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THE SONS OF THE SERPENT TRIBE

LE SERPENT ROUGE

"How strange are the manuscripts of this Friend, great traveller of the unknown, they
appeared to me separately, yet they form a whole for him who knows that the colours of
the rainbow give a white unity, or for the Artist for whom the black springs out from under
his paintbrush, made from the six colours of his magic palette." -- Aquarius, Le Serpent
Rouge, Williamson translation.

"This Friend, how to introduce him to you? His name remained a mystery, but his number
is that of a famous seal. How to describe him to you? Perhaps like the pilot of the
indestructible [imperishable] ark, impassive like a column on his white rock scanning
towards the south [midday] beyond the black rock." -- Pisces, ibid.

"... They shall worship thy name, foursquare, mystic, wonderful, the number of the man;
and the name of thy house 418." -- AL.II.78, second sentence.

"9. It is like the oak that hardens itself and bears up against the storm. It is weather-beaten
and scarred and confident like a sea-captain." -- Liber A'ash vel Capricorni Pneumatici
sub figura CCCLXX.
J. LE SERPENT ROUGE
LE SERPENT ROUGE is familiar to most as the name of one of the "Prieur Documents".
That may be, but we see it as the authors of HBHG came to view it: as a bloodline, a
secret bloodline, a secret tradition, an underground stream tradition. In the context used
presently, it shall be as the genealogy of the Authentic Tradition. But first, we have another
side detour to make, this time from an interesting Masonic author from the early 20th
Century c.e.

Dr. Albert Churchward, in The Arcana of Freemasonry, (1922), speaks of Chaldean


Priests who brought the "Lesser Mysteries" to the Builders (pp. 113ff.)

"As regards the Roman College of Artificers, Krause, in his work, endeavoured to prove
that Masonry originated in the associations of operative Masons. These associations may
have sprung from the building corporations of the Romans. The initiates of the
Architectural Colleges of the Romans did not, however, call themselves 'Brothers'; they
were styled Collega or Incorporatus. These Colleges held 'Lodges' wherever they
established themselves, had signs, symbols, tokens, and passwords, which they had
LEARNED AND RECEIVED FROM THE CHALDEAN MAGICIANS who had flocked to
Rome at the beginning of the Christian Era. THESE CHALDEAN PRIESTS,
NEVERTHELESS, WERE OF INFERIOR ORDER [OUR NOTE: See above note, to
Clegg.], WHO WERE INITIATED INTO PART OF THE LESSER MYSTERIES OF THE
EGYPTIANS ONLY, SO THAT AT BEST THESE COULD ONLY BE CARRIERS OR A
CONNECTING LINK IN THE MIDDLE AGES WITH THE MYSTERIES OF THE
ANCIENTS.

"...These Chaldean Magicians were Turanians, old Stellar Mythos people, who originally
came out of OR left Egypt at the end of their Totemic sociology..."

Churchward wrote at a time when it was still standard procedure to consider the
Egyptians superior to (and more ancient than) the Mesopotamians. Sure, the traditions that
made their way into the Necronomicon, for example, are debased by comparison to the
more authentic versions preserved on clay tablets.

[Author's Note: We wrote this in 1997, before we had gained access to a Computer, and to
the Internet. We were unaware of the book's editor, "Simon"'s career. Nor were we aware
of the numerous articles that have come out regarding the work. Too bad, it still contains
powerful Magick that has worked for us. Perhaps the Magick of Adam Weishaupt is either
just as and/or more powerful than that of the Necro. Coupled with the Magick of the Z2
Formulae, and the real Magick of Thelema, Weishaupt's Magick is a real power drink when
it comes right down to it. Recently the "secret" teachings of a spurious "order" came to our
attention, showing a sloppy melding of the Necronomicon with Thelema in a manner that
demonstrates why some people aren't really Magicians at all. A good corrective for this,
and other wrongs, is to acquire The Code of the Eternal, when and/or if it becomes
available.]

This is what time does to the transmission of ideas. But, the "inferior" Chaldean traditions
are at the roots of the Gnostic Tree, and are more sublime than the Jewish Traditions (at
least until we get to the period of the development of the Kabbalah proper, in the
Languedoc), the Christian Traditions (save for a few exceptions), and most of the rest, for
that matter. Well, Indian Tantrikism, and Tibetan Tantrik Buddhism, can be singled out as
exceptions, and some of the traditions we see in the Near East, as survivals, as well. The
Phoenicians spun a good yarn or two as well.
The Egyptian Traditions which Churchward claims to be superior, ultimately depend upon
the "inferior" Chaldean traditions.

If we juggle the dates, we could see the Priests of OPIS moving to Pergamon, then to
Rome, circa 133 BCE, and imparting their knowledge to Temple Builders.

THE OPHITES are said by some, such as "saint" Jerome, to come from the heresy of the
Nicolaitans. Legge (Forerunners and Rivals of Christianity), informs us of his opinion:

"...we may gather that the 'Heresy' of the Ophites was, even as early as 230 AD, a very old
one, which may have appeared EVEN BEFORE Christianity began to show its power, and
that it was probably born in Asia Minor and owed much TO THE PAGAN RELIGIONS
THERE PRACTISED AND LITTLE OR NOTHING TO ANY DOMINANT PERSONALITY
AS DID THE SYSTEMS OF SIMON MAGUS..." (Vol. 2, page 26.)

Legge shows us, in his work, that the Ophites were established first in Phrygia, home of
many Jews of the Diaspora, and that these Ophites were the first to create a blend of
traditions, by fusing the various Mediterranean cults with that of the Christians. While
Legge doesn't see a connection between the Traditions that came from Samaria and
Judea, i.e., the Dositheans, Simonians, Valentinians, etc., there is a definite connection.
The same school that eventually found itself seated in Pergamon, was once in Egypt.

What follows are some diagrams we developed to show depict this transmission
graphically. This is part of the TimeLine of the Authentic Tradition.

In this set of skeleton key diagrams, one thing becomes apparent. Although not traced in
as much detail as the tradition we are covering, both Judaism and Islam fit into this
system. Even the Iranian, Indian, and Chinese religions and philosophical systems fit into
the diagrams. But, what city isn't on the map?

Orthodox Christianity and all the systems which emerged as a result of it. From the
Churches established by Peter, Paul and the rest of the apostles, to the Catholics and
most of the more popular Eastern Churches. The Egyptian and some of the Syrian and
Mesopotamian Churches are exceptions. But just about everything else, and all the
various denominations, sects, cults, splinter groups, etc., are completely off the board.
They cannot fit. (Except through affiliations with Freemasonry, the R+C, Knights Templar,
or the Roman State Religion, which, though related is only as related to our system as
Naziism was related to Nordic Paganism, Teutonic Philosophy, Zoroastrianism, or any of
the other Aryan - derived religious and philosophical systems).

Now, this is the point we have noticed scholars reach before, and they are presented with
a choice.

1) They can proceed to discredit all traditions save their own particular sect of Christianity
or Atheism;
2) They can go where the research takes them; or
3) They can cover up their tracks and try to debunk it, or claim that Joseph of Arimathea
brought the "Grail" to Britain, claim that Jesus was taught in Tibet, that Moses was
Akhnaten, and that the Israelites camped at Hathor's Temple in the Sinai; or some other
tall tale.

At this point we are still convinced of the validity of Option #2. Indeed, there is a Christian
Tradition in the most "Heathen" of Traditions. Indeed, our heritage depends more upon
Egypt, Syria, Samaria, Sumer, than it does on Bethlehem, Jerusalem, or any of the other
dangerous tourist spots in that tortured landscape. The essence of True Christianity relies
not on Virgin or Pigeon! Or miracle oak trees, or holy relics, or even the pseudo-historical
narrative that has been edited over the years. We do recommend "The Book Your
Church Doesn't Want You To Read" if it is available anywhere. The pure tradition, the
Authentic Tradition, "the origines" of which Pike wrote about, so many pages back.

While the sources we possess on the History and Doctrines of the Gnostics in general, and
the Ophites in particular, may be outdated, for the most part; what recent material that we
do possess, and that which we have consulted in Libraries, on the Internet, and in other
places conforms fairly well to our Thesis, laid before the reader in the pages above. For
the most part, with some exceptions, we get confirmations of the Authentic Tradition. There
are those who are convinced that all the research leads to a vindication of the Orthodox
Story, but that story is not even a fairy tale! If anything the traditions which must come
under close scrutiny are those which are considered Official - the "Accepted" Traditions,
religious and secular. Only the passing of time and the political circumstances of the day,
happened to allow the slave religions and ideologies to remain dominant over humankind
as long as they have. And, humankind, the majority of which [in the so-called civilized
world at least] has remained ignorant as to these matters, wittingly or unwittingly. It has
allowed itself to be ruled by false and irrational belief systems and slave creeds that are an
immense aid to its shepherds. And, even though our work throughout the centuries has
been responsible for setting the majority of these civilizations, cultures, religious groups
into motion, tearing them down and replacing them with something else; even though we
have always pointed the way to humankind that shows it how to find itself, as we have
found ourselves, it, for the most part, has chosen to remain asleep, and let itself be ruled
by tyrants and belief systems (religious and/or secular) that have done nothing but damn
the entire human race. It has found compliance with pretended mandatory codes
necessary in order to feel safe. Party, sect, cult, team, brand name, neighborhood, it's all
the same. It assumes it is free, so it chooses to let its shepherds force the choice their way.

Rather than awakening from the slumber of ignorance, through willed self discipline, to
discover one's essential self nature, and recognize it, thereby achieving Gnosis (or
Liberation, in the classic Buddhist sense), humankind is more interested in drinking more
carbonated sodas, eating name-brand junk food that expedites the decay process,
producing more and more offspring, acquiring more and more possessions, until the
pursuit finally wears them down and they end up dying as the result of trying to hang on to
it all, then they can leave it to their children to fight and die over some day too; and they
can go through the AfterLife, ignorant of its import, and be forced to reincarnate, and start it
all over again, like a ride at a theme park, or like the game over try again message in a
computer or video game. We'll be right back, after a message from our sponsors.
Le Serpent Rouge Interpreted
by Tracy R. Twyman
Oct 23, 2004
from DragonKeyPress Website
recovered through BibliothecaAlexandrinaWayBackMachine Website

Illustration from Le Serpent Rouge

The poem Le Serpent Rouge consists of thirteen stanzas, each dedicated to one of the thirteen houses of
the Priory of Sions zodiac system. The authors are purported to be Louis Saint-Maxent,Pierre Feugere,
and Gaston de Koker, who were all killed shortly after the poem was published. Strange and frightening as
this may seem, these men may not have in fact been the authors, for the poem does not appear to be the
work of a committee, but rather a single quixotic mystic. My theory is that the true author of the poem
was Jean Cocteau. One only needs to read Cocteaus known work, or view his film Orpheus, to recognize
the style of writing and the symbolism employed. Also, it was published just a few years after his death, and
it was during Cocteaus grand mastership that the publication of Priory documents such as this one began.

Assuming that Cocteau was probably the author, and working with the conclusions about Rennes-le-
Chateau that I have expounded in other Dagoberts Revenge articles (and in my book The Merovingian
Mythos), I am now able to understand certain key phrases used within this queer poem. It is my belief that
this poem is written from the point of view of someone following the occult clues that have been left by past
initiates to discover the sacred tombs beneath Rennes-le-Chateau, and the Ark that contains the Grail
stone. The narrator likens his journey to the symbolic journeys of mythological heroes from numerous
ancient legends. Several veiled references are made to Noah/Enoch and his ark; to the Grail stone and the
mysteries it contains; and to the discovery of the tomb of Venus or Isis.

Let us now examine Le Serpent Rouge, as translated by Amy Keller, for its hidden meaning:
Strange are the manuscripts of this Friend, great traveler of the unknown.

I think that these manuscripts represent the wisdom of the tablet of Enoch (Hermes-Thoth). It is Enoch,
as Noah, Deucalion, or Hercules, who is the great traveler of the unknown. Hercules is mentioned later in
the poem, and his tomb is said to be located in a cave within Montsegur. He was the pilot of the boat called
the Cup of Helios (the Sun-ark). That would make Hercules (also called Arkaleus) another
manifestation of the archetype of Noah (whom I have identified as being the same as Enoch). Hercules is
famous for enduring a series of twelve trials, all of which clearly represent the houses of the zodiac. Le
Serpent Rouge may be presenting us with a strange allegory for the Labors of Hercules: one in which there
are thirteen trials, and thirteen zodiac houses, instead of twelve. The unknown through which he travels,
then, would be the zodiac - the Celestial Sea, also represented by the serpent.

They reached me separately, nevertheless they form a whole for him who knows that the colors of
the rainbow give a white unity, or for the Artist, who, under his brush, is able to, from the six hues of
his magic palette, make the night spurt out.

This passage refers to the peculiar property of the seven colors of visible light, which, when combined, form
a pure white light, the radiance of divine illumination. This may be an allusion to the alchemical language of
light. When all of the major pigment colors are added together, they form the opposite - black. The Grail has
always symbolized, in part, the essential unity of diverse aspects of the universe in this manner, including
the unity of opposites such as black and white. The author of this poem seems to be saying that that Grail
has been broken into disconnected pieces and scattered about, like the pieces of Osiris body, or the
original language of the Tower of Babel.

This friend, how does one present him? His name remains a mystery, but his number is that of a
famous seal.

His name remains a mystery because the true Enoch is hidden behind many veils of myth, and is given
many names. The seal is the six-pointed seal of Solomon, which is associated in the occult with Saturn
(Satan). I have discussed in other articles, and in The Merovingian Mythos, how this symbol also represents
the Arka and the world-mountain.

How does one describe him? Maybe like the pilot of the imperishable Ark...

A direct reference linking the main character to the Flood hero.

impassable like a column on a white rock, scanning towards the South, where the black rock is.

Here we have a reference to a white rock and a black rock. The Grail stone is said to be both white and
black, and this will have a very particular significance later on in the poem. (1) The Arks pilot standing
impassable upon the white rock may also refer to the mountain that the Ark rested upon when the Flood
subsided, like Mount Ararat in the Bible.

In my arduous pilgrimage, I was tempted to clear for myself, with a sword, a way towards the
inextricable vegetation of the woods. I wanted the reach the mysterious house of the Sleeping
BEAUTY in whom certain poets see the QUEEN of a fallen kingdom.

This describes the Herculean task of finding the tomb of the goddess-queen said to be buried in the
Pyrenees. She embodies the goddess archetype of Venus, the Sleeping Beauty. The symbols of the
labyrinth and the dense woods are identical and are often combined in other versions of the Tomb of Venus
tale. Nicholas de Vere writes in The Dragon Legacy that,
Labyrinths were often placed in the center of groves. Sleeping Beauty, Diana and Rapunzels tower were
all located in the middle of groves or thick woods.
And as the poem says, Venus was indeed a queen during the golden age. That kingdom is now fallen, and
it is that fallen kingdom which the Priory of Sion wishes to revive.

Worried about finding the way again, the parchments of this Friend were for me like the thread of Ariadne.

Here we have a direct reference to the aforementioned labyrinth, specifically the one built on Crete which is
the center of the famous Greek myth of Theseus and the Minotaur. This labyrinth symbol repeatedly comes
up in connection to the Venus myth and the Holy Grail. The labyrinth is often located inside the caverns of
Venuss enchanted mountain, or, as in the Rapunzel story, can be entered through a tower that represents
a mountain. In fact in Scandinavia labyrinths are referred to as Babylons, indicating that perhaps a
labyrinth was located underneath the Tower of Babel, like the labyrinths that have been found underneath
South American ziggurats and the pyramids of Egypt. There may then be one underneath the mountains
of Rennes-le-Chateau. As Nicholas de Vere states,
The labyrinth, like the pyramid and its collaterals, is thought to be a development of the idea of the
mountain cave.
De Vere also sees the labyrinths as a feminine, vaginal symbol, and the Sleeping Beauty story as a
metaphor for sex magic. He points out that the word labyrinth very likely comes from labia, and that, On
at least two occasions in England labyrinths have been euphemistically referred to as fishtraps, bringing to
mind not only a vaginal connotation, but one specifically associated with Venus, who was represented in
myth by the fish, and who came from a race of navigators, all of whom were associated with fish and
water. In some versions of the myth of the Melusine - that half-woman, half-fish who was the spawn of
Satan (clearly a representation of the Venus archetype), and who spawned the Angevin kings - de
Vere says that Melusine is depicted as residing in the midst of a labyrinth.
The center of the maze, he writes, incorporated a black cubic stone, from which spurted the waters of life,
La Fontaine de Soif, and the blood of the Virgin Womb.
This relates to de Veres theory that the Grail kings of the ancient world regularly participated in a vampiric
ritual that involved drinking the menstrual blood and female ejaculate of so-called Grail maidens, the
foremost of which was Venus herself, the Queen of Harlots, and head of the temple prostitutes.

This ritual would have been cause itself for the Grail kings to observe a 364-day lunar calendar based on
thirteen lunar (and menstrual) cycles of twenty-eight days each. Such a calendar would seem to be
represented by the labyrinth on the floor of the Chartres Cathedral in France, of which de Vere writes that,
The radius of the maze is 21 feet, which is 3 x 7, representing the three fallow weeks of the menstrual
cycle. The week of menstruus would be represented by the point at the center of the maze, which is, on
certain days, illuminated red.
This is accomplished by use of a stained glass window through which sunlight shines upon the center of the
maze. Here also can be found, according to de Vere, a six-petaled Plantagenet or wild rose, carved into
which there seems to be an M figure reminiscent of the symbol of Virgo.

In the myth of the Minotaur, the thread of Ariadne is what allowed Theseus to escape from the Labyrinth
after slaying the beast. Every nine years, the Minotaur required a sacrifice of seven youths and seven
virgins, who were placed as hapless victims inside the labyrinth, where they were torn apart and eaten by
the monster. This state of affairs is what Theseus was sent to rectify by slaying the monster. As de
Vere writes,
...by the time Theseus is said to have turned up, the tribute to the Minotaur in youths and virgins blood had
been paid twice in 18 years. Gematrically this gives us a total of 28 victims, on one lunar cycle of 28 days.
Ariadne, while depicted as human in some versions of the tale, would appear to represent a spider who
spins a magic thread. Note the similarity between the name of Ariadne and that of Arachne, from whence
we get the word arachnid, denoting an eight-legged creature, such as a spider. (2) Arachne was a Greek
goddess, the master spinstress of Olympia, who hanged herself after she lost a web-spinning contest to the
goddess Minerva. Her competitor then felt sorry for her, and reincarnated her in the form of a spider. This
web-spinning goddess figure would seem to have a link to Sleeping Beauty, who, if you will recall, fell into a
deathless sleep after pricking her finger on an enchanted spinning wheel. Theseus entered the labyrinth
with the magic thread of Ariadne tied around his waist, like the cable tow of the Freemasons that is worn
while groping for light (akin to traversing a labyrinth) during their initiation ceremonies. De Vere compares
the story to that of Rapunzel, writing that,
In Rapunzel the golden thread is her hair, and the maze is substituted by the equally daunting but related
structure, a Tower.
Thanks to him, from now on with measured steps and with a certain eye, I can discover the sixty-
four dispersed stones of the perfect cube

The sixty-four dispersed stones which form a perfect cube must be a crucial part of this mystery. There
are sixty-four squares on a chessboard, and a perfect sixty-four-square chessboard is formed by the black
and white tiles on the floor of the church at Rennes-le-Chateau, facing both the statue of the
demon Asmodeus, and the statue of Saint Germain, as if they were opposing players in a game of chess. In
addition, the cipher used in one of the Sauniere parchments is based upon the chessboard, specifically the
Knights Tour. This is a mathematical puzzle, to which there are numerous solutions, the goal of which is
to have the knight visit each square on the chessboard once only, using the L-shaped knights move. The
Knights Tour was also used to form the encryption system used in the code found on one of Saunieres
parchments.

The chequered pattern, and the game of chess itself, is associated with the Knights Templar, who
purportedly acquired knowledge of these things through their extensive contact with Eastern mystics during
the Crusades. The game of chess not only represents the eternal battle between the forces of good and
evil, light and dark; it also represents something astrological. First of all, the boards outer ring consists of
twenty-eight squares, which, as Michael Schneider acknowledges in The Beginners Guide to
Constructing the Universe, represents the twenty-eight days of the lunar cycle. The king and queen are
solar and lunar symbols, as Schneider elaborates:
The king, the most important piece, represents the Sun of this solar system... traveling only one step at a
time, along both square and triangular lines, in any of eight directions. The king is virtually hidden from the
action, yet the entire game revolves around it...The queen is the most powerful piece on the board, having
unlimited movement in any of eight directions of manifestation... In another sense she is Regina Coeli,
Queen of the Heavens, the widely traveling moon which always reflects the light of the Sun, the king.
Besides the king and queen, other pieces on the board also have special significance. The four rooks, or
towers could represent the four watchtowers that divide the zodiac into four cardinal points, and which
were incorporated into the headdress of the goddesses Isis and Diana, as well as Mary Magdalene. (In fact,
a statue of Mary Magdalene crowned with four towers can be seen just outside in the courtyard of the
church at Rennes-le-Chateau.) The black and white squares could be considered alternating periods of day
and night. The chessboard itself, made up of four concentric rings of squares, resembles a birds eye view
of a four-stepped ziggurat, and thus represents the world mountain that in the eyes of the ancients provided
the axis along which the cosmos metaphorically rotated.

In the belief system of ancient man, it was the cosmos, and the heavenly bodies contained within it, that
controlled mans fate. The chessboard symbolizes an astrological mosaic of fates possibilities. On the
board there are six different types of pieces, and these six types of pieces can move in any of eight
directions (the four cardinal points, and the four diagonal points). That there are sixty-four possibilities is
fitting, since there are sixty-four six-part codons, or genetic words in human DNA. There are also,
notably, sixty-four hexagrams in the Chinese divination system known as I-Ching. The relationships
between the pieces on the chessboard form, as Michael Schneider suggests, ...lines of force composing
an energy web, like the web of the spider goddess Arachne, whose eight legs can be likened to the eight
directions on a chessboard, as well as the eight squares that are on each side of the chessboards outer
ring.

Schneider writes that,


The chessboard, the spiders web... and the I-Ching each in its own way represents the worlds opposite
forces weaving the eight-fold elements... the warp and weft of matters web.
The Web of Arachne, or the Web of Fate, was also likened by Nicholas de Vere to the Buddhist eight-
spoked Wheel of Life, and to the Tarots eight-spoked Wheel of Fortune, which both seem, in this context, to
be not unlike Sleeping Beautys spinning wheel, which controlled the fate of an entire kingdom.

There is another important connection as well. I have discussed in my book The Merovingian Mythos how
the Egyptian symbols of the Eye of Ra and the Eye of Horus represent the Grail stone, the stone that was
rejected and the substitute stone. Well, according to R.T. Rundle Clarks Myth and Symbol in Ancient
Egypt, the Eye of Horus consists of 64 parts that have been scattered and need to be reassembled! He
writes:
It will soon be seen that if each part of the [Eye of Horus] represents a fraction of the descending geometric
series 1/2, , 1/8, etc., put together, they make 63/64 So Thoth (3) can say I came seeking the Eye of
Horus, that I might bring it back and count it!
The Eye of Horus is a representation of the Grail stone as the All-Seeing Eye of Satan, with which all of
his direct descendants are able to see as well. This would have to be the Third Eye of Hinduism, called
the Ajna (which comes from Az, a title used by both Cain and Enoch). Is this, then the certain eye
which discovers the sixty-four dispersed stones of theperfect cube?

