The Poussin Code: The Mystery Revealed

[Don Barone]

Hi Charlotte and Daz and Bernhard and Julia I have decided that the only place I really should place my discovery is on the board that has always been first with me and let the posters who have stuck by me have a first glimpse and sneak preview. So with this in mind let's proceed.

The Secrets of The Poussin Code

When men on the chessboard
Get up and tell you where to go
[and was it not The Knight's problem on the chessboard that led us to the clue: Poussin and Teniers hold the key ?]
And you've just had some kind of mushroom
And your mind is moving low
Go ask Alice
I think she'll know

When logic and proportion
Have fallen sloppy dead
And the White Knight is talking backwards
And the Red Queen's "off with her head!"
Remember what the dormouse said:
"Feed your head, Feed your head, Feed your head"

Hi all.

Over the last couple of months I have alluded to a secret discovery I have made in the paintings of Poussin and The Allegory of The Coronation of Celestine V and it is the reason for this website to divulge or explain what I have found. The fact that I have found the significance of some hidden geometry is but one layer of a multi-level problem and it will be up to others such as Gary Osborn, Steve Nixon or Morph to delve into the more esoteric and hermetic meanings that it may involve. I have come to my conclusions but there is still much to be found as the consciousness of the world awakens a little more each day. I am going to post representative images and then explain how I got to each stage. Where I have saved the flash program that gave me the image I will post that so that one can see graphically how it was obtained as an overlay. I sincerely hope you enjoy my presentation.

The Giza Plateau and The Golden Spiral

Click on all thumbnails to see a larger image.

This image shows an overlay of Gary Osborn's idea of placing a Golden Spiral in the center of The Giza Plateau to see what it would reveal. Note also that this image also shows my discovery that the eye of The Golden Shepherdess defines on the horizontal the exact border of Phi. On the surface not in itself earth shattering but since all links to Phi for this painting were denied it is most certainly worthy of note since the finest art scholars and the entire Rennes le Chateau community failed to see it. Some have belittled the finding and claimed it is self evident and was known but it has not ever been published anywhere (that I know of). Notice that Gary chose 51 degrees for his image but I was determined that it had to be 51.83 (Phi angle) or 51.84 (seked 5 1/2 to 7). However this was a beginning for further research. As much as this looked like it could fit I was determined to find something a bit more concrete that would show there was a valid reason for posting this image over the painting and thus the search began.

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In this second image we see that I have drawn some lines. After drawing the horizontal and vertical lines through the eye of "Goldie" I then proceeded to draw vertical lines from the points where the two left hand staffs (staves ?) meet the horizontal line downward to the bottom of the painting and upward to the top of the painting as we see it. Having done that I then proceeded to draw lines defining the diagonal path of these two staffs. From the eye of Goldie to the intersection of the vertical and horizontal white lines drawn from the two staffs I drew a green diagonal line. This angle appears to equal 38.17 degrees. From where this line hit the furthest left hand side of the painting I then drew a red horizontal line defining the bottom of what we were going to use. From the eye of Goldie I drew a purple diagonal downward and to the left and joined where the vertical of the furthest left staff hit our red horizontal line. The angle as near as I can measure is about 51.83. From the point where a vertical line from the top of the staff of Shepherd #2 hits the diagonal line drawn to show the staff of shepherd #1 I drew a horizontal white line. I then drew a line from the eye of Goldie to where this line hits the edge of the painting. Surprisingly it appears to equal 23.5 degrees. So although this is not the exact edge of the painting it would appear it defines the borders which Poussin may have used.

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In this image as you can see I have now placed a cut away of The Great Pyramid on an image of Et In Arcadia Ego and have sized it to meet the approximate size of the painting. Please note that the right hand King's Chamber shaft hits exactly the intersection of the vertical white line drawn through the eye of Goldie and the horizontal line that defines 23.5 degrees. Hardly meaningful since this is what I set it to. Let's see what other lines might line up from this scale drawing.

