Le Serpent Rouge Reinterpreted
The "Horizon Number" of the Cosmos
By Tracy Twyman, E.G.M.
In 1967, the Priory of Sion published a strange poem called Le Serpent Rouge. This was among the "Priory Documents" which were deposited in the Parisian "Biblioteque Nationale" by the Priory of Sion for the purpose of fostering inquiry into, or spreading rumors about Rennes-le-Chateau, the Merovingians, and of course, the Priory of Sion itself. Le Serpent Rouge consists of a prose poem, 13 stanzas in length, as well as a Merovingian genealogy, two maps of medieval France, and a map of the grounds of the seminary of St. Sulpice. The authors are purported to be named "Louis Saint-Maxent, Pierre Feugere, and Gaston de Koker", three men who, just days after the poem was deposited in the library, were found hanged without explanation. Strange and frightening as this appears, 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. This author is willing to bet that the true author of the poem was Jean Cocteau, who may have even faked the "Sauniere parchments" upon which Le Serpent Rouge is based, and which many investigators think to be a hoax of perpetrated by the Priory of Sion. One only needs to read Cocteaus known work, or view his film Testament of Orpheus to recognize the style of writing and the symbolism employed.
Le Serpent Rouge centers around a 13-house zodiac system that, as revealed in the article The Cutting of the Orm, is the basis for a perfect 364-day calendar that fits perfectly with the 13 yearly cycles of the moon. The details of this calendar are encoded in the structure of the Priory of Sion itself, as reported in the Dossiers secrets, also deposited in the Biblioteque Nationale. Certain references to be found in this and other POS-published literature indicate an emphasis on the house of Virgos role in this system, and as mentioned in the article, Virgo has long been viewed as a representation of time itself, a constellation that plays an important role in the onset of seasons, of equinoxes, solstices, and other important dates on the calendar. She personified the same goddess as did the planet Venus, only a different aspect of that goddess. Virgo was the goddess as the Virgin Mother of the Sun god (Horus/Cain), and Venus was the temple prostitute and consort of the Sun god. These relationships were not seen as contradictory in the ancient world, since the Sun god Cain/Horus only became so after the death of his father, the old Sun god. He thereafter became known as "the Son of the Widow", and his relationship with the Goddess (called variously Isis, Ishtar, Ashtaroth, Astarte, or Venus) became one of husband and wife.
As has been mentioned in the other article, the Virgin Mother aspect of the goddess became personified in Christian mythology as the Virgin Mary, and the whore/consort aspect of the goddess became personified by the figure of Mary Magdalen, who is believed by the Priory of Sion to have been, quite literally, the wife of Christ, and the mother of his children, who became the forebears of a branch of European royalty known as the Grail bloodline - the bloodline that the Priory of Sion is sworn to protect. Both aspects of the goddess are mentioned numerous times in the poem Le Serpent Rouge, which also uses the allegorical story of Sleeping Beauty to illustrate her legend.
This is particularly significant because the fairy tale of Sleeping Beauty is based on the legend of Venus/Isis. This figure is, in many myths about her throughout the world, said to inhabit an enchanted mountain (representative of the World-Mountain) in which she still resides today, lying in a deathless sleep in her tomb, located inside one of the mountains caverns - a scene recounted in The Chymical Wedding of Christian Rosenkreutz and discussed in the Dagoberts Revenge article Sleeping Beauty and the Sacred Mountain. In this article we also discuss a similar myth surrounding the Greek goddess Pyrrha, who, like Isis in Egyptian mythology, was the co-pilot of the Ark that saved humanity from the Deluge - and ark which came to rest in the Pyrenees mountains (named after her), where the goddess is to this day said to be entombed in a manner similar to Venus, whom she obviously represents.
Another god (this time male) associated with navigation who is said to be buried in the area is Hercules - the patron of navigators (and the national god of the Phoenicians.) He was the pilot of the Argo, or Ark, in Greek mythology, the "Cup of Helios" (representing the Sun) which he used to navigate the cosmic sea through the 12 houses of the Zodiac, which were the twelve trials that Hercules had to face in his adventures. Hercules would seem to have much in common with Saturn, or Kronos, the Cain figure of Roman and Greek mythology who was also a navigator, and who in some Greek myths is said to have been a consort of Venus, and in others has a different familial relationship with her. Their relationship is similar to that between Virgo and Mercury, the patron of writing and communication, who has a legend surrounding his tomb as well that echoes that of Venus, Kronos, Osiris, Christian Rosenkreutz, and a number of figures throughout world mythology that seem to embody the same mythos - that of the Sun god who dies and is reborn as his own son. They are all said to be buried in a tomb that is, symbolically or otherwise, at the "center of the Earth", which is "lit by an inner sun", and which is covered with hieroglyphic writing. And the Tomb of Hercules, which is a cave that actually exists in Montsegur nearby Rennes-le-Chateau, is indeed covered with hieroglyphic symbols. This hearkens back to the Tower of Babel, that symbol of the first universal language, and of the World Mountain, discussed in the Dagoberts Revenge article The Tower of Babel. As we have discussed previously, this tower can be clearly linked with the Venus prototype goddess that came to be represented in the figure of Mary Magdalen, "Our Lady of the Tower", this providing another link between the goddess said to be buried in the mountain and her male counterpart - that of writing. This also provides a link between her and "Sophia", the goddess of wisdom whose name comes up in the Grail mythos so often, symbolized by the skull carried by the Magdalen and worshipped by the Knights Templar. And, as discussed in The Cutting of the Orm, the sciences of writing and navigation may share at least one other thing in common: they may both be linked with the ancient concept of "reading the stars" since, as we have hypothesized, ancient alphabets may have been partially derived from star patterns. This is the "Serpent Rouge" of the nights sky with which this poem is concerned, symbolizing both the zodiac and the alphabet.
