Shades of Boudet for the author of Le Serpent Rouge - confirming that the ‘parchments‘ are a map where the Red Serpent would be a local river. The river Sals is described as snaking along the foot of Cardou, itself described as the white mountain. Our author must be standing on Blanchefort (the white hill) looking over at Cardou but below he can see the Sals.
Below - standing on Blanchefort looking over to Cardou with below, the valley of the Sals. The river Sals snakes along the foot of Cardou ....you can see Roc Negre ....
Le Serpent Rouge (henceforth LSR) is an obscure poem brimming with allusions and symbolism regarding Rennes-le-Château and its surrounding area. The author of the poem tells us he is writing about a dream he had had on a night of 17th January, St Sulpices Day. Using striking imagery the author describes a map of the locale of Rennes-le-Château and a journey he has undertaken in its vicinity. This journey is loaded with religious and spiritual connotations. In 1964 Chérisey (the most likely candidate for authorship of the poem) had written in private correspondence that he was about to undertake a search for the sepulchre of the Magdalene in the region of Rennes-Le-Château. He said if he found it he 'would not be able to speak about it'. This would make this Chérisey's very own personal religious journey. So perhaps this poem relates to his journey because if nothing else the poem certainly involves a search for a tomb.
The search deals with a specific location within a specific geographical area. Is this location connected to the preponderance of Meridians throughout the rest of the Secret Dossiers? As we have just seen (http://www.rhedesium.com/some-notes-on-the-lobineau-documents---part-one.html) these Meridians are very important. They are:
1) A 'Meridius' - marked on a diagram created by Gaston de Koker. It runs through Saint Germaine des Pres.
2) Louis Saint Maxent labels a Meridian that runs through Saint Sulpice and he calls this the MΩ/PRAE-CUM Meridian. Is this the same Meridian being drawn to our attention by de Koker?
3) There are Meridians running through two reproduced ancient maps of Merovingian Gaul [when Meridians had not even been invented!]. The first map shows Gaul in 511. It marks a Meridian labelled MC (not MΩ) and it runs along the outskirts of Paris all the way down to old Septimanie. The second map shows Gaul in 629-632. An MC Meridian is again marked this time running through the centre of Paris down to Septimanie.
4) Lastly an MΩ Meridian is illustrated for us. This definitely must be the MΩ - PRAE-CUM Meridian line detailed by Louis Saint Maxent. Why? Because it is identified by a reversed N figure and as we have already seen the reversed N is associated with the painter Signol whose four paintings grace the central part of the church of Saint Sulpice. A Meridian runs through the centre of this space. The whole area is related to the two windows in the transept which are labelled P and S.
One of the Meridians is shown to stretch down to Septimanie. I suspect that with the inclusion of the motto 'et in arcadia ego...' at the top of the maps of Merovingian Gaul and its direct correlation with Septimanie we are being led to perhaps connect this line with the line depicted on the Marie de Nègre tombstone (already referenced in the Secret Dossiers) and perhaps the tomb at Arques. On the Marie de Negre tombstone illustration supplied by the 'Priory of Sion' there is an arrowed line which is labelled P-S PRAE-CUM. In other words a Meridian in the Paris area relates to a Meridian that is being indicated on the de Nègre tombstone found at Rennes-le-Château. Therefore was something originally in Paris (Saint Germain and then Saint Sulpice) relocated for some reason down to the cemetery at Rennes-le-Château? In other literature surrounding the Rennes Affair the various Meridians are confused but always seemed to involve the Paris Meridian and the so called Rose Line Meridian. We will have cause to revisit these below.
The internal text of the LSR poem names Louis Saint Maxent as the author. Louis Saint Maxent also supplied the Ground Plan of Saint Sulpice showing the Prae-Cum/MΩ line (and perhaps intended to also read PS-Prae-Cum). As for the other listed authors - throughout the Dossiers they supplied the following: Gaston de Koker - the map of the Royal Abbey of Saint Germain des Pres and its environs with a Meridius and Pierre Fugere, who writes about the body of a prelate 'buried in a circle of stones, (which) was transferred to the ‘oriental portico’ of the basilica, behind the altar of the Sainte Croix (Holy Cross)’.
So arguably through these authors we have the themes of Meridians and an important burial in a circle of stones mentioned in the Secret Dossiers. This is exactly what the LSR is about and also I may add the work of Henri Boudet. What is interesting is that the creator of the Dossier Secrets has culled information from other documents to build his vehicle to advance a ‘story’ of some sort of burial in the vicinity of Rennes-le-Château - somehow related to a Meridian. For example, although Pierre Fugere writes about the body of a prelate buried in a circle of stones, it is quite out of context - because these lines come from a historical text relating to a burial elsewhere related to Saint Germain des Pres. Because his line is used out of context it suggests Fugere may be referring to a different burial in a 'circle of stones' that he really wants his readers to think about! Chérisey himself has used this pattern of 'cut and pasting' elsewhere! Pierre Fugere when he writes about Signol uses a glyph that is to be reversed. The letter N in the name SIGNOL. With the reversed N is it suggesting that we should reverse the actual name and see LONGIS? Are we then supposed to think of the centurion who in legend speared Jesus Christ in the side as he hung on the Cross? Below is an ancient manuscript (the Rabbula Gospel), a manuscript of Syrian origin which is dated to about 586. Longis is identified spearing Christ in his right side.
Above — Crucifixion miniature, Rabula Gospels, with the legend "Loginos.”
We have already identified the Meridian highlighted with the reversed N seen in the Secret Dossiers.
This Meridian is labelled MC (or ? MƱ) .
This MC could conceivably mean Medium Coeli which is the opposite point from the Imum Coeli and is from the Latin for ‘Middle of the Heavens’. It’s also called the Midheaven or MC. According to modern astrologers, the Midheaven or Medium Coeli is the zenith of a path in the sky traced by the point of intersection between the ecliptic and the Meridian (a line of longitude) of a certain terrestrial location. Although the actual point of intersection moves back towards the horizon (to the south in the northern hemisphere) with the Earth's rotation, the Midheaven is fixed as the highest point in the horizon which any planet can reach at that location. According to Ptolemy the Medium Coeli is the point which is upper square from ascendant, e.g. the zenith by modern astronomy vocabulary. In astrology the Medium Coeli (MC) is the highest point the Sun reaches in the sky at midday. It is the South in an astrological chart. It is the place where the Tenth House begins. Therefore the MC is also sometimes said to be on the cusp of the 10th House. The tenth house is always Capricorn. In Astrology again Saturn is represented by Capricorn. Saturn is associated with the Golden Age and the God of Arcadia. These motifs appear in the enigma of Rennes-le-Château.
Here is the Capricorn verse in LSR: "My emotion was great, "DELIVER ME FROM THE MIRE" I said, and I awoke immediately. I haven't told you in fact that this was a dream that I'd had this 17th JANUARY, feast day of Saint SULPICE. Afterwards my trouble persisting, I wanted after reflection to tell you a story by PERRAULT. Here then, Dear Reader, in the pages which follow the result of a dream having soothed me into the world of the strange and unknown. GOOD comes to him THAT DOES GOOD."