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In this image which is the same scale as above we have extended the Queen's Chamber shaft lines and notice that they too now hit exactly the horizontal line which defines our 23.5 degree angle. At this point it had got my attention.

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In this image all the pieces have been put in place. After much fussing and re-scaling and trying different things I finally came up with this. Let's start at the bottom and work up and take note of all it shows. Please note that the white horizontal line which now defines the size and scope and position of the pyramid hits exactly the point in the descending shaft where it goes upward. This sets the scale and allows the base of the pyramid to stay on the painting. Please note also that a diagonal line drawn from the tip of the 2nd shepherds shaft downward through our 'X' and tip of pointing finger hits this point as well. And then further note that a line drawn from the tip of the staff of shepherd #1 through our 'x' and tip of pointing finger hits the bottom right hand corner of our pyramid. As we proceed up the image we take note that the line which defines 23.5 is hit by both of the Queen's Chamber shafts. It is at this point that we must also take note that the center line of the pyramid cuts through a "v" in the head or hairline of Shepherd #3 and is the exact center of the painting. And how can anyone fail to not notice the punch line of the whole image and that is that the vertical line that we all always thought was the center line of whatever we were going to place on this painting is in fact offset and is in fact the center line of The King's Chamber ! And for now skipping the obvious we move up to the near top of the overlaid pyramid and please take note that the left hand slope of the pyramid and the vertical line defining the center line of The King's Chamber MEET AND HIT APPARENTLY EXACTLY THE VERY TIP OF A SMALL AND ONLY RECENTLY DISCOVERED PYRAMID WHICH POUSSIN HAS INCORPORATED INTO HIS IMAGE. And of course in the center of the painting, in among at least 5 crossing lines lies the 'x'. So is this where a secret chamber may lay. If anyone is taking bets I will wager that it most certainly is ! But there is still a lot more to come.

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In the next two images, which are the same with the second one having the lines in question highlighted in a much thicker line, we have shown a combination of Gary Osborn's original design of the Giza Plateau and how it interacts with what I have proposed. Again moving up from the bottom of the painting not much is in evidence until we notice that the red horizontal line which defines the center of Pyramid #3 hits the top of The King's Chamber and then also note that the blue line showing the right hand Queens Chamber shaft and where it hits the red horizontal centerline defines the far right border of the temple for Pyramid #3. Moving a but further up we notice that the line which defines 23.5 degrees also now defines the north edge of Pyramid #3. Further please note that the diagonals drawn in black from the tips of the staff of Shepherd #1 defines the corners of both Pyramid #1 and Pyramid #2 and also that the North East corner of Pyramid #3 is the intersection of 5 lines. The yellow 23.5 degree line, the green diagonal line defining 38.17 degrees, the left slope of the main pyramid, the vertical line drawn from the tip of the staff of shepherd #2 downward. and the diagonal of the tip of the staff of Shepherd #1. There are many more intersections and things that line up in this image and I will allow you to find some on your own. However I will say here I find it almost impossible to believe that this can all be simply a coincidence of my over active imagination. too many things fit and as I would point out there is still much more for we have yet to find the pentagram at Giza which is not there apparently. Strange. However when I post the image it will be remembered for all times.

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To Be Continued

[julia]

Very interesting. Thanks Don.

What interests me is the transmission of knowledge. It seems that many of the initiated belonged to the Guild of St.Luke, I think this is true of Poussin and Teniers the Elder (I'm not sure about the son). It appears that Durer got his insights from Luca Pacioli, the author of Divina Proportione, who in turn was influenced by Piero della Francesca (have you checked his "Flagellation" for Phi, it looks like it may have been incorporated in the painting). But what about the family van Eyck? Who passed the knowledge onto them?

Best,
[glow=red,2,300]Julia[/glow]

[morph]

Hi Don,

a few preliminary thoughts, i'd be very careful about putting forward your Phi on the Giza plateau and within the Great Pyramid construction in tandem with Et In Arcadia Ego.