The perfect cube is also an important symbol in the ancient mysteries, being representative of the
Philosophers Stone of the alchemists. Albert Pike wrote that the Emerald Tablet was a cube. The cube
contains, in its angles, magic numbers. As Pike wrote:
If we delineate a cube on a plane surface thus, we have visible 3 faces, and 9 external lines, drawn
between 7 points. The complete cube has 3 more faces, making 6; 3 more lines, making 12; and 1 more
point, making 8. As the number 12 includes the sacred numbers 3, 5, and 7, and 3 times 3, or 9, and 3
times 3, or 9, and is produced by adding the sacred number 3 to 9, while its own two figures, 1,2, the unit,
or monad, and duad, added together, make the sacred number 3; it was called the perfect number; and the
cube became the symbol of perfection. (4)
The scattered stones of the cube mentioned in this poem may also refer to the ruined Temple of Solomon,
a building whose dimensions, delineated to the architects specifically by God himself, formed a perfect
cube. Albert Pike writes of this:
The Holy of Holies of the temple formed a cube, in which, drawn on a plane surface, there are 4+3+2=9
lines visible, and three sides or faces...
Perhaps this is why the unit of measurement used by the Hebrews for the construction of the Temple was
called, by Englishmen, the cubit.

Given what we know, we can now look at one of the mysteries surrounding Jean Cocteau, the presumed
author of the poem Le Serpent Rouge, with fresh insight. In the mural he created at the Notre Dame de
France in London, he signed his name with the mysterious initials D.D.D. - a code which has never been
explained. But if you consider that D is the fourth letter of the alphabet, and then cube the number 4 (4 x 4
x 4, or 4 to the third power), you get 64 - a perfect cube.(5)

that the Brothers of the BEAUTY of the black woods, escaping the usurpers pursuing them,
disseminated while they were fleeing the white Fort.

If the beauty is Isis, or Venus, then her brothers are the Cainites (descendants of Cain), who literally
were her brothers. Also note that there is a woman whose grave, located on the grounds of the church
at Rennes-le-Chateau, is very important to the whole mystery, and whose name, Marie de Blanchefort,
means literally, Marie of the White Fort. Clearly her grave stone, and her name, are clues pointing to
the grave of Venus, the real Marie of the White Fort.

Reassemble the scattered stones, and work with square and compass to put them back in regular
order;

The Freemasons most well-known emblem is the L-shaped, right-angled square and compass, and this
reassembly of scattered stones indicates re-acquiring that which was lost, i.e., the Grail stone, by using
the L-shaped, right-angled moves of the knight in the Knights Tour to reassemble the scattered stones.

search for the line of the meridian that goes from the Orient to the Occident, then look from the
South to the North, and finally in every direction to obtain the sought solution, stationing oneself
before the fourteen stones marked with a cross.

This indicates using the Roseline meridian that, according to the Priory of Sion and Pierre Plantard, runs
through Rennes-le-Chateau, and which is a much more ancient meridian than even the Paris meridian,
supposedly. It has been suggested that the fourteen stones marked with a cross may actually refer to
the fourteen Stations of the Cross within the church, each of which is surmounted by a Celtic-style cross
with a circle. However, I am not certain that this is the correct interpretation.

The circle was the ring and the crown, and that was the diadem of this QUEEN of the castle.

This passage associates the Venus figure with the written symbol of Venus: a cross surmounted by a circle
- the queen crowned. This sign is related to the Celtic cross mentioned above, and to the Egyptian Ankh,
which was also used by the Cathars, who referred to it as the Albigensian cross. This imagery may further
be related to that of the constellation Virgo, who is depicted in iconography as crowned with a circle of stars,
as are Isis and the Virgin Mary.

The stones of the mosaic pavement from the sacred place are alternately white or black, and
JESUS, like ASMODEUS, observes their alignments.

This again is the black and white chessboard tiling on the floor of the church at Rennes-le-Chateau, which
both the statues of Jesus and Asmodeus are staring down on. Perhaps we are meant to observe the
alignment of the chessboard with other items in the church, and/or to project these alignments outward
through the wider surrounding landscape.

My view seemed incapable of seeing the summit where the Sleeping Beauty lay hidden.

Again, we have a reference to the goddess buried within the mountain: the Venusberg tale, upon which the
story of Sleeping Beauty is based.

It is not by the magical strength of HERCULES that one deciphers these mysterious symbols
engraved by observers of the past.

This is a reference to the cave known as the Tomb of Hercules (a.k.a Enoch), which is covered with
hieroglyphic symbols, just as the tomb of Hermes (Enoch) supposedly is.

http://www.dragonkeypress.com/articles/article_2004_10_20_4442.html

Writes Buechner:
He explored the grottoes of an area known as Sabarthez, notably the grottoes of Ornolac and the massive cavern of
Lombrives. Here he found a huge chamber which was known to the local mountain people as the Cathedral because it had
served as a meeting place for the ancient Cathars. In the main hall was a great stalagmite known as the Tomb of
Hercules. In a third grotto, that of Fontenet, was a stalagmite which was white as snow. It was called the Altar... Deep
within the grottoes of the Sabarthez he found chambers in which the walls were covered with characteristic symbols of the
Knights Templar, side by side with the well-known emblems of the Cathars... One very interesting image which had been
carved into the stone wall of a grotto was clearly a drawing of a lance. This depiction immediately suggested the bleeding
lance which appears over and over again in Arthurian legends, and which is, of course, the Holy Lance which pierced the side
of Christ at the crucifixion.
In the sanctuary, nevertheless the font of benediction, fountain of love of the believers, reminds us
of these words again: BY THIS SIGN YOU WILL CONQUER.

The holy water stoup at Rennes-le-Chateau is marked with the phrase, By this sign you shall conquer.
This phrase was used by Constantine when he saw his vision of the sun-cross in the sky. The cross above
the stoop is of the Celtic type described previously. However, it has been suggested in Holy Blood, Holy
Grail, and in the literature published by the Priory of Sion, that the sign which Constantine really envisioned
was the Chi Rho. This is a symbol made out of the first two Latin letters in the Latin word for Christ. It is
pre-Christian in origin, but is now a common Catholic symbol.

From her who I wish to free, steams of perfume that impregnated the sepulcher climbed towards
me. Formerly some called her ISIS, queen of the beneficial spring, COME TO ME ALL OF YOU WHO
SUFFER AND WHO ARE AFFLICTED, AND I WILL COMFORT YOU. For others: MADGALENE, of the
famous vase full of healing balm. The initiates know her true name: OUR LADY OF THE CROSS.

Here the author associates Isis, Venus, Virgo, and Mary Magdalene with the vase full of balm which all of
these characters were supposed to have carried, and which can also be linked with the Holy Grail. The use
of the term Our Lady of the Cross again associates the goddess with the Celtic circle and cross symbol.
The idea that she needs to be freed from something indicates that she, like her brothers, the Cainites, is
imprisoned within her mountain tomb, trapped in a deathless sleep, like Sleeping Beauty.

I was like the shepherds of the famous painter POUSSIN, perplexed in front of the enigma: ET IN
ARCADIA EGO!

It goes without saying that this is a reference to Nicolas Poussins painting, The Shepherds of Arcadia,
which was mentioned in the Sauniere parchments, and which depicts the mountains of Rennes-le-
Chateau. The painting is a clue indicating the sacred tombs located within the mountains.
Et in Arcadia Ego, Guercino Et in Arcadia Ego, Poussin Shepherd's Monument

The voice of the blood made me form an image of an ancestral past. Yes, the lightening flash of
genius cut across my thinking. I saw it again, I understood! I knew now this fabulous secret.

The author is perhaps experiencing ancestral memories pertaining to the secret of the Grail, for he may be
of the Grail blood himself.

One must marvel that, during the jumps of the four horsemen, the hooves of one horse left four
imprints on the stone.

The imagery of horses brings to mind the horse of God that was mentioned in the Sauniere parchments.
However, these four horsemen are the four knights on the chessboard, and their jumps are once again a
reference to the Knights Tour. They are also reminiscent of the four horsemen of The Revelation of Saint
John the Divine.

There is the sign that DELACROIX had given in one of three tableaus in the Chapel of Angels. There
is the seventh sentence that a hand had traced: DELIVER ME FROM THE MIRE, SO THAT I WILL
NOT STAY HERE SINKING. Twice IS, embalmer and embalmed, miracle vase of the eternal White
Lady of the Legends.

Twice IS is, of course, Isis, or Venus, the Eternal White Lady of the Legends. Here, her vase is
associated with the embalming of corpses, both her own and someone elses. Of course, Mary Magdalenes
balm was supposedly used to anoint Jesus for burial. Deliver me from the mire is perhaps a prayer from
the Ark navigator, asking to be saved from the Flood, to keep him from sinking into the mud that was
swallowing up creation all around him. It also may link up with the story of the children of
God, Shu and Tefnut, who in Egyptian mythology got lost in the Primeval Waters, and were saved by Gods
eye, which was sent out to find them. In the myth, the Eye was personified as female, a precursor to the
idea of the goddess Isis.

Begun in darkness, my journey could only be completed in Light.

Here is yet another reference to the opposing but equal powers of good and evil, light and dark.

At the window of the ruined house, I contemplated the trees made bare by the autumn.

This ruined house, like the story of the ruined Temple of Solomon, or the ruined Tower of Babel,
represents the loss of the Grail wisdom after the Deluge.

At the summit of the mountain, the cross detached itself from the crest under the midday sun. It was
the fourteenth and highest of all with 35 centimeters!

I have already discussed the significance of the time of midday, or high noon, in regards to the Rennes-le-
Chateau mystery in other Dagoberts Revenge articles, and in my book The Merovingian Mythos and
the Mystery of Rennes-le-Chateau.
It is the moment when Hiram Abiff (representing the dead, hidden god within the tomb) was
murdered. Dagobert II, to whom the treasure of Rennes-le-Chateau is said to belong, was also murdered at
midday, and midday is mentioned specifically in the parchments found by Sauniere. As for the rest of this
passage, I have been unable thus far to decipher it conclusively.

Here I am, thus, on my knights tour, on the circuit of the divine horsemen of the abyss.

Here is an even more overt reference to the Knights Tour. The words divine horsemen would also seem to
correlate with the horse of God reference in Saunieres second parchment. Crossing the Abyss may be
analogous to discovering the tomb, and reassembling the scattered stones regaining the Grail.

Celestial vision for him who remembers the four works of E. M. Signol regarding the meridian line;

Emile Signol was a painter who produced four paintings of the old Paris meridian line, which the Priory
documents suggest has some geometric relationship to the Roseline meridian. Signol also painted a
famous portrait of King Dagobert II. All of these works are now on display in the Saint Sulpice church in
Paris.

at the choir of the sanctuary from where this spring of love radiates towards one another, I pivot,
looking from the rose from P to that of the S, then from the S to the P

I believe this line refers to the tombs hidden beneath the mountains of Rennes-le-Chateau: the sanctuary.
The word choir comes from core, indicating the inner chamber of that structure, the heart of the
sanctuary. The word heart in French, is coeur, and it comes from the Latin cor or cordis, from whence
we get the word cardia, designating the heart organ These words are also related to the ancient words
kar and gar, the key syllables in the words Garral, or Grail, and Kardo, the name given in The Book
of the Cave of Treasures for the mountain upon which the Ark landed, which I have equated with Mt.
Cardou in Rennes-le-Chateau. In my book The Merovingian Mythos I discuss how Cardou/Kardo may have
been, as indicated by the Priory of Sions own writings, the zero point for the ancient prime meridian
referred to by the Priory as the Roseline, and thus was literally the center of the Earth in ancient times.

The rose mentioned may be the hidden sun said to be within the tomb, which is referred to
metaphorically in occult ritual as a rose. It may represent, in this instance, the heart of Mt. Cardou. If the
prime meridian of the ancient world passes through this point, this may explain why it is called the
Roseline. The reference to the heart which radiates the source of love for one another identifies this
rose with the Sacred Heart symbol as well, which was used by the Priory of Sion under their guise as the
Hieron du Val dOr. The Sacred Heart symbol is further linked with the rose-cross, the Celtic cross, the
ankh, and the Venus symbol. All of these represent this concept of the center of the Earth and the prime
meridian.

The P and S represent the Priory of Sion.

and the spiral in my mind becomes like a monstrous octopus expelling its ink. The tentacles
absorb the light, I am dizzy.

The tomb of Marie de Blanchefort, which in its inscription reveals the coded words Et in Arcadia Ego,
also has the figure of an octopus etched down at the bottom. The octopus is, according to Priory of Sion
member Paul Le Cour, a solar symbol used in Atlantis. It also contains the same symbolism as Arachne,
the spider goddess, in regards to the number eight and the chessboard.
The spiral in my mind may signify the Fibonacci spiral. On the tombstone of Marie de Blanchefort, at the
top, we find the letters P and S, linked by a Fibonacci spiral. Furthermore, when an octopus expels ink into
water, the ink makes a perfect Fibonacci spiral, another peculiar property of nature. Spirals in general,
however, can also be seen as yet another representation of the labyrinth, or maze.

I put my hand to my mouth, instinctively biting my palm, maybe like OLIER in his coffin.

This is the Masonic Sign of Horror, made by raising the hand over the mouth and biting the palm, a
perfectly apt sign to be made if, for instance, one has just discovered a tomb. In fact, this sign is used in
Masonic ritual when reenacting the discovery of Hiram Abiffs tomb. Jean-Jacques Olier was the founder of
the Seminary of Saint Sulpice. Olier in his coffin may just be a reinforcement of the image of the divine
tombs, and the involvement of the Priory of Sion in the Rennes-le-Chateau mystery.

Curses, I understand the truth, HE HAS PASSED in doing good, as did he of the flowery tomb.

He has passed is reminiscent of the phrase he is there dead from the Sauniere parchments (below)
which in that case referred to the remains of King Dagobert being buried at Rennes-le-Chateau. These
bones were probably laid there alongside those of his ancestors, going all the way back to the
Cainites. The flowery tomb reference is in regards to the supposed rose (or hidden sun) within the tomb
of Enoch/Hermes.

THE 'DAGOBERT' PARCHMENT THE 'SHEPHERDESS' PARCHMENT

The text on this parchment, the shorter of the two, is a This had attracted by far the more interest and
composite of different Gospel accounts of Jesus and his attempts at interpretation.
disciples eating corn on the Sabbath. The hidden
message was discovered by Henry Lincoln in 1969. Some The Latin text is the account from John's
of the letters are raised above the rest on the line, and Gospel (chapter 12) in which Mary of Bethany
simply reading them in order gives the words: (believed by many to be one and the same as
Mary Magdalene) anoints Jesus. As with the
A DAGOBERT II ROI ET A SION EST CE TRESOR ET IL first parchment, certain letters are picked out -
EST LA MORT this time by being smaller than the rest - which
spell the words REX MUNDI, Latin for 'King of
the World', a term used by Gnostic heretics
such as the Cathars.
There is a grave in the church graveyard at Rennes-le-Bains which appears to links up with this line as
well - or rather, two graves. For in this yard there are two gravestones bearing the name of Paul-Urbain de
Fleury, grandson of Marie de Blanchefort.(6) Henry Lincoln believes that the reason for the gravestone
duplication is to draw attention to the mans name, which sounds a lot like fleurie, the French word for
flowery.

But how many have plundered the HOUSE, leaving nothing but embalmed cadavers and metal
objects that they could not have taken. What strange mystery is concealed within the new temple of
SOLOMON, edified by the children of Saint VINCENT?

This is clearly a reference to the sacking of Solomons Temple, the loss of the Grail, and the ruined house
concept discussed earlier. The new Temple of Solomon reference alludes to the concept of regaining that
which was lost. But it may also refer to Rennes-le-Chateau, linking it symbolically with the Temple of
Solomon. In other words, Rennes-le-Chateau is the real Holy of Holies, where the real stone from
Heaven, and the bodies of the real holy patriarchs are buried: the real center of the Earth, and the ideal
location to build a sacred temple, which I believe also exists within the mountains. The writer seems to be
describing a tomb that has been partially plundered except for the bodies, and other objects that were too
heavy to carry. This may indeed be the case with the tombs beneath Rennes-le-Chateau.

The Children of Saint Vincent are a subsection of the Priory of Sion mentioned in the statutes written for
the order by Jean Cocteau, who, according to him, number 243, and who participate neither in the vote,
nor in the Convents, but to whom the Priory of Sion accords certain rights and privileges. This subgroup
was created, Cocteau claimed, on January 17, 1681.

Cursing the profaners in their ashes and those who follow their ways, I leave the abyss where I was
plunged while making the gesture of horror.

Here we have another reference to the Masonic Sign of Horror upon discovering a tomb. The profaners
are those who have plundered the tombs.

Here is the proof that I knew the secret of the Seal of Solomon, and that I had visited the hidden
houses of this queen.

Another reference to the six-pointed star, and to the Sleeping Beauty hidden inside of a mountain.

Take heed, dear Friend. Do not add or remove one iota; think and think again.

This indicates that clues are hidden in the precise wording of this poem, which you will understand more
clearly every time you examine it. These are very similar words to those used at the end of The Revelation
of Saint John the Divine, which may not, in fact, be that last words of that book in its original form. A rumor
persists that the Priory of Sion (and, I suspect, specifically Jean Cocteau) was in possession of a twenty-
third chapter to The Revelation of Saint John the Divine that contained unknown secrets about the
Apocalypse which the Vaticanwished to remain secret. This theory is presented in Andre Douzets
book Saunieres Model and the Secret of Rennes-le-Chateau, in which he links it to the mysterious phrase
John 23 uttered by Berenger Sauniere at his death. Just a few years later, Jean Cocteau assumed the
title John 23 when he took office as the Grand Master of the Priory. (7)

The base lead of my writing contains the purest gold.

These words imply that the tomb which the poem describes contains the secrets of alchemy, which it would
if it contained the tablet of Enoch (Hermes-Thoth).

Returning to the white hill, the sky has opened its floodgates.
In the Bible, the floodgates of the firmament of Heaven were opened to let loose the catastrophic
Deluge.

There seemed to be a presence nearby, its feet in the water like him who comes to receive the mark
of baptism.

Following the Flood reference, here we have yet another reference to water, specifically baptism. This could
symbolize the cleansing of the Earth via the Flood. It could also refer in part to Christs baptism by John the
Baptist. In those days, the ritual was performed not by an emersion of the entire body, but only the feet.
Note that Jean Cocteaus mural at Notre Dame de France in London shows only the feet of Christ. But
there is another mural of Cocteaus that illustrates this principle even more clearly. It is the mural in the
Chapel of Saint Peter entitled Saint Peter Walking on Water. The painting shows Peter being held aloft by
an angel while his feet are dipped into the water, as though he were being baptized.

I turn again towards the East. Facing me I see rings unrolling without end, the enormous SERPENT
ROUGE cited in the parchments. Salty and bitter, the enormous unchained beast became, at the feet
of this white mountain, red in color.

This passage could conceal a hidden message regarding the combination of red and white powders in
alchemy. The reference to the snake being bitter reinforces the association with the sulfurous red element
used in that process.

My emotions were rising. Deliver me from the mire!, I said, and awoke immediately. My dream is
over. I have omitted from telling you in effect that this was a dream I had this JANUARY 17 th, feast
day of Saint SULPICE.

January 17, as we know, is a date that recurs frequently in this Rennes-le-Chateau mystery. It is the
day Marie de Blanchefort is recorded to have died, and the date on which Berenger Sauniere fell ill with a
stroke, from which he died five days later. It is also the date on which Nicolas Flamel, one of the Grand
Masters of the Priory of Sion, is recorded to have successfully completed his first alchemical transformation
of base metal into gold, and the date upon which the Priory of Sions Children of Saint Vincent were
created. Furthermore, it is, as the poem notes, the Feast Day of Saint Sulpice, and we know that the Priory
of Sion took headquarters in the Seminary of Saint Sulpice for some time.

Recently I have discovered even more interesting connections regarding this date. The Birthday Book of
Saints, by Sean Kelly and Rosemary Rogers, says that January 17th is also the feast day of St. Anthony
the Hermit, the patron saint of buried treasure has cropped up elsewhere in the Rennes-le-Chateau
mystery. But even more astounding is that, in addition, this date marks the feast day of St. Roseline,
whose name contains an obvious connection to the Roseline meridian (which, incidentally, runs through
St. Sulpice in Paris). According to Kelly and Rogers, she was:
the mind reading prioress of Provence. When she was exhumed in 1334, four years after her death, her
body was perfectly incorrupt. The astonished cleric in charge was so impressed by the beauty of her eyes
that he scooped them out and took them home.
The details of this story clearly mimic the legend of Venus lying incorrupt within her tomb. The bit about the
eyes being taken out connects with the idea of the Watchers, and with the story of the missing eye of
Horus.

Afterwards, my trouble persisting, I wanted after some reflection to tell you a fairytale by
PERRAULT.

Charles Perrault, a seventeenth century French writer and poet, was the author of the book Sleeping
Beauty.
Here then, dear reader, in the pages that follow are the result of a dream that cradled me in the world
of the strange and the unknown. To him who PASSES BY, DO GOOD!

Here the writer seems to be suggesting that we use the clues embedded in the poem to explore the world
of the strange and the unknown, and to do good by solving the mysteries of the Grail, and of Rennes-le-
Chateau.

There are many riddles still left to be solved within this poem. This may form the basis for a forthcoming
book on the subject.

Endnotes:
(1) Albert Pike stated in Morals and Dogma: The Ancients adored the Sun under the form of a black stone,
called Elagabalus, or Heliogabulua. The faithful are promised, in the Apocalypse, a white stone.

(2) Cocteau decorated the ceiling of the Notre Dame de France with a spiderweb motif.

(3) Remember that Thoth is the same figure as Hermes, or Enoch.

(4) Aleister Crowley insisted that his student magicians construct their altars with two perfect cubes stacked
atop one another, symbolizing the Great Work... The height of the altar is equal to the height above the
ground of the navel of the magician. The altar is connected with the Ark of the Covenant, Noahs Ark, the
nave (navis, a ship) of the Church, and many other symbols of antiquity.

(5) In this context, it is also worth noting that Cocteau was one of the major participants in Hans Richters
film 8 x 8: A Chess Sonata, and he created one of the films most bizarre segments.

(6) Remember that Marie de Blanchefort also had two graves attributed to her.

(7) One should note that, since the Cutting of the Elm, all Priory Grand Masters have taken on the title
John.
Le Serpent Rouge
by Pierre Feugere, Louis Saint-Maxent and Gaston De Koker
17 January 1967

Three Translations Compiled and Compared


from Rennes-le-Chteau Home Page Website

W&H: Translation by Marcus Williamson and Corella Hughes


W: Translation by David Wood
vB: Translation by Elizabeth van Buren

1 Aquarius
Comme ils sont tranges les manuscrits de cet Ami, grand voyageur de linconnu, ils me
sont parvenus sparment, pourtant ils forment un tout pour lui qui sait que les couleurs
de larc-en-ciel donnent lunit blanche, ou pour lArtiste qui sous son pinceau, fait des six
teintes de sa palette magique, jaillir le noir.

W&H: How strange are the manuscripts of this Friend, great traveller of the unknown, they
appeared to me separately, yet they form a whole for him who knows that the colours of
the rainbow give a white unity, or for the Artist for whom the black springs out from under
his paintbrush, made from the six colours of his magic palette.

W: How strange are the manuscripts of this friend, great traveller of the unknown. They
come together as white light but for one who knows separately, they are the colours of the
rainbow; for the artist these six colours unite like magic in his palette and form black.

vB: How strange are the manuscripts of my friend, great traveller of the unknown. They
appear to me separately, but they seem as one to him that knows that the colours of the
rainbow gives a single white light, or to the artist who, in his magic palette, mixes six tints
to make black.

2 Pisces
Cet Ami, comment vous le prsenter ? Son nom demeura un mystre, mais son nombre
est celui dun sceau clbre. Comment vous le dcrire ? Peut-tre comme le nautonnier
de larche imperissable, impassible comme une colonne sur son roc blanc, scrutant vers
le midi, au-del du roc noir.

