The inversions in the history of Rennes-Le-Chateau
As we exposed it in the chapter dedicated to the gardens of the church, we could give ourselves account that on the instructions of Bérenger Saunière had been made of the voluntary inversions.
The most flagrant being :
- the inversion of the pillar that sustained the former altar and that has been placed upside-down, so much in vertical position (cross reversed) that in horizontal position.
- The position of the so-called tile" Tiles the Knights" that Saunière had discovered face against soil and that he placed outside, in the gardens, face skywards, to the foot of the martyrdom, dragging an important erosion not allowing us anymore to distinguish with precision the elements constituting it.
- And well evidently, the set of the gardens in themselves, presenting us an identical mass plan to the one of the church, making us discover a "invisible" church that is, by definition, no-visible to the" uninitiated ".
The inversions of the works of Bérenger Saunière don't stop there! Indeed, we can note that they also reproduce in the abbot's "civil" domain.
Let's remind ourselves :
This domain is constituted the Béthanie villa, the Tower Magdala, the gardens of the domain, the vegetable garden, and the orange grove.
Well evidently, the Magdala tower remains the symbol of the constructions of Saunière. It seemed important to the priest to give a name to his constructions, to such point that he placed their name on each of them.
The Magdala tower doesn't escape this rule. Engraved on a plate of stone, placed on one of the walls of the tower, us can read it comfortably. Only its calligraphy is particular! The M of "Magdala" is the uncial style making us think about a Greek Omega. In this case, we are before an Omega in beginning of word and an Alpha at the end of word. The symbolic Christian us to regular to the binary "Alpha-omega", (I am the beginning and I am the end) Saunière, as for him, seems to want to indicate us the inverse by a binary reversed "Omega-alpha (I am the end and I am the beginning)." .
Let's continue the observation of the domain and more precisely the set of its garden. It is constructed on a square basis permitting an easy symmetry game.
We can say that the Tower Magdala is built in the left lower corner of this square and the orange grove in the right superior corner of this same square. Here we are with two towers in position of symmetry. The symmetry is well the inverse of a position! The notion of inversion doesn't stop there! The Tower Magdala is a tower of stone, very visible and material, his/her/its opposite, the orange grove, is a tower of glass, transparent and almost immaterial; to such point that one doesn't hear to speak ever of it. With regard to these two towers we can, also to note that Magdala possesses a échauguette in its left lower angle and that the orange grove possesses a échauguette in its right superior corner. Other makes astonishing, the Tower Magdala arranges, to reach its summit by the échauguette, a staircase of twenty two walks. The orange grove it has a staircase of twenty two accessible walks by the échauguette, but to descend in its basement. One of the Tours leads skywards, the other toward the basement! Not only we have a vertical inversion but also a horizontal inversion. This, concerning these two towers, is the "visible" part of the inversions.
We have another inversion! A more discreet, nearly invisible to the one that doesn't know how to read. The two towers constructed, on the same proportions and registered in a square, allow us to note that this square is constituted of 8x8 times the basis of these two towers, constituent thus a square of 64 identical slots to those of a chessboard! On this hypothesis, we can affirm that the two towers are well at their place on this chessboard. Which is the white tower? Which is the black tower? In a symbolic aspect, matter always has a negative and corrupt aspect whereas the immaterial, air, has a positive aspect and is symbol of purity. If one leans on this reflection us can say therefore that the Tower Magdala is the Black Tower whereas the orange grove is the White Tower!
And yet! The reasoning also reverses itself him! Pierre's tower, Magdala, representing matter is the one that drives us, by the staircase of the échauguette, skywards, therefore toward the mind; on the other hand the orange grove, made of glass, by the staircase of the échauguette driven us in the basement, the Earth, matter!
To what part of failure did Bérenger Saunière take to?
Can we push the reasoning farther? Maybe! In the church of the village, a chessboard is symbolized in the church by the truncation of the wares drawing the limits of the paving. In this case can we think that" the chessboard" of the domain is the contrary of the one of the church? The "big" being the inverse of the "small!"
But the symbolism of the binary reversed doesn't stop to the works of Saunière in this strange business.
We have two priests who especially become famous: Bérenger Saunière and Henri Boudet. One is from the Rennes of the Top (Rennes-Le-Chateau) the other is the Rennes of the low (Rennes-Les-Bains). One achieves in broad daylight and with uproar, the other achieves in the shade and the discretion. There is an astonishing binomial. The priest of light, the priest of the shade. Who is the darkest of the two? A binomial of which we don't have a real official trace, except a photograph of Bérenger taken Saunière in the Roulers VS probably by Henry Boudet.
The book of Henry Boudet" The True Language Celtic or the Cromlech of Rennes-Les-Bains" is himself a strange work in which one" forgets" the existing elements. To title of example: he tries to speak us of the cities of France being called "Rennes" and he forgets Rennes-Le-Chateau! Still in his book, he speaks to us the menhirs and cromlechs that don't exist and he forgets the menhir of Peyrolles close to the former tomb of arch that is well real to him! And we must forget some!
We can push the survey again farther as we made it on the N reversed. We could go until Saint-Sulpice of Paris! What journey!
What message these priests of the Razès have us they let? What religion did they preach? Is it the one of the Black and the White? Is it the one of Manès? Is she/it the one of the Bogomileses? Or is it the one of the cult of the Prince of Darkness? But is maybe neither of them this! They indicate us maybe the limits that they are not necessary to clear and that it is necessary to know how to walk between these two extremes! Yet Saunières, all as Boudets invite us to one journey toward the" hells ", but it will be the object of another chapter!
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