Ariadne thread of rennes! image    Ariadne thread of rennes! image    Ariadne thread of rennes! image


If you set out on a quest for the truth about the Rennes-le-Château Affair be warned - you will face a long and arduous journey. Such a quest will require discipline and dedication. It could take on a moral and spiritual significance for some, a pilgrimage if you will. There is much to be learned in history, archaeology, esoterica, theology, palaeography, manuscripts, mathematics, the language of Birds, puns and poetry on this magical pilgrimage and search.

You must endeavour to  "... clear a path with a sword through .... the inextricable vegetation ..." in a physical landscape as well as a mental landscape. Both are littered with intricate and complicated clues. You need to find a route through these even though the routes you take can change and/or become dead-ends!

It will feel like a constant fight through a densely wooded forest of clues, puns, difficult riddles and puzzles. These will trap you like thorny plants invariably do. The inextricable vegetation allusion drums it home - the landscape could become virtually impassable -  like a fortress that has foiled one invader after another over hundreds of centuries! Any journey made and information learned will remain difficult to unravel like the gnarled branches of ancient trees, so involved and so intricate your threads may become. You will need strength and resilience to disentangle yourself!

This thread of Rennes might require several approaches but which one is best to solve the mysteries?  A "trial and error" approach or a puzzle-solving approach? Differentiate between the two. For the scientific among you, the approach will be trial and error; but the puzzle-solvers among you will realise quickly that this is the real way forward. Trial-and-error approaches work in Science but are rarely concerned with how many solutions may exist to a problem and can even assume only one correct solution. Puzzle solving however makes no such assumption and is capable of locating all possible solutions to a situation. Our poet confirms in Le Serpent Rouge that it is the parchments designed by his Friend that are what we need. Thus approach the Parchments like solving a puzzle!  Put the puzzle pieces together in a logical way, in order to arrive at the correct solution. Analyse what the puzzle pieces are, what exactly the Parchments are and what they encipher. Work out how to 'put them back together again'.

You will need to take the plunge.

Do you accept these famous Parchments as real? Or are they a modern hoax? If so, a hoax of what? A hoax contrived or planned with subtle skill and craft? To mislead? To throw you off track? To what purpose? How about they are a fake's fake? Perhaps an adaptation from an original to obfuscate? Some claim an element of espionage, or battles between varying factions of a secret society. This seems to be clearly demonstrated in the Lincoln et al follow-up book to the famous 'Holy Blood, Holy Grail' publication, The Messianic Legacy - which many seem to have missed.

Do you dismiss the parchments as total frauds? Analyse why you dismiss, analyse why you accept.

The [re]searcher will need to ponder the problem - using reasoning & study. Once you adopt the correct approach and mind-set and if you make it through - according to our poet - you will have reached the residence of the Sleeping BEAUTY - in whom he saw the QUEEN of a past realm. It is the same location that the Friend of the poet was searching for! Once there you will experience 'sweet perfume rising towards you as it permeates the sepulchre"!  You are inside a very important tomb! Perhaps a small room or monument, cut in rock or built of stone, in which a dead person has been laid or buried. Perhaps a receptacle for religious relics especially. This past Queen, this female, this Sleeping Beauty with a sweet perfume. Who is she?

This concealed and sacred knowledge about Rennes is certainly not to be violated or tampered with!

Like Theseus, the searcher should follow the Parchments as these are the guides that will help keep you on the right track. For Ariadne, on the advice of Daedalus, gave Theseus a ball of thread (a clew), so he could find his way out of the Labyrinth. As soon as Theseus entered the Labyrinth, he tied one end of the ball of string to the doorpost and followed Daedalus' instructions given to Ariadne: go forwards, always down, and never left or right. Use the clews [clues] in this Affair to create and maintain a record that tracks all the avenues available to explore and to solve. Then you can backtrack — reversing earlier decisions and trying alternatives if required. In this way you will cut through all the mystification and false trails deliberately laid to throw you off track.

You will do well to remember the admonishment given to us by Philippe de Chérisey, our Ariadne. He wrote; "Dear Reader, to whom we tell everything, but who does not listen".  

There are clews/clues to be heard as well as 'read'! Remember the phonetic play on the word clew/clue - for this is also part of Ariadne's thread. It is the langue des oiseaux - that secret language of bird speak, the language of the initiates used by Boudet and Chérisey. Read HERE to 'see' this in action!

Chérisey tells us that "every precaution has been taken for thousands of years so that the treasure location is very obvious and very mundane at the same time, recognisable through a great number of landmarks, for which the reader will be thankful to us since we gave him the main ones". Chérisey includes those markers that have gone before but lead nowhere! Use intuition and intelligence to know which information is useful and which is not!

In 1618 Johann Valentin Andreae compared those Rosicrucians as people playing in a world amphitheatre where no one or anything was being seen in their true light. He used the phrase "the ludibrium of the fictitious Rosicrucian Fraternity" when describing them knowing full well the Rosicrucian Fraternity did indeed exist. Historians have taken Andreae at his word and suggested that the Rosicrucians for him were a ludibrium, a dramatic allegory played out in a political domain rather than a literal joke

An allegory is a “story, picture, or piece of art that uses symbols to convey a hidden or ulterior meaning, typically a moral or political one.” In its most simple and concise definition, an allegory is when a piece of visual or narrative media uses one thing to “stand in for” a different, hidden idea. It’s a little bit like an algebraic equation, like y = 2x, but in the form of art.

Both Plantard and Chérisey practised this allegorical way of imparting information in their literature. Did Plantard and Chérisey play out their allegory of the ludibrium of the fictitious Priory of Sion in the way Andreae meant? Was there more to the 'story' of Saunière and the events surrounding him? If so, how did they know? Has Saunière yet to be seen in his 'true light'? Did Plantard et al adopt allegorical text and prose and other pieces of visual or narrative media to “stand in for” a different and hidden idea?  This view would support the idea that the whole affair is not a 'hoax' per se, even though Chérisey often claimed this. Plantard and Chérisey were not poking fun at us or playing a game, their ludibrium was not for scorn and derision at our expense. They were attempting to pass on knowledge & searching for more information themselves.

As for my part I am convinced that there is a material archaeological treasure beneath Rennes-les-Bains. Perhaps as Gérard de Sède claimed, there is 'an inexhaustible mine that has not given up its secrets'. Or a mysterious buried tomb in a vast necropolis or perhaps an underground Temple waiting to be discovered. Or perhaps some indispensable knowledge that - as Marie Dénarnaud said to Noël Corbu - could make someone 'powerful'!

We therefore invite you to rediscover with a fresh eye the mystery of Rennes-le-Château!