W&H: This Friend, how to introduce him to you? His name remained a mystery, but his
number is that of a famous seal. How to describe him to you? Perhaps like the pilot of the
indestructible [imperishable] ark, impassive like a column on his white rock scanning
towards the south [midday] beyond the black rock.
W: This friend, how would you know him? His name is a mystery but his number is that of
a famous seal. How can one describe him? Maybe like the pilot of the everlasting Ark of
Noah, impassive like a pillar on his white rock looking beyond the black rock towards the
south.

vB: This friend, how would one present him? His name is a mystery, but his number is that
of a famous seal. How can one describe him? Maybe as the pilot of this everlasting Ark of
Noah, impassive like a pillar on his white rock looking forward towards the south, beyond
the black rock.

3 Aries
Dans mon plrinage eprouvant, je tentais de me frayer lepe une voie travers la
vgtation inextricable des bois, je voulais parvenir la demeure de la BELLE endormie
en qui certains potes voient la REINE dun royaume disparu. Au dsespoir de retrouver
le chemin, les parchemins de cet Ami furent pour moi le fil d Ariane.

W&H: During my testing pilgrimage I tried to clear a path with the sword crossing the
inextricable vegetation of the woods, I wanted to reach the residence of the sleeping
BEAUTY in whom certain poets saw the QUEEN of a past realm. In desperation of finding
my way again the parchments of this Friend were for me, the thread of Ariadne.

W: In my arduous search I was trying to hack a way with my sword through the dense
vegetation of the woods. I wanted to reach the place of the "Sleeping BEAUTY" in which
some poets can see the QUEEN of a lost kingdom. Desperate to find the way I was aided
by the parchments of my friend, they were for me like the thread of ARIADNE.

vB: In my difficult pilgrimage I was trying to hack my way through the dense vegetation of
the woods with my sword. I wanted to reach the abode of the sleeping BEAUTY in whom
some poets can see the QUEEN of a lost kingdom. Desperate to find the way, I was aided
by the parchments of my friend, being for me like Ariadnes thread.

4 Taurus
Grce lui, dsormais pas mesurs et dun oeil sur, je puis decouvrir les soixante-
quatre pierres disperses du cube parfait que les Frres de la BELLE du bois noir
chappant la poursuite des usurpateurs, avaient semes en route quant ils senfuirent
du Fort blanc.

W&H: Thanks to him, from now on by measured steps and a sure eye, I can discover the
sixty-four dispersed stones of the perfect cube that the brothers of the BEAUTY of the
black wood escaping in the pursuit of the usurpers, had scattered on their way whilst they
fled from the white Fort.

W: Thanks to him, from now on with a watchful eye I could make steady progress. I can
find the 64 scattered stones of the perfect cube which the Brothers of the BEAUTY of the
black wood had scattered when they fled from the white fort while they were being
persued [sic] by the usurpers.
vB: Thanks to him, henceforth with measured steps and a sure eye, I am able to discover
the dispersed sixty-four stones of the Brothers of the BEAUTY of the black wood, escaping
the pursuit of usurpers, had sown along the way as they fled from the white Fort.

5 Gemini
Rassembler les pierres parses, oeuvrer de lquerre et du compas pour les remettre en
order rgulier, chercher la ligne du mridien en allant de lOrient lOccident, puis
regardant du Midi au Nord, enfin en tous sens pour obtenir la solution cherche, faisant
station devant les quatorze pierres marques dune croix. Le cercle tant lanneau et
couronne, et lui le diadme de cette REINE du Castel.

W&H: To reassemble the scattered stones, work with the square and compass to put them
back in regular order, look for the line of the meridian in going from the East to the West,
then looking from the South to the North, finally in all directions to obtain the desired
solution, stopping in front of the fourteen stones marked with a cross. The circle being the
ring [coil of snake] and the crown, and to him the diadem of this QUEEN of Castel.

W: Reassemble the scattered stones and, working with square and compass, put them
back in order; find the line of the meridian in going from East to West, then looking from
South to the North and finally in all directions to find the looked-for solution. Station
yourself in front of the fourteen stones making a cross. The circle is the ring and crown
and the crown forms the diadem of the Queen of the Castle.

vB: To reassemble the scattered stones, to work with square and compass to put them in
regular order, to find the line of the meridian in going from East to West, then looking from
the South to the North, then finally in all directions to discover the solution, stationing
oneself in front of the fourteen stones marked with a cross. The circle being the ring and
the crown, and he being the diadem of the Queen of the castle.

6 Cancer
Les dalles du pav mosaque du lieu sacr pouvaient-tre alternativement blanches ou
noires, et JESUS, comme ASMODEE observer leurs alignments , ma vue semblait
incapable de voir le sommet o demeurait cache la merveilleuse endormie. Ntant pas
HERCULE la puissance magique, comment dchiffrer les mystrieux symboles gravs
par les observateurs du pass. Dans le sanctuaire pourtant le bnitier, fontaine damour
des croyants redonne mmoire de ces mots : PAR CE SIGNE TU le VAINCRAS.

W&H: The stones of the mosaic paving of the sacred place could be alternatively black or
white, and JESUS like ASMODEUS, observing their alignment, my view seems incapable
of seeing the summit where the marvellous sleeping one remained hidden. Not being
HERCULES with magic power, decode the mysterious symbols carved by the observers of
the past. In the sanctuary however the stoup, fountain of love of the believers, reminds us
of these words: BY THIS SIGN YOU SHALL CONQUER.

W: The Mosaic tiles of this sacred place alternate black or white and JESUS, like
ASMODEUS observes their alignments. I seem incapable of seeing the summit of the
secret place of the Sleeping Beauty. Not being HERCULES with magical power how do I
solve the mysterious symbols engraved by the witnesses of the past. In the sanctuary
however, is the font, fountain of love, of those who believe reminding us of these words
"BY THIS SIGN YOU WILL CONQUER."

vB: The mosaic tiles of this sacred place are alternatively black and white, and Jesus, like
Asmodeus regards their alignments. My view seems incapable of seeing the summit
where dwells hidden the marvellous beauty. Not being Hercules with magical powers how
can I solve the mysterious symbols engraved by witnesses of the past. However, in the
sanctuary is the font, fountain of love for those who believe, reminding us of these words,
BY THIS SIGN YOU WILL CONQUER him.

7 Leo
De celle que je dsirais librer, montaient vers moi les effluves du parfum qui
imprgnrent le spulchre. Jadis les uns lavaient nomme : ISIS, reine des sources
bienfaisantes, VENEZ A MOI VOUS TOUS QUI SOUFFREZ ET QUI ETES ACCABLES
ET JE VOUS SOULAGERAI, dautres : MADELAINE, au clbre vase plein dun baume
gurisseur. Les initis savent son nom vritable : NOTRE DAME DES CROSS.

W&H: From her that I wanted to free, rose towards me the emanations of perfume which
permeate the sepulchre. 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, with the famous vase full of healing balm. The
initiates know the true name: NOTRE DAME DES CROSS.

W: I am aware of the scent of the perfume which impregnates the sepulchre of the one I
must release. Long ago her name was ISIS, Queen of the benevolent springs, COME TO
ME ALL YOU WHO LABOUR AND ARE HEAVY LADEN AND I WILL GIVE YOU REST.
Others knew her as MAGDALENE with the celebrated vase full of healing balm. The
initiates know her to be NOTRE DAME DES CROSS.

vB: The scent of the perfume of the her whom I wish to liberate, mounts upwards towards
me. Long ago she was named Isis, queen of the benevolent spring, COME TO ME ALL
YOU WHO LABOUR AND ARE HEAVY LADEN AND I WILL COMFORT YOU. Others
knew her as MAGDALENE with the celebrated vase of healing balm. The initiates knew
her true name OUR LADY OF THE CROSSES.

8 Virgo
Jtais comme les bergers du clbre peintre POUSSIN, perplexe devant lenigme : "ET
IN ARCADIA EGO..."! La voix du sang allait-elle me rendre limage dun pass ancestral.
Oui, lclair du gnie traversa ma pense. Je revoyais, je comprenais ! Je savais
maintenant ce secret fabuleux. Et merveille, lors des sauts des quatre cavaliers, les
savots dun cheval avaient laiss quatre empreintes sur la pierre, voil le signe que
DELACROIX avait donn dans lun des trois tableux de la chapelle des Anges. Voil la
septime sentence quune main avait trace : RETIRE MOI DE LA BOUE, QUE JE NY
RESTE PAS ENFONCE. Deux fois IS, embaumeuse et embaume, vase miracle de
lternelle Dame Blanche des Lgendes.
W&H: I was like the shepherds of the famous painter POUSSIN , confused in front of the
enigma: "ET IN ARCADIA EGO..."! The voice of the blood [race] would it show me the
image of an ancestral past. Yes, the light of the genius crossed my mind. I saw again, I
understood! I knew now this fabulous secret. And marvellous, when from the leaps of the
four horsemen, the shoes of one horse had left four imprints on the rock, here is the sign
which DELACROIX had given in one of the three pictures from the chapel of angels. Here
is the seventh sentence which a hand had traced: DELIVER ME FROM THE MIRE, SO
THAT I DO NOT STAY THERE SINKING. two times IS, embalmer and embalmed,
miraculous vase of the eternal White Lady of Legends.

W: I was like the shepherds of the celebrated painter POUSSIN puzzled by the enigma of
"ET IN ARCADIA EGO." Would the voice of the blood form an image of our ancestral past.
Yes, a light of inspiration floods my mind; now I understand. I know now the fabulous
secret and what is more amazing is that when the four knights moved, one of the horses
left four hoofprints in the rock. Here is the sign which DELACROIX has given in one of the
three paintings in the Chapel of Angels. There is the seventh sentence which a hand has
traced: "DELIVER ME OUT OF THE MIRE, AND LET ME NOT SINK." Two times I.S.
embalming and embalmed. Miraculous vessel of the eternal White Lady of Legends.

vB: I am, like the celebrated painter Poussin, puzzled by the enigma "ET IN ARCADIA
EGO." Would the voice of the blood form an image of our ancestral past. Yes, a light of
inspiration floods my mind; now I understand. Now I the fabulous secret. And what is more
amazing is that when the four knights moved, one of the horses left four hoofprints in the
rock. Here is the sign which DELACROIX has given in one of the three paintings in the
chapel of the Angels. There is the seventh sentence which a hand has traced: DELIVER
ME FROM THE MIRE, AND LET ME NOT SINK. Two times IS embalmer and embalmed,
miraculous vessel of the eternal White Lady of Legends.

9 Libra
Commenc dans les tnbres, mon voyage ne pouvait sachever quen Lumire. A la
fentre de la maison ruine, je contemplais travers les arbres dpouills par lautomme
le sommet de la montagne. La croix de crte se dtachait sous le soleil du midi, elle tait
la quatorzime et la plus grande de toutes avec ses 35 centimtres! Me voici donc mon
tour cavalier sur le coursier divin chevauchant labme.

W&H: Started in the shadows, my journey could only be finished in light. At the window of
the ruined house I gazed across the trees stripped by autumn to the summit of the
mountain. The cross of crete stood out under the midday sun, it was the fourteenth and
the biggest of all with its 35 centimetres! Here I am therefore on my horse ride [tour] on a
divine steed crossing the abyss.

W: I began my journey in shadows and completed it in the light. At the window of the
ruined house I look across the trees denuded by Autumn. At the summit of the mountain,
the cross stood out from the crest of the midday sun. It was the fourteenth and highest of
all with 35cm. Here, then, is my knights tower on the circuit of the divine horseman of the
abyss.

vB: I began my journey in shadows, and completed it in the light. At the window of the
ruined house, I look across the trees denuded by autumn to the summit of the mountain.
The cross stood out from the crest under the midday sun, it was the fourteenth and largest
of all with 35cm. Here then am I at my knights tower on the divine steed spanning the
Abyss.

10 Scorpio
Vision cleste pour celui qui me souvient des quatres oeuvres de Em. SIGNOL autour de
la ligne du Mridien, au choeur mme du sanctuaire do rayonne cette source damour
des uns pour les autres, je pivote sur moi-mme passant du regard la rose du P celle de
lS, puis de lS au P ... et la spirale dans mon esprit devenant comme un poulpe
monstrueux expulsant son encre, les tnbres absorbent la lumire, jai le vertige et je
porte ma main ma bouche mordant instinctivement ma paume, peut-tre comme OLIER
dans son cerceuil. Maldiction, je comprends la vrit, IL EST PASSE, mais lui aussi en
faisant LE BIEN, ainsi que xxxxxxxx CELUI de la tombe fleurie . Mais combien ont
saccag la MAISON, ne laissant que des cadavres embaums et nombres de mtaux
quils navaient pu emporter. Quel trange mystre recle le nouveau temple de
SALOMON difi par les enfants de Saint VINCENT.

W&H: Celestial vision for him who remembers the four works of Em. Signol around the
Meridian line, to the choir itself from the sanctuary from which beams this source of love
from one to another, I turn around passing the site of the rose of the P to that of the S,
then from the S to the P . . . and the spiral in my mind becoming like a monstrous Octopus
expelling its ink, the shadows obscure the light, I am dizzy and I hold my hand to my
mouth biting instinctively my palm, perhaps like OLIER in his coffin. Curses, I understand
the truth, HE IS GONE, but to him too in doing THE GOOD, like HIM of the flowery tomb.
But how many have sacked the HOUSE, leaving only the embalmed corpses and
numerous metal objects which they could not carry? What strange mystery conceals the
new temple of SOLOMON built by the Children of Saint Vincent?

W: There is a celestial vision for the one who recalls the four tasks of EM. SIGNOL around
the line of the meridian; the same Choir (heart) of the sanctuary from which radiates the
source of love for one another. I turn looking at the rose of P then to that of the S. Then
from the S to the P until my mind is dizzy. The spiral in my mind becomes like a monstrous
octopus expelling its ink, the shadows absorb the light. I put my hand to my mouth, biting
my palm, maybe like OLIER in his coffin. Curses, I know the truth, HE HAS PASSED, in
doing GOOD as did HE of the flowery tomb. But how many have pillaged the HOUSE,
leaving only embalmed corpses and a number of metal things they could not carry? What
strange mystery is concealed in the new Temple of SOLOMON, built by the children of ST.
VINCENT?

vB: Here is a celestial vision for the one who follows the four works of Em. SIGNOL
around the line of the meridian, even at the heart of the sanctuary from where radiates the
source of brotherly Love. I turn about on myself, casting a look at the rose of "P" to that of
the "S", then from "S" to "P" . . . And the spiral in my mind becomes a monstrous octopus
expelling its ink, the shadows absorb the light; I become giddy, and I carry my hand to my
mouth, instinctively, perhaps like OLIER in his coffin. Damnation, I know the truth, HE HAS
PASSED, but he has also in doing GOOD, as did HE of the flowery tomb. But how many
have pillaged the HOUSE, leaving only embalmed corpses and numbers of metal things
that they could not carry? What strange mystery is concealed in the new Temple of
SOLOMON built by the children of St Vincent?
11 Ophiuchus/Serpent
Maudissant les profanateurs dans leurs cendres et ceux qui vivent sur leurs traces,
sortant de labme o jtais plong en accomplissant le geste dhorreur : "Voici la preuve
que du sceau de SALOMON je connais le secret, que xxxxxxxxxxx de cette REINE jai
visit les demeures caches." A ceci, Ami Lecteur, garde toi dajouter ou de retrancher un
iota ... mdite, Mdite encore, le vil plomb de mon crit xxxx contient peut-tre lor le plus
pur.

W&H: Cursing the profaners in their ashes and those who live in their tracks, leaving the
abyss where I was plunged in finishing the gesture of horror: "Here is the proof that I knew
the secret of the Seal of SOLOMON, that of this QUEEN I have visited the hidden
residences." To this, Dear Reader, be careful not to add or remove an iota . . . meditate,
meditate again, the vile lead of my writing contains perhaps the purest gold.

W: Cursing the profane in their ashes and those who follow their ways; returning from the
darkness while making the gesture of horror at the abyss into which I had plunged. Here is
the proof that I knew the secret of the Seal of SOLOMON and I had visited the secret
places of this QUEEN. Take Heed my friend, do not add or take away one iota; think and
think again, the base lead of my words may contain the purest gold.

vB: Cursing the profane in their ashes and those who follow in their ways, returning from
the abyss into which I had plunged while making the gesture of horror; here is the proof
that I knew the secret of the seal of SOLOMON, that I have visited the secret places of this
QUEEN. To this, my friend, do not add or take away one iota . . . think and think again, the
base Lead of my words may contain the purest gold.

12 Sagittarius
Revenant alors la blanche coline, le ciel ayant ouvert ses vannes, il me sembla prs de
moi sentir une prsence, les pieds dans leau comme celui qui vient de recevoir la marque
du baptme, me retournant vers lest, face moi je vis droulant sans fin ses anneaux,
lnorme SERPENT ROUGE cit dans les parchemins, sale et amre, lnorme bte
dchaine devint au pied de ce mont blanc, rouge en colre.

W&H: Returning then to the white hill, the sky having opened its gates, it seems there is a
presence near me, the feet in the water like him who has just been baptised, turning
myself again towards the east facing me I saw unrolling without end, his coils, the
enormous SERPENT ROUGE cited in the parchments, salty and bitter, the enormous
beast unleashed became at the foot of this white hill, red with anger.

W: Returning again to the white hill, the sky opens its floodgates. Close to me a presence,
its feet in the water, like one who has just received the mark of baptism, I turn away again
to the east, facing me I see unwinding endlessly by his coils, the enormous RED
SERPENT mentioned in the documents, rigid and bitter, the huge, unleashed beast at the
foot of the white mountain beast becomes scarlet with anger.

vB: Returning again to the white hill, the sky opening its floodgates I seem to sense close
to me a presence, its feet in the water, like one who is going to receive the sign of baptism,
I turn towards the East, and see facing me, unwinding endlessly its coils, the
enormous RED SERPENT mentioned in the parchments, salty and bitter, the huge,
unleashed beast becomes red with anger at the foot of the white mountain.

13 Capricorn
Mon motion fut grande, "RETIRE MOI DE LA BOUE" disais-je, et mon rveil fut
immdiat. Jai omis de vous dire en effet que ctait un songe que javais fait ce 17
JANVIER, fte de Saint SULPICE. Par la suite mon trouble persitant, jai voulu aprs
rflexions dusage vous le relater un conte de PERRAULT. Voici donc Ami Lecteur, dans
les pages qui suivent le rsultat dun rve mayant berc dans le monde de ltrange
linconnu. A celui qui PASSE de FAIRE LE BIEN !

W&H: My emotion was great "DELIVER ME FROM THE MIRE" I said, and I awoke
immediately. I havent told you in fact that this was a dream that Id 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.

W: My emotions are elated, DELIVER ME OUT OF THE MIRE, immediately I woke up, my
dream is over. I meant to tell you that it was a dream I had on this 17th JANUARY, the day
of Saint SULPICE, but the nightmare persisted. On reflection, I wish I had told it to you as
a fairytale by PERRAULT. In the pages which follow, dear reader, are the results of a
dream which nursed me from the bizarre to the unknown. LET HE WHO HAS THE
UNDERSTANDING USE IT WITH WISDOM.

vB: My emotions are elated, DELIVER ME OUT OF THE MIRE I say, and immediately I
awaken. I have omitted to tell you that it was a dream I had on the 17th of January, the day
of Saint SULPICE. On reflection, my trouble persisting, I wish I wish that I told you as a
Fairytale by PERRAULT. Here then, dear reader, in the pages that follow the result of a
dream which nursed me from the strange to the unknown. TO HIM WHO PASSES IN
DOING GOOD.
Notes on
Le Serpent Rouge
from Rennes-le-ChteauHomePage Website
recovered through WayBackMachine Website

1 Aquarius

"How strange are the manuscripts of this Friend, great traveller of the unknown, they appeared to
me separately, yet they form a whole for him who knows that the colours of the rainbow" give a
white unity, or for the Artist for whom the black springs out from under his paintbrush, made from
the six colours of his magic palette."

"Comme ils sont tranges les manuscrits de cet Ami, grand voyageur de l'inconnu, ils me sont
parvenus sparment, pourtant ils forment un tout pour lui qui sait que les couleurs de l'arc-en-
ciel donnent l'unit blanche, ou pour l'Artiste qui sous son pinceau, fait des six teintes de sa
palette magique, jaillir le noir."

2 Pisces

"This Friend, how to introduce him to you? His name remained a mystery, but his number is that
of a famous seal. How to describe him to you? Perhaps like the pilot of the indestructible
[imperishable] ark, impassive like a column on his white rock scanning towards the south
[midday] beyond the black rock."

"Cet Ami, comment vous le prsenter ? Son nom demeura un mystre, mais son nombre est celui
d'un sceau clbre. Comment vous le dcrire ? Peut-tre comme le nautonnier de l'arche
imperissable, impassible comme une colonne sur son roc blanc, scrutant vers le midi, au-del du
roc noir."

3 Aries

"During my testing pilgrimage I tried to clear a path with the swordcrossing the inextricable
vegetation of the woods, I wanted to reach the residence of the sleepingBEAUTY in whom certain
poets saw the QUEEN of a past realm. In desperation of findingmy way again the parchments of
this Friend were for me, the thread of Ariadne."

"Dans mon plrinage eprouvant, je tentais de me frayer l'epe une voie travers la vgtation
inextricable des bois, je voulais parvenir la demeure de la BELLE endormie en qui certains
potes voient la REINE d'un royaume disparu. Au dsespoir de retrouver le chemin, les
parchemins de cet Ami furent pour moi le fil d' Ariane."

4 Taurus
"Thanks to him, from now on by measured steps and a sure eye, I can discover the sixty-four
dispersed stones of the perfect cube that the brothers of the BEAUTY of the black wood escaping
in the pursuit of the usurpers, had scattered on their way whilst they fled from the white Fort."

"Grce lui, dsormais pas mesurs et d'un oeil sur, je puis decouvrir les soixante-quatre
pierres disperses du cube parfait que les Frres de la BELLE du bois noir chappant la
poursuite des usurpateurs, avaient semes en route quant ils s'enfuirent du Fort blanc."

5 Gemini

"To reassemble the scattered stones, work with the square and compass to put them back in
regular order, look for the line of the meridian in going from the East to the West, then looking
from the South to the North, finally in all directions to obtain the desired solution, stopping in front
of the fourteen stones marked with a cross. The circle being the ring [coil of snake] and the
crown, and to him the diadem of this QUEEN of Castel."

"Rassembler les pierres parses, oeuvrer de l'querre et du compas pour les remettre en order
rgulier, chercher la ligne du mridien en allant de l'Orient l'Occident, puis regardant du Midi au
Nord, enfin en tous sens pour obtenir la solution cherche, faisant station devant les quatorze
pierres marques d'une croix. Le cercle tant l'anneau et couronne, et lui le diadme de cette
REINE du Castel"

6 Cancer

"The stones of the mosaic paving of the sacred place could be alternatively black or white,
and JESUS like ASMODEUS, observing their alignment, my view seems incapable of seeing
the summit where the marvellous sleeping one remained hidden. Not being HERCULES with
magic power, decode the mysterious symbols carved by the observers of the past. In the
sanctuary however the stoup, fountain of love of the believers, reminds us of these words: BY
THIS SIGN YOU SHALL CONQUER."

"Les dalles du pav mosaque du lieu sacr pouvaient-tre alternativement blanches ou noires, et
JESUS, comme ASMODEE observer leurs alignments , ma vue semblait incapable de voir le
sommet o demeurait cache la merveilleuse endormie. N'tant pas HERCULE la puissance
magique, comment dchiffrer les mystrieux symboles gravs par les observateurs du pass.
Dans le sanctuaire pourtant le bnitier, fontaine d'amour des croyants redonne mmoire de ces
mots : PAR CE SIGNE TU le VAINCRAS."

