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DisclTHE FORUMaimer



Shepherds of Arcadia


"A lasting monument to Daphnis raise 
With this inscription to record his praise; 
‘Daphnis, the fields’ delight, the shepherds’ love, 
Renown’d on earth and deifi’d above; 
Whose flocks excelled the fairest on the plains, 
But less than he himself surpassed the swains." -

Virgil’s (70BC-19BC) Eclogues V, 42ff:


First reference to Arcadia

Les Bergers d'Arcadie

The Shepherds of Arcadia

by Nicolas Poussin 

 Poussin's The Arcadian Shepherds was commissioned in 1638 by Giulio Rospigliosi (the future Pope Clement IX), who had also commissioned Poussin's other great masterpiece, Dance to the Music of Time, a few years earlier.  The Arcadian Shepherds was acquired by Louis XIV (The Sun King) in 1685, and has remained in Paris ever since.

Pope Alexander VII (See Poussin's "Annunciation" below) died in 1667 and a conclave to choose his successor was called. King Louis XIV of France instructed the French faction to turn their support to Rospigliosi and believed also that he would appease the Spanish faction of Charles II (the last Habsburg ruler of Spain) due to the fact that he had once been the Apostolic Nuncio to Spain. On 20 June 1667 he was elected as pontiff and took the pontifical name of "Clement IX".

Charles II named as his successor his 16-year-old grand-nephew, Philip, Duke of Anjou, grandson of Charles' half-sister Maria Theresa of Spain, the first wife of Louis XIV.

The repercussions of this resulted in the Wars of the Spanish Succession


The characters in Poussin's The Shepherds of Arcadia represent star constellations

From right to left

Shepherdess - URSA MAJOR

Red Shepherd - BÖÖTES (Arcas)

Blue(kneeling) Shepherd - HERCULES

White Shepherd (left) -  OPHIUCHUS, or Serpentarius

Note: The only reason Nicolas Poussin appears in the Rennes le Chateau story is due to the second Parchment See here

Looking back down David Wood's 'SUNRISE[sic] LINE'

The view over Arques (taken from Col de Paradis) showing the same landscape depicted on the right hand side of Poussin's painting above.

ARCAS The Occitan name for Arques

ARCAS - The Occitan name for Arques

Why does a painter of the quality of Poussin paint the foreground in first?

 An X-ray of the painting Les Bergers d'Arcadie

Notice that the tomb is painted over the staff which means that Poussin painted the staff first. Why would Poussin break a rule and paint foreground first?



  •  Problem with Professor Cornford's analysis of the painting Les Bergers d'Arcadie (Louvre)


Professor Cornford's analysis of Les Bergers d'Arcadie

This analysis does not include the part of the painting covered by the frame.

Conjecture tells me that Cornford was told to look for a Pentacle in the painting. The ratio of the canvas height to width reveals a Golden Ratio proportion and so automatically lends itself to Cornford's conclusion shown above


Here is the actual extent of the painting with frame removed.

Here with the frame removed it reveals the true size of the Shepherds of Arcadia painting.

(Notice that the painting is tilted also.)

by using Schellenberger and Andrews analysis and the new size we find that using the shepherd's staffs we now have this.


Poussin Triangles

Using the staff lengths as the radii of a containing circle. We find:

The white shepherd's staff make a six-pointed hexagram centred on a point in the centre

He represents Ophiuchus The Snake Charmer

Notice how he looks at a snakelike hole in the ground in the centre at the bottom.  

The blue shepherd's staff makes a five pointed pentacle centred on the same spot

He represents the constellation of Hercules, the kneeling one. 

And the  red shepherd's staff makes a three-pointed triangle also centred on this very same spot. 