As we have seen elsewhere Pierre Fugere talks of a burial in LSR, associating it with a tomb found at Saint Germain des Pres. Yet if this is the case we may be talking about several Merovingian tombs. Because in the Priory publications Alexander LENOIR is mentioned as discovering two graves under the Merovingian altar of Saint Germain des Pres in 1799 (or 1709, my printed copy is not clear). There is an illustration of this tomb in the Dossiers and it is reproduced above. Fugere of course writes ‘... and in 751, the body of a ‘prelate’ buried in a circle of stones, was transferred to the ‘oriental portico’ of the basilica, behind the altar of the Sainte Croix (Holy Cross)’. Are we to read just these few lines separately or link all these subtle themes together? These subtle themes for Cherisey [or Plantard, or whoever put these Priory documents together] are his search for a tomb of the Magdalene, an important tomb in the environs of Rennes-le-Chateau, a burial of a prelate in a circle of stones, Meridians - local as well as further afield. Moreover these themes are continually being related to the Crucifixion and a burial.
Lets be reminded of the thoughts expressed by Christian Doumergue in his article elsewhere on this site. He says; ‘In his book “La Vraie langue celtique” (Boudet) mentions clearly the existence of an antique grave in Rennes les Bains. How? He writes that menhirs are ancient graves. Then he writes that a cromleck is always built around a menhir. This is a way of saying to us that the artificial cromleck which he draws contains an ancient grave. In his introduction, he asserts that this cromleck is connected to the "resurrection"... Other elements of his text drop hints about Magdalene’.
Isn't Fugere talking about a burial in a circle of stones? Related to the Resurrection? Doesn't this burial sit on an important Meridian? A Meridian associated with the Resurrection? Isnt the author of LSR elsewhere talking about tombs, Mary Magdalene and Meridians etc? Boudet says that there is a tomb, an ancient grave, inside a cromlech, where a cromlech is: ‘a Brythonic word (Breton/Welsh) used to describe prehistoric megalithic structures, where crom means "bent" and llech means "flagstone". The term is now virtually obsolete but remains in use as a colloquial term for two different types of megalithic monument..., it is widely used in French to describe stone circles. ... A stone circle is a monument of standing stones arranged in a circle, dated to the period of the European Neolithic known as the "Megalithic" The sites display no evidence of human dwelling, and rarely encompass graves. This suggests that stone circles were constructed for ceremonies (perhaps religious ceremonies) and were in use on ceremonial occasions only. The type of ceremonies (if any) is entirely unknown. An alternative hypothesis is that they were a form of amulet or talisman, i.e., an entity acknowledging and appeasing supposed spirits dwelling in nature, meaning that their ceremonial use was secondary to their talismanic value, or equal to it. The crudeness and variety of the stones excludes the possibility that they had astronomical observation purposes of any precision. Sometimes a stone circle is found in association with a burial pit or burial chamber, but the great majority of these monuments have no such association.’ (http://en.wikipedia.org/wiki/Cromlech).
There were also stone circles in the Iron Age, usually associated with the Goths. And these stone circles were associated with burial customs. A menhir, in contrast, is a large upright standing stone. Menhirs may be found singly as monoliths, or as part of a group of similar stones. Their size can vary considerably; but their shape is generally uneven and squared, often tapering towards the top. Menhirs are widely distributed across Europe, Africa, and Asia, but are most numerous in Western Europe; in particular in Ireland, Great Britain and Brittany. In northwest France there are 1,200 menhirs. They originate from many different periods across pre-history, and were erected as part of a larger Megalithic culture that flourished in Europe and beyond. In Sweden by the 13th century menhirs were erected as markers for the graves of warriors’. (http://en.wikipedia.org/wiki/Stone_circle_(Iron_Age).
So where is Boudet’s Menhir and where is his Cromlech? From the information in La Vrai Langue Celtique (henceforth LVLC) an early researcher called Lens constructs a diagram from the work of Henri Boudet detailing the Cromlech as he saw it. It is taken from a map drawn by Henri Boudet’s brother, Edward, and one can make out the similarities using an IGN map today (see below). For LENS, Boudet was indicating the Cromlech using signs of the celestial zodiac. This correlates with the ‘Introduction to La Vrai Langue Celtique’ (1978 edition) given by J.P DELOUX. The book by Boudet, Deloux said, is ‘one of the keys that provides access to the treasures and secrets that lie hidden in the ancient land of the Razes’. There is to be found twelve secular resting places or deposits in the Razes. ‘These twelve resting places are each determined by one of the signs of the Zodiac and by the configuration of the heavens at a precise date’. In the Secret Dossiers the Zodiac was important in relation to an important Meridian. It is also important in other Prieurie de Sion ‘symbology’. For example in the ‘Legend of the Paris Meridian’ (Vaincre 1989) it says: ‘Along the whole length of the course of the meridian line are to be found the signs of the zodiac, from Cancer (the summer solstice) ending in Capricorn (the Devil) at the summit of the obelisk, known as a “gnomon” (from the Greek for an indicator).’ Mention of the Gnomon refers us to Saint Sulpice and its Meridian. A Meridian esoterically associated with the Resurrection.
De LENS has picked up on this point saying that Edward Boudet drafted a map which was used by Henri Boudet in his book. The map suggests three Meridians associated with the Cromlech around a ‘celestial’ zodiac projected on to the ground. They are the Rose Line Meridian which runs near Blanchefort and through the Cap de l’Homme, the Meridian determined by Edward Boudet which lines up with his ‘double cross’ at the top of the title header of his map. This Meridian runs through LAMPOS on the flank of Pech Cardou. And lastly the Paris Meridian. Some researchers have even suggested that in LVLC, on page 268, Boudet focuses on the numbers 51, 41, 40 and 11. They come from a paragraph which talks about the Paris Observatory. (This Observatory was initiated by Jean-Baptiste Colbert who wanted to extend France's maritime power and international trade in the 17th century. Louis XIV promoted its construction starting in 1667 and it was completed in 1671. The architect was Claude Perrault whose brother, Charles, was secretary to Colbert and superintendent of public works. The Paris Meridian is traced on the floor here. This would seem to be the root of the work of PERRAULT to be studied, as indicated in LSR, in in the last verse of LSR).
The Cromlech of Boudet’s, according to Lens.
The most famous ‘cromlech’ of them all—that of Stonehenge (bottom): Salisbury Plain, Wiltshire, England, diameter of circle: 97', c. 2,800-1,800 B.C.
Map by Henry de LENS showing the three Meridians suggested by the Boudet brothers.
The Edward Boudet map of Rennes les Bain which accompanies’La Vrai Langue Celtique’, with the modern IGN map for comparison.
These numbers refer to the temperatures of Bain Fort, Bains Doux and that of the Reine, local water sources in the area of Rennes les Bains. Because of the bizarre calculations Boudet suggests it is readily apparent that Boudet wishes for us to focus on 51, 41, 40 and 11. These numbers are also found on the Blanchefort funerary slab ..