7 Leo

"From her that I wanted to free, rose towards me the emanations of perfume which permeate the
sepulchre. 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, with the famous vase full of healing balm. The initiates know the true
name: NOTRE DAME DES CROSS."

"De celle que je dsirais librer, montaient vers moi les effluves du parfum qui imprgnrent le
spulchre. Jadis les uns l'avaient nomme : ISIS, reine des sources bienfaisantes, VENEZ A MOI
VOUS TOUS QUI SOUFFREZ ET QUI ETES ACCABLES ET JE VOUS SOULAGERAI, d'autres :
MADELAINE, au clbre vase plein d'un baume gurisseur. Les initis savent son nom vritable :
NOTRE DAME DES CROSS."

8 Virgo
"I was like the shepherds of the famous painter POUSSIN , confused in front of the enigma: "ET
IN ARCADIA EGO..."! The voice of the blood [race] would it show me the image of an ancestral
past. Yes, the light of the genius crossed my mind. I saw again, I understood! I knew now this
fabulous secret. And marvellous, when from the leaps of the four horsemen, the shoes of one
horse had left four imprints on the rock, here is the sign which DELACROIX had given in one of
the three pictures from the chapel of angels. Here is the the seventh sentence which a hand had
traced: DELIVER ME FROM THE MIRE, SO THAT I DO NOT STAY THERE SINKING. two times
IS, embalmer and embalmed, miraculous vase of the eternal White Lady of Legends.."

"J'tais comme les bergers du clbre peintre POUSSIN, perplexe devant l'enigme : "ET IN
ARCADIA EGO..."! La voix du sang allait-elle me rendre l'image d'un pass ancestral. Oui, l'clair
du gnie traversa ma pense. Je revoyais, je comprenais ! Je savais maintenant ce secret
fabuleux. Et merveille, lors des sauts des quatre cavaliers, les savots d'un cheval avaient laiss
quatre empreintes sur la pierre, voil le signe que DELACROIX avait donn dans l'un des trois
tableux de la chapelle des Anges. Voil la septime sentence qu'une main avait trace : RETIRE
MOI DE LA BOUE, QUE JE N'Y RESTE PAS ENFONCE. Deux fois IS, embaumeuse et
embaume, vase miracle de l'ternelle Dame Blanche des Lgendes."

<="" a="">

<="" a="">9 Libra


<="" a="" style="color: rgb(0, 0, 0); font-family: "Times New Roman"; font-size:
medium; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal;
font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px;
text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-
stroke-width: 0px; text-decoration-style: initial; text-decoration-color: initial;">

<="" a="">"Started in the shadows, my journey could only be finished in light. At the window of
the ruined house I gazed across the trees stripped by autumn to the summit of the mountain.
The cross of crete stood out under the midday sun, it was the fourteenth and the biggest of all
with its 35 centimetres! Here I am therefore on my horse ride [tour] on a divine steed crossing the
abyss ."

"Commenc dans les tnbres, mon voyage ne pouvait s'achever qu'en Lumire. A la fentre de
la maison ruine, je contemplais travers les arbres dpouills par l'automme le sommet de la
montagne. La croix de crte se dtachait sous le soleil du midi, elle tait la quatorzime et la plus
grande de toutes avec ses 35 centimtres! Me voici donc mon tour cavalier sur le coursier divin
chevauchant l'abme."

<="" a="">

<="" a="">10 Scorpio


<="" a="" style="color: rgb(0, 0, 0); font-family: "Times New Roman"; font-size:
medium; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal;
font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px;
text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-
stroke-width: 0px; text-decoration-style: initial; text-decoration-color: initial;">
<="" a="">"Celestial vision for him who remembers the four works of Em. Signol around
the Meridian line, to the choir itself from the sanctuary from which beams this source of love from
one to another, I turn around passing the site of the rose of the P to that of the S, then from the S
to the P ... and the spiral in my mind becoming like a monstrous Octopus expelling its ink, the
shadows obscure the light, I am dizzy and I hold my hand to my mouth biting instinctively my
palm, perhaps like OLIER in his coffin. Curses, I understand the truth, HE IS GONE, but to him
too in doing THE GOOD, like HIM of the flowery tomb. But how many have sacked the HOUSE,
leaving only the embalmed corpses and numerous metal objects which they could not carry?
What strange mystery conceals the new temple of SOLOMON built by the Children of Saint
Vincent?"

"Vision cleste pour celui qui me souvient des quatres oeuvres de Em. SIGNOL autour de la ligne
du Mridien, au choeur mme du sanctuaire d'o rayonne cette source d'amour des uns pour les
autres, je pivote sur moi-mme passant du regard la rose du P celle de l'S, puis de l'S au P ...
et la spirale dans mon esprit devenant comme un poulpe monstrueux expulsant son encre, les
tnbres absorbent la lumire, j'ai le vertige et je porte ma main ma bouche mordant
instinctivement ma paume, peut-tre comme OLIER dans son cerceuil. Maldiction, je
comprends la vrit, IL EST PASSE, mais lui aussi en faisant LE BIEN, ainsi que xxxxxxxx CELUI
de la tombe fleurie . Mais combien ont saccag la MAISON, ne laissant que des cadavres
embaums et nombres de mtaux qu'ils n'avaient pu emporter. Quel trange mystre recle le
nouveau temple de SALOMON difi par les enfants de Saint VINCENT."

<="" a="">

<="" a="">11 Serpent


<="" a="" style="color: rgb(0, 0, 0); font-family: "Times New Roman"; font-size:
medium; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal;
font-weight: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px;
text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-
stroke-width: 0px; text-decoration-style: initial; text-decoration-color: initial;">"Cursing
the profaners in their ashes and those who live in their tracks,leaving the abyss where I was
plunged in finishing the gesture of horror : "Here is the proof that I knew the secret of the Seal of
SOLOMON, that of this QUEEN I have visited the hidden residences". To this, Dear Reader , be
careful not to add or remove an iota ... meditate, meditate again, the vile lead of my writing
contains perhaps the purest gold."

"Maudissant les profanateurs dans leurs cendres et ceux qui vivent sur leurs traces, sortant de
l'abme o j'tais plong en accomplissant le geste d'horreur : " Voici la preuve que du sceau de
SALOMON je connais le secret, que xxxxxxxxxxx de cette REINE j'ai visit les demeures
caches. " A ceci, Ami Lecteur, garde toi d'ajouter ou de retrancher un iota ... mdite, Mdite
encore, le vil plomb de mon crit xxxx contient peut-tre l'or le plus pur."

12 Sagittarius

"Returning then to the white hill, the sky having opened its gates, it seems there is a presence
near me, the feet in the water like him who has just been baptised, turning myself again towards
the east facing me I saw unrolling without end, his coils, the enormous SERPENT ROUGE cited
in the parchments, salty and bitter, the enormous beast unleashed became at the foot of this
white hill, red with anger."
"Revenant alors la blanche coline, le ciel ayant ouvert ses vannes, il me sembla prs de moi
sentir une prsence, les pieds dans l'eau comme celui qui vient de recevoir la marque du
baptme, me retournant vers l'est, face moi je vis droulant sans fin ses anneaux, l'norme
SERPENT ROUGE cit dans les parchemins, sale et amre, l'norme bte dchaine devint au
pied de ce mont blanc, rouge en colre."

13 Capricorn

"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."

"Mon motion fut grande, "RETIRE MOI DE LA BOUE" disais-je, et mon rveil fut immdiat. J'ai
omis de vous dire en effet que c'tait un songe que j'avais fait ce 17 JANVIER, fte de Saint
SULPICE. Par la suite mon trouble persitant, j'ai voulu aprs rflexions d'usage vous le relater un
conte de PERRAULT. Voici donc Ami Lecteur, dans les pages qui suivent le rsultat d'un rve
m'ayant berc dans le monde de l'trange l'inconnu. A celui qui PASSE de FAIRE LE BIEN !"

Notes on
Le Serpent Rouge

Contents

Introduction
Structure of Le Serpent Rouge
The Title of the Book

1 Aquarius
2 Pisces
3 Aries
4 Taurus
5 Gemini
6 Cancer
7 Leo
8 Virgo
9 Libra
10 Scorpio
11 Serpent
12 Sagittarius
13 Capricorn

Appendix - The Tree of Life


Bibliography

Introduction
We first became aware of the existence of Le Serpent Rouge in an appendix to the
book Genisis by David Wood. For many years we tried to find an original or good quality
reproduction of the text so that we might see what else was contained in the book. In October
1997 in Rennes-le-Chteau we found the copy of Le Serpent Rougeproduced by Pierre Jarnac.
This reproduction has been used as the basis of the translation and notes you find here.

The purpose of these notes is not to provide a solution to Le Serpent Rouge. Instead, the
intention is to provide information and relevant quotations from other works relating to the subject
matter of Le Serpent Rouge. In this way, it is hoped, the researcher will be able for himself/herself
to explore Le Serpent Rouge and glean from it the truths which are found there. Except for the
French to English translation and the choice of quotations, we make no attempt to interpret the
contents of this poem. That Work is left to you, Dear Reader!

Marcus Williamson and Corella Hughes


17 January 1999

Structure of Le Serpent Rouge


Whilst many know of Le Serpent Rouge as just the poem reproduced below, this poem is, in fact,
only the Avant Propos of the book. The entire book Le Serpent Rouge contains thirteen pages
structured as follows.

Page 1 - Title page

"LE SERPENT ROUGE - NOTES SUR SAINT GERMAIN DES PRES ET SAINT SULPICE DE
PARIS"

"The Red Serpent - Notes on Saint Germain des Pres and Saint Sulpice of Paris"

Page 2 - Introduction

Including the text :

"...after a long sleep, the same theories reappear, without doubt they return to us with new, richer
clothes, but the foundation remains the same and the new mask which they wear should not
mislead the man of knowledge..."

" ...aprs un long sommeil, les mmes hypothses ressucistent, sans doute nous reviennent-elles
avec des vtements neufs et plus riches, mais le fond reste le mme et le masque nouveau dont
elles s'affublent ne saurait tromper l'homme de science..."

Page 3 - Avant Propos

Including the first four of the verses of the poem and part of the fifth poem.

Page 4 - Avant Propos (continued)

Including part of the fifth verse of the poem followed by verses six to nine.

Page 5 - Avant Propos (continued)

Including verses ten through to thirteen.

Below the last of the verses the "author" has signed himself
"Octobre 1966, l'Auteur, LOUIS SAINT-MAXENT"

Pages 6 to 9 - Guide

These pages take the form of a "Guide Book" describing and illustrating the location and interior
of both Saint-Germain des Pres and Saint-Sulpice.

The main picture on page 6 is of the demolition of Saint-Germain des Pres in 1794.

Page 7

This is a plan of the abbey of Saint-Germain des Pres, credited to Gaston de Koker.

Page 8

Describes the history of Saint-Germain des Pres, from the site being used as a temple of Isis
through to the establishment of the church of "Sainte-Croix et Saint-Vincent". The illustrations
show the facade of Saint-Germain, the "grand portal" of the church, a black and white floor and
pictures of three people who appear to be Poussin, Olier and Delacroix. Underneath the pictures
is a quote from Emma Calvet dated 7 May 1939.

Page 9

Shows a picture of the tombs of Childebert and Chilperic, as well as an extract from a work
entitled "Le Bi-Centenaire de Mazarin - 1861" showing the inscription beneath the gnomon at
Saint-Sulpice.

Page 10

Provides a geneology of the Merovingian time together with two maps, showing the distribution of
lands in Gaul in 511 and 620-632.

Page 11

Has a picture of the mausoleum of M. Languet de Gergy and a statue of Childebert, as well as
text by Pierre Feugere about Childebert and Ultragothe.

Page 12

Contains a floorplan of Saint-Sulpice, signed by Louis Saint Maxent, emphasising the line of the
meridian (marked Praecum - PS) and the seventh station at the Chapel of Angels.

Page 13

Is an aerial view of the Left Bank, Faubourg Saint-Germain, in 1615.

The Title of the Book


The full title of the book is :
"LE SERPENT ROUGE - NOTES SUR SAINT GERMAIN DES PRES ET SAINT SULPICE DE
PARIS"

"THE RED SERPENT - NOTES ON SAINT GERMAIN DES PRES AND


SAINT SULPICE OF PARIS"

St Germain St Sulpice

"Saint-Germain"
Saint-Germain and Saint-Sulpice are churches in the Saint-Germain des Pres area of Paris.

"In 542, Childebert, son of Clovis, came back from Spain with two precious relics : A piece of the
true Cross set in a gold reliquary decorated with stones, and the tunic of Saint Vincent, protector
of Saragossa. He could only entrust monks with the care of those two magnificent treasures and
so founded the monastery known as `Sainte-Croix et Saint-Vincent'".

On the 23rd December 558, the Bishop of Paris, Germain, formerly Abbot of Saint Symphorien at
Autun, consecrated the monastery and, the same day, King Childebert died. He was naturally
buried in the Abbey church which became a royal necropolis. Chilperic and his criminal wife,
Fredegund, Clotaire II, Bertrude and their son Dagobert, were also buried there."

(Saint-Germain-des-Pres, Guidebook, Jean-Pierre Nortel, p. 5)

"Our historical sources do not tell much about this Merovingian monastery, but we know that
Bishop Germain expressed his wish to be buried there. When he was proclaimed a saint, the
monastery took his name."

(Saint-Germain-des-Pres, Guidebook, Jean-Pierre Nortel, p. 7)

"St Germanus of Paris. 496-576 Born near Autun, he was ordained priest and became abbot of a
monastery. In 555 he was made bishop of Paris. He cured King Childebert I in the body and
converted him from a licentious life. The king built for him the abbey of St Vincent, now known as
St-Germain-des-Pres. Saint-Germanus is one of those bishops to whom history has given the title
of `father of the poor'." (Saints day May 28)

(The Book of Saints, p. 244)


"Saint Sulpice"
"Work on this giant church began in 1646, but it was only completed 120 years later, after six
architects had worked on the building. The grandiose Italianate facade with its double colonnade
is the work of Jean-Baptiste Servandoni, from 1733-45, although the two towers remained
unfinished at his death. The one on the right has never been completed, and is still five metres
short of its neighbour. Servandoni had originally planned to construct a semi-circular place in front
of the church, but this was never carried out and the present one was designed in the last century
by Visconti, who also designed the fountain. The interior is famed for the three murals by
Delacroix in the first chapel on the right of the entrance, depicting Jacob's fight with the Angel,
Heliodorus chased out of the temple and St Michael killing the Dragon. Don't miss the two giant
shell water stoops - a gift from the Doge of Venice to Franois Ier in the sixteenth century."

(Time Out Guide to Paris)

"St Sulpicius II. Bishop of Bourges from 624 to 647 he devoted himself to the care and defence of
the poor and persecuted, particularly those who were victims of a certain official of King
Dagobert. He is the titular saint of the church and seminary of Saint Sulpice at Paris."

(The Book of Saints, p. 523)

1 Aquarius
"How strange are the manuscripts of this Friend, great
traveller of the unknown, they appeared to me separately, yet they
form a whole for him who knows that the colours of the rainbow
give a white unity, or for the Artist for whom the black springs
out from under his paintbrush, made from the six colours of his magic palette."

"Comme ils sont tranges les manuscrits de cet Ami, grand


voyageur de l'inconnu, ils me sont parvenus sparment, pourtant ils
forment un tout pour lui qui sait que les couleurs de l'arc-en-ciel
donnent l'unit blanche, ou pour l'Artiste qui sous son pinceau,
fait
des six teintes de sa palette magique, jaillir le noir."

"manuscripts of this Friend"

"One of these columns proved to be hollow. Inside the cur found


four parchments preserved in sealed wooden tubes. Two of these
parchments are said to have comprised geneologies, one dating
from 1244, the other from 1644. The two remaining parchments
had apparently been composed in the 1780s by one of Saunire's
predecessors as cur of Rennes-le-Chteau, the Abb Antoine Pillar in the church
Bigou." at Rennes-le-
Chteau
(The Holy Blood and the Holy Grail, p. 5)

"colours of the rainbow"


"This strange Liquor (the Sun shining on it at Noon) attracted the Beams or Splendour to it self,
and did sink downwards, as if coagulated with the Heat, but reflected to the Eyes of the
Beholders a most beautiful Rain-bow. Here we have a perfect Description of the Philosophers
Mercury, but there is something more behind. Apollonius confesseth how the Brachmans told him
afterwards, that this Water was a certain secret Water, and that there was hid under it, or within it,
a Blood-red Earth."

(The Fame and Confession of the Fraternity of the RC, 1652, p.b1-b2)

"Of various subsidiary colours, grey followed black, green followed white, and the rainbow colours
of the peacock's tail also appeared during the process: "Betwixt Black and Whyte sartayne. The
Pekokes fethers wyll appeare plaine" wrote Thomas Charnoch in 1574.""

(Prelude to Chemistry, p.146)

"...in which are represented by order all the colors of the stone, so as they come and go, with this
writing in French:

Moult plaist a Dieu procession


S'elle est faicte en devotion:"

that is,

Much pleaseth God procession


If't be done in devotion

which is as it were the beginning of King Hercules his Book, which entreateth of the colours of the
stone, entitled Iris or the Rainbow, in these terms, Operis processio multum naturae placet, that
is The procession of the work is very pleasant unto Nature: the which I have put there expressly
for the great Clerks who shall understand the allusion."

(The Alchemists, p.168, quoting from Nicholas Flamel)

"give a white unity, or for the Artist for whom the black springs out from under his
paintbrush, made from the six colours of his magic palette"

"Take heed, therefore, not to be deceived here; for it is a truth, that in each work the Wise Artist
ought to dissolve the body with the spirit; he must cut off the Raven's head, whiten the Black and
vivify the White; yet it is properly in the First operation that the Wise Artist cuts off the head of the
Black Dragon and of the Raven.

Hence, Hermes says, What is born of the Crow is the beginning of this Art. Consider that it is by
separation of the Black, foul, and stinking fumes of the Blackest Black that our astral, white, and
resplendent Stone is formed, which contains in its veins the blood of the Pelican. It is at this First
Purification of the Stone, and at this shining whiteness, that the work of the First King is ended."

(The Philosopher's Stone, p. 105-106, originally The Six Keys of Exodus, from The Hermetical
Triumph by A.T. Limojonde St Didier (English translation 1723))

2 Pisces
"This Friend, how to introduce him to you? His name remained a
mystery, but his number is that of a famous seal. How to describe him to you?
Perhaps like the pilot of the indestructible [imperishable] ark,
impassive like a column on his white rock scanning towards the
south [midday] beyond the black rock."

"Cet Ami, comment vous le prsenter ? Son nom demeura un


mystre, mais son nombre est celui d'un sceau clbre. Comment vous
le dcrire ? Peut-tre comme le nautonnier de l'arche imperissable,
impassible comme une colonne sur son roc blanc, scrutant vers le
midi, au-del du roc noir."

"name remained a mystery"

"Jehovah is the sacred name, the true name of the Lord, revealed by God himself to Moses. The
Hebrews did not write it at all; nevertheless it was engraved on the plate of gold which was
attached and fastened by a ribbon of hyacinth to the mitre of the High Priest."

"Jehova est le nom sacr, le vrai nom du seigneur, rvl par Dieu lui-mme Mose. Les
Hbreux ne l'crivaient point; il tait cependant grav sur la lame d'or qui tait attache et
retenue par un ruban d'hyacinthe la mitre du Grand Prtre."

(La Vraie Langue Celtique, p. 32)

"My Name contains five and fifty, a yet hath only eight letters; the third is the third part of the fifth,
which added to the sixth will produce a number whose root shall exceed the third itself by just the
first and it is the half of the fourth. Now the fifth and the seventh are equal, the last and the first
are also equal, and make with the second as much as the sixth hath which contains just four
more than the third tripl'd. Now tell me, my lord, how am I called?"

(Chymical Wedding, Third Day, p. 39)

"famous seal"

"The Seal of Solomon or the Shield of David, for under


both names the same thing was denoted, is a hexagonal
figure consisting of two interlaced triangles, thus forming
the outlines of a six-pointed star. Upon it was inscribed
one of the sacred names of God, from which inscription
it was supposed principally to derive its talismanic
powers. These powers were very extensive, for it was
believed that it would extinguish fire, prevent wounds in
a conflict, and perform many other wonders."

(Encyclopedia of Freemasonry, p. 674)

"...in the scenery on the left blooms a flower known as


"Sceau de Solomon" (Solomon's Seal), a pink lily-like
blossom"

(Rennes-le-Chteau, A Visitor's Guide, p. 27, describing


the large wall fresco in the church at Rennes-le-
Chteau)
"...I went to the letter, which was now so heavy, that had it been mere gold it could hardly have
been so weighty. Now as I was diligently viewing it, I found a little seal, on which a curious cross
with this inscription, IN HOC SIGNO VINCES, was engraved.

Now as soon as I espied this sign I was the more comforted, as not being ignorant that such a
seal was little acceptable, and much less useful, to the Devil."

(Chymical Wedding, First Day, p.4)

"Every Brother should look about for a worthy person, who after his discease might succeed him.
5. The word C.R. should be their Seal, Mark, and Character. 6. The Fraternity should remain
secret one hundred years."

(The Fame and Confession of the Fraternity of the RC, 1652, "Fama", p.14)

"pilot of the indestructible ark"

"Noah was a good man, and having found grace before God, he had become the confidante of
his vengeful plans. He built the ark on the order given by the Lord, and, sealing himself in with his
family and the animals which had to be saved on this earth in the vessel placed under divine
protection, he was saved from the flood in which all the criminal people perished."

"No tait juste, et ayant trouv grce devant Dieu, il tait devenu comme le confident de ses
desseins vengeurs. Il construisit l'arche sur l'ordre donn par le Seigneur, et s'enfermant avec sa
famille et les animaux qui devaient tre conservs sur la terre dans ce vaisseau plac sous la
protection divine, il fut sauv du dluge dans lequel prirent tous les hommes criminels."

(La Vraie Langue Celtique, p. 48)

"And, moreover, the ark made of imperishable wood was the Saviour Himself. For by this was
signified the imperishable and incorruptible tabernacle of (the Lord) Himself, which gendered no
corruption of sin. For the sinner, indeed, makes this confession: "My wounds stank, and were
corrupt, because of my foolishness." But the Lord was without sin, made of imperishable wood,
as regards His humanity; that is, of the virgin and the Holy Ghost inwardly, and outwardly of the
word of God, like an ark overlaid with purest gold."

(Hippolytus)

"The first Masonic myth referring to Noah that presents itself is one which tells us that, while he
was piously engaged in the task of exhorting his contemporaries to repentance, his attention had
often been directed to the pillars which Enoch had erected on Mount Moriah. By diligent search
he at length detected the entrance to the subterranean vault, and, on persuing his inquiries,
discovered the stone of foundation, although he was unable to comprehend the mystical
characters there deposited. Leaving these, therefore, where he had found them, he simply took
away the stone of foundation on which they had been deposited, and placed it in the ark as a
convenient altar."

(Encyclopedia of Freemasonry, p. 515)

"column"

"A round pillar made to support as well as to adorn a building, whose construction varies in the
different orders of architecture. In Masonry, columns have a symbolic signification as the supports
of a Lodge, and are known as the Columns of Wisdom, Strength and Beauty. The broken column
is also a symbol in Masonry."

(Encyclopedia of Freemasonry, p. 161)

"On the strength of this, the background for the Tree of Life seemed best presented by a male
and female pillar of two stylized palm trunks, one white for male and the other black for female...it
was said the black Pillar consisted of Severity, the white one of Mercy, and the Middle Pillar of
Mildness."