The Red Shepherd represents Arcturus in the constellation of Boötes

He is ARCAS - ARCTURUS The Bear Watcher

Etymology:  of the Bear", ultimately from ἄρκτος (arktos), "bear" + οὖρος (ouros), "watcher

.Arcturus is notable for its high proper motion, two arc seconds a year, greater than any first magnitude star other than α Centauri. It is moving rapidly (122 km/s) relative to the Solar System, and is now almost at its closest point to the Sun. This means that in Poussin's day it may have been closer to the constellation of Ursa Minor

Arcas - The Occitan name for ARQUES
The signpost for ARQUES and its CATHAR
 name ARCAS underneath
This is close to the Tomb at Les Pontils


In Poussin's painting the red shepherd is turning around and watching his mother CALISTO, she was transformed into a bear by Zeus and set among the stars, she was the bear-mother of the Arcadians, through her son Arcas.

Her son ARCAS (the red shepherd) has his foot on a stone and this is Mons Maenalus, a constellation next to Boötes and a Mountain in Arcadia

 Boötes has his foot on Mons Maenalus - a mountain in Arcadia.

Mons Maenalus

Arcas foot on Mons Maenalus


An expansion of the centre of the circle indicated by the shepherd's staffs reveals:


Is this Montségur?

Summer SolsticeBootes

There are other reasons in the painting to reach the conclusion that Poussin is alluding to Montségur here.

In Geography Strabo (64 B.C-23 A.D.) tells of a massive 300 tons of gold and silver bullion that was recovered by the Romans from the Celtic temples at Narbonne. This is near the mouth of the Aude river on the French Mediterranean coast. A further eighty kilometres up the Aude is Rennes-le-Chateau. Strabo attributes the bullion as either an accumulation of Celtic sacred offerings, or else the Celts' loot from the Greek treasuries at Delphi, sacked in 278 B.C. The Romans somehow lost the bullion near Narbonne during Caesar's Gallic Wars and it was never recovered.

The gold was taken from a votive lake by a Roman proconsul by the name of Cæpion. He took 80 tons of gold and money and immediately re-melted this into ingots. This apparently disappeared during its transport towards the port of Narbonne following an attack from Volkes Tectosages upset by this profanation of their sacred offerings. They would have then withdrawn to the high valley of the Aude and would have hidden the treasure in this area which is easy to police.

In 1830 a man while out walking in the Garrigue found a gold ingot weighing 20 kilos and not long after this in 1860 near to Bezu another man found a gold bar made up of partially smelted Arabic coins and weighing almost 50 kilos. Saunière was investigated by the local Gendarmerie on suspicion of trafficking in gold in Spain and there is also a report from Spanish police on this matter.

The votive lake may well be this one.


Described as Otto Rahn's Grail lake.

This lake is close to Montségur

It is called Etang des Truites. There is no trout in this lake, trout have been unable to survive in this lake because of volcanic gassing activity resulting in low oxygen levels in the lake. There is however an endemic species of Golden Salamander. The word Truites is a corruption of the word Druides. It is described as Otto Rahn's Grail lake and the lake sits above another lake called Etang du Diable (Devils Pond). The lakes are on the slopes of Bartholémy and Soularac (Solar Rock) -

Initials BS.

They sit on the Archangel's Cross.

They are 5 miles from Montségur and joined by a track known as Trac des Grailles. Montségur is known locally as Mount Tabor which had been the place of the Transfiguration of Jesus. The feast of the Transfiguration is the much older Celtic feast of Lughnasagh, named after the Celtic Sun God Lugh. The city of Lyon was named after this same Sun God.

It is important to state that the Cathars only occupied Montségur as a result of attacks by the Holy Roman church. At the fall of Montségur in 1244 they had only been there 40 years.

Montségur had been a Solar Temple prior to the Cathars taking it over.

Montsegur solstice

There is a  cave is in the side of the Pog of Montségur called

Tabor .

During WWII Otto Skorzeny sent a message to Berlin from this cave at Montségur

The message said::


And signed it – “Scar”

The reply was:

“Well Done. Congratulations. Watch the sky tomorrow at Noon. Await our arrival”


It was March 16th 1944; it seems that Skorzeny had unwittingly found something EXACTLY on the 700th anniversary of the fall of Montségur and was surprised to come across a large gathering of Cathar descendants heading for the Castle to pay homage to their ancestors. It was significant because an ancient prophesy had foretold that at the “end of 700 years, the laurel will blossom again on the ashes of the martyrs”.