• LI = 51
• XLI = 41
• XL = 40
The number 11 comes from Boudets reference to the temperature in the cellars of the Paris Observatory! LIXLIXL = 68.
But if we add the constituent numbers in certain arrangements we will get 681 (5 +1 = 6, 4+4 = 8, 0+1 = 1 .... 681) . We are then to associate 681 with the Paris Meridian! (http://www.rennes-le-chateau-archive.com/). But then again, are we to read LIX (59) LIX (59) and L (50)? This total would be 168, an anagram of 681! And as we know, 681 is the ‘key’ held by Poussin and Teniers. We also know that Boudet’s Cromlech, which circles an important burial associated with the Resurrection is 16 – 18 kilometres in length. This is 1.681 again, the Golden Mean, the key that Poussin and Teniers hold perhaps?
We should have a final resume of these various Meridians before we move on.
The Saint Sulpice Meridian - This Meridian is associated with the GNOMON also detailed in the Secret Dossiers. It is officially there to determine the March Equinox and therefore Easter. It means that esoterically it can be associated with the Resurrection of Christ. The Meridian is orientated North—South and symbolises a ‘Meridian at Noon’. It is NOT the same as the Zero Paris Meridian. If this Meridian can be seen, esoterically, to connote the Resurrection of Christ then perhaps this is the origin of the authors of the Lobineau Documents and LSR frequently referring to a Meridian associated with the Resurrection, which in turn leads to the idea of a burial associated with the Resurrection. It is this Meridian which is labelled Prea-Cum—MƱ (although of course this Ʊ is depicted lying on its side). Saint Sulpice is said to represent Solar time and therefore the time of midday in a specific geographical place. This Meridian occurs around the SIGNOL paintings at Saint Sulpice (all dealing with the death and resurrection of Christ). It is specifically alluded to in LSR; ‘Heavenly vision for the one who remembers the four works by EM SIGNOL, around the Meridian line .... At the same sanctuary from which beams this source of love for one and other, I turn around, facing the rose of the P and the S, to the SP’.
The S-P or P-S sigil at Saint Sulpice.
The Saint Germain des Pres Meridian - this Meridius is marked in the grounds of the old Merovingian Abbey. There is no date given for the map but it looks to suggest a map from medieval times. The Meridian passes through a ‘compass rose’ and also through a South Tower of the old Abbey domains. It appears to be a longitude. It is this Meridian that passes through the Chapel of the Angels at Saint Sulpice. There is also an S & P ‘boss’ found at Saint Germaine:
The S-P sigil at Saint Germaine des Pres.
In LSR, there may be an allusion to these different Meridians: ‘Reassemble the scattered stones, and working with square and compass, put back in to regular order, find the line of longitude, going from east to west, then looking south to north, and finally in all directions, to obtain the desired solution’.
One other Meridian hinted at in LSR and the rest of the Secret Dossiers is the Bourges Cathedral Meridian. Is this the same Meridian as the Roseline or the Zero Meridian? It lies close to both of these. The author of the poem seeks to link the church of Saint Sulpice with Bourges in some mysterious way because we know that the Abbé Moreaux studied Meridians and we know that Saint Sulpice himself was a Bishop of Bourges. Austregisilus, an early Bishop of Bourges, ordained the above mentioned Sulpice, cleric of his church, then deacon and finally made him director of his Episcopal school. Clotaire II, King of the Franks, who had heard of Sulpices’ merits, summoned him and made him chaplain of his armies. But at the death of Bishop Austregisilus (c. 624) Sulpice was recalled to Bourges to take Austregisilus’s place.
We have already come across Clotaire II in the Secret Dossiers. From 613 to 629 this later King of all the Franks was not yet born when his father, King Chilperic I died in 584. His mother, Fredegund, was regent until her death in 597 at which time the thirteen-year-old Clotaire began to rule for himself. As king he continued his mother's feud with Brunhilda, queen of Austrasia, with viciousness and bloodshed. He was grandson of Chlotaire I, the brother of Chidlebert I. It was Clotaire I and Childebert who marched on the Visigoths in Zaragossa . It was here that the Gold Cross of Solomon was obtained and to which the Secret Dossiers refer.
Bourges had been identified by Chérisey in his important novel CIRCUIT on its front cover. It seems the sword depicted here represents another local Meridian. From an extract of the book 'Notes (on) old Bourges' by Robert Gauchery: '..the meridian was traced in 1757 in the pavement of the cathedral Saint Etienne of Bourges ...: a copper line through our Lady of Salles ... Formerly three holes had been bored in the canopy of the nave and ...in such a way where the midday rays of the sun ...come to fall on this meridian’. Saint Ursin is highlighted on the cover of Circuit in the centre of this Meridian and in the centre of the hexagon, the centre of France. Ursin was first bishop of Bourges. Bourges was the ancient capital of the Celtic Biturges a people known as ‘Kings of the World’. They were in a tribal pact with the Eduens.
The Saint Sulpice Meridian is the PRAE-CUM –PS—MƱ Meridian detailed on the Marie de Blanchefort headstone. These alleged funerary monuments are shown to emphasis the connection with the Meridians which extend from Paris to Septimanie and which are persistently hinted at in the Secret Dossiers and LSR. Hexagonal France, the sword as a Meridian, with Bourges at its centre
As one can see the overriding important points of interest that we should see rendered in LSR and the Dossiers based on what we know from the rest of the Dossier pages are the Church of Saint Germain des Pres, the Merovingian kings most associated with it, Saint Sulpice, Meridians and Septimanie (presumably Rennes-le-Château) but most of all, Meridians. And of course burials!
We must bear in mind that Chérisey is hinting at a monumental secret. There is no question of this. There is great stress laid upon an important site. A site Chérisey seems to intimate that he has visited. But remember, Chérisey says under the stanza entitled ‘Ophiucus’ - ‘...do not take away one iota, think and think again, the base lead of my words may contain the purest gold’. Do not miss even a dot or iota, it is all here for you to ‘solve it’. Iota is an interesting term to use perhaps - the word is used in a common English phrase, 'not one iota', meaning 'not the slightest amount', in reference to a phrase in the New Testament: "until heaven and earth pass away, not an iota, not a dot, will pass from the Law" (Mt 5:18). In other words, leave no stone unturned, and read very closely that which he has written, all is relevant, and all is there for a reason. Each line, even each word can be read in several different ways. On several different levels. With multiple meanings. The trick is to work out the correct way to ‘read it’. This means that even from sentence to sentence meanings may change. One has to have their wits about them!
So in light of all this I suggest that we must read the poem and the whole dossier as some kind of history (if the solution is an archaeological relic), or as a map (if it is indeed a site of significant archaeological importance and interest). Are the two mutually exclusive?
The file of Le Serpent Rouge was deposited at the Biblioteche Nationale on February 15th, 1967. It is now on Microfiche (M-9197), having previously been a file numbered 4° LK750490. It is possible that de Chérisey and Plantard both worked on this dossier, but it seems the major influence would have been de Chérisey.