(Concepts of Qabalah, p. 115)

"white rock" / "black rock"

"This white rock which hits the eyes at first, is followed by a seat of blackish rock extending
towards Roko Ngro. This feature gave the name to this white rock, placed on top of the black
rocks, the name Blancfort - blank, white - forth, in front -."

"Cette roche blanche qui frappe les yeux tout d'abord, est suivie d'une assise de rochers
noirtres, s'tendant jusqu' Roko Ngro. Cette particularit a fait donner cette roche blanche,
place en tte des roches noires, le nom de Blancfort - blank, blanc, - forth, en avant -."

(La Vraie Langue Celtique, p. 231)

3 Aries
"During my testing pilgrimage I tried to clear
a path with the sword crossing the inextricable vegetation of the woods,
I wanted to reach the residence of the sleeping BEAUTY in whom certain
poets saw the QUEEN of a past realm. In desperation of finding
my way again the parchments of this Friend were for me, the thread of
Ariadne."

"Dans mon plrinage eprouvant, je tentais de me frayer


l'epe une voie travers la vgtation inextricable des bois, je
voulais parvenir la demeure de la BELLE endormie en qui certains
potes voient la REINE d'un royaume disparu. Au dsespoir de retrou-
ver le chemin, les parchemins de cet Ami furent pour moi le fil d'
Ariane."

"testing pilgrimage"

"The story of the Chymical Wedding provides a unique description of a spiritual path of
development, as important in its content for the human being in this century as it was for
aspirants three centuries ago. The story described the journey undertaken by the pilgrim, a step
by step vindication of the unfolding and maturing of an enriched reality, not subject to the
processes of decay and dissolution in the temporal physical sphere."
(Chymical Wedding, Introduction, p.1)

"I tried to clear a path with the sword crossing the inextricable vegetation of the woods, I
wanted to reach the residence of the sleeping BEAUTY"

Direct reference to the Tree of Life. The path of the sword being Zain, that between the Sephiroth
of Binah and Tiphareth, that is from Understanding to Beauty with the "inextricable vegetation"
being the tree itself. This same path crosses the Abyss of the Tree of Life.

(Archetypes on the Tree of Life, p.19)

"inextricable vegetation"

"Now and again one would take the quest upon him and try to force his way through the thick
hedge. But no one succeeded. The sharp thorns gripped the unhappy young men like clutching
hands, and held them fast, so that they could neither go forward nor back, and they perished
miserably."

(Sleeping Beauty, p. 75)

"sleeping BEAUTY"

Fairytale by Charles Perrault first published in 1695 as "La belle au bois dormant" (The Beauty of
the Sleeping Wood).

"Then a fairy rose in her place and said -

"I will begin. My gift to the Princess Briar-Rose is the gift of Beauty. She shall have eyes like stars,
and hair as bright as the sunshine of the spring day on which she was born, and cheeks as fresh
and fair as the petals of the flower from which she takes her name.""

(Sleeping Beauty, p.29)

"And in the story of the Sleeping Beauty the prince must win through a hedge of thorns. The
princess slept because she had been pricked by a spindle, perhaps one of the three spindles of
the Grail-tree on which the crystal was, so to speak, impaled, and this "tree" was, as we have
seen, a hidden allusion to the "Bed of Solomon", in which she slept until the solar light should
reawaken and bring her sparkling back to life."

(The Ancient Secret, p. 142)

"These spindles had been made by Solomon's wife out of wood from the Tree of Life which grew
in Paradise..."

(The Ancient Secret, p. 83)

"BEAUTY"

"The 'path of beauty', or Tiphereth, the Sixth Sephira, is sometimes represented by V, Vau, and
therefore sometimes stands for Microprosopus by itself; it is really the central Sephira of the
group of six Sephiroth which compose him. The numerical value of Vau is 6."
(The Kabbalah Unveiled, p. 58)

"That is, through Daath or Knowledge, whereby Wisdom is combined with Understanding, and the
Beautiful Path (Tiphereth, the Sixth Sephirah) with his bride the Queen (Malkuth, the Tenth
Sephirah); and this is the concealed idea, or soul, pervading the whole emanation."

(The Mystical Qabalah, p. 47)

""Here", said he, "lies buried Lady Venus, that beauty which hath undone many a great man, both
in fourtune, honour, blessing and prosperity.""

(Chymical Wedding, Fifth Day, p. 55)

"in whom certain poets saw the QUEEN of a past realm"

"It is the Observation of such as skill Dreams, That to travel in our sleep a long way, and all alone,
is a sign of Death. This it seems the Poet knew : for when the Queen of Carthage was to dye for
love, he fits her with this Melancholy Vision."

(The Fame and Confession of the Fraternity of the RC, 1652, p.A3)

The Poet in this case may be Virgil (70BC - 19BC) in the Aeneid. The Queen of Carthage is Dido
who loved Aeneas of Troy.

"Brigit - A pre-Christian Irish goddess, said to have been particularly revered by the poets...she
was associated particularly with the art of healing and the craft of the blacksmith. The name Brigit
derives from an older form Briganti, whose meaning approximates to "the sublime one"."

(Dictionary of Celtic Religion and Culture, p. 47)

"thread of Ariadne"

"Now, before Daedalus left Crete, he had given Ariadne a magic ball of thread, and instructed her
how to enter and leave the Labyrinth. She must open the entrance door and tie the loose end of
the thread to the lintel; the ball would then roll along, diminishing as it went and making, with
devious turns and twists, for the innermost recess where the Minotaur was lodged. This ball
Ariadne gave to Theseus, and instructed him to follow it until he reached the sleeping monster,
whom he must seize by the hair and sacrifice to Poseidon. He could then find his way back by
rolling up the thread into a ball again."

(The Greek Myths, Volume One, p.339)

"Of course we hear of more marriages among the gods. There is Zeus, the Indo-European god of
sky and weather, bound in mystical marriage with the goddesses and mortal women alike. There
is Dionysus, who marries Ariadne on the island of Naxos. Hesiod, Homer, Virgil and other
classical authors describe their Olympian heroes and show in legend how they can be taken as `a
model for human union'."

(The Mystical Marriage, p. 20)


4 Taurus
"Thanks to him, from now on by measured steps and a sure eye, I
can discover the sixty-four dispersed stones of the perfect cube
that the brothers of the BEAUTY of the black wood escaping in the pursuit of the
usurpers, had scattered on their way whilst they fled from the white Fort."

"Grce lui, dsormais pas mesurs et d'un oeil sur, je


puis decouvrir les soixante-quatre pierres disperses du cube parfait
que les Frres de la BELLE du bois noir chappant la poursuite des
usurpateurs, avaient semes en route quant ils s'enfuirent du Fort
blanc."

"measured steps"

"After having passed round the base of the mountain of Cardou, and having passed the little river
which separates Cardou from the hill of Bazel the road starts to rise in a gentle slope. It must
have had a well known size, such that the Gauls knew to give their roads. This was not at all, in
fact, a simple narrow [230] and dangerous track, but excellent roads having an exactly measured
size. Bazel tells us nothing but this. In giving to this term the hard pronunciation which it must
have had in the past, we would have said Passel. Yet pass signifies a road, and ell the measure
of length which the Celts used."

"Aprs avoir contourn la base de la montagne de Cardou, et avoir dpass le petit ruisseau qui
spare Cardou de la colline de Bazel, le chemin commence s'lever en pente douce. Il devait
avoir une largeur bien dtermine, telle que les Gaulois savaient la donner leurs routes. Ce
n'tait point, en effet, de simples sentiers troits et dangereux, mais d'excellents chemins
possdant une largeur exactement mesure. Bazel ne veut pas dire autre chose. En rendant ce
terme la prononciation assez dure qu'il devait avoir autrefois, nous aurions dire Passel.
Or, pass signifie une route, et ell la mesure de longueur dont se servait les Celtes.

(La Vraie Langue Celtique, p. 230/231)

"In former times, and in some of the high degrees, a bier or coffin was placed in front of the altar,
as a well-known symbol, and in passing over this to reach the altar, those various positions of the
feet were necessarily taken which constitute the proper mode of advancing. Respect was thus
necessarily paid to the memory of a worthy artist as well as to the holy altar."

(Encyclopedia of Freemasonry, p.717)

"sure eye"

"Accordingly, the spiritual nature is most commonly symbolised by a heart; the intellectual power
by an opened eye, symbolising the pineal gland or Cyclopean eye, which is the two-faced Janus
of the pagan Mysteries; and the generative system by a flower, a staff, a cup, or a hand."

(Secret Teachings of all Ages, p. LXXIV)

"sixty-four dispersed stones"

"The enraged and threatening devil is staring at the black and white paving on the floor of the
church. At the time of Boudet and Saunire there existed just 64 of these squares, laid out like a
chess-board and orientated on the four points of the compass."
(Rennes-le-Chteau, A Visitor's Guide, p. 26)

"The chessboard consists of 64 squares alternately black and white and symbolises the floor of
the House of the Mysteries. "

(Secret Teachings of all Ages, p. CXXXII)

"At the [232] end of Roko Negro one sees again very clearly the different foundations which
served to support the menhirs; but they are overturned and dispersed here and there on the
flanks of the mountain, in the greatest disorder."

"A la [232] suite de Roko Ngro, on voit encore fort bien les assises diverses qui servaient de
support aux mnirs ; mais ceux-ci sont renverss et disperss et l sur les flancs de la
montagne, dans le plus grand dsordre.

(La Vraie Langue Celtique, p. 231-232)

"perfect cube"

"But all natural phenomena depend on a single and immutable law, represented by the
philosophal stone and its symbolic form, which is that of a cube. This law, expressed in the
Kabala by the number 4, furnished the Hebrews with all the mysteries of their divine Tetragram."

(Morals and Dogma, p. 732)

"A rough Ashlar is the shapeless stone which is to be prepared in order to commence the
philosophical work; and to be developed, in order to change its form from triangular to cubic, after
the separation from it of its Salt, Sulphur, and Mercury by the aid of the Square, Level, Plumb,
and Balance, and all the other Masonic implements which we use symbolically."

(Morals and Dogma, p. 787)

"The Holy of Holies was the cube of God, the Presence-chamber of Jehovah"

(The Teaching of the Temple, p. 98)

"Of the remaining symbols commonly assigned to Tiphareth [Beauty], the cube, though at first
sight a Chesed symbol, can correspond to Tiphareth because of its six faces"

(The Practical Guide to Qabalistic Symbolism, p. 148)

"black wood"

"This image of the Holy Virgin, holding in her arms her divine Son and sculpted in a black wood,
indicates her oriental origin"

"Cette image de la Sainte Vierge, tenant sur ses bras son divin Fils et sculpte dans un bois noir,
indique sa provenance orientale"

(La Vraie Langue Celtique, p.279)

"white Fort"
"The castle of Blanchefort guarded the valleys of the Sals and the Rialsesse. It saw passing the
crusade of Simon de Montfort during the cathar papacy. It was the property of the Hautpoul and
Fleury families, lords of the Haut-Razs. Not far from here a silver mine was exploited and in this
area one finds azurite and copper pyrites."

"Le chteau de Blanchefort gardait les valles de la Sals et du Rialsesse, il a vu passer la


croisade de Simon de Montfort pendant l'epope cathare. Il fut la proprit des Hautpoul et des
Fleury, seigneurs de Haut-Razs. Non loin y fut exploite une mine d'argent, dans ce sectueur on
trouve de l'azurite et de la pyrite de cuivre."

(Courts Circuits, p. 33)

"On the left bank of the Sals, the stone circle starts towards the crag of Blancfort. The natural
point of this rock has been raised, in the middle ages, to allow the construction of a fort serving as
an observation post. There remain some ruins of masonry testifying to the existence of this fort."

"Sur la rive gauche de la Sals, le cromleck commence au rocher de Blancfort. La pointe naturelle
de ce roc a t enleve, dans le moyen-ge, pour permettre la construction d'un fortin servant de
poste d'observation. Il reste encore quelques vestiges de maonnerie tmoignant de l'existence
de ce fortin."

(La Vraie Langue Celtique, p. 230-231)

5 Gemini
"To reassemble the scattered stones, work with the square and
compass to put them back in regular order, look for the line of the
medidian in going from the East to the West, then looking from the South to
the North, finally in all directions to obtain the desired solution, stopping
in front of the fourteen stones marked with a cross. The circle
being the ring [coil of snake] and the crown, and to him the diadem of this QUEEN of
Castel."

"Rassembler les pierres parses, oeuvrer de l'querre et du


compas pour les remettre en order rgulier, chercher la ligne du m-
ridien en allant de l'Orient l'Occident, puis regardant du Midi au
Nord, enfin en tous sens pour obtenir la solution cherche, faisant
station devant les quatorze pierres marques d'une croix. Le cercle
tant l'anneau et couronne, et lui le diadme de cette REINE du Castel"

"scattered stones"

"At the [232] end of Roko Negro one sees again very clearly the different foundations which
served to support the menhirs; but they are overturned and dispersed here and there on the
flanks of the mountain, in the greatest disorder."

"A la [232] suite de Roko Ngro, on voit encore fort bien les assises diverses qui servaient de
support aux mnirs ; mais ceux-ci sont renverss et disperss et l sur les flancs de la
montagne, dans le plus grand dsordre.

(La Vraie Langue Celtique, p. 231-232)


"square and compass"

"Measure a corner of the Creation, and multiply that space in proportional progression and the
entire Infinite will multiply its circles filled with universes, which will pass in proportional segments
between the ideal and elongating branches of your Compass. Now suppose that from any point
whatever of the Infinite above you a hand holds another Compass or a Square, the lines of the
Celestial triangle will necessarily meet those of the Compass of Science, to form the Mysterious
Star of Solomon."

(Morals and Dogma, p.841)

"Therefore it must be re-vivified, and made to be born again from its ashes, which you will affect
by virtue of the vegetation of the Tree of Life, represented to us by the branch of acacia. Whoever
shall learn to comprehend and execute this great work, will know great things, say the Sages of
the work; but whenever you depart from the centre of the Square and the Compass you will no
longer be able to work with success."

(Morals and Dogma, p.786)

"line of the meridian"

"Now although many apparent byways showed themselves, yet I still proceeded with my
compass, and would not budge one step from the Meridian Line; howbeit the way was often so
rugged and impassable, that I was in no little doubt of it. On this way I constantly thought upon
the dove and the raven, and yet could not search out the meaning; until at length upon a high hill
afar off I saw a stately portal, to which, not regarding how far it was distant both from me and from
the way I was on, I hasted, because the sun had already hid himself under the hills, and I could
see no abiding place elsewhere; and this verily I ascribe only to God, who might well have
permitted me to go forward in this way, and withheld my eyes that so I might have gazed beside
this gate."

(Chymical Wedding, Second Day, p.12)

"In 1727, Languet de Gercy, priest of Saint Sulpice, in the desire to determine in a precise
manner the march equinox, and in consequence, the Easter Sunday (the Sunday which follows
the full moon after the Spring equinox) - commissioned the famous english astrologer Henry Sully
to build in the church an astronomical gnomon and to trace the meridian."

"En 1727, Monsieur Languet de Gercy, cur de Saint Sulpice, dans le dsir de dterminer d'une
manire prcise l'quinoxe de mars, et par suite, le dimanche de Pques (dimanche qui suit la
pleine lune aprs l'quinoxe de printemps) - chargea le clbre horloger anglais Henri de Sully
d'tablir dans l'glise un gnomon astronomique, et de tracer le mridienne."

(The gnomon of the church of St Sulpice)

"looking from the South to the North, finally in all directions to obtain the desired
solution ... The circle being the ring [coil of snake] and the crown"

Direct reference to the Tree of Life. From Tiphareth [Beauty], which is situated on the middle
column of the Tree of Life, go from South to North to reach Kether [the Crown]. The ring
represents the pictorial form of the Sephira on the diagram of the Tree of Life.
"fourteen stones marked with a cross"

"The Stations of the Cross - When carefully examined, it is clear that these stations of the cross
have little in common with the Passion as recited in the gospels. According to the principles of the
phonetic riddles, of which the Freemasons are so fond, the Abb Boudet had anomalies added to
each of the stations of the cross, which were originally a standard version, bought from a dealer
in church decorations. Each of these anomalies describes a precise location to be found in the
stone circle around Rennes-les-Bains."

(Rennes-le-Chteau, A Visitor's Guide, p. 32)

"One could doubt that the celts had wanted to make these menhirs, if a small greek cross carved
into the length of the base did not indicate by its presence the significance attributed to these
great stones."

"On pourrait douter que les Celtes aient voulu en faire des mnirs, si une petite croix grecque
grave sur un prolongement de la base n'avertissait par sa prsence de la signification attribue
ces grandes pierres."

(La Vraie Langue Celtique, p. 232)

"circle"

Dialecte Languedocien Langue Anglo-Saxonne


Round, rond, cercle. Round, rond, cercle

(La Vraie Langue Celtique, p.20, Table of Languedocian and Anglo-Saxon words)

At the summit of Bazel, one sees very strange stones, which go to form the circle of the stone
circle of the rising side [east]."

"Au sommet du Bazel, on aperoit des pierres leves fort tranges, qui contribuent former le
cercle du cromleck du ct du levant."

(La Vraie Langue Celtique, p. 230)

"One could ask oneself why the name of Rennes is given to our spa; and one finds easily the
reason, when one examines closely this strange landscape: in fact its mountains crowned with
rocks, form an immense stone circle of sixteen to eighteen kilometres in circumference."

"On pourrait se demander pourquoi le nom de Rennes est appliqu notre station thermale ; on
en trouve aisment la raison, lorsqu'on examine de prs cette trange contre : en effet, ses
montagnes couronnes de roches, forment un immense Cromleck de seize ou dix-huit kilomtres
de pourtour."

(La Vraie Langue Celtique, p. 225)

"The centre of the stone circle of Rennes-les-Bains is found in the place named, by the Gauls
themselves, the Cercle. In calling it Cercle - to circle (cerkl) to surround - [environner], surround
[entourer] the central point of the stone circle of the Redones, and reaffirming in this way a small
circle in a larger one, the Druids wanted to express the very clear idea that they possessed one
unique God who was existing in the beings. God being the Being even through essence, he is
also in everything in a very intimate way, in that he is the cause of everything that exists. The
created world is here represented by the small circle surrounded by the larger one, and this large
circle by its spherical shape, offers to the spirit the idea of the essential perfection of God, in
whom all beings live and die, who [247] contains everything and exists inside them, not at all like
a part of their being or an accident, but like an agent is present in the being on which it acts and
which it reaches by its virtue."

"Le centre du cromleck de Rennes-les-Bains se trouve dans le lieu nomm, par les Gaulois eux-
mmes, le Cercle-. En appelant Cercle - to circle (cerkl') environner, entourer -, le point central du
cromleck des Redones, et renfermant ainsi un petit cercle dans un plus grand, les Druides ont
voulu exprimer l'ide trs nette qu'ils possdaient d'un Dieu unique et existant dans les tres.
Dieu tant l'Etre mme par essence, il est aussi en toutes choses de la manire la plus intime,
puisqu'il est la cause de tout ce qui existe. Le monde cr est ici reprsent par le petit cercle
enferm dans un plus grand, et ce grand cercle par sa figure sphrique, offre l'esprit l'ide de la
perfection essentielle de Dieu, en qui tous les tres vivent et se meuvent, qui contient toutes
choses et existe en elles, non point comme une partie de leur essence ou un accident, mais
comme un agent est prsent l'tre sur lequel il agit et qu'il atteint par sa vertu."

(La Vraie Langue Celtique, p. 246-247)

"ring [coil of snake]"

"Wherever you see the Serpent of Fire, wherever you see it


becoming a circle with the tail in its mouth, then it is that you have
passed from the spiral which generates to the globe which is the
result of the generation; and the Serpent turning on itself, taking
the tail into its mouth, that symbol is the Kosmos evolved."

(The Building of the Kosmos, p. 59)

"The Way of Initiation follows the coiling of the Serpent of Wisdom


upon the tree, but the Way of Illumination follows the Path of the
Arrow which is shot from the Bow of Promise, Qesheth, the
rainbow of astral colours that spreads like a halo behind Yesod."

(The Mystical Qabalah, p. 59)

6 Cancer
"The stones of the mosaic paving of the sacred place could be alternatively
black or white, and JESUS like ASMODEUS, observing
their alignment, my view seems incapable of seeing the summit
where the marvellous sleeping one remained hidden. Not being HERCULES with
magic power, how to decode the mysterious symbols carved
by the observers of the past. In the sanctuary however the
stoup, fountain of love of the believers, reminds us of these words: BY
THIS SIGN YOU SHALL CONQUER."

"Les dalles du pav mosaque du lieu sacr pouvaient-tre al-


ternativement blanches ou noires, et JESUS, comme ASMODEE observer
leurs alignments , ma vue semblait incapable de voir le sommet o de-
meurait cache la merveilleuse endormie. N'tant pas HERCULE la
puissance magique, comment dchiffrer les mystrieux symboles gravs
par les observateurs du pass. Dans le sanctuaire pourtant le bni-
tier, fontaine d'amour des croyants redonne mmoire de ces mots : PAR
CE SIGNE TU le VAINCRAS."

"alternatively black and white"

"The enraged and threatening devil is staring at the black and white paving on the floor of the
church. At the time of Boudet and Saunire there existed just 64 of these squares, laid out like a
chess-board and orientated on the four points of the compass.

Using TWO chess-boards similar to this one, the abbe Boudet arranged the 128 letters of abbe
Bigou's manuscript.

With the Knight's move he reconstituted the text of the message which was signed "Pommes
bleues" (blue apples), itself a perfect anagram of the epitaph found on the grave of the marquise."

(Rennes-le-Chteau, A Visitor's Guide, p. 26)

"The chessboard consists of 64 squares alternately black and white and symbolises the floor of
the House of the Mysteries."

(Secret Teachings of all Ages, p. CXXXII)

"...where the great struggle for supremacy between the inner and the outer man, between the
spirit and the flesh, between the real self and the unreal selves and veils built around it, has to be
fought out on the chequer-work floor of our present existence among the black and white
opposites of good and evil, light and darkness, prosperity and adversity."

(The Masonic Initiation, p. 66)

"JESUS"

"Jesus crouches in the same position as the devil in the church entrance, but inverted, and the
clothes he wears are of a similar colour, only they too are inverted. He too stares at the symbolic
paving, drawing our attention to the need for a second chess-board which must be used back to
front in order to solve the riddle."

(Rennes-le-Chteau, A Visitor's Guide, p. 27)

"ASMODEUS"

"As we enter the church we are greeted by a hideous devil, grimacing under the weight of the
holy water stoup and the four angels which surmount it."

(Rennes-le-Chteau, A Visitor's Guide, p. 24)

"According to legend, Asmodeus, the mischeivous fallen but not unkindly angel who helped him
[Solomon], gave the king the mysterious magical worm, the Shamir, a puzzle to all Jewish
commentators, for it cut the necessary stones for the entire temple by magic."

(The Ancient Secret, p. 108)


Jesus baptised by John in the The devil in the church
church at Rennes-le- at Rennes-le-
Chteau Chteau

"summit"

Dialecte Languedocien Langue Anglo-Saxonne


Crinko, sommet. Crinkle, pli, sinuosit.

(La Vraie Langue Celtique, p.19, Table of Languedocian and Anglo-Saxon words)

"marvellous sleeping one"

"For a long time the Prince stood and gazed upon her, for never in all his life had he seen a
maiden so lovely. Then suddenly he bent down and kissed her lips."

