Menu enigmas & hypotheses of RLC

Nicolas Poussin, Bérenger Saunières and the other

Since I am passionately fond for the fabulous history of Bérenger Saunière and the village of Rennes-Le-Chateau, I fall again regularly on a constant question: Nicolas Poussin has he paints the "Shepherds of Arcadie" in relation with the history of this village of Aude ?

This picture and this painter are questioned in history from the moment where one ratifies the fact that the vicar of Rennes-Le-Chateau went to Paris, then to the Louvre, where he would have obtained of the copies of different pictures of which the one of Chick. The journey of Bérenger Saunière in the Capital has been demonstrated ever nor well proved that different indications offer to make lean us toward this hypothesis.

On the one hand the portraits of Bérenger signed of one of the most famous photographers of the time and on the other hand, the character in himself that frequently had the possibility to leave his village toward destinations, in big parts, unknown,.

It is necessary, in spite of everything, to recognize that the "Shepherds of Chick Arcadie" have of what, several times, to astonish the researcher a little bit curious. The luck is astonishing! The landscape represented on the right part of this picture is the one that one can recover instead says "the Pontilses" situated to some kilometers of Rennes-Le-Chateau. I invite those that would wish more details to refer to the books of Henry Lincoln, "The "recovered Temple and "The key of the Rennes-Le-Chateau" Mystery.

Therefore, we can take in account this hypothesis.Although incredible, the alike facts are there !

Another pictorial representation is to take in account in this mystery. It is Marie-Madeleine's representation praying in the underground cave, logically the one of the Sainte-Baume, on the altar of the church of Rennes-Le-Chateau. This low relief, probably ordered to Giscard of Toulouse, following the instructions of Bérenger Saunière, would have been painted by the priest himself. It is Gérard De Sède that, the first, attracted the public's attention on its existence..

But before going farther, let's come back on the "Shepherds of Arcadie." Therefore, that see ourselves? Four characters around a construction seeming being a tomb and giving the impression of deviser about its case. We can think that these characters are the Shepherds of Arcadie or rather the guards of the Arcadie.

The Arcadie is a region of the Péloponnèse where stands of austere mountains of marble and shale. For the Ancients of the antique this region was the one of the God very wooded Country it was the fief of big herds of horses and donkeys. The Arcadie was the place of stay of the god Flap, god of the shepherds and herds. This Greek God was the Son of Zeus and Callisto.

To this survey we understand why Nicolas Poussin painted this theme. He perfectly goes in the gait intellectual and religious of the time. Why? Merely that we can find without any difficulties the parallelism between the Arcadie and the religion Christian.

Flap is the God of the Shepherds and herds, it is therefore to bring closer Jesus who is himself the guard of the Shepherds, the priests and the Bishops, of the herds, the big family Christian. The Arcadie being herself the symbolism of the Religion Christian. This parallelism is of as much more striking when one knows that Flap is Zeus' son, the King of the God at the Greeks; Jesus, is him God's son. We can affirm therefore that the picture of Nicolas Poussin, "The Shepherds of Arcadie", and in spite of the appearances, turn around a perfectly Catholic theme. Therefore that can deduct some to us at present ?

Let's abandon for some instants l' .uvre of Chick on which we are not going to lack reveni.

As all enthusiasts of this incredible business, I look for the elements susceptible to illuminate the most possible this mystery. It is exactly during one of these research that I fell on an element for which I didn't wait really. Wanting to find more information on Marie-Madeleine's life I got to the survey of different documents having milked to the Saint. Here is that I find the reproduction of a picture to the title "The sinner in penitence." Alas, I don't know the author's name, on the other hand, Bérenger Saunière, him, knew it. It is remarkable to compare this picture with the low relief being under the altar of the church of the village

The comparison of the two representations is absolutely astonishing! We cannot doubt that the one that achieved the low relief of the Rennes-Le-Chateau church was inspired by master's picture. Let's recall that this bas-relief has been made according to the instructions of Saunière. Besides, to its habit, he/it practiced this game that seems so much he to have pleased, the one of the inversions. The bas-relief of Rennes-Le-Chateau is in the sense opposed of master's picture !

But it is not all, the surprise didn't finish to surprise us. Another detail of master's picture hit me. A part of this same picture recalled me something, but what. What was not my surprise when I brought closer this representation to the picture of Nicolas Poussin, "The shepherds of Arcadie" !

If we observe the two left superior angles of the works us discover the same details on the two pictures. The two rocky quarry stones are there !