• The poem is attributed to Pierre Feugere, Louis Saint Maxent and Gaston de Koker. As is well known these names were appropriated after their deaths (in suspicious circumstances), no doubt to add mystique to the document. We have already seen that each of these authors contributed specific information to the preceding Secret Dossier pages. These are:
• Gaston de Koker - the map of the Royal Abbey of Saint Germaine des Pres and its environs with a Meridius located for us.
• Louis Saint Maxent - Ground Plan of Saint Sulpice, showing the Prae-Cum/MΩ Meridian (and perhaps intended to also read PS-Prae-Cum).
• Pierre Fugere - who writes about the body of a prelate 'buried in a circle of stones, (which) was transferred to the ‘oriental portico’ of the basilica, behind the altar of the Sainte Croix (Holy Cross)’.
• Under the authors printed names there is some kind of heraldry insignia or design. It is a depiction of a horses head and neck with a tipped up urn or vase with water flowing out. The legend across the top is:
LENE BUXEUM - EOUS SCAPHAE.
There can be several ways to interpret these words but the general idea is to suggest a boat like vessel of Eastern origin made of some species of light wood. My chosen translation would be something like this:
LIGHT BOXWOOD — BOAT OF THE EAST
However, this seems a bit strange, as using the depiction of a horse, with flowing water from an urn as the heraldry design doesn't fit the actual motto (see illustration below). Buxeum is a plant and/or tree that originates from Southern Europe and the Middle East. Perhaps this is why Buxeum was chosen ... a boat of the East made of light wood (buxeum), a wood which originates in the Middle East and Southern Europe. To me it is suggesting the legend of the Magdalene, in a leaky light boat coming from the Middle East to Southern Europe. I.e. it is signifying the Mediaeval legend that says Mary Magdalene came to France. This may be the correct interpretation, as the central part of LSR refers to Mary Magdalene (under the Leo stanza, see below).
It may be seen to be symbolic because if Chérisey is the author of LSR and was searching for the tomb of Mary Magdalene in the RLC area, this would explain this bizarre figure and motto.
Why not include a boat on the heraldic design then? Why should a horse be linked with the legend, in relation to the motto and the myth? Perhaps to draw attention to St Maries de La Mer? ‘Legend identifies this place as where the Three Marys arrived in the Camargue. According to the various legends, during a persecution of early Christians, commonly placed in the year 42, Lazarus, his sisters Mary Magdalene and Martha, Mary Salome (the mother of the Apostles John and James), Mary Jacobe and Saint Maximin were sent out to sea in a boat. They arrived safely on the southern shore of Gaul at the place later called Saintes-Maries-de-la-Mer' and further ‘The Camargue is an ancient breed of horse found in the Camargue area in southern France. For centuries, possibly thousands of years, these small horses have lived wild in the harsh environment of the wetlands of the Rhone delta, the Camargue marshes, developing the stamina, hardiness and agility for which they are known today’. (http://en.wikipedia.org/wiki/Saint_Sarah).
Above: the Rose Crux logo. Rosa = Rose, Crux = in Heraldry a cross.
Below the heraldic design we are told copies of this work will be found at the following addresses. The three earlier cited authors are then given with their addresses. Feugeres at Pontoise, Saint Maxent at Argenteuil and De Koker at Ermont. All these areas are in North West Paris. In Merovingian times these areas were controlled by Childebert I (511—558AD). Childebert, as we shall see, was the founder of Saint Germain des Pres and mentioned throughout the Priory documents.
After these attributations there is the ‘Rosa Crux’ logo (illustrated above). The first point to note about this 'rosa crux' logo (i.e. rose cross) is that between the words 'rosa crux' there is depicted a ‘Sun Cross’. That is a cross within a circle. This sun cross (or Celtic Cross) pre-dates Christianity by thousands of years. It was a common symbol on artefacts found in Prehistoric Europe, particularly the Neolithic and Bronze Age. This same sun cross pattern is occasionally referred to as a Cardinal Cross. Since the 16th century, 'north, south, east and west' have been called the 'Cardinal Points' - cardinal meaning something that is vitally important. Other definitions for the word Cross/Crux are: a difficult problem; a puzzling thing , or the essential or deciding point, or a small S constellation near the celestial pole containing the Coalsack; or the Southern Cross; the Cross.
The LSR Rosa Crux logo also carries the P—S symbols at top and bottom of the logo, north and South as it were, of the Sun Cross. Within this design is another logo - perhaps the initials BS, or a stylised heart or even a stylised SM to mean Saint Mary Magdalene (after all Saunières church is named after this Saint). The base of the heart would appear to look like a femur bone. This logo is also found in the church at Rennes-le-Château ... although the base of its stylised heart does not resemble a bone. In the church at Rennes-le-Château, as one can see in the pictures below, Saunières logo is accompanied by a vase and a Crucifix (other attributes accorded to Mary Magdalene in her role as disciple who was the first to visit the tomb of Jesus on Easter morning. She took with her a vase of 'healing balm’.) the Serpent Rouge logo created by Saunière and on the ceiling of his church.
the Serpent Rouge logo on the ‘curtain’ hanging behind the altar on the wall in Saunières church.
The Serpent Rouge logo again running up the side of the arch in front of the altar inside Saunières church. It seems this logo or design was important to Saunière and must have meant something to him. Recall elsewhere (http://www.rhedesium.com/the-tombstone-of-marie-hautpoul-de-blanchefort---key-of-a-secret.html) that the arch mystics were the Rosicrucians and their Cross was the Chrismon. Perhaps this is the importance of the Rosa Crux (Rose Cross = Rosicrucians) here in the Serpent Rouge design? The Saunière design also has similarities with the LSR logo - including the circles around the edge of the 'logo'.
Returning to the Sun Cross mentioned above it is a design also used in Astronomy. In astronomy although the device used to signify the sun is a circle with a black dot inside it, the cross in a circle is used to denote the Earth as a Globe with an equator and a Meridian. This may turn out to be fundamentally important to our thesis. This is because at the top of the rosa crux logo, the Solar Sun Cross depicts (at midday if you will) at North the letter P. And directly underneath, due South as it were, is the letter S. So we have a PS logo associated with a Cross which can be seen to denote a Meridian. It occurs between the two words Rose Cross. What does the Rose Cross signify? It supports the Andrews & Schellenberger assertion where their chosen vertical line (a Meridian) and a horizontal line (their chosen line of latitude) cross - & signify's the Rose Cross. It is related to their suppositions that on the Rose Line is where they identify a tomb of importance. This Rose Cross was suggested by Andrews and Schellenberger to be the point where their Meridian crosses a horizontal line (that horizontal line of Latitude being the line that established their identified tomb location geographically). They suggested that this line of latitude was the East - West ‘rose line’ and where that line crossed the Rose Line Meridian the Rose Cross would appear.
Does anything spring to your mind when thinking of a P and S in relation to a Meridian, if this is what the Sun Cross and P—S logo are hinting at? Indeed it should. In the area of the two Rennes are the villages of Peyrolles and Serres. And Peyrolles is indeed north of Serres. With this insight we think immediately of the Rose Line Meridian said to run through Peyrolles and Serres. Peyrolles and Serres are in the area of Rennes les Bains, lying at the foot of Pech Cardou. It possibly explains a strange statement by Beaucean; 'if the parishes of Peyrolles and Serres are the twin children of Saint Vincent, then the parish of Rennes les Bains guards the heart of the Roseline’.