The association between the goddess and the science of writing is perhaps also embodied by the astrological sign of Libra, which is right next to Virgo in the zodiac and which, like Virgo, is ruled by the planet Mercury. Libra, "the scales of Justice", has a name very similar to "Libre", which is a root meaning "book" in most European languages, as in "library." This is interesting because "Justice" is equivalent to "the Law", and the word "Torah", the title of the Hebrew scriptures (an the source, according to cabalists, of the Hebrew alphabet), means "the Law." Also note that in the Waite Tarot deck, the High Priestess card, obviously the same goddess herein referred to, is holding the Torah in her lap. "Liber" is also the word from which came the book-associated words "Bible", "Biblio", and "Babel" - as in the Tower. This can further be linked to the word "Liberal", as in "the Liberal Arts" - basic fields of math, writing, and music which all students should learn. Then think of "Lady Liberty", the national goddess of the United States whose statue was given to us by France. What does she hold in her hands but a torch, symbolizing divine illumination, and a and a Masonic keystone, symbolizing the cornerstone of the Temple of Solomon, "the stone that was rejected", the Grail Stone. The stone held by Lady Liberty is also covered with writing, reminiscent of the Emerald Tablet of Hermes, which was inscribed with divine alchemical wisdom. Indeed, Venus has been associated with the Emerald Tablet as well as Mercury/Hermes, being a goddess associated with wisdom and the introduction of the written word. She is also associated with Lucifer, with whom Mercury/Hermes is also associated. In fact, as the Greek goddess Aphrodite, Venus eventually used this alchemical wisdom to unite with Hermes as an androgynous being called the Hermaphrodite. Bacchus, the Greek god of wine (a symbol of the Grail bloodline) was also known by the name "Liber", which is related to the Latin word "Libare", meaning "to pour", as in the word "libation." According to author Nicholas de Vere, "Liber" also means "tree", as in the World-Tree, the Tree of Life, or the tree in the story of the Cutting of the Elm.
Now we get to the question: What caused the loss of the original language of the Tower of Babel? And the perfect 364-day calendar associated with the 13-house zodiac? It was the cataclysm, discussed in The Cutting of the Orm, which brought Venus and Kronos to the Pyrenees and the Rennes-le-Chateau area, where they probably landed on Montsegur, the "Secure Mountain", which was, to them as Mt Ararat was to Noah. Perhaps the pilots of the Ark were drawn to that area by a beacon - a temple dedicated to Venus which is now covered in dirt, and which forms the five mountain-peaks in Rennes-le-Chateau that create a perfect pyramid, the same symbol formed by the orbit of Venus throughout the year. This pentagram, by the way, points to the spot where, according to authors Colin Wilson and Rand Flem-Ath, the North Pole was located 100,000 ago, prior to the pole shift that presumably occurred along with this cataclysm. Perhaps this temple was the central radiating point for an old meridian that used to divide the Earth into lines of latitude and longitude with an ancient measuring system based on the old, pre-cataclysmic make-up of the nights sky in relation to the Earth. If the Ark navigators made it to this point, they would know they were at "Ground Zero", and would be able to orient themselves to the cardinal directions of the Earth, even though all of the land masses were covered with water and the nights sky did not look the same in relation to the Earth anymore. Perhaps this temple, if unearthed, could be the key to decoding the ancient systems of time and space measurement, as well as the ancient system of writing, used by the people who built that temple so long ago. If the temple acts, as many ancient temples do, as a calendar, and if it was built during a time when the calendar, as well as the polarity of the Earth, were different, then it should all be there, "spelled out" for us, as it were.
Perhaps this is what is symbolized by the ruined Temple of Solomon, referred to repeatedly in the poem Le Serpent Rouge, and throughout the Grail literature. The Temple of Solomon, like the Towel of Babel and the Giza pyramids, is meant to symbolize the World Mountain in the center of the Earth. But it is built on Mt Zion, which, Jews believe, really is the World Mountain, and the "Cave of Treasures" which is the burial place of all of the Biblical patriarchs - every one of them based upon ancient gods such as Kronos and Venus. Montsegur is the World Mountain in this version of the story, a New Sion, and the mountains at Rennes-le-Chateau are the temple erected to it - just like the Temple of Solomon that was erected on Mt Sion, or, like the Grail castle was erected upon Montsalveche, "The Mountain of Salvation", very similar in meaning to the "Secure Mountain" title of Montsegur. Rennes-le-Chateau itself is, as we have argued in previous articles, a New Jerusalem, and is laid out as such using similar geometry to the ancient city. The "rebuilding" of the Temple of Solomon, something also mentioned in Le Serpent Rouge and in Templar/Masonic literature in general, is what would occur if this temple were rediscovered. This may initiate a "re-awakening" of the Golden Age in which the temple was created, symbolized by the reawakening of the Sleeping Beauty, and the sun god buried with her in the World Mountain.
With these presuppositions as our guild posts, it now becomes possible to understand certain key phrases used within this queer poem. Let us now examine Le Serpent Rouge (as translated by David Wood in his book Geneset: Target Earth) for its hidden meaning.
How strange are the manuscripts of this Friend...
Meaning the parchments allegedly found by Sauniere beneath the altar of the church at Rennes-le-Chateau.
...great traveler of the unknown...
The "great traveler" is Hercules, and the "unknown" is the zodiac whose twelve houses constituted the twelve trials in his adventures.
...They come together as white light but for one who knows separately, they are the colors of the rainbow; for the artist these six colors unite like magic in his palette and form black.
This may be a reference to the seven colors of the rainbow that were painted on the seven steps of the Tower of Babel, corresponding to the seven major planets in the solar system. This passage also 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, whereas, 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.
This friend, how would you know him? His name is a mystery...