(Sleeping Beauty, p. 94)

"HERCULES"

"Hercules was the son of Jupiter and Alcmena. As Juno was always hostile to the offspring of her
husband by mortal mothers, she declared war against Hercules from his birth. She sent two
serpents to destroy him as he lay in his cradle, but the precocious infant strangled them with his
own hands. He was, however, by the arts of Juno rendered subject to Eurystheus and compelled
to perform all his commands. Eurystheus enjoined upon him a succession of desperate
adventures, which are called the "Twelve Labours of Hercules"."

The twelve labours were :

1. Fight with the Nemean lion


2. Slaughter of the Lernaean Hydea
3. Capture of the Ceryneian Hind
4. Capture of the Erymanthian Boar
5. Cleansing of the Augean stables
6. Remove the Stymphalian Birds
7. Capture the Cretan Bull
8. Capture the four mares of Diomedes
9. Obtaining the girdle of Hippolyte, queen of the Amazons
10. To bring the cattle of Geryon to Eurystheus
11. Obtaining the golden apples of Hesperides
12. Capture of Cerberus

"Some of the adepts, with considerable justification, compared the operation of the Great Work
with the labours of Hercules."

(Prelude to Chemistry, p. 161)

"Throughout the world's history, the life stories of the supreme Spiritual teachers, or Saviours of
mankind, have been so identical in incident that a thoughtful comparison leads inevitably to the
conclusion that to be "a priest forever after the order of Melchizedek" is to fill a definite office and
to perform a predetermind work in the transmission of spiritual force for the liberation of human
souls. For example, the parallelism between the lives of Hercules and of Christ is so close that
orthodox writers admit Hercules to have been a type of that which the Christ was to accomplish
and to endure.

(Comte de Gabalis, p. 295-296)

"...in which are represented by order all the colors of the stone, so as they come and go, with this
writing in French:

Moult plaist a Dieu procession


S'elle est faicte en devotion:"

that is,

Much pleaseth God procession


If't be done in devotion

which is as it were the beginning of King Hercules his Book, which entreateth of the colours of the
stone, entitled Iris or the Rainbow, in these terms, Operis processio multum naturae placet, that
is The procession of the work is very pleasant unto Nature: the which I have put there expressly
for the great Clerks who shall understand the allusion."

(The Alchemists, p.168, quoting from Nicholas Flamel)

There is no doubt that Hercules existed only in Greek and Latin myth: however, it is useful to
remark, this famous hero takes a real consistance and reclothes the character with truth, as soon
as he personifies the celtic nation and the migration of this people towards the eastern lands of
europe."

"Il est hors de doute qu'Hercule a exist seulement dans les mythes grecs et latins : cependant, il
est utile de le remarquer, ce hros fameux prend une relle consistance et revt le caractre de
la vrit, ds qu'il personnifie la nation celtique et la migration de ce peuple vers les contres
occidentales de l'Europe."
(La Vraie Langue Celtique, p. 214)

"decode the mysterious symbols carved by observers of the past"

"This cross is placed at the exact location of the stone where one previously saw an engraved
greek cross like those which exist presently at the Cap de l'Homme, and near the trembling
rocks."

"Cette croix est place l'endroit exact de la pierre o l'on voyait autrefois grave une croix
grecque semblable celles qui existent prsentement au Cap d l'Homm, et proximit des
roches branlantes."

(La Vraie Langue Celtique, p. 229)

"One could doubt that the celts had wanted to make these menhirs, if a small greek cross carved
into the length of the base did not indicate by its presence the significance attributed to these
great stones."

"On pourrait douter que les Celtes aient voulu en faire des mnirs, si une petite croix grecque
grave sur un prolongement de la base n'avertissait par sa prsence de la signification attribue
ces grandes pierres."

(La Vraie Langue Celtique, p. 232)

"fountain of love"

The "Fontaine des Amours" is the name given to a pool in the river Sals, near to Rennes-les-
Bains.

"And for that reason I would pray you, that you would be pleased to tell me, how they do call this
Fountain, which is so amiable and wholesome. She answered; Friends behold, since you desire
to know it; It most properly is called, the Fountain of the
Lovers. How it must be known to you, that ever since our
Mother Eve, that I have governed all the world, as great as
tis in all the Circle, nothing without me can rule, unless
God would inspire it. I who am called Nature O environed
the Earth, without, within and in the middle."

(Allegory of John of the Fountain)

"BY THIS SIGN YOU SHALL CONQUER"

"By this sign you shall conquer" is equivalent to "Par ce


signe tu le vaincras" (french) which is equivalent to "In hoc
signio vinces" (latin). The abbreviation IHS or IHSV is also
seen.

At the Battle of Milvian Bridge, Constantine was said to


have observed in a vision a flaming cross in the heavens
accompanied by the words IN HOC SIGNO VINCES. The Par ce signe tu le vaincras
battle went his way.
"...I went to the letter, which was now so heavy, that had it been mere gold it could hardly have
been so weighty. Now as I was diligently viewing it, I found a little seal, on which a curious cross
with this inscription, IN HOC SIGNO VINCES, was engraved.

Now as soon as I espied this sign I was the more comforted, as not being ignorant that such a
seal was little acceptable, and much less useful, to the Devil."

(Chymical Wedding, First Day, p.4)

The inscription "Par ce signe tu le vaincras" can be seen In the church at Rennes-le-Chteau
above the statue of the Devil and below the four angels.

7 Leo
"From her that I wanted to free, rose towards me the emanations
of perfume which permeate the sepulchre. 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, with the famous vase full of healing balm. The
initiates know the true name: NOTRE DAME DES CROSS."

"De celle que je dsirais librer, montaient vers moi les ef-
fluves du parfum qui imprgnrent le spulchre. Jadis les uns l'avaient
nomme : ISIS, reine des sources bienfaisantes, VENEZ A MOI VOUS TOUS
QUI SOUFFREZ ET QUI ETES ACCABLES ET JE VOUS SOULAGERAI, d'autres :
MADELAINE, au clbre vase plein d'un baume gurisseur. Les
initis savent son nom vritable : NOTRE DAME DES CROSS."

ISIS

"This Egyptian deity under many names appears as the principle of natural fecundity among
nearly all the religions of the ancient world. She was known as the goddess with ten thousand
appellations and was metamorphosed by Christianity into the Virgin Mary, for Isis, although she
gave birth to all living things - chief among them the Sun - still remained a virgin, according to the
legendary accounts."

(Secret Teachings of all Ages, p. XLV)

"Isis, represented in the Song of Solomon by the dark maid of Jerusalem, is symbolic of receptive
Nature - the watery, maternal principle which creates all things out of herself after impregnation
has been achieved by the virility of the sun."

(Secret Teachings of all Ages, p. XLV)

"Isis, visiting Byblos, recovered the body of her husband, but it was again stolen by Typhon, who
cut it into fourteen parts, which he scattered all over the earth.

(Secret Teachings of all Ages, p. XLVI)

"COME TO ME ALL YOU WHO SUFFER AND WHO ARE OVERWHELMED AND I WILL
COMFORT YOU"
This text appears below the wall fresco in the
church at Rennes-le-Chteau.

"Venez moi, vous tous qui peinez et ployez


sous le fardeau, et moi je vous soulagerai."

(Bible, Matthew 11:28)

"Come unto me all ye that labour and are


heavy laden, and I will give you rest. Take my
yoke upon you, and learn of me, for I am
Venez a moi...
meek and lowly in heart and ye shall find rest unto your souls. For my yoke is easy, and my
burden is light."

(Bible, Matthew 11:28-30)

"MADELEINE"

"The follower of Christ, `out of whom he had cast seven devils', who stood by
his cross, went to anoint the body at the tomb and to whom the risen Christ
appeared on Easter Sunday morning, has often, but not universally in the
West, been identified with both Mary the sister of Martha of Bethany and with
the woman who was a sinner, who anointed Christ's feet in the house of
Simon (Luke 7:37)"

(Oxford Dictionary of Saints, p. 329)

"This fountain, located on the right bank of the Blanque, is found one
kilometre to the south of the thermal station. It has been known for a few
years by the name of the Madeleine; but its celtic name reproduced in the
land record, is that of the fountain of the Goad. The water from this spring,

Madeleine
emerging in abundance from the lower crack of a large sandstone rock, is very iron-bearing, and
of a strongly distinctive taste."

"Cette fontaine, place sur la rive droite de la Blanque, se trouve la distance d'un kilomtre
peu prs au sud de la station thermale. On la dsigne depuis peu d'annes sous le nom
de la Madeleine ; mais son nom celtique reproduit dans le cadastre, est celui de la fontaine de
la Gode. L'eau de cette source, mergeant avec abondance de la faille infrieure d'une grande
roche de grs, est trs ferrugineuse, et d'un got atramentaire fortement prononc."

(La Vraie Langue Celtique, p. 273)

"healing balm"

The statue of St Madeleine (Mary Magdalen) in the church at Rennes-le-Chteau carries a vase
of healing balm.

"Suddenly a woman came in who had a bad name in the town. She had heard she was dining
Pharisee and had brought with her an alabaster jar of ointment. She waited behind him at his
feet, weeping, and her tears fell on his feet, and she wiped them away with her hair; then she
covered his feet with kisses and annointed them with the ointment."

(Bible, Luke 7:37)

"NOTRE DAME DES CROSS"

"We can cite again the name of another sanctuary of our region, situated near to Caunes and
called Our Lady of the Cros. There too, beneath the magnificent fountain which flows at the foot
of the mountain, one has marked a cross - cross [croix] -. A statue of the Holy Virgin has, later,
replaced the cross near to the fountain, and the sanctuary built nearby, received the name of Our
Lady of the Cros or Our Lady of the Cross.

"Nous pourrions citer encore le nom d'un autre sanctuaire de nos contres, situ prs de Caunes
et appel Notre-Dame du Cros. L aussi, au-dessus de la magnifique fontaine qui jaillit au pied
de la montagne, on avait marqu une croix - cross, croix -. Une statue de la Sainte Vierge a, plus
tard, remplac la croix auprs de la fontaine, et le sanctuaire bti peu de distance, a reu le
nom de Notre-Dame du Cros ou Notre Dame de la Croix."

(La Vraie Langue Celtique p.280)

8 Virgo
"I was like the shepherds of the famous painter POUSSIN, confused
in front of the enigma: "ET IN ARCADIA EGO..."! The voice of the blood [race] would
it show me the image of an ancestral past. Yes, the light of the genius crossed
my mind. I saw again, I understood! I knew now this fabulous secret.
And marvellous, when from the leaps of the four horsemen, the
shoes of one horse had left four imprints on the rock,
here is the sign which DELACROIX had given in one of three pictures from
the chapel of Angels. Here is the seventh sentence which a hand had
traced: DELIVER ME FROM THE MIRE, SO THAT I DO NOT STAY THERE SINKING.
Two times IS, embalmer and embalmed, miraculous vase of the eternal White
Lady of Legends."

"J'tais comme les bergers du clbre peintre POUSSIN, perplexe


devant l'enigme : "ET IN ARCADIA EGO..."! La voix du sang allait-elle
me rendre l'image d'un pass ancestral. Oui, l'clair du gnie traver-
sa ma pense. Je revoyais, je comprenais ! Je savais maintenant ce se-
cret fabuleux. Et merveille, lors des sauts des quatre cavaliers, les
savots d'un cheval avaient laiss quatre empreintes sur la pierre, voi-
l le signe que DELACROIX avait donn dans l'un des trois tableux de
la chapelle des Anges. Voil la septime sentence qu'une main avait
trace : RETIRE MOI DE LA BOUE, QUE JE N'Y RESTE PAS ENFONCE. Deux fois
IS, embaumeuse et embaume, vase miracle de l'ternelle Dame
Blanche des Lgendes."

"like the shepherds"

"Levi also remarks that oft times the true practical Magicians are found in the country, that is
unintellectual and unsophisticated, or simple sheperds."

(The Tree of Life - a Study in Magic, p. 80 - 81)

The picture "Les Bergers d'Arcadie" by Poussin depicts shepherds puzzling over the inscription
on a tomb "Et in Arcadia Ego".

<="" a="">"famous painter POUSSIN"

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<="" a="">Nicolas Poussin (1594-1665). Painter of the Shepherds of Arcadia (Les Bergers
d'Arcadie).

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<="" a="">
Les Bergers d'Arcadie by Nicolas
Nicolas Poussin
Poussin

"ET IN ARCADIA EGO"

Latin phrase translating as "And I too


am in Arcadia"

"Erymanthe, mountain of Arcadia, was


the shelter of a boar whose fury filled
the entire area with fear."

"Erymanthe, montagne d'Arcadie, tait


l'asile d'un sanglier dont la fureur
remplissait d'effroi la contre entire."

(La Vraie Langue Celtique, p. 301)


Shepherds of Arcadia-Shugborough Hall
"ARCADIA"

"Arcadia derives its name from Arcas, the son of Zeus and the beautiful Callisto. Callisto was
given the form of a bear by Zeus, represented in the sky by Ursa Major, the Great Bear. When
Arcas died, Zeus made him into a constellation and set him beside his mother. In Arcas we
have Ursa Minor, the Little Bear. The first star of the seven stars of the Little Bear is the present
North Pole Star, and it carries the name of Arcas. It signifies the crown `jewel' of the world and its
heavens. Ursa Minor was also known as Phoenice, or Ursa Phoenicia. The Arcadians were
known as `the Bear Race'; they were also (in their most ancient sense) the original Phoenicians.
Furthermore, the stars of Ursa Minor were those principally used in all navigation by land as well
as by sea, to direct the course of the traveller. Thus the Arcadian or Bear Race were known as
the guides or pathfinders of mankind, leading and lighting the way like Mercury or Hermes. The
`Bear' is also known as an `Ark' or `Boat'; and the Arcadians were the `People of the Ark' or the
`Arch Race' - `the people of the Covenant'. As Phoenicians, they were reknowed sailors and
navigators, as well as teachers and healers."

(Arcadia, p. 106-109)

"voice of the blood"

Reference to the geneology ("Tableau Dynastique") on page 10 of Le Serpent Rouge.

"leaps of the four horsemen"

"The first horse, signifying the fire ether, was called Jupiter and occupied the highest place in the
order of the elements. This horse was winged, very fleet, and, describing the largest circle,
encompassed all the others. It shone with the purest light, and on its body were the images of the
sun, the moon, the stars, and all the bodies in the ethereal regions. The second horse, signifying
the element of air, was Juno. It was inferior to the horse of Jupiter and described a smaller circle;
its color was black but that part exposed to the sun became luminous, thus signifiying the diurnal
and nocturnal conditions of air. The third horse, symbolising the element of water, was sacred to
Neptune. It was of heavy gait and described a very small circle. The fourth horse, signifying the
static element of earth, described as immovable and champing its bit, was the steed of Vesta.
Despite their differences in temperature, these four horses lived harmoniously together, which is
in accord with the principles of the philosophers, who declared the world to be preserved by the
concord and harmony of its elements."

(Secret Teachings of all Ages, p. CLXXXVII)

"the shoes of one horse had left four imprints on the rock"

From above quote it can be seen that only one horse could leave imprints, that being horse of the
'earth', or perhaps the one "of heavy gait"

"DELACROIX"

Ferdinand-Victor-Eugne Delacroix, artist, born on 26 April 1798 at Charenton-Saint-Maurice,


France. The works referred to here are the paintings in the Chapel of Angels at Saint Sulpice
which was conceived in 1849. Work was started in 1855 and finished in June 1861. The three
pictures are :

Le combat de Jacob avec l'Ange - Jacob fighting the Angel

Heliodore chasse du Temple - Heliodorus chased from the Temple

St Michael Terrassant le Demon - St Michael overwhelming the Demon

Delacroix died on 13 August 1863 in Paris.

Eugne Delacroix - Self Jacob Fighting the Angel by


Portrait Eugne Delacroix

"one of the three pictures from the chapel of angels"

Jacob fighting the Angel appears in the picture by Delacroix in the Chapel of Angels at St Sulpice.
"Furthermore, the universe is balanced by two forces which maintain it in equilibrium, being the
force which attracts and that which repels. They exist alike in physics, in philosophy and in
religion; in physics they produce equilibrium, in philosophy criticism, in religion progressive
revelation. The ancients represented this mystery by the conflict between Eros and Anteros, the
struggle between Jacob and the angel, and by
the equilibrium of the golden mountain, which
gods on the one side and demons on the other
encircle with the symbolic serpent of India."

(Transcendental Magic, p. 50)

"the seventh sentence which a hand had


traced"

Reference to the seventh Station of the Cross at


St Sulpice, where this text is engraved in stone
on the wall.

"JESUS EPUISE RETOMBE


RETIRE MOI DE LA BOUE
QUE JE N'Y RESTE PAS
ENFONCE

Psalms LXVIII"

(Saint Sulpice, Seventh Station of the Cross)


The Seventh Station at St Sulpice
"DELIVER ME FROM THE MIRE, SO THAT I
DO NOT STAY THERE SINKING"

"Retire-moi de la boue, et que je n'enfonce plus! Que je sois dlivr de mes ennemis et du
gouffre!"

(Bible, Psalms, 69:14)

"Rescue me from the mire before I sink in;


So I shall be saved from those who hate me,
From the watery depths.
Let not the waves wash over me,
Nor the deep swallow me up,
Nor the pit close its mouth on me."

(Bible, Psalms, 69:14)

"Depicts a Queen with angels' wings - and


most gorgeously dressed. She has a golden
crown and neck ornament, with golden chains,
yellow sleeves and flowing. Skirt of dress
ornamented with a flowing green foliage
pattern and red and blue flowers. From her left
shoulder hangs a blue drapery with gold edges
her slippers are red and gold. In her hand she
holds a crimson robe edged with gold, which

Splendor Solis - The Eighth Picture


she is holding out to a naked black man who is standing to the knees in a black mud pool. His left
arm is white and slightly soiled. His right arm, neck and head is blood red. He holds his right hand
over his right thigh towards and as if to cover his nakedness. He stands with right side towards us
and on the profile is seen a circular transparent glass globe, just covering head all but profile,
through this globe are to be seen on the organ of Self-esteem, the right cheek bone, and over the
right eye, three luminous spots, in each of which is seen a small red cross. The Queen seems to
be encouraging and sympathysing with him. A landscape with a lake is seen in the distance.
Village, roadway with a few distant people walking and boat sailing on the lake, with islands in the
extreme distance."

(Splendor Solis, The Eighth Picture)

"Whereupon the greatest part, and even I myself, despaired of redemption, and called upon God
that he would have pity on us, and (if possible) deliver us out of this obscurity; who then also
heard some of us."

(Chymical Wedding, First Day, p.7)

"two times IS"

"This Egyptian deity under many names appears as the principle of natural fecundity among
nearly all the religions of the ancient world. She was known as the goddess with ten thousand
appellations and was metamorphosed by Christianity into the Virgin Mary, for Isis, although she
gave birth to all living things - chief among them the Sun - still remained a virgin, according to the
legendary accounts."

(Secret Teachings of all Ages, p. XLV)

"Isis, represented in the Song of Solomon by the dark maid of Jerusalem, is symbolic of receptive
Nature - the watery, maternal principle which creates all things out of herself after impregnation
has been achieved by the virility of the sun."

(Secret Teachings of all Ages, p. XLV)

"Isis, visiting Byblos, recovered the body of her husband, but it was again stolen by Typhon, who
cut it into fourteen parts, which he scattered all over the earth.

(Secret Teachings of all Ages, p. XLVI)

"White Lady of Legends."

"Sometimes the raven is a White Goddess of death and rebirth: the ancient European Queen of
the Dead. The White Lady, as she is sometimes called, may be seen dressed in black when she
comes forth as a raven to gather the souls of the dead. "

(The Raven)

9 Libra
"Started in the shadows, my journey could only be finished
in light. At the window of the ruined house I gazed across
the trees stripped by autumn to the summit of the mountain.
The cross of crete stood out under the midday sun, it was the
fourteenth and the biggest of all with its 35 centimetres! Here I am
therefore on my horse ride [tour] on a divine steed crossing the
abyss."

"Commenc dans les tnbres, mon voyage ne pouvait s'achever


qu'en Lumire. A la fentre de la maison ruine, je contemplais
travers les arbres dpouills par l'automme le sommet de la montagne.
La croix de crte se dtachait sous le soleil du midi, elle tait la
quatorzime et la plus grande de toutes avec ses 35 centimtres! Me
voici donc mon tour cavalier sur le coursier divin chevauchant
l'abme."

"Started in the shadows, my journey could only be finished in light"

"When the aspirant has qualified to enter into this place behind the second veil, he finds
everything dark to the physical eye, and it is necessary that he should have another light within.
When he first came to the eastern Temple gate, he was "poor, naked, and blind" asking for
LIGHT. He was then shown the dim light which appeared in the smoke above the Altar of
sacrifice, and told that in order to advance he must kindle within himself that flame by remorse for
wrongdoing. Later on he was shown the more excellent light in the East Room of the Tabernacle,
which proceeded from the Seven-branched Candlestick; in other words he was given a light of
knowledge and of reason that by it he might advance further upon the path."

(Ancient and Modern Initiation, p. 39)

"Every system of real Initiation, whether of the past or present, is divided into three clear-cut
stages; since before anyone can pass from his natural darkness to the Light supernal and
discover the Blazing Star or Glory of his own centre, there are three distinct tasks to be
achieved."

(The Masonic Initiation, p.19)

"cross of crete"

Deliberate mis-spelling using crte (Crete, Greece) in place of crte (crest) to indicate a Greek
cross.

"fourteenth"

Indicating the 14 crosses (stations) around the church at St Sulpice and at Rennes-le-Chteau.

"35 centimetres"

"At the left [235] of this menhir looking at the spa and its parish church, one discovers on the
neighbouring rocks some greek crosses deeply engraved with a chisel and measuring from 20 to
30 and 35 centimetres. these crosses with equal limbs and numbering five in this one place must
have been engraved by order of the first christian missionaries sent into the area. The sacred
sign of redemption has turned therefore to the benefit of pure truth, the traditional respect of
which the menhirs were the object, a respect which, in the deplorable moral state into which the
conquests of the roman republic had plunged the celts, addressed perhaps to the stones
themselves."

"A gauche [235] de ce mnir regardant la station thermale et son glise paroissiale, on dcouvre
sur les roches voisines des croix grecques profondment graves par le ciseau et mesurant
depuis vingt jusqu' trente et trente-cinq centimtres. Ces croix, branches gales et au nombre
de cinq sur ce seul point, ont d tre graves par ordre des premiers missionnaires chrtiens
envoys dans la contre. Le signe sacr de la rdemption a dtourn ainsi au profit de la pure
vrit, le respect traditionnel dont les mnirs taient l'objet, respect qui, dans l'tat moral
dplorable o les conqutes de la rpublique romaine avaient plong les Celtes, s'adressait peut-
tre aux pierres elles-mmes."

(La Vraie Langue Celtique, p.234-235)

"divine steed"

"And now I saw heaven open, and a white horse appear; its rider was called Trustworthy and
True; in uprightness he judges and makes war. His eyes were flames of fire and he was crowned
with many coronets; the name written on him was known only to himself, his cloak was soaked in
blood. He is known by the name, The Word of God."

(Bible, Revelation 19:11-13)

"Par la croix et ce cheval de dieu"

"By the cross and this horse of god"

(Decoded message from the parchment found by Sauniere)

"crossing the abyss"

"Then I saw an angel come down from heaven with the key of the Abyss in his hand and an
enormous chain. He overpowered the dragon, that primeval serpent which is the devil and Satan,
and chained him up for a thousand years. He hurled him into the Abyss and shut the entrance
and sealed it over him, to make sure he would not lead the nations astray again until the
thousand years had passed."

(Bible, Revelation 20:1-3)

"We cannot resolve to study the names of these false divinities and the idolatrous beliefs of these
degenerate Gauls. The abyss into which they were lured is too terrible for one to stay behind and
fathom it."