Saint Vincent would, in our context, refer to Saint Germain des Pres (this church was originally known as Saint Vincent) so perhaps these small churches in Peyrolles and Serres are related in some way to the Meridian highlighted at Saint Germaine while the parish of Rennes-les-Bains guards the Meridian associated with Saint Sulpice when it has reached Septimanie? Pierre Plantard indeed referred to a Meridian which supposedly runs through Peyrolles and Serres. He calls this 'Le Méridian' even though he most certainly knew that the Paris Meridian runs to the east of Pech Cardou. Perhaps Plantard deliberately muddied the waters and confused these two Meridians. Does the author of LSR (and the Secret Dossiers) mean to also muddy the distinction between various Meridians? 'Le Méridian' of Plantards' does run through Peyrolles and Serres, and in fact, very close to the Boudet graves in the cemetery at Rennes les Bains. The Paris Meridian however runs to the east of Serres. Plantard called the Boudet grave Meridian the 'Roseline'. This Rose Line Meridian seems to correlate with the Saint Sulpice Meridian, the Meridian which is labelled for us as the PS—PRAE-CUM—MƱ meridian. It is this Meridian associated esoterically with the resurrection! If de LENS is right then the Rose Line Meridian, runs near Blanchefort, and through the Cap de l’Homme.
This may all refer to something important associated with the 'children of Saint Vincent' (ie Saint Germain des Pres) which is related to something concealed near to Rennes-les-Bains on or near the Rose Line. It is confirmed when Plantard and Chérisey, under various pseudonyms relate that 'this Meridian owes its prestige to Saint Germain des Pres, and what the Priory of Sion calls the Church Meridian. This Meridian was never officially used and in 1681 it just remained the concern of a ‘hermetic Society’ that is, the Society of Sulpice, created by Olier'. This is very important - considering we now know that the PAX 681 key held by Poussin and Teniers is found at Saint Sulpice and embedded in the Poussin painting 'Shepherds of Arcadia' it would appear that Olier and the hermetic Society he created was paying some kind of homage to this Meridian that owed its prestige to Saint Germain des Pres and the Rose-Line as well as the PAX 681 key!
The only other device or information detailed on this Rosa Crux logo is the 1099—1188 date. 1188 is the date associated with the ‘splitting of the Elm’ (in Priory mythology) at Gisors and is said to represent when the fabled Order of Sion and the Knights Templar parted company.
Page 2 of the LSR document once again announces (after 3 small stars) that this document pertains to: Notes on Saint Germain des Pres and Saint Sulpice of Paris, by Pierre Feugere, Louis Saint-Maxent and Gaston de Koker.
We are invited to ‘discover the 64 stones ...’ one by one ....
If you look at the stones or cubes here they are numbered 1, 2, 3 and 4. Does it refer to a 4 by 4 cube?
The reader is exhorted to remember that before reading the lines that follow they must bear in mind that after ‘a long sleep the same hypotheses are revived, without doubt they return, richer and newer, but that their origins stay the same, and the new mask which they wear, should not deceive/mislead the man of science’ (or perhaps knowledge). This hints that what we are about to read has been suggested before. That idea or knowledge may be dressed up in layers and layers of superfluous information but the core of the idea never changes. But what hypotheses would be revived over and over regarding this source, this knowledge? People, perhaps seekers and researchers, dedicated to finding out the truth will not be misled by these new guises. The 'man of science' will not be misled. In other words those researchers of a rigorous and exacting nature and perhaps insight will succeed.......
The quote is from a book called ‘Modern Alchemy’ written by Abbe Theophilus Moreux. He was the Director of the Bourges Observatory. Abbé Theophilus Moreux was born at Paray-le-Monial, the place where veneration of the Sacred Heart was born. Chérisey associates a red banner, a standard, with the Sacred Heart as well as with the Labarum of Constantine. The Sacred Heart is said by him to be an ancient Solar religion or cult, a cult much older than Christianity, where Christianity and Jesus Christ are just a continuance of this ancient cult. In other words the source of Christianity goes back further than the appearance of Christ himself. In France, Chérisey writes, specifically at Paray-le-Monial the locals are said to have given ‘birth to the devotion of the Sacred Heart, which is the entitlement of the Hieron du Val D’or’.
The Secret Dossiers were linking these themes with Rennes-le-Château.
According to Richardson, who wrote about the Hieron du Val D’or’, it was ‘In 1873, [that] the very curious organization called Hiéron de Val d'Or was founded. It made its base near the Catholic shrine at Paray-le-Monial. Here, two centuries earlier, the mystic St. Marguerite-Marie Alacoque beheld visions of the Sacred Heart of Jesus, beginning the Catholic devotion to the Sacred Heart. Paray-le-Monial had a long history within the Catholic Church. The first of several monastery facilities, a Benedictine abbey, was established there as early as 973. Later, the area seemed to foster Protestants, and in 1618 the Jesuits were called upon to save the faithful from the usurpers. The Jesuits had remained at Paray-le-Monial ever since and the Sacred Heart became the paramount devotional symbol for the Jesuit Order, which was consecrated to the Sacred Heart in 1872. (Paray-le-Monial was an important point on the Jesuit compass and at least one member of the Society of Jesus would become a key founder of the Hiéron du Val d'Or). At Paray-le-Monial the Hiéron du Val d'Or built a museum and research centre in 1877 and housed itself in a pentagonal building reflecting the Hiéron's interest in geometry and sacred architecture. Long established as a Catholic pilgrimage site, from 1873 onwards Paray-le-Monial began to attract more visitors. Thousands of Catholics from all walks of life journeyed to Paray-le-Monial in devotion to the Sacred Heart of Jesus, hoping to stem the changes of the times. The Hiéron du Val d'Or deliberately targeted these pilgrims as its potential recruits.’ (http://www.alpheus.org/html)
What is interesting is Chériseys mention of the Hieron du Val d’Or and the subjects that this Jesuit company promulgated. Again from Richardson:
‘The Hiéron du Val d'Or focused on propagating a very Catholic focused worldview, born in the church-challenged circumstances of the times, encompassing the occult and the monarchy, and a return to worldly glory for the church. It countered occultist's claims of a universal tradition. To the Hiéron, the only universal tradition was a Catholic Christianity, which was, like Atlantis, lost, and which must be rediscovered. The Hiéron version of Christianity traced directly back to an idealized vision of Atlantis via the Celts, Judaism, and Egypt. Christianity, according to the Hiéron, originated in Atlantis and was itself the universal tradition. Atlantis, the legendary lost civilization at the root of humanity became, to the members of the Hiéron, an idealized vision of the world as it should be, and a code word embracing every aspect of their vision. As proof of this heritage, the Hiéron revealed to its adherents the name Aor-Agni (Light-Fire), that it claimed opened the secrets of all knowledge of the universe, as taught in its school.