This "friend" is the god lying entombed in a deathless sleep inside the mountain, whose true name, like that of Jehovah, is unknown by mortal man.
...but his number is that of a famous seal.
That would be the Seal of Solomon, and the number of that seal is 6. This symbol is also associated in Hermeticism with Saturn, or Kronos. The Seal of Solomon can further be seen to represent the World Mountain, with a peak reaching up towards Heaven, and caverns reaching down inside the depths of the Earth.
How can one describe him? Maybe like the pilot of the everlasting Ark of Noah...
A direct reference to the Biblical deluge, which destroyed the Golden Age ruled over by Venus and her consort. The "Ark" could also, on another level, symbolize the "Cup of Helios", the sun-boat piloted by Hercules, who is sometimes referred to as "Arkleus." This is likely, because Hercules is mentioned later in the poem, and the "Ark" is described as "everlasting", like "Sol Invictus" - the Invincible Sun. The likelihood that a famous navigator from the ancient world is entombed in France is strengthened by the fact that the word Gaul, France's original name, comes from GAL, the Sumerian word for "navigator."
...impassive like a pillar on his white rock looking beyond the black rock towards the south.
Here we have a reference to white rock and the 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. (2.) The Arks pilot standing "impassively" upon is the white rock is a reference to the mountain that the Ark (containing the god and goddess, in our hypothesis) rested upon when the Flood subsided, like Mt. Ararat in the Bible. And since this mountain is white, it can also be associated with the "Mountain of Albi" (which means "white"), Montsegur.
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.
This describes the "Herculean" task of finding the treasure of Rennes-le-Chateau: the tomb of the Lady Venus - a perilous task fraught with danger, much akin to walking through a labyrinth, or hiking through dense woods. the symbols of the labyrinth and the dense woods are identical and are often combined in other versions of the Tomb of Venus tale. As author Nicholas de Vere writes, "Labyrinths were often placed in the center of groves. Sleeping Beauty, Diana and Rapunzel's 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, and was seen as the herald of Time. She ruled over the ancient calendar system that was destroyed by the last cataclysm. That kingdom is now "lost", and it is that "lost kingdom" which the Priory of Sion wishes to revive.
Desperate to find the way I was aided by the parchments of my friend, they were for me like the thread of Ariadne.
Here we have a direct reference to the aforementioned labyrinth, specifically the one built on Crete whish is the center of a famous Greek myth. 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. (Heres that "Tower" concept again.) In fact in Scandinavia labyrinths are referred to as "Babylons", indicating that perhaps a labyrinths was located underneath the Tower of Babel, like that labyrinths that have been found underneath South American ziggurats. As de Vere writes, "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" vary 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 came from a race of "navigators", all of whom were associated with fish and water. This association is further reinforced by the fact that Egyptians used a labyrinthine spiral hieroglyph as the symbol for their word "mer", meaning 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 Grail-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 13 lunar (and menstrual) cycles of 28 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 3x7, 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", 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 Minotaur
in Greek mythology. Every nine years, the Minotaur required
a sacrifice of 7 youths and 7 virgins, who were placed as
hapless victims inside the labyrinth, where they were torn
apart and eaten by the monster. (This is similar to the numerous
stories of dragons and monsters who were said to live in the
center of labyrinths, or inside caves.) This state of affairs
is what Theseus was sent to rectify by slaying the monster,
but 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." Theseus was the son of Neptune, god of the
sea. Ariadne was the daughter of Minos, the Minotaur's sister,
and the granddaughter of Zeus and Europa. The Minotaur figure,
as the "son of the Bull", was, according to our
research, based on the figure of Cain, who was associated
with the Bull, as was his father. 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. Arachne was a Greek goddess, the master
spinstress of Olympia, who hung
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 much in common with Sleeping Beauty, who,
if youll 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 a watchful eye I could
make steady progress. I can find the 64 scattered stones of
the perfect cube...
The "64 dispersed stones" which form a "perfect
cube" must be a crucial part of this mystery. There are
64 squares on a chessboard, and a perfect 64-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 St. Germain, as if they
were both opposing players. One clear reason for this emphasis
on the chessboard is explained in an article by Ted Cranshaw
entitled, "Who Wrote the Parchment at Rennes-le-Chateau?",
in which he explains that the coding system used by the author
(in our hypothesis, Jean Cocteau) is itself based on the chessboard.
As he writes:
"He starts the encryption process by changing the
order of the letters i.e. he uses a Transposition Cipher.
The reordering is achieved by means of a solution to the old
problem posed in 1720 of the "Knights Tour",
a tour visiting all the squares on a chessboard once, and
once only, using only Knights moves. The tour used appears
to be a beautiful adaptation of the first published solution
by de Moivre (1667-1754). The plaintext is written on a chessboard,
starting at the start of the tour. After 64 letters, the text
is continued on another chessboard carrying the same tour
but drawn upside down. The next array of letters, starting
xnls, is obtained by reading across the boards, starting in
the top left hand corner."
chequered pattern, and the game of chess itself, is associated
with the Knights Templar, who purportedly picked them up through
their extensive contact with the 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 28 squares, which, as
Michael Schneider acknowledges in The Beginners Guide
to Constructing the Universe, represents the 28 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 "4 watchtowers" that divide the Zodiac
into 4 cardinal points, and which were incorporated into the
headdress of the goddesses Isis, Diane, and Mary Magdalen.
