1283, also Philip the Bold of France called on his son Ramon and his wife, Alix.

According to Généalogie des rois mérovingiens, the Blanchefort inheritance came into possession of Francois-Pierre d'Hautpoul's grandson, Louis, in 1644, following the death of the last heir of the oldest branch of the Blanchefort family, with whom the line had died. The Hautpoul family also had close ties with the Plantards. According to Les descendants Mérovingiens, one of Sigebert VII Plantard's daughters, Claudia, married a Hautpoul in the early 1000's. The Dossiers secrets d'Henry Lobineau also mentions that in 1372, Jean VIII Plantard's great-granddaughter, Hermininde, married Guillaume Pierre d'Hautpoul, from whom all the subsequent Hautpouls are descended.

The second parchment dates from the year when the Blanchefort heritage came into possession of the Hautpouls. It apparently also contains the testament of Francois-Pierre d'Hautpoul, which could imply that this testament is related to the Blanchefort inheritance. It had been regarded as such an exceptional document that Jean-Baptiste Sian, the notary of Espéraza, in 1780 refused to hand it over to Pierre Francois d'Hautpoul from a related branch of the family. According to Sian, the testament was 'of great importance'. It is quite noteworthy that Blaise, the baron of Rennes-le-Château and son of Francois-Pierre d'Hautpoul, who had the document drafted, appears to have been one of the founding members of the Children of St. Vincent in 1681.

The third parchment Saunière allegedly discovered was apparently a testament of Henry d'Hautpoul, Blaise's son. Henry's son, Francois d'Hautpoul, inherited Blanchefort following the death of Henry's brother, Louis. This testament is dated 1695, and the contents thereof apparently a 'state secret'.

In 1732, Francois d'Hautpoul married Marie de Nègre d'Ablès, dame de Niort and de Roquefeuil. Jean-Timoleon Nègre d'Ablès, from the previous generation of this family, had apparently also been involved in the founding of the Children of St. Vincent in 1681. Marie was the heir of the Niort (Aniort) family of whom Ramon d'Aniort had been an ancestor. Marie was the one who inherited this family's archives. It is this Marie that died on the 17th of January, 1781, and who is said to have disclosed the family secret to the priest Bigou on her deathbed.

Francois and Marie had three daughters, one of whom, namely Elizabeth, never married and later lived with her mother in the castle of Rennes-le-Château. Elizabeth refused to make available certain documents in her possession to her sister Marie, who in 1752 married Joseph-Marie d'Hautpoul-Felines – marquis of the parallel branch of the Hautpoul family that had branched off from this family about three centuries earlier – as well as to her cousin, Pierre Francois d'Hautpoul of Seyres, whom the notary of Espéraza had also denied access thereto. Both apparently pestered her about it, but she is said to have pointed out that it would be 'dangerous' to see the documents, and also implied that some of the documents that had been in the custody of the family, did in actual fact not belong to them.

Blanchefort came into possession of the third sister, Marie-Gabrielle, who in 1767 married Paul Francois Vincent de Fleury. André-Hercule de Fleury, who also appears to have been involved in the founding of the Children of St. Vincent in 1681, was from this very same family. The grave of their son Paul-Urbain is mentioned in the poem, as well as that he played an important role in the building of the 'new temple of SOLOMON'.

The Blanchefort family, as well as the families who came into possession of their inheritance, have therefore throughout history been very closely associated with the documents featuring in the Rennes-le-Château mystery. This could suggest that a treasure had indeed been hidden at Blanchefort and that the mentioned testaments contain information pertaining to it. It could therefore very well be this treasure that had been rehidden in the area.

One cannot help but wonder whether the 'twin children' of St. Vincent do not perhaps refer to two groups within the Children of St. Vincent, namely the priests and those who had in some or other way belonged to certain families. This would once again hint at the white and black theme – with the priests perhaps representing black? In the St. Sulpice Church, this saint is indeed depicted with two children on his lap. Interestingly, both Jean-Jacques Olier and Paul-Urbain de Fleury are also linked to St. Vincent de Paul: Olier was his spiritual child and Paul-Urbain de Fleury's father was also called Paul F. Vincent de Fleury, evidently in honour of St. Vincent de Paul.

Furthermore, the families that are linked to the mentioned bloodlines are associated with the Templars as well as the Cathars. In later years, these families appear to have been linked with the Compagnie du Saint-Sacrement, the Children of St. Vincent and the Rosicrucian Order. Paul-Urbain de Fleury, too, is associated with the Freemasons as well as the Rosicrucian Order.

It appears that the Rosicrucian Order had carried on a tradition that dates back to the Templars. In contrast with this, the other branch of the Hautpouls, who wanted to lay their hands on the mentioned documents, is very closely associated with the Knights of Malta. It also appears to have been these knights who later on unlawfully obtained possession of some of the documents.

10.9 The geometrical pattern in the second text

Back to something more tangible!