As important to the Hiéron and its members as rediscovering its version of the lost Catholic heritage by preserving Celtic sacred sites, and by studying symbolism, astrology, and a peculiarly Catholic Kabbalah, was the heritage of the future. The Hiéron was obsessed with preparing for the year 2000. That was when the golden time would come - an absolute monarch would rule Europe and, eventually, the world. The Great King, the worldly reign of Christ the King. And the Vatican would be supreme again, together with this King. The Pope and the King would rule by fiat over a United States of Europe. Their dictums would be absolutely obeyed. Behind them would stand a secret elite, powers behind the throne in the service of Christ, "eminences grises from whom the great of this world seek counsel." - as the latter-day "Priory" would try to depict itself. The Hiéron wanted, as onetime Plantard associate and later adversary Jean-Luc Chaumeil wrote, "a theocracy, wherein nations would be no more than provinces, their leaders but proconsuls in the service of a global government consisting of secret elitists. For Europe the regime of the Great King implied a double hegemony of the papacy and the Empire... . . ". And the devoted members of the Hiéron were dedicated, willing to sacrifice and work to achieve these goals’. (http://www.alpheus.org/html/articles/esoteric_history/richardson4.htm)
We can see here the main themes of the Secret Dossiers we have referred to earlier. According to Richardson Plantard carried on the ideals of this Society by forming the Priory of Sion. ‘Plantard and others dedicated to their secret, carried on their ideas. In 1947, Paul Le Cour and writers sharing the Hiéron philosophy called for the creation of a new order of knighthood, and in 1947 Plantard formed a new group for the purpose of "historical research," The Latin Academy. In 1956, following the death of Paul Le Cour, Plantard legally formed the "Priory of Sion". In the 1950's Plantard began to appear at the old Celtic religious site of Rennes-le-Château, researching the background that would create the "Priory of Sion" fiction. Gradually both fictional documents and new editions of "Priory" publications appeared. These "Priory documents" reproduce the positions of Alpha Galates and the Hiéron, including calls for a United States of Europe. These are a clear indication that the "Priory of Sion" program issues from the Hiéron principles. It shows that Plantard and the followers of his generation of Hiéron acolytes had no interest in new ideals. Plantard tried to relink with his earlier associates and successfully joined with Philippe Chérisey, who he had first met in 1938. Other "Priory" articles would tie Plantard with names of people from the wartime years, key people associated with perpetuating Hiéron goals.
Their citation affirms the presence of the Hiéron du Val d'Or in its cadet operation, the "Priory of Sion." These articles, written by Plantard's first wife, associated Plantard reverentially with Georges "Count Israel" Monti, Paul Le Cour, and one "Th. Moreux." (Abbé Theophilus Moreux, a Jesuit, was a noted astronomer who wrote a book on Atlantis. He was imprisoned in Frenes prison for his resistance activities in 1943). In 1962-65, the activities of the "Priory" shifted into a higher gear as its sought to capitalize on publicity from the Gisors affair and began to deposit fabricated documents in libraries, postdating them to the prior decade’. (http://www.alpheus.org/html/articles/esoteric_history/richardson4.htm)
Had Plantard learnt of something and relayed this to Chérisey? And between them they wrote these bizarre Priory texts, such as the ones we are looking at now, the Secret Dossiers and LSR? Returning to the quote from Abbé Theophilus Moreux in the Seceret Dossiers there is the figure contemplating four dice on the floor in front of him/her. Or perhaps four cubes. They are numbered 1,2,3 & 4. Written underneath is ‘Discover one by one the 64 stones ...’ An allusion most certainly hinting at the method to decode decipher those famous Saunière 'parchments' (reported to have been found by him when he was renovating his church!).
Pontoise is mentioned again (Pontoise is the historic capital of French Vexin) and a date of 17th January 1967.
On page 3 the poem begins proper. Beginning with a ‘Forward’ where a foreword will tell of some interaction between the writer of the foreword and the rest of the story. So the poem is an allegory if you will of Chérisey’s early searches around Rennes-le-Château for an important tomb. Via his dream he is telling us what he first searched for. The poem in a sense is the crux of the matter and the rest of the dossier built around this poem necessarily relates to this ‘central matter’. Also on this page the author of the poem is stated to be Louis Saint Maxent. This Louis Saint Maxent has already supplied the ground plan map of Saint Sulpice used in the earlier Dossier.
Louis Saint Maxent chose to illustrate his poem using the thirteen signs of the Zodiac. Why use a Zodiac? Probably symbolic drawing attention to the Paris Zero Meridian. Or perhaps it is related to the ideas later used by Plantard when he wrote the forward to the re-edition of Boudet’s ‘La Vrai Langue Celtique et le Cromlech of Rennes les Bains’? The thirteen sign zodiac includes Ophiuchus, the Serpent Bearer. Ophiuchus is known as the thirteenth sun sign of the zodiac and mythologically speaking Ophiuchus represents the figure of the healer Asclepius who healed with herbs. ‘He was the son of Apollo and Coronis. His mother was killed for being unfaithful to Apollo and was laid out on a funeral pyre to be consumed, but the unborn child was rescued from her womb. From this he received the name Asclepius ‘to cut open’. Apollo carried the baby to the centaur Chiron who raised Asclepius and instructed him in the art of medicine. Zeus later killed Asclepius with a thunderbolt because he raised the dead and accepted gold for it. Other stories say that Asclepius was killed because after bringing people back from the dead, Hades thought that no more dead spirits would come to the underworld, so asked his brother to remove him. This angered Apollo who in turn murdered the cyclops who made the thunderbolt for Zeus. For this act, Zeus banned Apollo from the night sky and commanded Apollo to serve Admetus, King of Thessaly. After Asclepius' death, Zeus placed Asclepius among the stars as the constellation Ophiuchus ('the Serpent Holder'). (http://en.wikipedia.org/wiki/Asclepius)
But why the Serpent? Æsculapius was an immortal man who had been schooled by the centaur Chiron in the arts of botany and medicine. So he was knowledgeable about the properties of various herbs and plants and he was in effect a student of nature. One day, it is said, he was in the house of a friend when his friend killed a snake. He watched in astonishment when another snake slithered into the room with a particular herb in its mouth and with it restored the slain reptile to life. Recognizing the plant, Æsculapius soon had learned to use its mystical powers to heal the sick and resurrect the dead. It is from this history and from the ability of a snake to cast off its skin and assume a new revitalization that serpents have become symbols for healing. The staff of Æsculapius, with a snake coiling about the rod, is well known in today's medicine. Unfortunately, this symbol is often confused with the caduceus of Mercury, which is a doubly-winged wand entwined by two snakes. Truly, however, the symbol of Mercury is the symbol of messengers’.