(La Vraie Langue Celtique, p. 305)

"The meaning of the word Kether, we have already noted, is Crown. Chokmah means Wisdom,
and Binah means Understanding. But pendent to these two later Sephiroth is a curious and
mysterious third, which is never represented in the glyph of the Tree; this is the invisible Sephirah,
Daath, Knowledge, and it is said to be formed out of the conjunction of Chokmah and Binah and
is situated astride the Abyss."

(The Mystical Qabalah, p.43)


10 Scorpio
"Celestial vision for him who remembers the four works
of Em. SIGNOL around the Meridian line, to the choir itself from
the sanctuary from which beams this source of love from one to another,
I turn around passing the site of the rose of the P to that of the S,
then from the S to the P ... and the spiral in my mind becoming like a
monstrous octopus expelling its ink, the shadows obscure the light,
I am dizzy and I hold my hand to my mouth biting instinctively
my palm, perhaps like OLIER in his coffin. Curses,
I understand the truth, HE IS GONE, but to him too in doing
THE GOOD, like HIM of the flowery tomb. But
how many have sacked the HOUSE, leaving only the embalmed corpses
and numerous metal objects which they could not carry? What strange mystery
conceals the new temple of SOLOMON built by the children of
Saint VINCENT?"

"Vision cleste pour celui qui me souvient des quatres oeuvres


de Em. SIGNOL autour de la ligne du Mridien, au choeur mme du
sanctuaire d'o rayonne cette source d'amour des uns pour les autres,
je pivote sur moi-mme passant du regard la rose du P celle de l'S,
puis de l'S au P ... et la spirale dans mon esprit devenant comme un
poulpe monstrueux expulsant son encre, les tnbres absorbent la lu-
mire, j'ai le vertige et je porte ma main ma bouche mordant ins-
tinctivement ma paume, peut-tre comme OLIER dans son cerceuil. Mal-
diction, je comprends la vrit, IL EST PASSE, mais lui aussi en fai-
sant LE BIEN, ainsi que xxxxxxxx CELUI de la tombe fleurie . Mais
combien ont saccag la MAISON, ne laissant que des cadavres embaums
et nombres de mtaux qu'ils n'avaient pu emporter. Quel trange mys-
tre recle le nouveau temple de SALOMON difi par les enfants de
Saint VINCENT."

"Em. Signol"

Emile Signol - Painter and member of the Academy of Arts, Paris.

"Yesterday, we elected that insipid Signol to the Institute. Meissonier got as many as sixteen
votes, and thus the only people left to compete with him were Signol and that antiquated old
Hesse, both of them representatives or offspring, of the Ecole. But shuddering at the idea of
seeing an original talent enter the Academy, these two groups joined forces to destroy him. This
was done at the price of Signol's election. The result will be far more deadly than if they'd decided
on Hesse, and old man who will leave no pupils to perpetuate the taste of the school of David."

(The Journal of Eugene Delacroix, p.363-364)

"four works"

There are four paintings by Emile Signol around the Meridian line. However, the anagram
SIGNOL around LA produces LANGLOIS. Claude Langlois is the engineer who completed the
Gnomon at Saint Sulpice in 1744.
His four works were :

1. Erected an obelisk of white marble (10.72 metres) which can be seen in the northern arm of
the trancept

2. Traced the meridian (in the North-South direction) with a band of copper inlaid in the paving of
the church and leading up to the obelisk

3. Established in the window of the southern arm of the trancept a gnomon equipped with a lens
with an 80 foot focal length

4. Marked on the ground with a copper plaque the spot where the rays of the sun fall on summer
solstice. This plaque was removed several years ago to be re-engraved. One can see today the
marble plaque which was over the copper plaque.

("Le Gnomon de L'Eglise Saint Sulpice", Saint Sulpice)

"Meridian line"

"Now although many apparent byways showed themselves, yet I still proceeded with my
compass, and would not budge one step from the Meridian Line; howbeit the way was often so
rugged and impassable, that I was in no little doubt of it. On this way I constantly thought upon
the dove and the raven, and yet could not search out the meaning; until at length upon a high hill
afar off I saw a stately portal, to which, not regarding how far it was distant both from me and from
the way I was on, I hasted, because the sun had already hid himself under the hills, and I could
see no abiding place elsewhere; and this verily I ascribe only to God, who might well have
permitted me to go forward in this way, and withheld my eyes that so I might have gazed beside
this gate."

(Chymical Wedding, Second Day, p.12)

"site of the rose of the P to that of the S, then from the S to the
P ..."

Rose Boss at St Germain des Pres

The SP, separated by a rose, appears above the Chapel of St Peter and St Paul in the church at
St Germain des Pres. There are two such "SP" bosses which face each other in the chapel.

PS may also be a reference to the Priory of Sion


"Octopus"

Reference to the Octopus in the church at St Sulpice. La Poulpe = Pulpit or Octopus. This
octopus-shaped pulpit was a Gift from the Doge of Venice to Francois I.

The Octopus appears on the gravestone of Marie de Negre Dables - Dame d'Hautpoul de
Blanchefort, which is said to have been defaced by Sauniere.

"I hold my hand to my mouth biting instinctively my palm"

Direct reference to the Tree of Life :

Hand = Yod path 20 between Chesed and Tipareth - Hermit

Mouth = Peh path 27 between Netzach and Hod - Tower

Palm of hand = Kaph path 21 between Chesed and Netzach - Wheel

"flowery tomb"

The title of the Lord of Rennes and Blanchefort passed upon the death of Francois d'Hautpoul
(the husband of Marie de Negre Dables) to the couple's youngest daughter Gabrielle. This was
because the Blanchefort lands formed part of her dowry and the title, under French law, went with
the land. She was married to Paul Francois Vincent de Fleury who became Lord of Rennes. Their
son Paul Urbain de Fleury died in 1836 and was buried in the cemetery at Rennes-les-Bains. Le
Tresor Maudit by Gerard de Sede states that there were at one time two tombstones for Paul
Urbain de Fleury. This has not been proven.

The "Fauteuil du Diable" (Devil's Armchair) was carved into the shape of a seat for the Comte de
Fleury in the eighteenth century.

"Germaine of Pibrac, shepherdess, Born at Pibrac, c.1579; died there, 1601."

"But people began to take a different view of her when ir was reported that one winter's day her
stepmother accused her of taking a loaf of bread to give to a beggar; Germaine opened her apron
and it was full of spring flowers. Not long after, she was found dead, under the stairs. From 1644
miracles of healing were said to take place at her grave, which has been a place of pilgimage
from that day to this."

(Penguin Dictionary of Saints, p.155-156)

"metal objects which they could not carry"

"...for Solomon had to build his temple without iron tools because of a Mosaic prohibition (Exodus
XX.25)"

(The Ancient Secret, p.108)

"If you make me an altar of stone, do not build it of dressed stones; for if you use a chisel on it,
you will profane it."

(Bible, Exodus, XX.25)


"Olier"

Jean-Jacques Olier (1608-1657), founder in 1641 of the Sulpicians.


Responsible for starting the building of the church of St Sulpice in
1642. Olier is buried in St Sulpice. 20 September 1608 to 2 April
1657. 1652 gave up work as a priest and established a society of
priests. Died under the eyes of St Vincent de Paul who had come to
see him.

"new temple of SOLOMON"

"This message refers to the church at St Sulpice, an esoteric temple Jean-Jacques Olier
copied from the Temple of Solomon and finished at the time of the
death of the marquise, on the territory of the abbey of St. Germain des Pres"

(Rennes-le-Chteau, A Visitor's Guide, p. 12)

"Children of Saint Vincent"

"St Vincent the Deacon. d. 304 A native of Huesca who became deacon to St Valerius at
Saragossa and was martyred at Valencia under Diocletian. He has always been widely venerated
by the Western church. St Augustine, St Leo and Prudentius wrote in his honour. In some places
he is honoured as the patron of vinedressers. Details of his martyrdom are lacking but the fact of
it is indisputable. He is depicted as a deacon holding one or many ewers and a book; or with a
raven or ravens defending his martyred body; being torn with hooks, or holding a millstone. Saints
day Gregorian Calendar January 22.

(The Book of Saints, p. 567)

"The sanctuary is guarded by the children of Saint Vincent de Paul, the saint whose heart
belonged to the orphans and unfortunates, and under the [277] direction of these pious and wise
missionaries, true inheritors of the virtues and the charity of their benevolent founder, the
privileged temple saw a crowd, larger than ever, kneeling and praying in the sacred walls."

"Le sanctuaire est gard par les enfants de Saint Vincent de Paul, le saint dont le coeur
appartenait aux orphelins et aux malheureux, et sous la [277] direction de ces pieux et savants
missionnaires, dignes hritiers des vertus et de la charit de leur bienheureux fondateur, le
temple privilgi a vu une foule, plus considrable que jamais, s'agenouiller et prier dans
l'enceinte sacre."

(La Vraie Langue Celtique p. 276-277)

11 Serpent
"Cursing the profaners in their ashes and those who live
in their tracks,leaving the abyss where I was plunged in finishing
the gesture of horror : "Here is the proof that I knew the secret of the Seal of
SOLOMON, that of this QUEEN I have visited
the hidden residences". To this, Dear Reader, be careful not to add or
remove an iota... meditate, meditate again, the vile lead of my
writing contains perhaps the purest gold."
"Maudissant les profanateurs dans leurs cendres et ceux qui vi-
vent sur leurs traces, sortant de l'abme o j'tais plong en accom-
plissant le geste d'horreur : " Voici la preuve que du sceau de SALO-
MON je connais le secret, que xxxxxxxxxxx de cette REINE j'ai visit
les demeures caches. " A ceci, Ami Lecteur, garde toi d'ajouter ou
de retrancher un iota ... mdite, Mdite encore, le vil plomb de mon
crit xxxx contient peut-tre l'or le plus pur."

"abyss"

"Then I saw an angel come down from heaven with the key of the Abyss in his hand and an
enormous chain. He overpowered the dragon, that primeval serpent which is the devil and Satan,
and chained him up for a thousand years. He hurled him into the Abyss and shut the entrance
and sealed it over him, to make sure he would not lead the nations astray again until the
thousand years had passed."

(Bible, Revelation 20:1-3)

"We cannot resolve to study the names of these false divinities and the idolatrous beliefs of these
degenerate Gauls. The abyss into which they were lured is too terrible for one to stay behind and
fathom it."

(La Vraie Langue Celtique, p. 305)

"Seal of SOLOMON"

"The Seal of Solomon or the Shield of David, for under both names the same thing was denoted,
is a hexagonal figure consisting of two interlaced triangles, thus forming the outlines of a six-
pointed star. Upon it was inscribed one of the sacred names of God, from which inscription it was
supposed principally to derive its talismanic powers. These powers were very extensive, for it was
believed that it would extinguish fire, prevent wounds in a conflict, and perform many other
wonders."

(Encyclopedia of Freemasonry, p. 674)

"...in the scenery on the left blooms a flower known as "Sceau de Solomon" (Solomon's Seal), a
pink lily-like blossom"

((Rennes-le-Chteau, A Visitor's Guide, p. 27, describing the large wall fresco in the church at
Rennes-le-Chteau)

"Dear Reader"

"Here Gentle Reader, you shall finde incorporated in our Confession thirty seven Reasons of our
purpose, and intention, the which according to thy pleasure thou mayst seek out and compare
them together : thou mayst also consider with thyself, if they be weighty, and sufficient enough to
bring and persuade thee for to take our parts."

(The Fame and Confession of the Fraternity of the RC, 1652, Preface to the Confession, p.32)

"add or remove an iota"


"Whatever I am now commanding you, you must keep and observe, adding nothing to it, taking
nothing away"

"Garde ce que tu as reu, <<sans rien ajouter, ni rien retrancher>> "

(Bible, Deuteronomy, 13:1)

"vile lead of my writing contains perhaps the purest gold"

"The which proof again I repeated thrice, and found it still alike, and the said remaining silver out
of aqua fortis, was of the very best flexible silver that could be; so that in the total, the said
medicine (or elixir) had transmuted six drams and two scruples of the lead and silver, into most
pure gold"

(The Alchemists, p. 189, quoting from The Testimony of Helvetius)

12 Sagittarius
"Returning then to the white hill, the sky having opened its
gates, it seems there is a presence near me, the feet in
the water like him who has just been baptised, turning myself again
towards the east facing me I saw unrolling without end, his coils,
the enormous SERPENT ROUGE cited in the parchments, salty and bitter,
the enormous beast unleashed became at the foot of this white hill, red with anger."

"Revenant alors la blanche coline, le ciel ayant ouvert ses


vannes, il me sembla prs de moi sentir une prsence, les pieds dans
l'eau comme celui qui vient de recevoir la marque du baptme, me re-
tournant vers l'est, face moi je vis droulant sans fin ses anneaux,
l'norme SERPENT ROUGE cit dans les parchemins, sale et amre, l'-
norme bte dchaine devint au pied de ce mont blanc, rouge en colre."

"like him who has just been baptised"

"Jesus crouches in the same position as the devil in the church entrance, but inverted, and the
clothes he wears are of a similar colour, only they too are inverted. He too stares at the symbolic
paving, drawing our attention to the need for a second chess-board which must be used back to
front in order to solve the riddle."

(Rennes-le-Chteau, A Visitor's Guide, p. 27)

"SERPENT"

"Kundalini, the Sphinx of Yoga, is Shakti, the king's daughter, who must be awakened if Yoga is to
reach its supernal goal. For Hatha-Yogo, Shakti is in microcosmic form the revelation of the
primaeval force of the feminine in the physical and etheric bodies. She is shown in the form of a
serpent, but also as a young woman of enticing beauty. As long as the Shakti force in man is
asleep, he cannot attain to higher wisdom."

(The Secret Sciences, p. 68)


"This serpent of wisdom is so coiled about the Tree that
its body passes over each path in succession on the
way of return with its tail near Malkuth and its tail by
Kether, it indicates the correct order of numbering the
paths upon the Tree. This was once a secret reserved
only for the initiated."

(The Practical Qabalah, p. 29)

"It contained thrice seven leaves, for so they were


counted in the top of the leaves, and always every
seventh leaf was without any writing, but instead thereof
upon the first seventh leaf, there was painted a Virgin,
and serpents swallowing her up; in the second seventh,
a Cross whereon a serpent was crucified; and in the last
seventh, there were painted deserts or wildernesses in
the midst whereof ran many fair mountains, from
whence there issued out a number of serpents, which
ran up and down here and there."

(The Alchemists,
p.164, quoting from
Nicholas Flamel)

"salty and bitter"

"The Sals or salty


river, flows first from
the rising [east] to the
Serpent on the Tree of Life sleeping [west], and
after its junction with
the Blanque, towards the centre of the Stone Circle of the
Redones, follows its course from the South to the North until
the entrance of the gorge where it starts to draw out the first
natural peaks. Until it has received the Rialses, it turns again
towards the sleeping [west] and heads toward the Alder to pour Serpent in the Landscape at Peyrolles
its bitter waters."

"La Sals ou rivire sale, coule d'abord du levant au couchant, et, aprs sa jonction avec la
Blanque, vers le centre du Cromleck des Redones, poursuit son cours du sud au nord jusqu'
l'entre de la gorge o commencent se dessiner les premires aiguilles naturelles. Ds qu'elle
a reu les Rialss, elle se dtourne de nouveau vers le couchant, et se dirige vers l'Alder pour y
dverser ses eaux amres."

(La Vraie Langue Celtique, p. 227)

"red with anger"

"This strange Liquor (the Sun shining on it at Noon) attracted the Beams or Splendour to it self,
and did sink downwards, as if coagulated with the Heat, but reflected to the Eyes of the
Beholders a most beautiful Rain-bow. Here we have a perfect Description of the Philosophers
Mercury, but there is something more behind. Apollonius confesseth how the Brachmans told him
afterwards, that this Water was a certain secret Water, and that there was hid under it, or within it,
a Blood-red Earth."
(The Fame and Confession of the Fraternity of the RC, 1652, p.b1-b2)

13 Capricorn
"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."

"Mon motion fut grande, "RETIRE MOI DE LA BOUE" disais-je, et


mon rveil fut immdiat. J'ai omis de vous dire en effet que c'tait
un songe que j'avais fait ce 17 JANVIER, fte de Saint SULPICE. Par
la suite mon trouble persitant, j'ai voulu aprs rflexions d'usage
vous le relater un conte de PERRAULT. Voici donc Ami Lecteur, dans
les pages qui suivent le rsultat d'un rve m'ayant berc dans le
monde de l'trange l'inconnu. A celui qui PASSE de FAIRE LE BIEN !"

"DELIVER ME FROM THE MIRE"

"Rescue me from the mire before I sink in;


So I shall be saved from those who hate me,
From the watery depths.
Let not the waves wash over me,
Nor the deep swallow me up,
Nor the pit close its mouth on me."

(Bible, Psalms, 69:14)

"Retire-moi de la boue, et que je n'enfonce plus! Que je sois dlivr de mes ennemis et du
gouffre!"

(Bible, Psalms, 69:14)

"Depicts a Queen with angels' wings - and most


gorgeously dressed. She has a golden crown
and neck ornament, with golden chains, yellow
sleeves and flowing. Skirt of dress ornamented
with a flowing green foliage pattern and red and
blue flowers. From her left shoulder hangs a blue
drapery with gold edges her slippers are red and
gold. In her hand she holds a crimson robe
edged with gold, which she is holding out to a
naked black man who is standing to the knees in
a black mud pool. His left arm is white and
slightly soiled. His right arm, neck and head is
blood red. He holds his right hand over his right
thigh towards and as if to cover his nakedness.
He stands with right side towards us and on the
profile is seen a circular transparent glass globe,
just covering head all but profile, through this

Splendor Solis-The Eighth Picture


globe are to be seen on the organ of Self-esteem, the right cheek bone, and over the right eye,
three luminous spots, in each of which is seen a small red cross. The Queen seems to be
encouraging and sympathysing with him. A landscape with a lake is seen in the distance. Village,
roadway with a few distant people walking and boat sailing on the lake, with islands in the
extreme distance."

(Splendor Solis, The Eighth Picture)

"Whereupon the greatest part, and even I myself, despaired of redemption, and called upon God
that he would have pity on us, and (if possible) deliver us out of this obscurity; who then

also heard some of us."

(Chymical Wedding, First Day, p.7)

"17th JANUARY"

St Anthony

"Antony was buried by his own choice in a place known to none. But by 561 his relics were found
and translated to Alexandria. Much later, translations were claimed by Constantinople and by La
Motte, where the Order of Hospitallers of Saint Antony was founded c.1100. This became a
pilgrimage centre for those who suffered from ergotism (called St Antony's Fire). The hospitallers,
who wore black robes with a blue Tau-cross, became widespread over much of Western Europe.
They used to ride about, ringing little bells to attract alms; the bells were afterwards hung round
the necks of animals to protect them from disease. By special privilege this order's pigs were
allowed to roam freely in the streets, whence the emblems of pigs and bells in St Antony's later
iconography... ...Feast 17th January"

(Oxford Dictionary of Saints, p.26 )

"St Antony Ermite. The presence in the church of this saint, who led an exemplary life may be
intended to suggest a nearby location - 'La Grotte de l'Ermite' (the Hermit's Grotto). It is not
simply chance which makes a ray of sunlight pass through the stained glass window opposite and
illuminate the statue on precisely January 17th, the date on which he is celebrated, and on which
he died at the age of 105."

(Rennes-le-Chteau, A Visitor's Guide, p. 27)

Blanchefort

"Marie de Negre Dables-Dame D'Hautpoul de Blanchefort died in the chateau of Rennes on 17th
January 1781 at the age of 67."

(Rennes-le-Chteau, A Visitor's Guide, p. 7)

Sauniere

"Until the day when Marinette discovered him (Abbe Berenger Sauniere) prostrate in front of the
Tour Magdala on January 17th, 1917...After having passed on the secret to his friend the Abbe
Riviere of Esperaza the cure of Rennes-le-Chteau died on January 22nd 1917."
(Rennes-le-Chteau, A Visitor's Guide, p. 18)

Nicolas Flamel

"Having this, I easily accomplished the Mastery, for, knowing the


preparation of the first Agents, and after following my Book
according to the letter, I could not have missed it, though I would.
Then, the first time that I made projection was upon Mercury,
whereof I turned half-a-pound, or thereabouts, into pure Silver,
better than that of the Mine, as I myself assayed, and made
others assay many times. This was upon a Monday, the 17th of
January, about noon, in my house, Perrenella only being present,
in the year of the restoring of mankind, 1382."

(Exposition of the Hieroglyphicall Figures which he caused to bee


painted upon an Arch in St. Innocents Church-yard, in Paris., Nicolas Flamel
Nicolas Flamel - London, 1624)

St Sulpice

17 January is the Saint's day (feast day) of St Sulpice. The church of St Sulpice and the church at
Rennes-le-Chteau are both located on the Paris Meridien.

Sigisbert IV

"January 17th AD 681 was the date Sigisbert IV was reputed to have arrived at Rennes-le-
Chteau. He is the mysterious link in the Merovingian line who, as son of
Dagobert II, would have been his heir. As his life was in danger he was
apparently concealed and from him came a line of kings who have never
ruled."

(Genisis, p.45)

Serpent Rouge

January 17th 1967 is the publication date given on the title page of Le
Serpent Rouge

Papacy returns to Rome

In 1309 the papacy moved from Rome to Avignon. On 17 January 1377,


Pope Gregory XI reached Rome after leaving Avignon on 13 September Charles Perrault
1376.

"PERRAULT"

"Perrault's unique contribution was to piece together the elements of earlier models and rework
them to produce stories of literary sophistication and moral weight. Charles Perrault (1628-1703)
forever will stand as the creative genius of Mother Goose."

"Biblio" Magazine, December 1997


Appendix A - The Tree of Life
Paths on the Tree of Life

Hebrew Meaning English Joining Sephiroth Numerical Path Tarot Image


Letter Letter Value

Aleph Primal A Kether to Chokmah 1 11 Fool


Energy, Ox

Beth House, B Kether to Binah 2 12 Magician


Container

Gimel Camel G Kether to Tipareth 3 13 High Priestess

Daleth Door, D Chokmah to Binah 4 14 Empress


Opening

Heh Window H Chokmah to 5 15 Emperor


Tipareth

Vav Nail, Hook U Chokmah to 6 16 Hierophant


Chesed

Zain Sword Z Binah to Tipareth 7 17 Lovers

Cheth Field, Fence Ch Binah to Geburah 8 18 Chariot

Teth Serpent T Chesed to Geburah 9 19 Strength

Yod Hand I, Y Chesed to Tipareth 10 20 Hermit

Kaph Palm of K Chesed to Netzach 20 21 Wheel


Hand

Lamed Ox-Goad, L Geburah to Tipareth 30 22 Justice


Whip

Mem Water M Geburah to Hod 40 23 Hanged Man


Nun Fish N Tipareth to Netzach 50 24 Death

Samekh Prop, S Tipareth to Yesod 60 25 Temperance


Support

Ayin Eye O Tipareth to Hod 70 26 Devil

Peh Mouth P Netzach to Hod 80 27 Tower

Tzaddi Fishhook Tz Netzach to Yesod 90 28 Star

Qoph Back of Q Netzach to Malkuth 100 29 Moon


Head

Resh Face, Head R Hod to Yesod 200 30 Sun

Shin Tooth Sh Hod to Malkuth 300 31 Judgement

Tav Cross Th Yesod to Malkuth 400 32 World

Sephiroth on the Tree of Life

Sephira Path Attribute God- Intelligence Angel Symbols Planet


Name

Kether 1 Crown Eheieh Hidden Metatron primal First


Chaioh ha point, Swirlings
Qadesh swastika

Chokmah 2 Wisdom JHVH Illuminating Ratzeil line, Sphere


Auphanim phallus, rod of the
of power Zodiac

Binah 3 Understanding JHVH Sactifying Tzaphkiel yoni, cup, Saturn


Elohim Aralim triangle

Chesed 4 Mercy El Cohesive Tzadkiel pyramid, Jupiter


Chashmalim cross, wand
Geburah 5 Strengh, Elohim Radical Khamael pentagon, Mars
Severity Gibor Seraphim five-petalled
rose, spear

Tipareth 6 Beauty JHVH Mediating Raphael rosy-cross Sun


Aloah Malachim cube
vaDaath

Netzach 7 Victory JHVH Occult Haniel lamp, gridle Venus


Tzabaoth Elohim

Hod 8 Glory Elohim Absolute Michael Beni versicle, Mercury


Tzabaoth Elohim apron

Yesod 9 Foundation Shaddai Pure Gabriel perfumes, Moon


El Chai Cherubim sandals

Malkuth 10 Kingdom Adonai Resplendent Sandalphon circle, Earth


ha Aretz Ashim equal-
armed
cross.