In fact, a statue of Mary Magdalen crowned with four towers
can be seen just outside in the courtyard of the church at
Rennes-le-Chateau. The pawns, being androgynous, represent,
according to Michael Schneider, the hermaphroditic union between
the goddess Venus and the god Mercury, both associated with
the Emerald Tablet of alchemical wisdom. 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 4-stepped ziggurat, and thus represents the "World
Mountain" that provides the axis along which the cosmos
the belief system of ancient man, it was the cosmos, and the
heavenly bodies contained within it, that controlled mans
fate, and the chessboard symbolizes a mosaic of fates
possibilities. On the board there are six different types
of pieces, like the six universal elements symbolized by the
hexagram, or Seal of Solomon, elsewhere mentioned in this
poem, 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 64 possibilities is fitting, since
there are 64 six-part "codons", or "genetic
words" in human DNA, and therefore also , notably, 64
hexagrams in the Chinese divination system known as I-Ching.
The relationships between the pieces on the chessboard form,
as Michael Scheider 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 spider's web... and the I
Ching each in its own way represents the world's opposite
forces weaving the eight-fold 'elements'... the warp and weft
of matter's web." (3.) The Web of Arachne, or the "Web
of Fate", was also likened by Nicholas de Vere to the
Buddhist 8-spoked Wheel of Life, and to the Tarots 8-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.
The perfect cube" is also an important symbol in
the ancient mysteries, being representative of the Grail stone,
or the "Philosophers Stone" of the Alchemists,
a cube that was said to "sweat blood", perhaps associating
it specifically with the bloodline of the Grail family. Albert
Pike wrote that the cube was associated with Odin (or, in
other words, with Cain), and that the Tablet of Enoch left
by him for humanity, inscribed with wisdom, 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
Pike also wrote that the number 4 itself can be though of
as a representation of the cube, as well as the hexagram,
which can be seen in the angles of the cube. 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."
"scattered stones" of the cube may 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,
Given what we know, we can now look at one of the mysteries
surrounding Jean Cocteau, our 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 (4x4x4, or 4 to the 3rd power), you get 64! A
perfect cube. And the cube is perhaps the most basic, the
most archetypal three-dimensional object, which provides yet
another layer of meaning to the" 3Ds"
...which the Brothers of the Beauty of the black wood
had scattered when they fled from the white fort while they
were being pursued by the usurpers.
The brothers escaping the usurpers would most likely be the
Cathars escaping the Vaticans army during the Albigensian
crusade, and the white fort would be their castle
on Montsegur. 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
Reassemble the scattered stones and, working with square
and compass, put them back in order;
The Freemasons most well-known emblem is the square
and compass, and this reassembly of scattered stones indicates
re-acquiring "that which was lost", i.e., the Grail.
Whats most likely described here are steps in the process
of decoding the parchment, and then decoding their meaning
in relation to the location of the treasure of Rennes-le-Chateau.
...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 marked with a cross.
This indicates using the old meridian line discussed earlier
that was used during the Golden Age, a meridian that may perhaps
be found by analyzing alignments between the chessboard pattern
on the floor of Rennes-le-Chateau and other articles within
and without the church. The "fourteen stones marked with
a cross" may actually be a reference to the 14 Stations
of the Cross within the church, each of which is surmounted
by a Celtic-style cross with a circle, and the ends of the
crosses are made or fleur-de-lys, a symbol of the Merovingian
circle is the ring and crown, and the crown forms the diadem
of the Queen of the Castle.
This is again associating the goddess buried in the mountain
with the constellation Virgo, who is depicted, like the Virgin
Mary, as crowned with a circle of stars. And as the "Lady
of the Tower", she is indeed the "Queen of the Castle."
It is interesting to note that the symbol of Venus, with whom
she is also associated, is a cross surmounted by a circle
- the Queen crowned with the diadem of stars - which has become,
in modern culture, a more generalized symbol of femininity.
(It may also symbolize the circle of the zodiac and the cross
formed by its cardinal points.) The Venus sign is similar
to the Egyptian Ankh, which was
also used by the Cathars, and referred to as "The Albigensian
The Mosaic tiles of this sacred place alternate black
or white 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, observing the alignments
of the tiles with other items in the church. The "alignments"
mentioned could also be astrological in nature, such as the
alignments of planets and constellations, or they could also
be moral alignments, since Jesus represents "good",
and Asmodeus represents "evil", like the black and
white tiles on the chessboard.
I seem incapable of seeing the summit of the secret place
of the Sleeping Beauty.
Again, the Goddess buried within the mountain.
Not being Hercules with magical power, how do I solve
the mysterious symbols engraved by the witnesses of the past?
This is a reference to the cave known as the Tomb of Hercules,
which is covered with hieroglyphic symbols, as well as other
tombs of ancients gods buried with the World Mountain whose
tombs are said to be covered with symbols.
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.'
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.
I am aware of the scent of the perfume which impregnates
the sepulcher of the one I must release. Long ago her name
was Isis, Queen of the benevolent springs, "Come to me
all you who labor and are heavy-laden, and I will give you
rest. Others knew her as Magdalen with the celebrated
vase full of healing balm. The initiates know her to be Notre
Dame des Cross.
Here again the author associates Isis, Venus, Virgo, and Mary
Magdalen with the vase full of balm which all of these characters
were supposed to have carried, and which can also be associated
with the Holy Grail. This vase was described by Albert Pike
as representing "the constellation crater", the
entirety of the nights sky, over which she was the reigning
monarch as the "Queen of Heaven." The balm that
the vase contained was, according to pike, honey - interesting,
since the bee is one of the most recognized symbols of the
Merovingians bloodline of the Holy Grail. The association
between Virgos vase and healing may be due, as Pike
implies, to the role played by that constellation in the onset
of Spring, which "heals" the would inflicted upon
the Earth and its creatures by the harsh Winter season. Also,
Virgo had been the Queen of Heaven since the Golden Age, when
there were no seasons at all, and man looked forward to a
day when he would no longer have to toil and suffer, in the
new Golden Age that was sure to come.
phrase "Come to me all you who labor and are heavy-laden,
and I will comfort you" illustrates this idea also. Toil
was traditionally not introduced into human life until the
Fall from the Garden of Eden, the end of the Golden Age. Prior
to the introduction of seasons, the Earth was temperate all
year round, with no need for man to build a house, wear clothes
(although he may have chosen to do so), or labor for his food
- in other words, no need for wealth, and therefore, no need
to work. When this ended with the introduction of the seasons,
Virgo was seen as the one who provided alleviation from the
exhaustion of toil. The phrase quoted above is also very similar
to the famous "give me your huddled masses" line
from a poem dedicated to the Statue of Liberty, the significance
of which was discussed earlier.