Æsculapius, the first doctor, sailed on the famous voyage of the Argonauts in search of the Golden Fleece. Following the journey he continued to heal the sick and to advance the practice of medicine. On the death of Orion, he was about to attempt to restore the life of this great hero when Pluto, lord of the underworld, intervened. Pluto reasoned that his realm would decline if Æsculapius were allowed to revive the dead. He appealed to his brother Jupiter to agree that death should be the ultimate end of mortal man, not to be trifled with even by the most skilled of physicians. Jupiter, king of the gods, struck Æsculapius with a thunderbolt and ended his life on Earth. But in tribute to the accomplishments and skill of the great physician, Jupiter placed him among the stars, where today the star group is known as Ophiuchus, the Serpent Bearer. Other stories suggest that to prevent the entire human race from becoming immortal under the care of Asclepius, the god Zeus killed him with a bolt of lightening and later placed his image in the heavens to honour his good works.
Ophiuchus is also the only constellation in the sky which is patterned after a real person in human history. This is an Ancient Egyptian mortal made god named Imhotep. His life and times in or about the 27th century B.C were honoured by both the Egyptians and Greeks some 2500 years after his death as not only a great man, but as a god who owed his great powers to the knowledge of medicine which he possessed, and who brought the art of healing to mankind. But that is not all. 'Imhotep was the world's first named architect who built Egypt's first pyramid, and he is often recognized as the world's first doctor, a priest, scribe, sage, poet, astrologer, and a vizier and chief minister, though this role is unclear, to Djoser (reigned 2630–2611 BC), the second king of Egypt's third dynasty. He may have lived under as many as four kings. An inscription on one of that kings statues gives us Imhotep's titles as the "chancellor of the king of lower Egypt", the "first one under the king", the "administrator of the great mansion", the "hereditary Noble", the "high priest of Heliopolis", the "chief sculptor", and finally the "chief carpenter". As the High Priest of Heliopolis, he would have been one of the chief priest of Lower (northern) Egypt. Even though Egypt's capital may have been located at Memphis, it is likely during this period that Heliopolis was recognized as the religious capital of Egypt.
As a builder, Imhotep is the first master architect who we know by name. He is not only credited as the first pyramid architect, who built Djoser's Step Pyramid complex at Saqqara, but he may have had a hand in the building of Sekhemkhet's unfinished pyramid, and also possibly with the establishment of the Edfu Temple, but that is not certain. The Step Pyramid remains today one of the most brilliant architecture wonders of the ancient world and is recognized as the first monumental stone structure. Imhotep's best known writings were medical text. As a physician, Imhotep is believed to have been the author of the Edwin Smith Papyrus in which more than 90 anatomical terms and 48 injuries are described. He may have also founded a school of medicine in Memphis, a part of his cult centre possibly known as "Asklepion’, which remained famous for two thousand years. All of this occurred some 2,200 years before the Western Father of Medicine Hippocrates was born.
He was later even worshipped by the early Christians as one with Christ. The early Christians, it will be recalled, adapted to their use those pagan forms and persons whose influence through the ages had woven itself so powerfully into tradition that they could not omit them. He was worshiped even in Greece where he was identified with their god of medicine, Asclepius. He was honoured by the Romans and the emperors Claudius and Tiberius had inscriptions praising Imhotep placed on the walls of their Egyptian temples. He even managed to find a place in Arab traditions, especially at Saqqara where his tomb is thought to be located '(http://www.touregypt.net/featurestories/imhotep.htm.)
Imhotep served under the Third Dynasty king, Djoser, as chancellor to the pharaoh and high priest of the sun god Ra at Heliopolis. Ra (often pronounced as Rah, but more correctly as Ré) is the ancient Egyptian sun god. By the fifth dynasty he became a major deity in ancient Egyptian religion, identified primarily with the mid-day sun, with other deities representing other positions of the sun. Ra changed greatly over time and in one form or another, much later, was said to represent the sun at all times of the day.IMHOTEP — http://www.iqb.es/historiamedicina/personas/imhotep.htm
As God of the midday sun or noon this represented the hour in an observer's local time zone where a break should occur within that working day (see below). The actual scientific term of solar noon describes the moment when the sun crosses the meridian in apparent solar time, the time during a day with the highest sun elevation, which depends on longitude, latitude and date. Solar noon is the moment when the sun appears the highest in the sky (nearest zenith), compared to its positions during the rest of the day. It occurs when the Sun is transiting the celestial meridian. This is also the origin of the terms ante meridiem and post meridiem as noted below. The Sun is directly overhead at solar noon at the equator on the equinoxes; at Tropic of Cancer (latitude 23° 26′ 22″ N) on the June solstice; and at Tropic of Capricorn (23° 26′ 22″ S) on the December solstice.
Due to the different locations within a single time zone, it is largely a coincidence that at a particular longitude the instant of solar noon would occur at the local clock time noon - but it does occur at some locations within a given time zone every day that daylight savings time is not observed, at a different precise longitude every day. To the ancients it seemed the Sun stops its voyage at noon, where it was thought to rest for a while. By standards of magical thinking this stillness is sacred, as Otherworld's themselves are still and static. It was thought that at noon, Otherworld pristine conditions were present, bringing the state of primordial chaos to the world. This resulted in the taboo of working at noon, as work is associated with culture and civilization and therefore anathema to nature and chaos. So, the act of working at noon is viewed as human will contradicting the natural (or God-given) order. As a result, in folklore there is widespread belief that working at noon is vainly and even harmful. Because of this there are Demons associated with noon time in folklore. Persons breaking the taboo of working at noon were subject to chastisement by demons of noon. They are present in many mythologies, from Islamic and Hebrew mythology, where they were represented by dust devils, to Slavic mythology, where all sorts of poludnicas, wilas, and topielecs haunted the offending folk at noon. They universally caused hyperthermia resulting in aches, madness or drowning.
The opposite of noon is midnight. In the northern hemisphere, "noon" had an ancient geographic association with "south" (as did midnight with "north"). Remnants of the "noon" association are preserved in the words for "noon" in French ("midi") and Italian ("mezzogiorno"), both of which also refer to the southern parts of the respective countries. The Egyptian god Ra, as guardian and God of the midday sun and noon had his chief cult centre at the city of Inun, transcribed in English as the [Place of] Pillars, later called Heliopolis meaning "City of the Sun" by the Ancient Greeks. In later Egyptian dynastic times, Ra was merged with the god Horus, as Re-Horakhty. Heliopolis (or On) meaning sun-city, was one of the most ancient cities of Egypt, and capital of the 13th Lower Egyptian nome. According to Diodorus Siculus Heliopolis was built by Actis, one of the sons of Helios and Rhode, who named the city after his father. While all Greek cities were destroyed during the flood, the Egyptian cities including Heliopolis survived. Another chief deity of Heliopolis was the god Atum, who was worshipped in the primary temple, which was known by the names Per-Aat ("Great House") and Per-Atum ("Temple. "House"] of Atum"). The city was also the original source of the worship of the Ennead pantheon, although in later times, as Horus gained in prominence, worship focused on the syncretic solar deity Ra-harakhty (literally Ra, (who is) Horus of the Two Horizons). Atum's name is thought to be derived from the word 'tem' which means to complete or finish’. • Above - the Egyptian sun god Ra with the midday sun ... depicted on his head in the likeness of a Red Serpent.