Leaving from the principle that if there were likeness verified between the low relief of the altar of the church of Rennes-Le-Chateau and master's picture representing "The penitent sinner", and that some likeness existed between this picture and "The shepherds of Chick Arcadie", It had to therefore have of it of it between the low relief and the picture of Chick! And there was some well!!

There was not any maybe in an as obvious way. It is necessary to take the allegorical aspect of the three representations to discern them better.

We know therefore that the picture of Chick is a representation, exactly allegorical, of philosophy Christian. That, through, of the allegory of the Arcadie we recover the family Christian and Jesus' "presence." We know, while accepting this theory, that the included Chick picture a reference to Rennes-Le-Chateau.

We know that the two previous pictures are centered on Marie-Madeleine. What common, constant details propose to us them? First of all the underground cave, obvious since in the concept magdalénien we refer to the Saint-balm, then, the book, the skull and finally Marie-Madeleine, herself.

On the representation of the bas-relief we recover the two rocky quarry stones represented symbolically on the left by the representation of the bas-relief of a porch and a tower. It is easy to identify them; the porch must be the famous porch wisigoth that decorated the entry of the village, even present to the last century. The visible tower must be, without context, the tower of the Rennes-Le-Chateau Saint-Marie-Madeleine church. These two remarks, we will bring to ask an essential question later. We have therefore, under a symbolic aspect, detected the two present quarry stones on the three pictures.

Only one point is not sufficient, especially since I recognize that this symbolic aspect maybe topic to guaranty and is bound to an interpretation that can be very personal. On the other hand of other elements, they are more obvious. First of all, the skulls of the two pictures meet in the picture of Chick! How? Merely! The famous sentence "And in Arcadia ego" is clear. "In Arcadie I am also", this sentence is the representation of the Death, all as the skulls on the two other pictures.

Of as much that in a mind of the representation Christian the idea holds always; Indeed, even in the religion Christian the Death exists, since it is a renewal. Some will tell to me that the very picture of the tomb seems more realistic than the engraved sentence. For what is of this tomb, I will come back over subsequently also.

Therefore, we hold for acquirement this hypothesis of a tie between the sentence of the tomb and the representation of the skulls. The likeness don't stop there! What do we have to think characters of the Chick picture? Who are these three men and this woman? Certainly the Shepherds, the Guards of the Arcadie or again the Guards of the Religion Christian. Are they really who? If we leave from the hypothesis of the symbolic representation of the Catholic Religion, then we can say that its guards of the religion are therefore the Christ's mates! But then, in this case, the Shepherdess would not be anything of less that Marie-Madeleine! It is her that was the first to go to the Christ's tomb and that discovered it emptiness ! Let's summarize ourselves! We have three pictures that approach the same theme of way more or less obvious. One, "The repentant sinner who seems to be a first indication of place, a second, "The Shepherds of Chick Arcadie", who tell some more that what one is willing to believe of it and a bas-relief affixed on an altar of a church of Aude that, all things considered, is not without challenging us.

Let's come back a little on the picture of Chick. Put aside its incontestable artistic quality, we are in right to ask us a question: Why does Nicolas Poussin paint this picture? The question can appear stupid, except if one knows that this picture dating 1638 has been preceded by a first picture, also baptized "The Shepherds of Arcadie" who were executed him toward 1627! What was the painter's incentive to achieve a second picture already excellently on a theme worked ? The first picture is about the theme of the arcadie in a simple way, whereas the one that we know is worked very more! Another detail is flagrant: on the picture of 1627, the bearded character shows his finger the D letter whereas on the one that interests us, the same bearded character indicates the R letter! Is this a luck? Is this a luck, that the bottom of the landscape represents the region of Rennes-Le-Chateau? Is this a luck that one of the characters pointed the R letter of the sentence "And In Arcadia Ego", this same R that the monogram of Rhédae was? Is this a luck what Chick wanted to assimilate the symbolic Christian in the region of Rennes-Le-Chateau? Is by chance this that "The Shepherds of Arcadie" are represented on the tomb of Chick in Rome in the church of San Lorenzo Lucina in ?