The establishment of the Giza platea proportionalism according to the principles of Phi is a major breakthrough and needs to be established on it's own contextual terms.

One can quickly bring the long known consideration of Phi within the Great Pyramid into that case, as it's a major component of the complex, but with the Poussin whilst the Golden Section is a major aspect of that painting, it will also be with many others of the Neo-Classical era, and the problem that arises in making direct comparisons between the three is the state of knowledge at the time of Poussin regarding the layout of the Giza plateau and the construction of the pyramids themselves, in Hermetic tracts of the time Pyramids might be shown, but they never much resembled those of Giza.


Given that all three do incorporate Phi then there will always be strong compositional comparatives that can be made. This is a reversal of did the Egyptians know about Phi argument, as did Poussin of course, yes they did, but how much did Poussin know of Giza...?


I've had a look at the Phi of Et in Arcadia Ego in the context of my own work, which i hadn't troubled to before;

homepage.ntlworld.com/morph225/phi.htm


It can be seen that one of the Phi correspondances will connect to my principle intersection point, and that in terms of how i translated that schemata onto the map of France then the Phi demarcation line to the left will correspond to the Paris Meridian and Rennes-les-Bains of course, so looking also at the Phi in the Poussin does give a direct referance to the French mysteries.


As far as understanding how the Egyptians employed Phi goes, then what i have observed that is that the essential means was to show two squares within a Phi rectangle where the resulting overlap is the Phi correspondance, and that this is therefore the central compositional area. There is actualy meaning implied in that the two squares are seen in the same manner as a 'perfect Ashlar', a symbol for a completed individual as it were, and the symbolism of two squares is that of rebirth, with the central column the essence of the two selves.

I'd like to see the Great Pyramid formulated on it's own terms therefore in a Phi rectangle...?


homepage.ntlworld.com/morph225/horus.htm

homepage.ntlworld.com/morph225/gold.htm


Morph

[Don Barone]

Hi Don,

a few preliminary thoughts, I'd be very careful about putting forward your Phi on the Giza plateau and within the Great Pyramid construction in tandem with Et In Arcadia Ego.

Maybe you don't quite understand Morph. The knowledge of Phi at Giza is central to the teachings at St Luke's Guild and is part of the secret that was forced underground for if The Giza Plateau was designed all together and as one entity all traditional thoughts on Egypt fly out the window.

The establishment of the Giza plateau proportional ism according to the principles of Phi is a major breakthrough and needs to be established on it's own contextual terms.

Again you seem to miss the point that this is what is being told to us in the paintings. Yes Phi is at Giza. Gary Osborn and I have known that for a while but it is also shown in the paintings of The Renaissance. It is the fact that there is a Phi principle at Giza which the Renaissance artists knew which makes it all the more interesting.

One can quickly bring the long known consideration of Phi within the Great Pyramid into that case, as it's a major component of the complex, but with the Poussin whilst the Golden Section is a major aspect of that painting, it will also be with many others of the Neo-Classical era, and the problem that arises in making direct comparisons between the three is the state of knowledge at the time of Poussin regarding the layout of the Giza plateau and the construction of the pyramids themselves, in Hermetic tracts of the time Pyramids might be shown, but they never much resembled those of Giza.

Again you seem to miss the point that the painting is a map! And the map is of both The Giza Plateau AND The Great Pyramid. The tie in to Rennes le Chateau will be forthcoming but it is not really at all about France and Rennes but is in fact all about Egypt ! The red herring in all of this is getting people to look in France and around Rennes le Chateau and away from the actual source of the secret.

Given that all three do incorporate Phi then there will always be strong compositional comparatives that can be made. This is a reversal of did the Egyptians know about Phi argument, as did Poussin of course, yes they did, but how much did Poussin know of Giza...?

The secret of the map and by definition what is revealed if it is a map of Giza is exactly what Poussin knew. You still seem to not want to understand that these artists were privy to a great secret.