Imhotep served as priest at Heliopolis. By including Ophiuchus, the author of LSR is again bringing attention to an important Meridian. Ophiuchus/Imhotep was also equated with Christ.
This is fascinating in the context of the Shepherdess Cipher. One line is as follows: I complete (or destroy/finish) this daemon of the guardian at noon. We have just been talking about the Egyptian Gods who were guardians of Midday and Noon, and noon being associated with some demons, with one god even signifying 'to complete or finish'. In the context of our ciphers shouldn't we surely interpret this as Meridian lore? If nothing else the above is an exercise in Chrisey’s direction: ‘...do not take away one iota, think and think again, the base lead of my words may contain the purest gold’ ...we have got to go to great lengths to dissect his words.
‘Thus Atum, because of the meaning to complete or finish (destroy?) has been interpreted as being the 'complete one' and also the finisher of the world.. He returns to watery chaos at the end of the creative cycle. As creator he was seen as the underlying substance of the world, the deities and all things being made of his flesh or alternatively being his ka. Atum is one of the most important and frequently mentioned deities from earliest times, as evidenced by his prominence in the Pyramid Texts, where he is portrayed as both a creator and father to the king. He is usually depicted as a man wearing either the royal head-cloth or the dual white and red crown of Upper Egypt, and Lower Egypt, reinforcing his connection with kingship. Sometimes he also is shown as a serpent (see illustration below). In the Old Kingdom the Egyptians believed that Atum lifted the dead king's soul from his pyramid to the starry heavens. By the time of the New Kingdom, the Atum mythos, merged in the Egyptian pantheon with that of Ra, who was also the creator and a solar deity, their two identities were joined into Atum-Ra. But as Ra was the whole sun, and Atum became to be seen as the sun when it sets (depicted as an old man leaning on his staff), while Khepera was seen as the sun when it was rising. The temple of Ra was said to have been, to a special degree, a depository for royal records, and Herodotus states that the priests of Heliopolis were the best informed in matters of history of all the Egyptians’.
The Egyptians had several sun gods to represent the rising sun, the sun high in the sky and the setting sun. The morning sun, Atum, rode a winged serpent at sun rise and was one of the oldest of the Egyptian gods in the cosmology at Heliopolis which is Greek for On (Coptic) or Iunu. Heliopolis flourished as a seat of learning during the Greek period; the schools of philosophy and astronomy are claimed to have been frequented by Orpheus, Homer, Pythagoras, Plato, Solon, and other Greek philosophers. Ptolemy II had Manethon, the chief priest of Heliopolis, collect his history of the ancient kings of Egypt from its archives. The later Ptolemies probably took little interest in their "father" Ra, and Alexandria had eclipsed the learning of Heliopolis; thus with the withdrawal of royal favour Heliopolis quickly dwindled,. By the 1st century BC, however, Strabo found them deserted, and the town itself almost uninhabited, although priests were still there'. (http://en.wikipedia.org/wiki/Heliopolis_(ancient), http://en.wikipedia.org/wiki/Ra, http://en.wikipedia.org/wiki/Noon, http://en.wikipedia.org/wiki/Atum)
We know that Chérisey had said 'Leave no stone unturned' when looking at the words of his poem and his other documents. We can see elsewhere that he hints at an ancient solar cult, which predates Christ and where Christ was really a continuation of this same cult. Does he intimate an Egyptian origin for Christianity? Is that why he constantly alludes to the goddess Isis? But looking at the above quotes we can also see the themes in the Secret Dossiers, LSR and even the so called Saunière Parchments are all suggesting the importance of Meridians, astronomy, celestial spheres and presumably a point on the ground in a particular area which is somehow associated with an important tomb. We noted earlier that for geographical Meridians (on Earth) there is also an astronomical or celestial version. Might we need to be thinking astronomically too?
Ophiuchus itself is located between the constellations of Capricorn and Sagittarius and is a large constellation along the celestial equator. It is a sun sign and does not appear in our every day Zodiac but only in the real 'Solar Zodiac'. Its dates are 30th November to 17th December. Again we see a reminder to Solar aspects. Hints are persistently given to solar aspects and astronomy. We do not use the Zodiac today which includes Ophiuchus. There are several reasons why Ophiuchus isn't used in our Zodiac, one of them, for example, being simply that the ancient Babylonians decided not to use the sign. Our usage is descended from ancient Babalonia.
However there is another Zodiac that does use Ophiuchus. This is the Lunar Zodiac. The Lunar Zodiac is much more complicated with upwards of 20 signs. When Robert Graves published a very influential book called 'The White Goddess' in 1949, he posited, among other things, that the tree lore of the ancient Druids could be transposed onto a Celtic Zodiac. Scholars don't accept this idea, but they accept that the Druids were experts in astrology and reading stars (as witnessed by classical writers such as Strabo, Cicero and Pliny). The Druids indeed used a Lunar Zodiac. Did Chérisey want to indicate the astronomical aspects and 'reading of the stars' when he chose the Lunar Zodiac with the importance of Ophiuchus? Because the Druid Celtic Zodiac included Ophiuchus it may have occurred to Chérisey that the Zodiac described in the 'White Goddess' fitted his agenda perfectly. Why? Because Graves argues for the worship of a single Goddess under many different names and guises. This ties in with the quote on the front of LSR declaring that one original and unique myth comes to us still in modern times dressed in different clothes! And if nothing else it also fits Chérisey’s obsession with Goddesses, in particular - the Egyptian Isis and the biblical Mary Magdalene. (Although the Magdalene was never a renowned Goddess, she was simply renowned for being associated with a burial which is linked to a Resurrection exactly the same themes found in the Secret Dossiers and Boudet’s La Vrai Langue Celtique!) Inspired and represented by the phases of the moon Graves argues that myths were created that imaged the many faces of the diverse goddesses of various European mythologies. This goddess is the poetic muse. Certain lines in LSR suggest a link with poets and Goddesses. For example Chérisey writes:
‘I wanted to reach the residence of the sleeping BEAUTY in whom certain poets saw the QUEEN of a past realm’ and ‘Once some called her: ISIS, queen of the beneficent springs, COME TO ME ALL YOU WHO SUFFER AND WHO ARE OVERWHELMED AND I WILL COMFORT YOU, otherwise: MADELEINE.’
The terminology suggests poets of the Goddess Isis also known as the Magdalene! As if to confirm it when you look at the dates of the Celtic zodiac, or Lunar zodiac, which are different from the Solar zodiac one realises that the stanza of ‘Leo’ in LSR (which actually becomes the central stanza of the poem i.e. the central importance being hinted at) occurs between 8th July and 4th August. This includes the important date of 22nd July - Mary Magdalene’s Feast day. And to labour the point even more Leo is the only stanza that refers directly to Mary Magdalene. Another clue which may show that the Lunar Zodiac is indicated is that the moon represents ‘darkness and night’ and sleep. The writer of the poem tells us at the end how he had awoken from a nightmare and that all he had related to us in the poem was but a dream!
So for several symbolic reasons Chérisey has chosen the Celtic zodiac.