The use of the term "Notre Dame Des Cross" again
associates the goddess with that circle and cross symbol,
the cross symbolizing the four cardinal directions.
I was like the shepherds of the celebrated painter Poussin
puzzled by the enigma of 'Et in Arcadia Ego.'
This is a reference to Nicholas Poussins painting, The
Shepherds of Arcadia, which has been proven to represent
a tomb that was once in the vicinity of Rennes-le-Chateau,
and which was mentioned in the Sauniere parchments. This tomb
could also symbolize the one holding Venus or her consort
within the mountain. The god-kings of the ancient world were
called "Shepherds, as was Christ, and there are
many stories in Greek mythology concerning the Shepherds of
Arcadia, who were ruled over by Mercury. "Arcadia"
is the paradise that existed in the Golden Age before the
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...
The author is reading into his genetic memory to understand
the secret, indicating that it has something to do with a
...and what is more amazing is that when the four knights
moved, one of the horses left four hoof-prints in the rock.
Horses are a symbol of Poseidon, the Quinotaur, as well as
World Monarchy, and the "Horse of God" was mentioned
in the Sauniere parchments. These "Four horsemen"
are the four knights on the chessboard, and are also reminiscent
of the Apocalypse of St. John, which is based on the cataclysm
that destroyed the Golden Age.
Here is the sign which Delecroix 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
"Two times IS" is, of course, Isis, or Venus, or
Magdalen. Here, her vase is associated with the embalming
of corpses, both her own and someone elses, perhaps,
the God who is buried with her. "Deliver me out of the
mire" is perhaps a prayer from Noah (or Hercules) to
God, asking him to save him from the Flood, to keep him from
sinking into the mud that was swallowing up creation all around
began my journey in shadows and completed it in the light.
Another reference to the opposing but equal powers of Good
and Evil, night and day.
At the window of the ruined house I look across the trees
denuded by Autumn.
The "ruined house" is the ruined fortress on top
of Montsegur, the ruined temple, or perhaps the home of Marie
de Blanchefort, which sits right next to the church at Rennes-le-Chateau.
It could further be seen to represent the "lost house"
of Ophiuchus within the zodiac. Note also the mention of "Autumn"
in this stanza, which is dedicated to Libra, a sign that rules
the Earth during the season of 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 35 centimeters!
This must be a reference to some point at the summit of a
mountain near Rennes-le-Chateau, perhaps Montsegur - something
that is situated specifically to catch the light of the midday
sun. "Midday" is an important time to Freemasons
and other mystery schools. It is the moment when Hiram Abiff
(representing the dead, hidden god within the tomb) was murdered.
Dagobert II, to whom this treasure is said to belong, was
also murdered at midday, and midday is mentioned specifically
in the Sauniere parchments. As we have discussed in The
Cutting of the Orm, during the Golden Age, midday occurred
at the exact same tie, with the sun in the exact same position,
every single day, and each day would consist of equal portions
of day and night. The number 14 is, perhaps, a reiteration
of the "14 stones marked with cross" mentioned previously,
or maybe the number of the Sun added to the 13 houses of the
Golden zodiac system.
Here, then, is my knight's tower on the circuit of the
divine horseman of the abyss.
This "Divine Horseman" is undoubtedly a reference
to the "Horse of God" mentioned in the Sauniere
parchments, as well as the knights on the chessboard. (4.)
The divine horseman must specifically relate to something
astrological, since he is traversing "the Abyss"
(that is, the nights sky) in a circuit (or in other
words, an orbit). Perhaps, then, the divine horseman is the
sun himself, who was seen by ancient man to be riding a horse-drawn
celestial chariot through the sky. Also, the horse, as Ive
said, was associated with Poseidon, another representative
of the Quinotaur that spawned the Merovingians, and in antediluvian
times horses were sacrificed at the assumption of a world-monarch
to his throne. It was not uncommon throughout the ancient
world for a king's horses to be slaughtered and buried along
with him, and their god-kings of the ancient world were, in
fact, sometimes referred to as "Horse Lords." It
is worth noting that a severed horse head was found in the
tomb of Merovingian King Clovis I. Also, the book Le Serpent
Rouge itself features an illustration depicting a horse
head that juts out of screen left, hovering inches away from
a pitcher full of water that is being poured out in front
of it, as if to say: "You can lead a horse to water,
but you cant make him drink." As previously mentioned,
Jean Cocteau, the suspected author of this poem, used divine
horse imagery in many of his films, and one of his closest
friends, Maya Deren, made an experimental film called The
Divine Horsemen. Interestingly, Nicholas de Vere has stated
that the word "Rose", or "Hros" means
"Horse" in the Germanic language, and that the word
"Yggdrasil", the Nordic Tree of Life, means "Steed
of Yggd", or, in other words, "Horse of God."
There is a celestial vision for the one who recalls the four
tasks of E. M. Signol around the line of the meridian;
The Meridian referred to is the Paris Meridian, which was
the first marker of longitude in Europe, but was replaced
by the Greenwich, England meridian in 1884. However, the French
clung doggedly to the old meridian until relatively recently.
Emile Signol was a painter who produced four paintings of
this Meridian line, as well as a portrait of Dagobert II,
which are now on display in the St. Sulpice church in Paris.