I've had a look at the Phi of Et in Arcadia Ego in the context of my own work, which i hadn't troubled to before;

homepage.ntlworld.com/morph225/phi.htm


It can be seen that one of the Phi correspondences will connect to my principle intersection point, and that in terms of how i translated that schemata onto the map of France then the Phi demarcation line to the left will correspond to the Paris Meridian and Rennes-les-Bains of course, so looking also at the Phi in the Poussin does give a direct reference to the French mysteries.


As far as understanding how the Egyptians employed Phi goes, then what i have observed that is that the essential means was to show two squares within a Phi rectangle where the resulting overlap is the Phi correspondence, and that this is therefore the central compositional area. There is actually meaning implied in that the two squares are seen in the same manner as a 'perfect Ashlar', a symbol for a completed individual as it were, and the symbolism of two squares is that of rebirth, with the central column the essence of the two selves.

I'd like to see the Great Pyramid formulated on it's own terms therefore in a Phi rectangle...?

But again do you not understand they can not be separated. The paintings and The Giza Plateau and The Great Pyramid employ the absolute same geometry. Perhaps when the pentagram is revealed you will see it and understand it a little better.

homepage.ntlworld.com/morph225/horus.htm

homepage.ntlworld.com/morph225/gold.htm


Morph

Cheers
Don Barone

[Don Barone]

Hi Julia you wrote:

Very interesting. Thanks Don.

What interests me is the transmission of knowledge. It seems that many of the initiated belonged to the Guild of St.Luke, I think this is true of Poussin and Teniers the Elder (I'm not sure about the son). It appears that Durer got his insights from Luca Pacioli, the author of Divina Proportione, who in turn was influenced by Piero della Francesca (have you checked his "Flagellation" for Phi, it looks like it may have been incorporated in the painting). But what about the family van Eyck? Who passed the knowledge onto them?

You ask the very interesting question and really the one at the root of it all, "But what about the family van Eyck? Who passed the knowledge onto them?". This is the question that begins to unveil the real secret. The van Eyck's were, as you know, court painters for Rene d'Anjou who was King of the portion of France where The Cathars were once plentiful. It has often been speculated on what was the real belief of The Cathars and what alleged heresy was being taught. It is my contention that the heresy that was being taught was that there was no god in the traditional sense but that we were our own god and that through understanding and learning we could reach the level of enlightenment where we would at last see this. This would make churches, priests and religion obsolete. We would then see that we were indeed immortal and that we were simply transient to this existence. This knowledge would have brought down the church AND ALMOST DID !!!!

Rennes is simply a smokescreen. Mark has known it all along and I only am slowing discovering it.

The proving that Giza and The Pyramids were designed and built together will force others to look at and understand that this is true. The pyramid builders knew this 'secret" for they have passed it on to us.

All the best
Don Barone

[morph]

I'm fully conversant with the role of Saint Luke, whiich is analogous to that of Lugh/Hermes/Thoth/Mercury in terms of proportionalism in the representational arts....seems to be what i spend all my time studying!


The French tradition is no red-herring, the role of Lugh in Celtic France is every bit as relevant to a greater understanding as that of the Thothic tradition of Egypt.


Any 'great secret' will actually pre-date Egyptian culture anyway.

But it was just my considerations i gave, and i'll look at your considered case when presented.


Morph.

[morph]

As an example of how the Great Pyramid can be shown in conjunction with other Phi geometry, one could take my game of Egyptian Snakes and Ladders for example;


homepage.ntlworld.com/morph225/snakes.htm

If it were within our power,
beyond the reach of slavish pride,
to no longer harbour grievances,
behind the mask's opportunistic facade,
we could welcome the responsibility,
like a long lost friend,
and re-establish the Kingdom of laughter,
in the dolls house once again...

(Dead Can Dance)


Morph

[Don Barone]

No offense Morph but I expected much more from you. Your overlay is, well, not at all in keeping with what I have proposed. And what you were taught is not at all what was being taught to The Masters during the Renaissance. I supose next you'll be borrowing Anthony's straws. You have disappointed me Morph.

