Part Two

It does nothing to distance Nikola Tesla or his science from these mysteries.

 

One does wonder how much of an inspiration to Tesla that John Napier might have been, and how many of Teslaís secret dreams may have leaked out through the pages of the Inklingsí stories. The Fanthorpeís discussion of Napier includes descriptions of things, even terrible ones, which sound even more like Teslaís science, which died with him.

 

Should we presume Napier so jaded as to only have attended the task of horrendous death machines, or might we presume that he, like Tesla, had been even more concerned with the peaceful applications of the very same knowledge?

Perhaps the reason that the Rennes-le-Chateau mystery have come to light is that it was allowed to come to light, and only when the knowledge had finally surfaced independently into the mainstream, leaving nothing else for the Prieure to conceal, nor any point in trying to conceal it.



If one correctly guesses the other possible outcome of the C.S. Lewisí "The Magicianís Nephew" with the entry of its characters into the second alien world, suffice it that the extremely Martian theme of a dead, barren world, encountering a lion that magically populates worlds with life has far too close to the other Martian theme of magically restoring life to that long dead world.

 

What Lewis has said when one gets to reading his work, is apparently no different than what I have said may have been expected of the dreams, ambitions, and knowledge of the Templars.

Ultimately, the subject of the signs of ancient knowledge possessed by the Templars and the Priory of Sion that shine out through the pages of the Inklingsí works is a subject worthy of an entire work in itself- especially when thereís such a strong suggestion that the precise details of this knowledge have been included in these fiction works.

Certain other "coincidences" arise; the cover of the edition of "The Magicianís Nephew" which I have purchased seems to show an orchard of what could be taken to be blue apples, though the silver apples which the story actually contains remain close enough for practical purposes; still the grapes which the Fanthorpes offer considerable corroboration for as a candidate for the meaning of this cryptic expression appear in a similar position and context in Lewisí story, and remain even more outstanding because of the peculiar way and time at which they enter the story, so as to appear an annoying trifle were there not through this gesture great emphasis on their true importance.

 

Secret watermark codes from various sources, many of which were frequently used by Francis Bacon, from the Fanthorpesí riveting book, "Secrets of Rennes-le-Chateau", pgs. 92-93.

They observe the similarity of some of the last ones (N) to the Inkling Tolkienís drawing of the gates of Moria. Such symbols and possible connections should be given much more attention, and the application of a work such as Harold Bayleyís "The Lost Language of Symbolism" to the problem of the watermarks represents only a beginning.

What I would already like to suggest, however, is how apt many of these are to be symbols of ancient atomic science; figures D, E, and F have striking similarity to the precessional models of planets and the atom which underlay the ancient magickal miracle sciences, and a number of these concern literal archetypes in the ancient science of materialization, such as figure H and far less disputably figure N. Figure M also has a substantial graphic indicator of precession on an axis.

Figure N combines the precession with the vorticular motion expected between the columns of Boaz and Jakin, which I have given much attention to on my page on "Magical Vortex Science". The clustering of grapes in this context serves to symbolize the clustering of atoms, the materialization that is theoretically possible with this configuration through the introduction of holographic data into the basic electrochemical processes. One should not understate the possible importance of conjunction of symbols for precession and for vortices.

Figure E has the potential, as do the mythological references in C. S. Lewisí works, to tie together a great deal of symbolism, for the crown here seems to symbolize a muon orbital around an atom. A-E are all capable of illustrating how the cross serves as a symbol of the cardinal, magnetic points of the compass, hence magnetism, and some of them simultaneously integrate the archaic predecessors of our modern elemental and chemical symbols for phosphorus. Figure I has strong resemblance to what is increasingly appearing to be a universal symbol for concerns such as ectoplasm and matter that is extracted from the ground for various miraculous and supernatural feats. The use of a dogís head may reinforce the "buried" matter, since "dogs dig, and bury bones"; it may likewise, as a number of animal symbols seem to, suggest certain elements.

An association between the dog symbol and phosphorus, for example, can be made because of not only that it is bones (calcium phosphate) that dogs bury, but because the urine of certain animals can be associated with elements that are predominantly present. This fact underlies the use of animal urine in modern plant foods. This symbolism may date back to the Egyptians, who make the canine Anubis present along with Thoth in the form of the blue ape, in the scenes of the Balance that so strongly suggest it to be an ancient materialization device. Note that the balance has not escaped inclusion here.
 



Letís move on now to some of the other persons who have been associated with the mystery.

Of the mysteries of Rennes-le-Chateau themselves, even while the Fanthorpe work is scarcely showing signs of being able to follow the clues to a logical conclusion, theyíve laid a remarkable number of the important pieces in place, and even more so, must possess an uncanny gift for noticing things of importance without necessarily knowing why, to rival or exceed that of the continually-criticized Erich Von Daniken, gifts that in fact should call for considerable commendation.