The Paris meridian is probably the old meridian of the Golden
Age previously mentioned.
...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 word "Choir" comes from "core", indicating
that it is the inner chamber of the temple that is being referred
to here. The "heart of the sanctuary" could be the
center of the Temple of Venus hidden at Rennes-le-Chateau,
from which radiated" the lines of latitude and
longitude that divided the Earth at that time. The fact that
these radiating lines are described as "love" may
be a reference to the "polar attraction" of the
earths magnetism, upon which the meridian is based,
or it may be a reference to Venus role as the "love
goddess." The "rose" has several layers of
meanings here. For one thing, a compass that is used to navigate
(as opposed to the compass that is used in geometry) is sometimes
referred to as a "compass rose" because of its flower-like
appearance. The "hidden sun" in the tomb of Osiris,
and of Christian Rosenkreutz (which is perhaps the same fabled
tomb located in the Pyrenees under present discussion) is
referred to metaphorically in occult ritual as a rose. The
rose is a symbol of secrecy, as the phrase "sub rosa"
was used to denote occult secrets. The rose-cross symbol was
very important to both ancient man and to the Hermetic organizations
such as the Priory of Sion, who called themselves by the subtitle,
"The Order of the True Rose Cross." In some depictions,
the rose cross symbol is shown with the letters of the Hebrew
alphabet written upon its petals, and we mentioned in The
Cutting of the Orm how the Compass of Enoch could be considered
a similar "13-petaled rose" containing the letters
of the modern Greco-Roman alphabet. Perhaps that is what the
poems author is alluding to when he writes of "looking
at the rose of the P, then to that of the S", a phrase
which includes a play on the initials of the Priory of Sion.
The rose is the "hidden sun" that lights the tomb
(as in the tomb of Christian Rosenkreutz), as well as the
rose of the rose-cross symbol. The P and S are the Priory
of Sion, which calls itself the "Order of the true Rose-Cross."
spiral in my mind becomes like a monstrous octopus expelling
its ink, the shadows absorb the light.
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 has been used previously as a symbol of insidious
global conspiracy, like that being hatched by the Priory of
Sion. However, the octopus symbol on Blancheforts tombstone
also resembles a spider, like the aforementioned Arachne/Ariadne,
who spins the web of mans fate. She could even be considered
a "Black Widow" which symbolizes the "Black
Madonna" and the "Eternal Widow", Isis Like
the spider and the octopus, the scorpion also has eight legs,
and this portion of the poems occurs during the stanza dedicated
to Scorpio. Furthermore, Ophiuchus, "The Serpent-Holder",
which is considered by some to be merely a portion of the
constellation of Scorpio, is represented sometimes as actually
being a spider. Boyd Rice has suggested that the spider may
be a symbol of the sun, whose gravitational web entangles
each of the planets in perpetual orbit around it. However,
Michael Schneider believes that the number 8 (related to Arachnes
8 legs) is connected with the moon, since there are 8 major
phases in the moons cycle. Schneider writes that:, "The
Octad and eight-sided geometry has often been associated with
the moon, with water, and with lunar deities.... If we look
at a regular octagon we find that each corner angle measures
135 degrees. The sum of all its corner angles must be 8X135,
or 1,080 degrees. This number is the radius of the moon in
miles, the sacred measure used to coordinate cosmic dimensions
"The spiral in my mind" may signify the Fibonacci
spiral, central to the mystery of the Grail, formed by the
golden Phi ratio which dictates the patterns of existence
in the universe, and which can even be found in the orbits
of the planets in our solar system. On the tombstone of Marie
de Blanchefort, at the top, directly opposite of the "octopus"
or "spider", we find the letters P and S, in between
which is a perfect Fibonacci spiral. As the poem says, "I
turn looking at the rose of P then to that of the S...The
spiral in my mind becomes like a monstrous octopus expelling
its ink..." Furthermore, when an octopus expels ink into
water, the ink makes perfect Fibonacci spiral, another peculiar
property of nature.
Spirals in general, however, also contain symbolism which
is worth exploring, for they can be seen as yet another representation
of the labyrinth, or maze. Nicholas de Vere writes that:
"The maze as time, related to the spinning of the
web of fate, is a very interesting concept and by its design
implies that time folds back on itself in layers... instead
of time being solely lineal, it might be suggested by the
maze design that periods are folded on top of one another,
like the skins of an onion or the web of a spider... This
might go some way in explaining why some ages seem to wish
to revive the former glories of other particular ages past.
If they are adjacent to each other in the time fold, then
it seems likely that they may influence each other, just as
they do in lineal time."
This reminds us of the words that were used in the introductory
text to Le Serpent Rouge, as published by the Priory
of Sion, which state that, "After a long sleep, the same
theories reappear. Without doubt they return richer and with
new clothes, but the foundation remains the same, and the
new mask which they wear should not mislead the man of knowledge."
It is also very similar to thoughts express by Jean Coteau
when discussing his reasons for his heavy use of themes related
to classical mythology in his films and artwork.
As weve mentioned previously, another ancient symbol
of Time is the Ouroborus serpent, and that relates directly
to the concept of the spiral. Nicholas de Vere writes that
the Gaelic word for "vampire" is "sumaire"
(related, obviously, to the word "Sumer"), and that,
"Sumaire is translated as "vortex", meaning
a whirlpool or spiral, a labyrinth: a sucker, a reptile (serpent
or Dragon.)" He further elaborates that, "The Orobourus,
the reptilian symbol of completeness is the Sumaire, the serpent
that encircles and spirals to create an inhaling vortex, a
black hole that draws all energy and life into it." Other
words for this serpent include "nix" and "naga",
words that also signify the number 0. This is important because
the shape of the serpent biting its own tail obviously resembles
the shape of the number 0, and absolute nothingness is that
which is found at the center of a black hole or vortex. Furthermore,
it is absolute nothingness, or emptiness, which is what the
spiritual aspect of the Holy Grail is said to consist of,
since zero is the balance point between opposites, being neither
positive nor negative. (0 is also the number on the tarot
card known as "The Fool", which represents Parcival,
the hero of the Grail romances. ) Zero represents the nothingness
that existed prior to the creation of the universe, and the
infinitely small point in space from which the elements of
the universe spiraled outward at creation.