Don Barone

[Charlotte]

Hi Don, Bernhard, Julia, and Daz has gone missing again.

Greetings Morph, how delightful to see you here in this obscure place, away from the maddening crowd.

Don, I thought from the beginning that this was the place for your discoveries and whoever was interested could come and take a closer look, but what good would that have been without any constructive imput, snide comments, or anyone to talk too around here.

As your long time friend I ask you again to maybe throw the email from your "admirer" in the garbage where it belongs, not on the same page with the Paintings and Pyramids. And again, it would be helpful to dummies like me if you would have the first image just the plain Giza Plateau with the "Golden Spiral in the center." Once one had a firm image of an almost "empty" Plateau impressed on the mind one could project succeeding images onto it.

All I can do is look and marvel and wait until all is said and done, be drawn to those paintings which come alive while contemplating them, and I couldn't help but noticing the electrical cables round the vulture and cobra staffs held by goddesses.

Charlotte

[Don Barone]

Wise words as always Charlotte but the chessmen who showed us where to go and the backward talking white knight stay !

Words by Chris de Burgh [The backward talking white knight]

Oh they say that the stars in the sky,
Are the souls of the people who die,
Will we meet them again when we reach our destination?

Sratseht rofesruo cates,
[Set a course for the stars]
Nwonknu no it anitsed,
[destination unknown]
Dlroweht gnillacsi esrevinu eht,
[the universe is calling the world]
Ecalp gnitser lanif dnatsal rehs-drawot,
[towards her final resting place]

All is connected and all is ever leading us closer Charlotte. The words were sung, well actually whispered backwards by Chris. The only question I have is why ?

Cheers
Don Barone

[morph]

Hi Charlotte,

i sort of like maddening the crowd, but they can be a little demanding of my time, it seems to be all theories and queries at the moment, but soon all will follow on...

You saw sagacious Solomon
You know what came of him,
To him complexities seemed plain.
He cursed the hour that gave birth to him
And saw that everything was vain.
How great and wise was Solomon.
The world however did not wait
But soon observed what followed on.

Morph

[morph]

Disapointments one of my specialiites i guess, but try not to let what i haven't done detract from what i have too much...


regards,


Morph

[Charlotte]

admin said:

Wise words as always Charlotte but the chessmen who showed us where to go and the backward talking white knight stay !

Thank you Don for posting this "clean" diagram of the "Giza Plateau and the Golden Spiral", and thanks also to Gary Osborn for creating it. Just what I needed

Words by Chris de Burgh [The backward talking white knight]

Oh they say that the stars in the sky,
Are the souls of the people who die,
Will we meet them again when we reach our destination?

Sratseht rofesruo cates,
[Set a course for the stars]
Nwonknu no it anitsed,
[destination unknown]
Dlroweht gnillacsi esrevinu eht,
[the universe is calling the world]
Ecalp gnitser lanif dnatsal rehs-drawot,
[towards her final resting place]

All is connected and all is ever leading us closer Charlotte. The words were sung, well actually whispered backwards by Chris. The only question I have is why ?

You mean why he wispered them backwards? Maybe something kept him from talking forward and out loud.

Cheers
Don Barone

[Charlotte]

morph said:

Hi Charlotte,

i sort of like maddening the crowd, but they can be a little demanding of my time, it seems to be all theories and queries at the moment, but soon all will follow on...

I have all sorts of theories and many questions but have long learned to wait until I read such words as ". . . the symbolism of two squares is that of rebirth with the center column the essence of the two selves."

You saw sagacious Solomon
You know what came of him,
To him complexities seemed plain.
He cursed the hour that gave birth to him
And saw that everything was vain.
How great and wise was Solomon.
The world however did not wait
But soon observed what followed on.

Morph

Somber words and true.

Thank you Sir

Charlotte

[kayos]

Hi Don,
Thanks for putting forward this very interesting material.