The theme that is found in Sauniereís church, for example, of gambling for Christís garments, and the Pythagorean mathematics that is communicated by its use of the numbers 3, 4, and 5 appearing on the dice, is an interesting work to find highlighted where there is much hidden geometry and the merits of the Emerald Tablet have also been brought into question, for a standard occult sourcebook, Manly Palmer Hallís "Secret Teachings of All Ages" gives some intriguing captions to an illustration, that might link the Hermetic riddle with the Pythagorean mathematics, when the Emerald Tabletís riddle already seems to be able to be linked with the concerns of the predictable upwellings of energy on planetary and solar bodies.

In essence, the requisite application of mathematical formula could be found in this way, if it cannot be found in any other. However, Richard Hoaglandís observations, and those of many who have attended the mechanics of the planetary energy grids have already long since included the Platonic solids, including their occurrence amongst the knowledge of many ancients.

Another way of looking at this may include what the Fanthorpes say of this precisely:

"just as 3 squared + 4 squared equal 5 squared, so 3 cubed + 4 cubed + 5 cubed = 6 cubed (6x6x6). All very curious!"

Perhaps not. Although 666 is "normally" the number of the ancient khamea (E.A.W. Budge, "Amulets and Talismans"), or "magic square" that the Egyptians used to represent the sun, Richard Hoagland has mentioned that the infamous "666" can be interpreted as a previous 666 day period of the planet Mars, that Mars "is" "the Beast".

 

Considering the amount of interplanetary material, particularly Martian material, tucked into the Major Arcana and other cards of Aleister Crowleyís "Thoth" Tarot deck, it is not at all wild speculation for Mr. Hoagland to be saying that this is what Crowley himself intended by the use of this expression. Itís consistent in fact with Crowleyís "precocious" statement in the Book of Thoth that the force that moves a dowsing rod would someday take man to the stars.

Interesting also, perhaps, if we take 2,3,4 as another form of 3,4,5 and 4,5,6 - even though it does not have this consistency, we have nonetheless named the planets in the solar system where C. S. Lewisí fictions have placed life and civilizations (and then some, as we shall soon see later in this work).

Another striking feature of Sauniereís peculiar church is the appearance of the skull. What it suggests of course is a throwback to earlier signs of the alchemists and the Christians alike that make Christ out to be predominantly a cognate of the symbol for phosphorus, often in a way that describes the way in which this element and its kindred are pertinent to the alchemic art of palingenics, resurrection or materialization. This is merely another way of linking Christ with the Phoenix, a feat that is possible through many similarities, and the Phoenix in turn is an alchemistís symbol of palingenics. It also serves as a bit of an indication that the Templar secrets included the making of artificial intelligence in the form of oracular heads.

The Fanthorpesí work in fact also touches on a similar theme, in the form of both oracular or artificial beings. (pg. 119):

"Another theory suggests that the word "Baphomet" is formed from Baphos and refers to water. The Baphomet of the Templars, according to this theory, was a magical severed head, covered in gold leaf or bronze, and able to utter accurate oracles when questioned in conjunction of the performance of the appropriate rites an incantations. This head, once John the Baptistís (hence Baphos), had been taken from Herodís place after being stuck off to gratify Salome. It has been suggested that, recognizing the latent oracular power of so potent a relic, a member of the Priory of Sion rescued the head and preserved it in gold leaf in a casket packed with magical herbs and spices...".

While such the necessity of such a deed is virtually ludicrous considering that the technological standards of the mystery schools allows prophetic objects to be constructed of any stone lying on the ground, the basic message of the anecdote is a poignant one. The Fanthorpes continue,

"The Templars were certainly accused in the wilder rumours spread by their opponents of taking profane orders from a supernatural brazen head that spoke miraculously."

On pg. 176, we find a repetition of the same theme:

"Spencer argued etymologically that the Urim were the same things as the Teraphim- miniature anthopomorphic idols, rather like dolls [Some at least must have been life-sized, for Michal (Davidís first wife)- and the daughter of King Saul) to use one for the "dummy in bed" trick to conceal Davidís escape from Saul (1 Samuel 19:11-17)...] which is both reasonable and possible. He went on to speculate, however, that there was some strange supernatural means by which these images were made to speak to the Priest, which seems infinitely less likely."

The Fanthorpe text of course does not take into consideration both the wealth of clues from ancient cultures demonstrating their facile and modern understanding of acoustic energy as unified with other forms, and understanding that readily enables giving such oracles the "magickal" gift of speech, nor the ancient familiarity with the fundamental physical configuration that we today employ for the audio speaker. Such forms are not only found amongst Tutankhamenís pectorals, they are found in a context that undeniably links them with knowledge of their value as it relates to sound, in the ear-rings of ancient South America. Also, as we will see within this work, the necessary science to transduce sound from other forms of energy for this purpose and others is not only central to the science of Nikola Tesla, who they loosely associate with the Rennes-le-Chateau mystery, and relatively simple and straightforward for the science in question, but this itself in turn at times appears to be central to the mysteries of the Inklings.