I put my hand to my mouth, 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
Jean-Jacques Olier was the founder of the Seminary of Saint-Sulpice,
which was the headquarters of the Compagnie du Saint-Sacrament,
a front organization for the Priory of Sion that was responsible
for the Fronde, a failed attempt to prevent Louis XIV from
assuming the throne. Olier was a member of this organization
as well. Louis XIV, "The Sun King" was later beheaded
in the French Revolution by people claiming to be avenging
Jacques de Molay, the executed Grand Master of the Knights
Templar. "Olier in his coffin" may just be a reinforcement
of the image of the dead god entombed in the mountain, and
the involvement of the Priory of Sion in his mysteries.
Curses, I know 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. The "Flowery
Tomb" is like the Sprig of Acacia that grew out of Hiram
Abiffs shallow grave, indicating that hopes springs
eternal, and that he, the sun-god buried in the mountain (which
Hiram represents) shall rise again.
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?
This is clearly a reference to the sacking of Solomons
Temple (which happened three times), the loss of the Grail,
and the "ruined house" concept discussed earlier.
Interestingly, the passage implies that corpses were taken
out of the Temple as well as the Ark and other Temple treasures.
Perhaps the contents of the Jewish "Cave of Treasures,
including the embalmed corpses of their patriarchs (which
are, we believe, identical to the god-kings of the Golden
Age)were transferred at some point to the Pyrenees region,
maybe after the Deluge. Legend does tell us, after all, that
the body of Adam, who corresponds to the first god-king of
the Golden Age, was born upon the Ark of Noah during the Flood.
The passage about embalmed corpses is followed by a reference
to the rebuilding of Solomons Temple, elsewhere mentioned
in this poem. 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,
he says, on January 17, 1681. January 17 is a date whose significance
will be discussed later, and 1681 is the date carved onto
the Visigothic pillar Rennes-le-Chateau underneath which Sauniere
supposedly found the parchments, and which many believe to
be the source of the reference in those parchments to the
number "681." The name "Children of Saint Vincent"
sounds like "The Children of Solomon", and other
like-titled orders of stone masons who built the Gothic cathedrals
of the Middle Ages - apt for the group of masons charged with
rebuilding Solomons Temple. We know little of significance
about Saint Vincent, save that he is the patron saint of lost
articles (such as the Grail), horses (such as divine horses),
and the winegrowers of Southern France, wince being a symbol
of the bloodline of the Holy Grail.
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.
Another reference to the Masonic "Sign of Horror",
and to the authors Herculean voyage across the celestial
Abyss which is the subject of the poem.
Here is the proof that I knew the secret of the Seal
of Solomon and I had visited the secret places of this queen.
Another reference to the 6-pointed Star of Saturn and a Queen
(Venus) buried in the hidden caverns of the mountain.
Take heed, my friend. Do not add or take away 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 the same words used at the
end of The Revelation of St. John the Divine, which,
as we have discussed in other articles, may not, in fact,
be that last words of that book in its original form. A rumor
persists that the Priory of Sion, and specifically Jean Cocteau,
was in possession of a 23rd chapter to the Book of Revelation
that contained unknown secrets about the Apocalypse which
the Vatican wished to remain secret.
The base lead of my words may contain the purest gold.
Indicating that the poem contains the secrets of alchemy,
that is, turning base metals into gold.
Returning again to the white hill, the sky opens its
The "Floodgates" of the Firmament of Heaven were
opened to let loose the catastrophic deluge previously mentioned
in the poem.
Close to me a presence, its feet in the water, like one who
has just received the mark of baptism.
Following the flood reference, here comes another reference
to water, especially baptism, i.e., cleansing the Earth via
the Flood. It could also be a reference somehow to Christs
baptism by John the Baptist , the patron saint of Freemasonry,
and a figure so important to the Priory of Sion that they
make all of their Grand Masters take on the symbolic first
name of "John." In the days of Christs baptism
by John the Baptist, 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 "St. 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. Scenes of people walking on water
occur frequently in the Grail romances as well.
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
The red serpent, as this author sees it, represents several
things. The most obvious thing is that it is a symbol of wisdom
in all ancient mystery schools throughout the world and throughout
time. It represents the Ourobouros serpent of the nights
sky, and the serpent formed by both the Hebrew and Greco-Roman
alphabets. It is further the serpent which provides the Earth
with its telluric powers of magnetism, and which provides
a similar form of power to our bodies as the "Kundalini"
serpent said by yogis to be located at the base of the human
spine. It is also a symbol similar to the aforementioned octopus,
signifying a global conspiracy, and a plan, even a bloodline
that spans generations, unfolding throughout the centuries
like a snake uncoiling. The serpent also represents Lucifer,
one of the antecedents of the Grail dynasty, and as "The
enormous red serpent" it is linked with Leviathan and
the Beast of the Apocalypse. The combination of the red snake
with the white mountain indicates the relationship between
this family conspiracy and the World Mountain, which is the
"Rock of Sion", or foundation stone of their dynasty.
There is also a relationship implied between them and the
dead god/s buried within. It could further represent the combination
of red and white tinctures that create the "Grail"
in sexual alchemy; that is, the combination of male and female
fluids. Similar analogies are made in chemical alchemy. The
reference to the snake being "bitter" reinforces
his association with the sulphurous element in alchemy.
