Volume 4 / Number 2  

Jean Cocteau: Man of the 20th Century
Secret History & Sacred Geometry in the Chapel of St. Peter
Tool Danny Carry's Interview: Subterranean Kingdom
Den of Thieves: A Toolean Interpretation of Rennes-le-Chateau
Pilgrimage: Cocteau's Message to the Future
Beauty & the Beast: The Hidden Story Behind Cocteau's Fairy Tale
Sleeping Beauty & the World Mountain
Omega & Genesis: Underground Cities, The Deluge, & the Holy Mountain Hypothesis
The Tower of Babel: Vessel of God
The Compass of Enoch
Cutting of the Orm: New Cabala, Ancient Astrology
13: Secret Powers, Sacred Number
9: The Digital Horizon
Le Serpent Rouge Reinterpreted
The Prophet

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 Cocteau’s 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 Virgo’s 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 mountain’s caverns - a scene recounted in The Chymical Wedding of Christian Rosenkreutz and discussed in the Dagobert’s 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 Dagobert’s 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 night’s 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 night’s 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 night’s 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 Ark’s 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 Venus’s enchanted mountain, or, as in the Rapunzel story, can be entered through a tower that represents a mountain. (Here’s 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 Vere’s 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 you’ll 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 "Knight’s Tour", a tour visiting all the squares on a chessboard once, and once only, using only Knight’s 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."

The 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 board’s outer ring consists of 28 squares, which, as Michael Schneider acknowledges in The Beginner’s 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 "bird’s eye view" of a 4-stepped ziggurat, and thus represents the "World Mountain" that provides the axis along which the cosmos metaphorically rotates.

In the belief system of ancient man, it was the cosmos, and the heavenly bodies contained within it, that controlled man’s fate, and the chessboard symbolizes a mosaic of fate’s 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 chessboard’s 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 Tarot’s 8-spoked Wheel of Fortune, which both seem, in this context, to be not unlike Sleeping Beauty’s 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 "Philosopher’s 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 of perfection.

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, Noah’s Ark, the nave (navis, a ship) of the Church, and many other symbols of antiquity."

The "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, the "cubit."

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" 3D’s"

...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 Vatican‘s 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 White Fort."

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. What’s 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 monarchy.

The 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 cross."

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 night’s 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 Virgo’s 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.

The 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 Poussin’s 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 cataclysm.

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 sacred bloodline.

...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 of Legends.
"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 else’s, 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 him.

I 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 night’s 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 I’ve 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 can’t 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 earth’s 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 poem’s 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."

The 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 Blanchefort’s tombstone also resembles a spider, like the aforementioned Arachne/Ariadne, who spins the web of man‘s 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 Arachne’s 8 legs) is connected with the moon, since there are 8 major phases in the moon’s 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 and rhythms..."

"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 we’ve 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 a tomb.
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 Abiff’s 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 Solomon’s 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 Solomon’s 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 Solomon’s 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 author’s 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 floodgates.
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 Christ’s 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 Christ’s baptism by John the Baptist, the ritual was performed not by an emersion of the entire body, but only the feet. Note that Jean Cocteau’s mural at Notre Dame de France in London shows only the feet of Christ. But there is another mural of Cocteau’s 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 anger.
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 night’s 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 Sion‘s "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 by Perrault.
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 tomb.

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 the zodiac.

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 fish’s 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. Dagobert’s 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."