The signal to watch the sky when Skorzeny and his team arrived at the castle at noon was significant because German aircraft arrived and formed a Celtic cross in the sky. The following day Reichsminister Alfred Rosenberg and Colonel Wolfram Sievers of the Ahnenerbe arrived at Montségur to congratulate Skorzeny.

The treasure they found apparently consisted of:

• Thousands of Gold Coins
• Items believed to have come from the Temple of Solomon, which included Gold plates and fragments of wood which had once made up the Ark of Moses….a gold plated table, a candelabra with seven branches, a golden urn, a staff, a harp, a sword, innumerable golden plates and vessels, many small belts of gold and a number of precious jewels and onyx stones, some of which bore inscriptions.
• Twelve stone tablets bearing pre-runic inscriptions which none of the experts were able to read.
• A silver cup with an emerald-like base made of what appeared to be Jasper. Three gold plaques on the cup were inscribed with cuneiform script in an ancient language.
• A large number of religious objects of various types…crosses from different periods which were of gold or silver and adorned with pearls and precious stones.
• Precious stones in abundance in all shapes and sizes.

Many of the gold coins were melted down and turned into ingots. When the town of Merkers fell to the 3rd US Army under General George Patton his men discovered these ingots in nearby salt-mines in which this treasure was stored. The estimated value of the gold was $250,000,000 (by 1945 estimates). 

See US Government National Archives


Mount Tabor

Matthew 17:1-9; Mark 9:2-9; and Luke 9:28-36, significantly it does not feature in the Book of John. To reiterate the story these Gospels tell us that Jesus went up onto a mountain (Mount Tabor), with the disciples Peter, John and James, and in their presence Jesus was transfigured shining like the Sun and then there appears Moses and Elias (Elijah). It is interesting to note here that the painting by David Teniers which we have been calling St Anthony and St Paul fed by Ravens is listed in the Witt Library catalogue at the Courtauld Institute as Elijah and Elisha being fed by Ravens. This is odd as the painting clearly has a crucifix on the rock at the centre yet those are prophets from the Old Testament and equally odd is the fact that Elisha was never fed by ravens although Elijah was fed bread and flesh after God had sent him into the desert. In the New Testament, both Jesus and John the Baptist are on some occasions thought to be Elijah. John the Baptist was actually described by the Archangel Gabriel as coming "in the spirit and power of Elijah" .

The birthdays of both John the Baptist and Jesus are significant Celtic festivals. John the Baptist day being Midsummer's Day (Summer Solstice) and Jesus' being reborn on the Winter Solstice.

The Transfiguration or Lughnasagh

The Teniers painting St Anthony and St Paul fed by Ravens is called Elijah and Elisha fed by Ravens by the Courtauld Institute and this is the title it is also given at Shugborough Hall

It features St Anthony the Hermit NOT being tempted by the devil.


So then we have this from our friend Philippe de Cherisey:

"My dear Roseline, who died on 6 August 1967, the Feast of the Transfiguration, while leaving the Zero Meridian by car." (Circuit p. 108).

Meridian Marker just outside Rennes Les Bains

The Paris Meridian Marker found whilst one is "leaving Rennes les Bains by car." 

“Two contrary desires share my heart, glory to publish all that at the great day, and to jealously keep this treasure without ever saying anything. My whole life needs to hesitate and I awake in the same moment that I die….. By the celibacy which is imposed on them the priests are the best guards of treasures than one can conceive…..A priest, because he is concerned [with] Sky and Earth, must meditate on the relationships of astronomy with the geography…..With the difference in the phenomena which should be seen to believe, Cromleck of RLB [Rennes les Bains] is seen only when one believes in it, nothing is really proven there, not even the roulers or hones it posed which will appear readily to the whims of nature.”

- again the words of Philippe de Cherisey.

The Abbé de Fleury was born in Lodève in the Languedoc in 1653 and was the bishop of Fréjus in 1698 and became the preceptor for the young King Louis XV in 1715. He was a member of the Academy of Sciences and was a Cardinal and Prime Minister by 1726 at the age of 73. He extended the library for the King but interestingly he sent many of the members of the Academy of Sciences to the North and to Peru to measure the meridian. He also sent scholars to Egypt and Greece to search for precious manuscripts.