Bibliography
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RILKO, 1987
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Heinemann, 1951
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William Rider & Son, 1924

The Identity of Le
Serpent Rouge
Re-Membering the Hidden Geography of the Alchemical Marriage

by Simon Miles
from ConsciousEvolution Website
recovered through WayBackMachine Website

The "Red Sea" in the caption (right) this detail from the Ripley Scroll was a well-
known code name for the divine mercurial water and its tincturing power. Here it is
depicted as the blood pouring from the heart of the "Serpent of Arabia". It brings
happiness to whomsoever finds it, and flows, round as a ball, to every place in the
world, Ripley writes.

-from The Hermetic Museum: Alchemy and Mysticism by Alexander Roob (Taschen
1997)
In 1967 a roughly printed booklet of five typewritten sheets was deposited in the French
Bibliotque Nationale, as is legally required of every document published in France. It bore
the title: Le Serpent Rouge: Notes sur Saint Germain Des Pres et Saint Sulpice de Paris, and
was bound together with some rough maps of France and some genealogies. The main body
of the text comprises a prose-poem, of thirteen short paragraphs. It is written in French in a
cryptic style filled with obscure and esoteric references.

Little about the poem makes sense, from its appearance and origin, to the identity of its
authors, to its content itself. It is generally accepted that the poem has some connection to
the mysteries of Rennes-le-Chteau, although, as we shall see, even this assumption is not
as clear-cut as might be supposed.

A link to the poem itself may be found at Marcus Williamson and Corella Hughes Le
Serpent Rouge webpage at their comprehensive Rennes-le-Chteau Homepage. various
alternative translations of the poem from its original French into English and Italian, and a
detailed analysis of the text and its abundant hermetic, alchemical and rosicrucian
metaphors.

The events surrounding the appearance of Le Serpent Rouge (hereafter LSR) are described
in detail in the book The Holy Blood and the Holy Grail by Lincoln, Baigent and Leigh. This
includes an account of the mystery of the identity and fate of the "authors" of LSR, or at least,
those named on its title page, all three of whom apparently died in mysterious circumstances
shortly after the claimed date of publication. However, for a recent alternative analysis of this
version of events read this posting at Henry Lincolns Key to the Sacred Pattern Website
Discussion Forum.

Having stated the bare facts of the existence of the poem, we now put these aspects to one
side. For the purpose of the analysis which follows, only the content of the poem itself will
come into consideration. The story of its provenance and unorthodox publishing might well be
ambiguous, but at least the actual content of the work is not. We will approach the poem
therefore assuming nothing except that it was written in 1967 or earlier, and became public
after that date.

On first encounter, LSR appears to be a nonsense work assembled from obscure and
apparently unconnected esoteric references. If there is an unambiguous content to the poem,
it would seem to elude any kind of simplistic or surface reading. Perhaps, as some have
suggested, the work is indeed simply gibberish. Yet, one may also glimpse a semblance of
inner logic which hints that it would be rash to jump too quickly to such a conclusion.
Nevertheless, if there is a sense to be made of it, then one might guess that it requires a key,
or template, by which the sense of it can be grasped and the most puzzling references
identified.

Indeed, several authors have presented attempts at a "decoding" of Le Serpent Rouge,


often of an intensely personal or esoteric nature, but despite some creative and even quite
compelling theories, the essential puzzle remains: what is it which this curious poem is
describing behind the veil of nonsense and arcane clues? What is the nature of this journey
around the zodiac of thirteen signs? Indeed, what is le serpent rouge, or, the red snake?

This essay will present an entirely new reading of the poem which will attempt to provide
satisfying if surprising answers to these questions and others. While it will not attempt to
explain all, indeed most, of the cryptic references the work contains, it will positively identify
two crucial sources of material which the authors of LSR, whoever they were, employed in
constructing the framework of the poem. It is to be hoped that by positively illuminating one
layer at least of the many-layered mystery of Le Serpent Rouge, other aspects of meaning of
the poem will begin to come into clearer view.

One of these sources is a book which will be shown to have been a rich source of the
background material and symbolic content which makes up the architecture of LSR. It will be
shown to be an almost inescapable conclusion that whoever was responsible for
creating LSR was familiar with this book. Further, once the book and its contents have been
positively identified, the specifics of this content will enable us to reveal and confirm the
identity of Le Serpent Rouge itself.

The second source is an original map form which may be familiar to some readers of these
pages. This unique map will provide the clues as to the nature of the journey undertaken in
the poem, and a spatial and geographic context within which many of the otherwise puzzling
references in the poem begin to make sense. Whilst this particular map has no claims to
historical reliability of any kind, and indeed might be dismissed as a modern construction,
which in a sense it is, it is also demonstrably the core spatial metaphor which underpins the
action of LSR. This leads to inevitable questions about the origin of both the map and of
the poem, for the connection can be shown to be so compelling that either the map was
known to the authors, or both map and poem have emerged full-blown from the collective
unconscious as mutually reinforcing templates revealing the same hidden esoteric geography
of Europe.
This is to get ahead of the argument however. To arrive at these conclusions, it will be
necessary to describe the poem, together with the two sources, the book and the map,
individually, and in relation to each other. As a beacon to keep on track through the tangled
trails of this material, we will hold as our initial goal, at least, the answer to the specific
question: who or what is Le Serpent Rouge as described in the poem. To understand the
identity of this "red snake" which was the object of the journey undertaken by the protagonist
of the poem, we will first examine the nature of the journey itself. Once the path taken is
clear, the destination will become visible.

The hero, referred to only as Cet Ami, or This Friend, undertakes a journey around a zodiac,
with certain unusual features. It has thirteen signs, including the usual twelve with the
addition of Ophiucus, the Serpent-Holder. It begins in Aquarius and ends in Capricorn, rather
than in Aries and Pisces as is traditional. Besides these small variations, it is clearly not a
zodiac in the sky, amongst the stars, where the zodiac is usually to be found, through which
our Friend is journeying. as his travelstake him through "woods" and "hills" and "mountains",
it would seem that this zodiac is somehow located on the earth. If the journey is not through
some literal geographical region, then at least it is a passage through a metaphorical
landscape.

Keeping in mind that we are seeking to identify the nature and location of this zodiac which
provides the stage for the action of the poem, we look for other clues within the work which
might help to shed light on the overall framework.

A prominent clue to unravelling this puzzle is presented on the second page of the original
pamphlet in which the poem itself appears. This page is presented as a kind of frontispiece. It
depicts a rough sketch of a woman leaning on a column and staring at four cubes on the
ground in front of her. Appearing below the picture are the words:
... DECOUVRIR UNE A UNE LES SIOXANTE QUATRE PIERRES...
(translation: ...find, one by one, the sixty-four stones...)
Further hints to understanding the inner geography of LSR are provided within the contents
of the poem itself. In the sequence of Taurus, Gemini and Cancer, we find the following
statements:
Taurus: "I can find the 64 scattered stones of the perfect cube."
Gemini: "Reassemble the scattered stones and working with square and compass, put
them back in order."
Cancer: "The Mosaic Tiles of the sacred place alternate black and white."
The clear impression made by these clues is that this space is created of 64 black and white
cubes; that these had once made up a larger 4 x 4 x 4 cube, but that they are now to be
reassembled into an 8 x 8 chessboard arrangement. Throughout the poem there are constant
references to white and black in the different signs, and to chess-terms ("the knights tour)
which reinforce this conclusion.

It would seem clear then that the action of Le Serpent Rouge takes place on a chessboard.
If we take this at face value, then we will now need to find a chessboard which functions as a
metaphorical landscape in some sense, and which also acts as a zodiac. This immediately
presents one major difficulty. If this chessboard is also a zodiac, in this case one consisting of
13 signs, it appears at first glance that there is no obvious way to arrange the signs on the
board so that they make sense. Twelve signs would fit nicely around the twelve outer squares
of a 4 x 4 block, but the inclusion of Ophiucus appears to have created an impasse, as
thirteen just wont fit.

Nevertheless, if there is a coherent framework to the poem, there seems little alternative but
to imagine it as a 13 sign zodiac connected in some way to a chessboard in a landscape.
A possible way forward from this impasse is suggested in the 1997 edition of the Guinness
Book of Answers. The following sentence appears in a short description of the zodiac:
"Ophiucus is considered by European astrologers to be not so much the 13 th sign as the
second half of the sign of Scorpio."
With this in mind, it is time to consider a candidate for the land-based zodiac chessboard on
which LSR might be based.

I have described the Chessboard of Europe elsewhere on this site. It is derived by combining
together the ideas of two researchers in very different fields who wrote nearly a century apart,
unaware of each others works.

The first of these writers was J. Ralston Skinner, author of The Source of Measures,
published 1875. In that fascinating work, he discusses at length a square arrangement, the
"preferred ancient form", of the zodiac. It consists simply of the usual twelve signs disposed
around the outer squares of a 4 x 4 matrix, arranged so that Taurus/Aries occupy the right
centre positions, and Libra/Scorpio the centre left.

The second of the sources was Professor Livio Stecchini, who describes a grid map in use
by the Ancient Egyptians. In Part One, I describe how Rennes-le-Chateau and Paris both fall
on major grid intersection points of this mapping system. Stecchinis grid map of Ancient
Egypt gives rise very naturally to an eight-by-eight grid of squares which neatly encompasses
"Greater Europe".

Intuitively, it seemed an interesting idea to explore what would happen if Skinners "preferred
ancient form" was overlaid on the squares of the Stecchini gridmap. The result is the map-
form shown above.
There are several correspondences between the zodiac signs and the underlying
geographical regions which invite closer scrutiny. It is noteworthy that Taurus, for example,
overlays the country ofTurkey, and that the major mountain range forming the backbone of
this area is the Taurus Mountains!

The sign of Virgo coincides with that region of Europe, centered on south-eastern France, in
which the highest concentration of Black Madonna statues have been found. These
mysterious and ancient images predate Christianity, and may be traced as references to Isis,
who is also the Woman depicted in the constellation of Virgo, for example at Denderah...
There is a seamless identity of archetype which links the two Marys of the Christ
story (His Mother and the Magdalene) to Isis and Virgo.

But I will try to zero in on the two major questions which are presented by LSR, and present
some unexpected but hopefully satisfying answers. It seems to me that any successful
explanation of LSRmust explain, firstly, the nature of the journey undertaken around this
strange zodiac of 13 signs, and secondly, it must identify exactly who or what is Le Serpent
Rouge, or the Red Serpent.

The only prerequisite I ask of those who wish to follow my argument is that you put aside, for
now at least, all preconceptions about LSR and what it could mean. I assume nothing at all
about the poem, except for the fact that it exists. I approach it as a piece of text of unknown
origin or purpose, and attempt to make sense of it.

The text (original, facsimile and translations) may be found at Marcus Williamsons Rennes
report. The action of the poem consists in a journey by an unnamed protagonist around a
zodiac of 13 signs. Where is this zodiac? How is it defined? Let us begin with Gunnars
quote:
The translation of the French line may be rendered:
...reassemble one by one the 64 stones....
I take it that the 64 stones make up a chessboard. References in the poem to black and
white squares would seem to confirm this. Take this as an assumption for now: the action
concerns a chessboard. What kind of a chessboard has a zodiac on it? The only one I have
ever heard of is my Chessboard of Europe concept. Perhaps this is itself a "private cipher",
but stick with me for now. But if this is so, how could 13 signs be arranged on a chessboard.
Try it. Theres no way to fit them into any kind of sensible circuit.

One day I was idly flipping through the 1997 Guinness Book of Answers. I came across a
reference to the zodiac which included the sign of Ophiucus, the Serpent Holder. There I
read:
"this sign is considered by European astrologers to be not so much the 13 th sign as the
second half of the sign of Scorpio".
That was just what I needed. So, take Scorpio, and split it into two halves to
create Ophiucus. Now, we have thirteen zodiac signs arranged on a chessboard.

Lets check how it fits so far. The poem begins in Aquarius, which is odd, as zodiacs usually
begin with Aries. But check it out: Aquarius is at the bottom on the right of the centre dividing
line which represents winter. Hence the action starts here at the winter solstice of
this Chessboard of Europe (which recall represents the precessional transition from the Age
of Taurus to Aries).

The references to white and black seem to match up correctly for the most part. The keen
reader can check this out. There are plenty of other details to observe, but in our haste to get
to the main questions, we skip these, and proceed to the sign of Sagittarius.

Here the poem says: turning again to the east...

Now, this line provide confirmation that indeed this configuration is correct, because in no
other arrangement could one arrive at Sagittarius and then "turn to the east" to keep going.
So we are looking good.

But now the poem says words to the effect that ahead of me I could see Le Serpent Rouge.
So, stand on the Chessboard of Europe, look to the east, and what is it that one sees
"straight ahead". Why, its the Red Sea. The Red Sea is the Red Serpent. Now take a close
and careful look at this picture:
click images to enlarge

It sounds unlikely, I know, that Le Serpent Rouge could represent the Red Sea, and so far,
the evidence appears slim. We will need better than that if the identity of LSR is to be
positively confirmed. Nevertheless, I repeat my request to put aside all preconceptions about
the solution at least for now.

Lets go back to Sagittarius. It says, and I quote:


"...lenorme SERPENT ROUGE, cite dans les parchemins, salee et amere...".
The translation in Genisis of this line reads:
"...the enormous RED SERPENT, mentioned in the documents, rigid and bitter..."
Other translations however render the last words "salty and bitter".

I prefer the latter translation, but, either way, it seems to make little sense. Why should
the Red Serpent, or indeed the Red Sea, be considered "rigid and bitter", or "salty and
bitter".

Heres why: the two bodies of water which drain into the Red Sea are the Dead Sea and
the Murrah Lakes (Murrah-Al-Kubra - Egypt). As every schoolchild knows, the Dead Sea is
the saltiest body of water on earth.
And as for the Murrah Lakes: this word Murrah simply means Bitter. These are the Bitter
Lakes.
Salty and bitter = Dead Sea and Murrah Lakes.
So now, not only do we have the Red Sea in the correct position to correspond to the sighting
of le Serpent Rouge from Sagittarius, but it is specifically identified with just those two bodies
of water which are connected to it!!!!!!!

In other words, this hypothesis makes sense of the "salty and bitter" quotation.

Perhaps we are onto something here. Could it be that Le Serpent Rouge is describing a
journey around the esoteric geography of the Meditteranean?

Thus far I have advanced the hypothesis that Le Serpent Rouge is a cipher for the Red Sea,
and that the key to this decoding is the Chessboard of Europe, based upon Professor Livio
Stecchinis reconstruction of the grid map of the Ancient Egyptians.

However, one might object that this is little more than a lucky strike. After all, the
Chessboard/Zodiac of Europe has not been publicly described before, and it would seem
extremely unlikely that the authors of LSR could have been aware of it. In fact, one might
even say that it is little more than a fantasy or conceit of mine, and could not possibly relate
to a poem which appeared over 30 years ago. And this would be a fair comment as things
stand.

To make a convincing case that LSR really does describe a kind of symbolic Grand Tour
around the Mediterranean Sea would require identification of a published source which
makes these connections and was available before the poems appearance.

Thats where Jung comes in. His final work, published just before his death, was
titled: Mysterium Coniunctionis: An Inquiry into the Separation and Synthesis of Psychic
Opposites in Alchemy. It was first published in German in 1955, and subsequently translated
into English and made available under the Bollingen Series imprint, Princeton University
Press, in 1963. Le Serpent Rouge, for comparison, appeared in 1967.

This opus was the crowning achievement of Jung's career, a massive tome summarizing the
fruits of a lifes research into the psychological underpinnings of the alchemical process.
Again, it is not even remotely possible to summarize the contents or themes of the book here,
and so, again, at the risk of skipping over important details, I will cut straight to the chase.

Section III The Personification of the Opposites contains 5 sub-sections, the last of which is
entitled Sal, or Salt. It consists of 8 chapters. Here are the chapter headings:
a. Salt as the Arcane Substance
b. The Bitterness
c. The Red Sea
d. The Fourth of the Three
e. Ascent and Descent
f. The Journey through the Planetary Houses
g. The Regeneration in Sea-Water
h. The Interpretation and Meaning of Salt
If anyone will read LSR, and then examine my hypothesis of the Chessboard/Zodiac of
Europe as template for the action of the poem with its identification of the Red Sea, and
then read these 8 chapters of Jung under the heading of Sal: then, I suggest that it will be
almost impossible to resist the conclusion that the authors of LSR had previously read this
same material, and that furthermore, they must have had the correspondences in mind which
the Chessboard scheme brings to light.

One can see immediately just in the chapter headings themselves that the Red Sea is
discussed together with the concepts of salt and bitterness, just as is the case in LSR. This
alone is enough to make a compelling argument.

Not only does Jung describe at length the symbolic connections between the Red Sea and
the concepts of salt and bitterness, (which reflect, as I have noted, a geographical reality as
well as a metaphoric one), but he also expands on the link between the Red Sea and the
symbol of the serpent in alchemical thought.

For example, the following quotation appears on page 201:


I have gone into this Hippolytus text at some length because the Red Sea was of special
significance to the alchemists. (It) appears in a very peculiar manner in the Tractatus
Aristotelis ad Alexandrum Magnum where a recipe says:
Take the serpent and place it in the chariot with four wheels and let it be turned around on
the earth. and then you have placed the four wheels upon the chariot, and will obtain the
result, if you will advance to the Red Sea, running without running, advancing without motion
This curious text requires a little elucidation. The serpent is the prima material The four-fold
rotation of the natures corresponds to the ancient tetrameria of the opus (its division into four
parts), i.e. transformation through the four elements, from earth to fire.
There is plenty more in this vein, but perhaps that is enough to show briefly that Jung treats
with considerable detail the connection between the Red Sea, salty and bitter,
the serpent and the alchemical process.

This material could, and hopefully will be, expanded into a much longer treatment, and this
very brief account here will necessarily be short on detail. However, it should be sufficient to
allow the keen reader to examine the texts for themselves to get the flavor of what I am
suggesting, and to make the case that the LSR authors were familiar with MC.

There still remains the matter of the nature of the strange journey undertaken by the
protagonist of LSR, a Grand Tour around the zodiac, which, by my hypothesis, is
represented, in this case, in a square format. So, we are dealing with a square, or four-fold
metaphorical voyage around the world, or at least Asia, Europe and Africa. Is there any
precedent for such an idea?

In fact there is, and amazingly enough it is to be found described in great detail in MC, in the
section entitled The Fourth of the Three, appearing directly after the chapter called The Red
Sea.

It remains to identify the precedent for the mysterious journey which makes up the structure
of the narrative of LSR.

The source is a work by the seventeenth century alchemist and Rosicrucian, Michael Maier,
specifically Book 12 of Maiers Symbola aure mens duodecim nationum , published in
Frankfurt, 1617. The section of interest is entitled:
A Subtle Allegory, concerning the Secrets of Alchemy, very useful to possess and pleasant to
read.
A link to this document is provided here: Michael Maier - A Subtle Allegory: The Fourfold
world journey, or Grand Peregrination, through the Planetary Houses.

Within this Subtle Allegory is found an account of a symbolic world-journey undertaken by


the alchemist in his imagination. Jung treats of this journey at great length in the sections of
MC concerned with the Red Sea. In fact, the opening sentence of the fourth chapter (The
Fourth of the Three) of the Third Section (Sal) of MC reads as follows:
In the course of his mystic peregrination Maier reaches the Red (Erythraen) Sea, and in
the following way: he journeyed to the four directions, to the north (Europe), to the west ,
to the east, and turning south
Then follows an extended analysis and discussion of the symbolism of this mystic
peregrination, a phrase which reminds me of the opening words of LSR in Aquarius:
Comme ils sont estranges les manuscripts de cet Ami, grand voyageur de linconnu (How
strange are the manuscripts of this friend, great traveler of the unknown).
Thats it then. Michael Maiers four-fold world journey to the Red Sea appears
in Jungs Mysterium Coniunctionis. And then, the very same themes which Jung enlarges
upon in the course of this discussion appear as the core motifs of Le Serpent Rouge.

A close examination of these works will convince, imho, even the most skeptical reader that
something is, indeed, going on here.

In the light of this, matters take an intriguing turn. Because, if it is accepted


that Jung/Maier provides the precedent for LSR, then how could it be that the crucial
identification of the Red Serpent with the Red Sea, as part of a unique geographic/zodiacal
map-form, could have been known to the authors of LSR? This would imply that they were
aware of the Chessboard of Europe format.

Or perhaps, post-Gunnar, we are beginning to understand how a cipher can become


embedded in a text without the authors of that text being conscious of its presence!

In any case, putting the three items (LSR, MC and the Chessboard of Europe) together,
seems to provide some extraordinary correlations, and the conclusion that this must be more
than co-incidence seems, to me at least, irresistible.

The biggest problem with accepting the scheme I have outlined, I suppose, is that everybody
"knows" that LSR concerns the environs around Rennes. The zodiac is understood to be laid
out in the surrounding countryside, although no-one has definitely identified it (though many
have tried), nor can anyone point to a definitive statement which proves that, indeed, LSR is
all about a local tour of Rennes.

The original LSR publication does not make this claim, but it seems to have become folklore,
due perhaps to Boudets book, that the "correct" solution must involve something near
Rennes, or at least around it.
In fact, this intuitive idea is correct: the Tour of LSR is "around" Rennes. The tricky aspect
which has kept the solution hidden is that the scale is vastly different from what has been
imagined...

What do I mean? Well, Rennes is located on the grid map of Europe. It lies on the meridian
which defines the left, or west side of the Zodiac of Europe, as described on my site.

Hence the Tour does involve Rennes, and follows a circuit which includes Rennes, but it is on
a continent-wide scale, rather than a local scale! The circuit takes in Rennes, but goes all the
way around the Mediterranean Sea!!!
"Prove it!", I hear the cry go up...
Turn to Ophiucus. The original text of the last sentence reads as follows:
"A ceci, Ami Lecteur, garde-toi dajouter ou de retrancher un iota...medite, Medite encore, le
vil plomb de mon ecrit contient peut-etre lor plus pur"

which translates as:

"Take heed, my Friend, do not add or take away one iota. Think and think again, the base
lead of my words may contain the purest gold."
I understand "do not add or take away one iota" to imply that we should pay very careful
attention to the most minute aspect of this document. The very next words are "medite,
Medite encore". The second "medite" is capitalized in the original. Grammatically, it should
not be, unless it was a proper noun.

Should we understand this to be a mere typographical error? Or as it follows directly on from


the exhortation to pay attention, and in particular not to take away the smallest detail, would
we rather be justified in assuming that this capitalization is of importance? I choose the latter.

Is there a proper noun Medite? Not that I am aware of. Unless it is short for something... How
about Mediterranean?