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 January 17, the day
of Saint Sulpice, but the nightmare persisted.
January 17, mentioned previously, 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 Nicholas 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, as the Feast Day of St. Sulpice, it
is undoubtedly important to the Priory of Sion, which took
headquarters in the Seminary of St. Sulpice for some time.
On reflection, I wish I had told it to you as a fairytale
Charles Perrault, a 17th century French writer and poet, was
the author of the book Sleeping Beauty, the significance of
which is obvious.
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 understanding use it with wisdom.
Clearly, Le Serpent Rouge was meant to be used as a
guide to the buried treasure, in conjunction with the clues
found at Rennes-le-Chateau and the surrounding area. At the
same time, it is also meant to provide allegories illustrating
the meaning of those clues, and the meaning of the treasure
itself, indicating that what is to be found at Rennes-le-Chateau
includes an ancient tomb, and ancient temple, and other ancient
artifacts, as well as the mystical secrets preserved by our
ancestors that can be deciphered by finding these artifacts.
It was common in the ancient world to locate the tombs of
god-kings underneath the grounds of a sacred temple, and author
Nick de Vere even states that these temples were often used
as royal capitals as well, so that the King and Queen could
be close to the spirits of their ancestors. Now it is interesting
that we should find evidence of both a god and a goddess,
specifically Venus and Kronos, being buried within the mountain
tomb. This may also correspond with the popular belief that
Jesus (who, as the "Son of the Sun, represents the Kronos/Cain
figure) and his bride Mary Magdalen (associated with Venus)
are buried in the south of France, a refurbishing, perhaps,
of a much more ancient myth about a divine couple entombed
in the mountain, perhaps Montsegur. (6.) The poem clearly
identifies Venus and Magdalen as being the same figure, and
she is definitely the "Sleeping Beauty" inside the
Another interesting thing to point out is the recurrence of
the imagery of sexual alchemy. Venus and Kronos are symbolically
represented by a pentagram and a hexagram, respectively. These
are symbols that recur repeatedly in the Rennes-le-Chateau
mystery, the Grail mystery, and in fact the entire Languedoc
region of France. Henry Lincoln has even found them conjoined
in the landscape of Rennes-le-Chateau and nearby Esperanza.
The author David Wood referred to the merger of these two
symbols as "The Star of Set", but this author believes
that it represents the goddess Venus and the god Kronos conjoined
in sexual union, or perhaps, buried in the mountain together.
Or maybe, through the transcendental nature of alchemy, they
have become a single Hermaphroditic being.
The book Le Serpent Rouge features a strange seal at
the end, which consists of the words "Crux Rosa"
- Rose-Cross, and the dates 1099-1188. These are the dates
between the founding of the Priory of Sion and the Cutting
of the Elm ceremony that officially separated them from the
Knights Templar. The story of the Cutting of the Elm,
as explained in the article The Cutting of the Orm,
was an allegory for the cataclysmic destruction of the golden
relationship between the Earth and the sky that existed during
the Golden Age, upon which the Golden Calendar was based.
There are also, surrounding the seal, 32 dots. 32 is half
of 64, the number of "dispersed stones" in the "perfect
cube" mentioned earlier in the poem. The number 32 appears
mysteriously over the entrance to many Scottish Rite Masonic
temples, underneath which is usually depicted the double-headed
eagle, a symbol of the alchemical "Great Work."
The two heads of the eagle imply that the 32 should be doubled,
making the number 64, the "perfect cube" that also
represents the Great Work of the alchemists.
In the center of the seal found in Le Serpent Rouge
are the letters "M" and "S", intertwined.
The exact same characters can be found numerous times decorating
the church at Rennes-le-Chateau. One might presume that they
stand for "Saint Magdalen", whom the church is dedicated
to. However, the "S" has a distinctly serpentine-looking
quality to it, and the "M" may perhaps signify Virgo,
as the letter M has been used in this manner in many of the
clues to the Grail mystery left by the Priory of Sion. The
use of these two letters, then, may be illustrating a relationship
between Virgo, the herald of the season, and the serpent of
Le Serpent Rouge starts out in the house of Aquarius,
"The Water Bearer", usually portrayed as a man pouring
out a pitcher of water, just like the one that we see in the
horse illustration in Le Serpent Rouge, where it is
shown floating in midair and pouring itself. However, some
depictions of Aquarius actually show him as a merman with
a fishs tail, and a crown on top of his head! This is
none other than the Quinotaur that spawned the Merovingian
race, i.e., Cain. Likewise, the poem ends in the house of
Capricorn, "The Sea-Goat", another figure based
on the Quinotaur, representing the Sumerian "Fish-Goat-Man",
their version of Cain. The rule of Capricorn begins on December
22, one day prior to St. Dagoberts Day, and ends on
January 20, just a few days after the January 17 date mentioned
in the poem.
The coils of the mystery continue to unfold.
1. It is significant to note that France has a similar national
goddess named "Marianne" who is clearly a representation
of Mary Magdalen.
2. Albert Pike wrote in Morals and Dogma that, "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."
3. This web-like pattern of life could further be symbolized
by the honeycomb, which is also made up of hexagons. Perhaps
this is partially why bees were a prominent symbol of the Merovingians,
as well as the Freemasons.
4. The knights on the chessboard can also be thought of as representing
the equilateral cross symbol previously discussed, since they
move at right angles, and there are four right angles in a cross.
5. On a website about "Astrological Symbolism", we
found a chart which stated that the symbols of the spiral and
the octopus both equated with the sign of Cancer.
6. One of the titles that the Black Madonna, Mary Magdalen,
has been given is "Notre Dame de Sous-Terre" - "Our
Lady Under the Earth."