Interestingly Soularac is mentioned in a report of a meridian measurement by the well respected astronomer Delambre in 3 volumes of work from 1806 to 1810 that followed ground measurements in 1797 by Méchain here it is referred to as Eastern Peak of the Saint-Bartholémy Mount and the “Peak of Estangtost”. Delambre was born in Amiens in 1749 and was an astronomer and mathematician; he was a remarkable man who had a childhood illness which gave him the fear that he would soon go blind. As a result of this he read every book that was available to him and immersed himself in Greek and Latin literature. He also acquired the ability to memorise entire pages and to recite them verbally word for word. He also became fluent in Italian, English and German and even published a book called “Rules and methods to easily learn English.”. However his interest in astronomy is quite relevant to our story and Delambre’s contribution to the science of Astronomy is so great that he has a crater on the moon named after him.

Delambre published details of the whole project in Base du système métrique. The first of the three volumes, containing the history of measurement of the Earth and the project's triangulation data, was published in 1806. When Delambre presented it to Napoleon, the emperor said:

“Conquests will come and go but this work will endure”

In 1809, Napoleon requested that the Académie des Sciences award a prize for the best scientific publication of the decade, the award went to Delambre for his work on the meridian.

The very word meridian seems to have a curious etymology and can be associated with the name Mary or Mari and is of course any line drawn the shortest distance around the earth’s surface from the North Pole to the South Pole. This would be designated as a datum line usually given zero degrees from which the West/East circumference would be segmented into 360 equal degrees. So each hour the earth will rotate 15 degrees. The word Meridian is largely thought to have stemmed from the Old French word for noon, literally medhyo-dyeu - mid day. However the word dyeu, although now taken to mean day is in fact directly from the word for god and the same base from which the Latin word dei stems. The name for the Indo-European God Jupiter is from the vocative compound dyeu – pater (God father) and Diana is from the Latin Diā – na (literally Moon Goddess). Even Asmodeus is from Aēšma-Daēva, which if we are to translate literally using Zoroastrianism is literally Wrath of God from the Avestan old Persian language.



Goddess Mari – Mari-dyeu.

Since the 2000 Millennium the Paris Meridian is being marked by Lime Trees (Linden)

Wooden carvings of Mary are traditionally done with Lime Wood.

Meridian marker

The old and the new Paris Meridian markers at the side of the Couiza to Arques road.


"Measurements: a geodetic point of "first order"

After a spot of our peak by François de Plantade during the first third of the 18th century, the first geodetic measurements to make a "general level", it is a determination of the principal summits of the chain of the Pyrenees, date back to the work of the mathematician H. Reboul, assisted by astronomer J. Vidal, between 1787 and 1789."

"Dès ces premières mesures géodésiques, le Pic de Saint-Barthélemy a été considéré, de par son panorama, comme "point géodésique de premier ordre", c'est à dire un point nécessaire à la triangulation principale. Pour le Pic de Saint-Barthélemy, Reboul avait trouvé une élévation de 2322.5 m par des mesures effectuées le 9 septembre 1789 "à la Montagne d'Appy, Tabe, ou St-Barthélemy", et vérifiées par Vidal (cela ne rehaussait que de quelque mètres la mesure de Plantade qui était de 2319 m). Ensuite ces deux mêmes scientifiques avaient entrepris une nouvelle campagne de mesures, plus précise, entre 1816 et 1817, dont les résultats ont été cités par plusieurs auteurs. Le statut de "point géodésique de premier ordre" dont a joui dès le début le Pic de Saint-Barthélemy, fait qu'il a été toisé à chaque nouvelle campagne de mesure."

"From these first geodetic measurements, the peak of Saint-Barthélemy was considered, because of its panorama, as "first-order geodetic point", i.e. a necessary main triangulation point. For the peak of Saint - Barthélemy, Raj had found an elevation of 2322.5 m by September 9, 1789 measurements "on the mountain of Appy, t or St-Barthélemy", and verified by Vidal (this raises to some metres Plantade measurement which was 2319 m). Then these same two scientists had launched a new campaign of measurements more accurate, between 1816 and 1817, whose results have been cited by several authors. The status of "first order geodetic point" enjoyed from the beginning the peak of Saint - Barthélemy, is it been glared at each new measurement campaign."