Though I am familiar with the Gnostics in a general way, I am not familiar with thier specifics, so I won't have much (or anything probably) to add in that area.


In the pictorial layovers at the start of this thread I am struck by the drawn lines and their intersections. For instance, I find it very interesting that the Sphinx lies in the womb of the Shepardess and that the Kings Chamber lies on a line to her birth canal on one side and the heart of the shepard on the other.

I would guess that there is much significance to the anatomical crossings, their origins, and angles.


John

[Don Barone]

Hi all ...

My pleasure for those who have thanked me and now before we go further there is always new things being revealed. Here is an awesome image first brought to our attention by Morph and it was his blue pentagram which I built upon to produce this image.

It is wondrous indeed. In case you miss what is happening here folks it is that we are seeing the first basic backdrop grid for The Renaissance paintings appearing in Ancient Egyptian art. It is a major breakthrough and thanks go to Morph for finding the image. If you doubt what I say just go and take another look at Celestine. and then take a close look at this image.



But this is the image of the day for sure.

Sorry image lost

The Sun

and

The Moon

and

The Star

and

The Pyramid

and

The God child

Not much missing from that painting now is there ?

Was this one of the first appearances before it was left to The Alchemists

- Sorry image is lost

.



Best regards
Don Barone

[Charlotte]

Looking at symmetry makes one peaceful. " . . . we are seeing the first basic backdrop grid for the Renaissance paintings appearing in Ancient Egyptian art."

So I ask: was this grid system to paint by passed on from Egypt to the Renaissance via generations of extraordinary artists?

Or, does the Spirit/Genius of Geometry and Art find a group of suitable persons receptive and capable of carving and painting on stone, papyrus, or canvas a picture speaking a thousand words to as many people?

Charlotte

[Don Barone]

Hi Charlotte

Perhaps as we have long suspected this was part and is part of what was being taught in The Mystery Schools. For Pythagaros knew the geometry but we all remember that there is music in the spheres and also in creation and now as we have finally found also in all the paintings passed down through generations of artists and enlightened souls from The Zep Tepi to now.

And it is wonderful to behold !

Cheers
Don Barone

[Charlotte]

Hey Don,

I was thinking and writing along those lines but deleted it again because it's a loooong time since Zep Tepi and I have to work.

to you also

Charlotte

[kayos]

Don, what is your idea of how this system was implimented by the artist? There seems to be significant content of the art itself even without the "grid", but to have to superimpose that art on a grid seems like it would take a huge amount of time using the technology available at the time.

If the artists were initiates could they perhaps envision the symmetry as they painted?

Many years ago I read a book that postulated the ancient Egyptians had a culture in which the art, language, music, and religion were all seamlessly interconnected. In such a case I guess I could understand such paintings.

[Don Barone]

Hi kayos.

I am at work now and can't really give an in depth answer but there is still more to be revealed in all of this by myself in the next couple of days and perhaps it will all tie in.

A simple grid pattern I believe will allow all we see in this image but I will have to wait until I get home and can get my tools out. However I think by showing a clear link from The Renaissance paintings and an Egyptian wall mural we have made great srtides in understanding all of this. We are getting closer.

Cheers
Don Barone

[kayos]

WORK !!! ??

A revealer of ancient secrets, a sleuth of the unknowable, a solver of hidden riddles, has to go to work like the rest of the masses?

It don't seem right....

[Don Barone]

Yes I'm afraid so.

And now bigger problems. There seems to be a major drain on my resources and I have received a warning form my cable company. Not sure if it the images or if I have a virus or trojan. I have had to shut down until I know the reason why. Will let evryone know

Don Barone

[julia]

Don,

I guess that's the reason why I can't see the pictures you posted today

Sorry to hear you're having computer problems. I hope all goes well.

Best,
[glow=red,2,300]Julia[/glow]

[Don Barone]

Hi Julia ...