It is not the luck, or then, he decided to hit very strong on some meters squared of canvas! Because in some words, we can say that this canvas indicates us that an explanation on an aspect important of the Christian religion is in the region of l'ancient Rhédae. That one of the ties importing this explanation is bound to Marie-Madeleine, or to the church of Rhédae. That this aspect is bound to the Death! That this aspect could be bound to a tomb being in Rhédae or on Rhédae (The R is on the tomb or the tomb in the R) After this analysis, we understand better why Bérenger Saunière seems to have been passionately fond so much for this canvas. If we leave from this hypothesis binding Rhédae, Marie-Madeleine or the church of the same name, and a tomb, has us on a new axis of work.

Two pictures of master exist and prove us the esoteric knowledge of their authors.

Saunière to wanted to use the same tool to leave us a message in the church.

It is therefore ours, now, to find the progress of thought of Bérenger Saunière. If we assimilate the different points well previously definite, it is relatively simple to us to find the tie. First of all it is important to move on the low relief that, if we look besides near ourselves at it gives more information than we think it. To the early access, and under a first analysis, Marie-Madeleine seems to pray merely in the underground cave. On the other hand if we continue the comparisons with the picture of "The repentant sinner" us can note two important points. First that the small bottle of perfume disappeared on the low relief, and that the Christ's body is absent of the cross. A friend, keen in the ritual of the Eucharist, explained to me that this absence seemed normal to him, since it is on the altar that the sacrifice of the lamb of God that gave his body and his blood to wash the world of the sins of the men is celebrated! The idea me lazing reasonable in the religious mind and therefore in the one of a priest as Bérenger Saunière. I started studying different photos and pictures video of this part of the church, until the moment where a detail woke my mind up.

If one observes the low relief of side, and therefore while looking at Marie-Madeleine of face, an astonishing detail attracts our attention. The saint cries, or rather a tear sinks its left .il! This situation is surprising since Marie-Madeleine, in the setting of the gospels, is a privileged. It is hers that the angels addressed for the first announcement of the Christ's resurrection, and it is also hers that Jesus made himself/itself recognize in first. Therefore, in the sense Christian, Marie-Madeleine doesn't have any reason to cry, well on the contrary, because she should be delighted with the Christ's resurrection! Except if the historic context is not the one of the gospels. This hypothesis is heavy of consequences; it was therefore imperative to find the elements that would be able to either to affirm or to invalidate this hypothesis. The elements of the affirmation were there under our eyes. This element had made a lot of saliva sink already and of ink. But taken in an unit context it could bring a hypothetical question only but especially not an answer. If I can allow, I would say that the path of cross of the Rennes-Le-Chateau Saint-Marie-Madeleine church has an astonishing particularity: It doesn't include fourteen stations, but fifteen stations; the bas-relief playing the role of the fifteenth station, the one held secret by the gospels and by the church.

The element that made speak so much of it is the fourteenth station of the path of cross. That says us the Catechism: "The fourteenth station is Jesus' entombment", it is true in most churches, but not to Rennes-Le-Chateau it seems! According to the Gospels, Jesus died in the middle of the afternoon and only at the end of after noon was given the authorization to its near to take it down of the cross in order to put it to the tomb, tomb offered by Josèphe of Arimatie. Only, here is that to Rennes-Le-Chateau and to the demand of Bérenger Saunière the fourteenth station doesn't seem to be in conformity with the cannon of the church. The representation is clear: Jesus came out of night of the tomb! Why? Merely because a superb full Moon decorates the whole. If I am not mistaken the full Moon, visible in this manner, and while observing the hues of the whole, doesn't take place that in full night. We know that Jesus was put to the tomb at the end of after noon, therefore we attend the exit of Jesus' tomb by his near.

It is there that the packsaddle wounds for the church. This explanation makes us understand Marie-Madeleine's tears on the bas-relief and makes us understand the absence of the Christ's Body on the cross of the bas-relief. Shet went to the tomb and Jesus was not there, then, she knew, she learned, or she understood, that he would not revive and that he had died as the common of the mortals. Only, Marie-Madeleine and those that executed this act knew the truth on Jesus' resurrection. It is to preserve the secret better that they escaped the Earth Saint in order to propagate the good speech and to preserve the picture of savior of Jesus that remained in the mind of the common of the mortals and the common of the Christians.

It is probably what understood or discovered Bérenger Saunière. We can think with discernment that it is what Bérenger Saunière must discover. At the same time he discovered the secret of Chick, this secret that motivated it to achieve a second picture of the "Shepherds of Arcadie." Het discovered the secret of the Razès, the true treasure of the Razès, the one that could jostle the world and the religion Christian, therefore.

The secret of the gospels, the secret of Jesus' humanity and of. Marie Madeleine..