"Ensuite, il faut savoir que le Pic de Saint-Barthélemy a reçu l'insigne honneur de faire partie de la petite centaine de points remarquables choisis de part et d'autre du "méridien de l'Observatoire" pour mener à bien "la mesure du monde", comme disaient les révolutionnaires, ceci afin de définir une unité de longueur totalement nouvelle et "universelle": le mètre."

"Then, you should know that the peak of Saint-Barthélemy received the honour to be part of the small hundred selected highlights and after the "meridian of the Observatory" to carry out "the measure of the world", as the revolutionaries, in order to define a completely new and "universal" length unit:

The Meter"


Opening shot is the view from Col de Paradis over Arques towards the snow capped mountain of

SOULARAC (Solar Rock in Occitan)

The sequence then shows:

The Sunset over Soularac 31st October (Celtic New Years Eve) followed by Sunrise over La Soulane (Celtic New Years Day)


In the late 1620s, Nicholas Poussin produced a number of sketches of the Annunciation, culminating in a painting that still survives at Chantilly. Internal evidence suggests a 15th-century influence, and the relative positions of the figures in the painting are reminiscent of those in the Aix panel1, but to read anything into this would be clutching at straws. Much more interesting is the second version of this theme, painted in 1657. The iconography is very unusual. Mary sits cross-legged like an eastern woman, her arms open wide, while the angel makes hieratic gestures rare in 17th-century Annunciations, but more common in the 15th. J. Costello (quoted by Friedlaender5) is of the opinion that this painting was a design for a funeral monument to Poussin's friend and mentor Cassianio del Pozzo, an antiquarian scholar of distinction. This is a decidedly odd theme for a funeral monument, but Friedlaender offers some observations which are enlightening. Pozzo was to be buried in the Church of Sta Maria Topa Minerva, which stood on the site of an ancient sanctuary of the goddess Isis, and Friedlaender suggests that Poussin's painting combines the characteristics of three divinities - Mary, Minerva and Isis. He also observes that the posture of the female figure seems to represent the sedes sapientiae - seat of wisdom.

Poussin is known to have been a profound student of ancient myths from original sources. He often referred to Ripa's Iconologia, constantly carried Cartari's Images of the Gods with him, and embodied Neoplatonic doctrines in his paintings. (A fact not lost upon W.B. Yeats, who based the symbology of his own Neoplatonic poem, "News for the Delphic Oracle", upon the artist's Marriage of Thetis and Peleus.) Poussin's paintings contain multiple layers of meaning, often blending Pagan and Christian themes. One of the major sources of his learning was the library of Pozzo.

The Annunciation is the only late painting by Poussin that is signed and dated. It also contains a large inscription to commemorate the fact that it was painted in the reign of the Chigi Pope Alexander VII, an opponent of Cardinal Mazarin advisor to Louis XIV of France. Poussin might have been thought to have taken quite a risk when he mentioned the Pope in such a painting, but it seems that he knew exactly what he was doing.

Annunciation by Nicolas Poussin


Annunciation by Nicolas Poussin


Why did Poussin relate this second 1657 painting of the Annunciation to Pope Alexander VII, son of a banker?

Could it be that in his reign as Pope Alexander VII put an end to Heliocentrism issue.

Pope Alexander VII published his Index Librorum Prohibitorum Alexandri VII Pontificis Maximi jussu editus which he prefaced with the Bull Speculatores Dominus Israel in which he explicitly attached all the previous heliocentric decrees.

  1. Note On January 21st 1932 an article appeared in the London Times suggesting that the Aix Panel had been painted by a Satanist. The writer cites the Aix-en-Provence possessions of the Ursuline Nuns





Otto Rahn

Geometry: Literally Earth Measurement

The Tomb at Les Pontils

Parchment 1 Parchment 2

Landscape Geometry