Not really computer problems it is just that since I have the larger images linked off this page there has been an excessive drain of my limited free bandwidth from cable. They have sent a not to subtle warning that I may be cut off it I don't find the probelm and fix it. They think it is a virus maybe but we know different. It is just everyone pulling the larger images. I will wait a day or two so that they think I have got rid of the virus and then I will post larger images here instead of the thumbnails. That should solve the probelm. Meanwhile keep searching

Cheers
Don Barone

[roscoe]

AND THE BLUE APPLES ?

[Don Barone]

Go find Bacchus. He has probably got them. I hear he loves grapes.

db

[roscoe]

Bacchus?

Must be grapes then?

If you read my book you'll find out what this really means.

[Don Barone]

Hi all ...

Continuing on from where I left off above it was all well and good that I had found something in one of Poussin's painting but what really did it prove. It sure looked good but I would think I would need at least two more instances of his paintings with the same grid and pattern in it if we were to accept that it was meant to be there. The logical choice I would have thought was the other shepherd painting so it is to that one I turned next. Here is an image and the explanation of what I did to arrive there.

The first thing I did was drawn a horizontal white line across the top of the two staves (staffs ? staves ? Please someone tell me which one it is supposed to be ). The second line drawn was a vertical line drawn at the point of the furthest left staff and the horizontal white line. I then decided to draw a horizontal line using the nipple of the shepherdess as the point of reference. I decided to do this as I thought that the bare breast was totally out of character for Poussin in this painting and felt that he might have left it bare for a reason. I then drew a line from the intersection of the horizontal and vertical white lines from the top of the left staff to where the "breast" horizontal line hit the far right hand side of the painting. Carrying on I then drew a green diagonal line defining the actual staff of the middle shepherd. A red vertical line was then drawn at where this green diagonal staff line meets "the breast" horizontal line. and then finally a key line and insightful one as well I decided to draw a [purple] diagonal line upward and to the left to where the trunk or branch of the tree seemed to be following the angle which the purple diagonal line defined to leave us with the configuration shown below. Once again the key angles seemed to be rearing up. These were 23.5 degrees, 38.17 degrees and 51.83 degrees as you will see in the image below.

Projecting a line through the eyes of the three shepherds yielded this result.

It looked promising ... and it was !

However before we continue on I have to post an image that for me was like switching on the lights in a darkened room. It is an image by John Legon, an amazing and insightful man, who posted this image and brought my attention to the fact that the shafts meet. I really had never considered that before and it would have remained unimportant except for the fact that John pointed out that they met AT THE SAME ELEVATION AS THE APEX OF THE PYRAMID ! This I felt could not be random and started again my studies which had been on the back burner and had cooled considerably. It almost makes one wonder, as did David Wood, that perhaps we are being led.

Here is the key image that directly led to all of this I am posting.

As now a second to last image and it is a shame because as much as an image can convey a thousand words it can not convey the countless re-sizings and overlays one goes through to get to this final image. It looks so easy but in fact stretched over many days and many, many hours.

Here is the final image and a description of how we arrived here.

In this image as you can see we have projected the right shafts upward to meet at the far right top corner of the painting. The pyramid overlay follows nicely the slope of the angle we have defined by the purple diagonal line and the red horizontal line defines and marks the floor of The King's Chamber. However the key again in this painting is that the pointing finger and the red line denoting the line of site of the shepherds defines not the center of the pyramid but instead marks the center line of The King's Chamber. Remember this is an earlier version and perhaps he was not privy to all that he was when he painted Et In Arcadia Ego, however the obviousness of the overlay can not reasonably be denied.

But now let us combine all three images and understand that the geometry that allows all of this to take place ... IS ALSO FOUND ON THE GIZA PLATEAU ITSELF !!!

Please note on this final image that not only do all the lines meet and define the pyramid but the distance to the centerline of The King's Chamber and the pointing finger is Phi and this is exactly what will be revealed on The Giza Plateau.