The reference in the poem to De Fleury's grave once again refers to a landmark on the route in the Rennes-les-Bains area – the only one mentioned in this stanza. This landmark, however, lies on the way back after the poet had reached El Casteil. The fact that there is indeed another landmark could imply that one has not yet uncovered the full geometrical pattern that has been hidden in the area.

It is noticeable that the landmarks highlighted in the previous and this stanza, namely El Casteil and the De Fleury grave, are related to two objects that are to be found directly opposite each other in the Rennes-le-Château Church, namely the altar in the front and the fresco at the back of the church. On a map, El Casteil and the De Fleury grave also lie virtually opposite each other on the Rose Line. The De Fleury grave lies very close to the heart of the Rose Line, which runs through the Jean Vie grave, and El Casteil further south, just to the west of the Rose Line.

Drawing a line from El Casteil to the heart of the Rose Line one discovers that it runs at an angle of 2.5º in respect of the Rose Line (see Figure 35). As was indicated earlier, the line between the Fountain of Lovers and the Fountain of Dogs does indeed have to be tilted 2.5º. The position of El Casteil may therefore very well serve as confirmation of the fact that this 2.5º tilting is essential in uncovering the geometrical pattern in the area. It could in actual fact be the clue that one has to tilt the mentioned line 2.5º (if this discovery has not yet been made).

This makes one wonder whether these two landmarks – El Casteil and the De Fleury grave – do not also relate to the geometrical pattern that is hidden in the second Latin text (see Figure 35). As was mentioned earlier, one can draw a line between the two roselike symbols at the top and bottom of the text, and then produce a line through the two tiny crosses in the two separate lines at the bottom. The latter crosses the 'rose line' at an angle of about 2º.

To determine the exact angle of this crossing, one has to determine the exact point at which these two lines cross. The 'NOIS' symbol at the bottom to the right of the text now comes into play. There is an upside-down A underneath this peculiar symbol of which the one leg seems to be begging to be elongated in the direction of the 'rose line', which would then indicate where the other two lines should cross. When elongating this mentioned leg, it indeed results in the other two lines crossing at an angle of 2.5º!

What is important now is to turn the text 180º so that 'NOIS' reads correctly as 'SION'. The N symbol underneath 'SION' then also indicates North. The fact that the two Latin texts had originally been on both sides of the same parchment, one on one side and the other on the other side, implies that one has to look at the geometrical pattern of the second text from the other side – in other words, when holding up the 'parchment' with the first text facing one.

If one now compares the geometrical pattern in the second text with the one on the map, one finds that the 2.5º tilted line in the text corresponds exactly to that on the map in respect of the Rose Line. The 'heart of the rose line' in the text (where the lines cross) also corresponds exactly to the point on the map where the Jean Vie grave lies – at the heart of the Rose Line in the area. The geometrical pattern on the second text and the one on the map are therefore one and the same!

10.10 The 17th of January, 681

It must be said that the people who devised the riddle thought it fit to devote the whole geometrical pattern of one part of the parchment to this 2.5º angle. This just goes to prove how significant this angle actually is. It is not only crucial in order to discover the hidden geometrical pattern in the Rennes-les-Bains area, but above all to find the line of sunrise on 17th of January, 681, the date when Sigebert is said to have arrived in Rhedae (see chapter 8). The entire layout of the St. Sulpice Church, and even that of the church of Rennes-le-Château, was also intended to draw one's attention to this line of sunrise.

Finally, one can now try and figure out exactly where the 'strange mystery' the poet speaks of, is hidden. The aim of the brilliant layout of the landmarks in the area had unquestionably been to indicate the location of the treasure of the Blancheforts.

Fig. 35. On the left: The second Latin text with its geometrical pattern. The text has been rotated 180º and must be viewed from the other side to correspond to the pattern on the map. On the right: A map of the area with the geometric pattern shown. 

[53] It was published on the internet in 1999.
[54] Kletzky-Pradère, T. 1990. Guide du visiteur. Quillan: Author. Translation: Brooke, C. & Dawe, N. 1997, p 12.


Content of Discovering the Keystone

Preface / i
Background / 1
1. The Manuscripts / 11
2. Standing on the White Rock (Pierre Plantard) / 23
3. Finding the Way / 33
4. With Measured Steps /41
5. Reaching the Meridian Line / 53
6. A place called the Holy-water Stoup / 65
7. The Fountain of the Magdalene / 77
8. The Horseshoe Bend in the River / 85
9. Ending at the Ruined House / 109
10. The New Temple of Solomon / 125
11. The Purest Gold /143
12. Returning to the White Hill / 163
13. A Dream / 167
Conclusion / 171 
Notes / 173

For all those lovers of secrets:

For Sampo Lanthardt

The only advice I have, my friend,
is to search for the beginning
right at the end.
In so doing, it seems to me,
even the fool
wise can be,
like the dim Parceval,
at first to fail,
in the end became
king of the Grail.


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