One of perhaps the most intriguing elements of Sauniereís church is the rendition of the "demon", possibly Asmodeus. Behind him, there is clearly a vortex. Carefully studying the diverse accounts of palingenics should suggest that this is used as a symbol for both the vortex that is purged from the ashes prior to resurrection, and the affiliation with the title, "Rex Mundi" recalls the familiar premise that what is purged is an expression of the thermodynamics of a large planetary body (cf. Daneri-Loinger-Prosperi paper on collapse of the wave function by thermodynamics of large bodies & ref. in Nick Herbert, "Quantum Reality"), most prominently and probably that of the earth itself. Given the iconography of similar concerns in the mysticism of Carlos Castaneda, and in turn the ancients, we are hardly surprised to next encounter the symbolism of an eagle to enter the discussion soon after.

This vorticular motion, however, may sooner strike the seeker as that vorticular fluid flow that is prominent at the "magic latitudes" predicted by Richard Hoagland, even though sooner or later it is also contended with at the atomic level in the ancient wisdom in question. The whirlwind in the alchemistís flask, in fact, seems to suggest a collective (quantum?) state of the vorticular powers of the individual atoms, replete with their coherence at a larger level of scale of reality.

The idea of "Rex Mundi" also relates to the "Axis Mundi", which for these concerns is both the axis of precession, and the earthís magnetic axis. There is the same implication in that that there may be in Tolkienís drawing of the Gate of Moria (see watermark N, above). There is no shortage whatsoever of archaic figures of Christ and many other persons who seem to be holding their staff at the exact angle which the true magnetic north polar axis deviates from the geographical polar axis, concerns which may have entered Lewisí first book in the "Chronicles of Naria" series in a whimsical and casual yet complex manner, the form of the appearance of Father Christmas.

In the decoded cipher that is of central importance to the mystery of Rennes-le-Chateau,

"SHEPHERDESS NO TEMPTATION TO WHICH POUSSIN AND TENIERS KEEP THE KEY PEACE 681 WITH THE CROSS AND THIS HORSE OF GOD I REACH THIS DEMON GUARDIAN AT MIDDAY BLUE APPLES",

...there is sufficient ambiguity that, even though there are good possibilities of firmly nailing down the more bizarre expressions to facets of the treasure of the knowledge of the alchemists, the actual references to persons and works is not necessarily quite so easy. This must even withstand the fact that there are claims that the "Horse of God" has been identified with a certain stone on the landscape of the area; there is much to suggest that the "treasure map" of Rennes-le-Chateau is indeed working on more than one lofty level at once, as if in celebration of the Hermetic Axiom, "as above, so below", but certainly consistently typical for the expressions of ancient wisdom.

Poussinís painting with the "treasure map" geometry superimposed; also superimposed is the sacred geometry, including at least one pentagram, which can be discerned in the center of the work. Other sources refer to pentagonal geometries here of which the picture is only large enough to contain part. The skyline here is painted from a real one, thatís part of the clue. How many of Poussinís other intriguing skylines, or even those of his imitators, may be in fact real ones? What secrets might they yet conceal?

There is no telling that only one or two works implied in this phrase are relevant. Poussinís work referred to here has been identified as possessing both the hidden geometry of a treasure map, and the hidden sacred geometry of the pentagon, but in fact the occurrence of hidden sacred geometry in artworks may be far more prevalent, as familiarity with John Mitchellís "View Over Atlantis" implies. In fact, one of the things that may eventually prove to be true, is that in regards to the mystery cipher as it involves alchemy, is that many paintings depicting St. Anthonyís Temptation may contain relevant clues.

The possibility that many or even all of the painters who in that day had painted the Temptation may have been mystical initiates may be the very reason for the inclusion of a clue almost too vague and too broad to be of use otherwise.

Likewise, there is no real reason to automatically restrict the relevancy of the works of Poussin and Teniers to those works mentioned. Itís difficult to believe that they could have easily been contracted to do even this much work without being initiated, or they may have been commissioned because they were already initiates. It would perhaps be hard to trust them with the clues to any treasure they incorporated into this art without them having already been privy to the greater treasure, but certainly virtually all of their work may contain the very same sorts of clues, whether or not to more material treasures, certainly there is the possibility that they embody further references to the treasure of priceless knowledge.

While it is not firmly established through mathematical studies, I record here my observation that the irregular use of squares that seems to be present in Poussinís work - even his self-portrait - in spite of the pentagonal and triangular geometry that may be superimposed on much of it, may be hinting at some geometry that may prove to be that of the hypercube, and quite possibly for those far greater purposes than simply hinting at the structure of the key to Sauniereís cipher.

The hypercube, a tesseract, an example of hyperdimensional geometry. Itís a strong link between the mystery of Rennes-le-Chateau and the physics coming from the mathematical and geophysical messages of the Martian monuments, another link between the Templars and Mars.

This, however, isnít nearly the end of the mystery; while we can guess that the greatest ambition of the Templars may have been to create a riddle whose answers tie a Gordian knot through everything that is immediately relevant to the mystery, in such a way that it unlocks the mysteries of the ages and justifies the individual elements of the solution, itís barely the beginning.

Regardless of whether or not the aim of this diverse brotherhood was to leave a legacy that seduced the treasure seeker and the fantasy-minded into the web of ancient knowledge, there remains still so much more ground to cover...

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