So I say to you all now that these paintings are indeed a map and they are not of France or Rennes le Chateau but are in fact a map of ... THE GIZA PLATEAU !!!

Next stop Giza !

Cheers
Don Barone

[Don Barone]

Hi all ...

There is still a bit more about the paintings and how Celestine V fits into all of this but for now let's get to the tie in to Rennes le Chateau and perhaps the final mystery. In order to understand how I found this or maybe a better way to put it is how I came to try to fit this all together, one has to understand that I had always believed that the reasons for looking for the paintings was a real one. Many had been discouraged away from the search when it was found that the parchments were not as old as stated and that they were in fact a hoax. But in a world of mystery and subterfuge what better way of stopping the search than to start it and then prove it was all a hoax. It is like all conspiracies are. Start it, misdirect and then watch it wither and die. But I refused to give up and I think I have been rewarded with perhaps finding the solution.

For those who are new to the search it is important to understand the findings of David Wood in his epic book: Genisis: The First Book of Revelations. In this book not only did David find an amazing pentagram in the Rennes le Chateau area of France but he went on, as very few are aware, to tie it all into a vast temple and union of the male and the female aspects of our existence. I was convinced it had to tie into the paintings and thus Giza as well so I kept thinking about it and trying various things. Before we go on perhaps we should post a picture of what has been rightly labeled "The Wood Pentagram" which was found by David Wood in the hills around Rennes le Chateau.

When this image was first brought to the attention of the mathematical community people actually argued that it could not exist as it was not possible, they claimed, to have a pentagram with all angles equal and yet have one point outside the enclosing circle. I remember myself arguing with certain individuals about this very point. I was amazed then and am still amazed by it. It has not, to the best of my knowledge, ever been published in any book or mathematical text book that I am aware of before being finally brought to the world's attention in his book.

Please take a good look at this map. Study it and learn it for it really may be one of the two 'pillars' left by the "Gods" in times of old. There is a legend that just before the deluge 'God' left all the wisdom of the ages encoded in two pillars. One of 'earth or clay' and one of 'stone'. These are the two pillars of Freemasonry and also the two pillars of Hercules which lead to Atlantis, in my opinion in reality a state of mind and allegorical for enlightenment or knowledge. Could this obscure mathematical symbol and unknown pentagram actually be found at and on The Giza Plateau ? I decided to have a look.

Here is an image of The Giza Plateau. It was put out by The Giza Mapping Project and is as far as I am aware the most accurate and up to date map which we have.

Here is the same image with a very key single line drawn on it.

While you are thinking on that let us discuss the two causeways of Pyramid 1 and Pyramid 2. I have never really been given an accurate and fool-proof reason for why they are on the angles which they are. I had thought maybe to tie in with the winter and summer solstice and this may be correct but why start the bend where they did in Pyramid 1 and why no bend in the causeway of Pyramid 2 ? Interesting questions and ones where there are no clear cut answers, until now.

On another board I asked the question of what a particular building was and was mocked and laughed at because it was suggested it had absolutely no relevance to anything. Here is the building I was asking about.

Those who laughed and mocked were trapped in the box so I do not blame them but watch as I simply draw two lines on this image.

The building is at the intersection of the two causeways so I was simply wondering what it was and why it would have been placed in such an unusual position. Regardless let us move on and let's combine the images and watch as we get this.

These lines have not been manufactured, They are there for anyone to draw or measure. Now this next image that I am about to post combines all that we have learned and thought about from Rennes le Chateau, through the paintings and all the reading about secret codes and such. It is a culmination of many years of research and thinking and studying and wondering. It is amazing and it is wonderful and it is indeed "The Second Pillar", the one made of stone and it is where it has always been. At Giza !

And for those who would doubt this and deny what their eyes show them allow me to mention one last thing. A line drawn directly west from The Sphinx does indeed hit the intersection or 'seed' of "The Pentagram at Giza" It is definitely the word of Ra.

The Giza Pentagram

Best Regards
Don Barone