We began a discussion of Rennes Le Chateau two years ago at the Message board. The discussion came around to the famous paintings by Poussin and Tenniers. Don Barone suggested that the Wood pentagram may have been 'the key' mentioned in the coded message found by Sanierre. We began experimenting overlaying the pentagram in the Shepherds of Arcadia painting by Poussin. The pentagram seemed to fit the composition aligning the central axis of the extended pentagram over the staff and then scaling the entire geometry to the tip of the pointing finger of the shepherd kneeling in front of the tomb. The geometry then seemed to intersect with many of the key elements in the composition as if it was being used as an underlying layout to the painting. This was interesting but then we continued to experiment with the same formula in the other shepherds painting by Poussin, the Tenniers painting and both da Vinci paintings with Jesus, Mary, John, and Elizabeth and found that the same compositional system was at play in each of the paintings. They were all using the Wood pentagram as a layout device in the paintings. This of course was interesting but didn't really reveal any messages. Then we realized that the shepherd in the paintings was pointing to a specific point on the geometry. We took the pentagram and the paintings and overlaid them back in place over the original map of the Rennes le Chateau area and we realized that we had a figure, in a painting, pointing to a location on the map.
The figure was pointing to a microscopic village called La Bourde de la Auguste on the east side of the quartered circle component of Wood's geometry. After reading a number of other authors on RLC I realized that several other researchers for other reasons had concluded that this was the spot of interest in the area. But nothing has ever come of this.
I noticed that the Wood geometry is really made up of three components; a pentagram, a mandala symbol - quartered circle, and a phi rectangle. Each one of these elements have historically been considered to carry an expression of esoteric principles in the form of a fusion of infinite and finite numbers. But the combination of the three elements together is completely unique. Wood wrote extensively about the complexity of the numbers expressed here, it's beyond me to repeat it all. This is rather advanced piece of work especially appearing in the middle of nowhere in the south of France.
Wood also noted that there were several parallels with Egyptian thought expressed in the geometry (again too complex to duplicate here). I was looking at the extended pentagram and I realized that it had 4 points in contact with the circle, which it shared with the mandala, except that the fifth point was 'off' the circle. Well the mandala is an archetype that expresses the synthesis of heaven and earth, Jung wrote extensively about it. I then realized that I had something that had four points on the earth and one point 'off' the earth and was seated inside of a phi rectangle - in short a two dimensional representation of a pyramid complete with an expression of phi.
I took the pentagram and laid it over the Giza plateau. It had no signifiant relationships that I could see oriented the same way it was in RLC. Then, experimenting, I rotated the entire geometry 180 degrees and found that the geometry seemed to snap to the key points of geometry on the temples on the plateau. This in itself was interesting especially considering the unique and complex nature of the geometry. If it had been, for example, a rectangle or a quartered circle on it's own I would have written it off as coincidence but the sophistication of the geometry was too complex for it to be dismissed as chance.
Then I thought, well if the pentagram seems to fit, what would happen if I put the paintings on top using the compositional formula we seemed to have discovered. I then realized I was looking at a series of hidden messages that were exposed by the combination of the geometry, the plateau, and the figures in the paintings.
1. Jesus in resting his elbows on the pyramid while he prays holding the staff (hermetic symbol) looking at John the baptist. Mary holders her hand over John as if she's directing Jesus to go to John. John is pointing to the west side of the plateau. In the other paintings the west is repeatedly shown as a tomb (Poussin), or a skull (Tenniers), or a place of baptism (John who baptises Jesus). In the context of Egyptian thought the east is a theatre of birth and rebirth. In the west it is a theatre of death as the heavenly figures of the sun and stars disappear into darkness behind the earth. If I'm correct it appears that da Vinci is relating Jesus to Osirus, Mary to Isis, and John to Set. It is an initiation scene. It's interesting to note that Mary is dressed in blue and gold exactly like the shepherdess in the Poussin painting at the tomb. On another level it is also pointing to a place of death for Jesus. This is rather chilling when we think about the relative location in Rennes le Chateau and Richard, Henry, and Michael's theory regarding Christ. Note the necklace around Mary's neck and how it aligns with Menachre. This same spot is marked using different techniques in all the paintings.
2. In the Tenniers painting we see St. Anthony holding the staff and pointing to Menachre (sp??). Note in the west point we have a crucifix, an hour glass, and a skull, so once again we have death associated with Christ in the west. Note the other figure beside St Anthony has his elbows resting on the pyramid like it's a table top. I couldn't figure out why they where pointing at Menachre. Then I read this article at Robert's site and I realized that the hour glass may have been a hidden message about time. Look at the diagram half way down the page and look at the angle they are marking with the pointing hand of St. Anthony.
Did Tenniers know this date? Did all of them? Each of the paintings has a compositional play that marks this spot.
Note that the shepherd dressed in blue is pointing to the tomb in the west, once again a repeating theme of death in the west. The shepherd on the left has his hand resting on Menachre as if he's leaning on it. The shepherdess looks on dressed in the same colours as Mary in the da Vinci painting. There are three shepherds one for each pyramid. If you look up Poussin's painting of Orion, you will see these three figures at Orions feet. The figure in blue is looking up at Orion. Between the two paintings we can see that the Shepherd's of Arcadia represent the three figures with Orion and seem to confirm the idea that they symbolize the 3 pyramids. There's much more to this when we look at the work of Knight and Lomas and thier research into the origins of Harim Abif and the symbolism of the Shepherd Kings during the Hyksos period. It seems to be a fusion myth and historical truth. But if I am right about the paintings there is definite connection of the three pyramids to Orion according to Poussin.
They were definitely a bunch of naughty choir boys passing notes during the sermon. Check Michael Baigent's chapter on Talismanic art in 'The Elixir and the Stone'.