Rennes le Chateau

RLC 11 - Les Bergers d’ Arcadia

Key : Orange lines – 14 division axis lines Green lines - extended penta Blue lines – GP 51.51 triangle The geometry detailed below was drawn directly over the copy I have of the Poussin painting. The details of the painting were traced and copied onto A2 card, the lines then highlighted with black ink. Figure A – Standing pregnant female figure Figure B – Standing male figure pointing to Inscription Figure C – knelt figure pointing to Inscription Having confirmed the RLC 5.15 circle through the locations involved in the physical both man made and natural maybe the same geometry would be hidden in the infamous Arcadia painting by Nicolas Poussin. The picture shows a tomb which was once thought to be in an unknown location, although many believe the painting does depict a former structure that was situated in the Rennes area. Certainly a structure like the one in the painting was present at the location at one time, as many photographs show. Unfortunately the tomb was dismantled and no longer exists .Only the base/plinth remnants remain. The background scenery of the Poussin painting is a misfit with the landscape. Poussin for some reason changed the background. Anyone who has visited the site will know a dark wooded hillside should be behind the tomb….and what we see on the painting is blue sky? The blue sky does however encourage focus on the main tomb feature and with it any geometric patterns that might be held within. The triangular blue sky area between the tree and staff certainly helped me to the first revelation of the staff’s angle and placement within the composition. Within the 5.15 geometry ‘Poussin’s tomb’ sits on the holistic outer circles circumference 33 degrees off the main axis. First impressions: First time I looked at the Poussin painting I was struck by the angle of the staff, the pointed finger and what seemed to be a pregnant lady. The more I studied the painting the more leapt out at me, being drawn initially to the staff I drew in my first rough line running with it and continued it up to the point of the next notable feature that being the tree in the background…as I did I noticed a perfect fit into the tree, the painting even has a small protrusion coming off the tree encouraging the viewer to do just that. A familiar 36+ degree angle looked to be forming with the staff and the angle of the tree. The tree member was quite fat so knew other detail below such as the hand /wrist position of Figure A may hold some clues later to the exact alignment. As basic scaffolding for the developing geometry I drew in the tree / staff angle. This angle could now be split / divided into two giving me my first possible main axis N/S line, which could now be drawn in from the tree/staff intersection down through the cape of figure A….. This line passed through the womb / bulge point of Figure A. It also passed through her hand resting on Figure B’s back. I then noted the curve formed by the back of figure B, and how the lady herself also was acknowledging the curve through the placement of her hand along with a break /space between the thumb and first finger…ready to hold the circle line? On the red cape a thin black line had been drawn which flowed towards the break between her thumb and finger. If that was an intentional pointer to a curve / circle then it could denote the break in the circle at the extended top penta arm point….but where would the circle’s centre be? Knowing the circle’s centre would be in the womb position of the penta I tried varying points along my newly formed axis along/within figure A’ s womb area . I was also able to gauge a rough circle radius by the general curve being shown by the hand /back arrangement of Figure A and figure B. After much trial and error it all locked into place. The circle did indeed run with the curve of figure B’s back, this circle passed through the gap made by the finger and thumb of figure A and went through the pointed finger of figure B. This circle if continued also passed through the toes of figure B and the left elbow point of figure A. The newly formed circle now was centred exactly on the pregnant bulge of figure A….the newly forming penta and figure were acknowledging the same physical point in the other…..a nice correlation. The elbow of Figure A and the pointed finger of figure B appeared as opposing points so connected them…this revealed a ninety degree angle with the main axis…and possibly another two penta arm points which matched the penta arm positions of the 5.15 circle in the landscape….marked as Rennes le Chateau and Col’da Bouich . The top break /extended penta arm could now be seen…..this break turned out to be 1/14 of the circles circumference, a great correlation to the Landscape 5.15 Rlc geometry…which shows an extended penta replicated 14 times creating a 14 pointed mandala star wheel. Next I drew in all 14 circle divisions to see what features within the painting would match the 14 divisions of the landscape geometry. On the main Rlc 5.15 graphics Rennes le chateau is located 2/14 divisions anticlockwise from the SERRES – CASSAIGNES break. On the painting this fell exactly on the pointed finger of Figure B. So figure B was pointing to Rlc’s position within the landscape geometry. Figure B is also making the penta arm angle with its thumb and first finger but has turned it upside down. The Elbow/ arm of figure A is then denoting the other opposite arm of the penta…..this in the physical is a hill/mountain feature called COL’ DA Bouich……the French word for elbow is COUDE. Knowing how consciousness grids carry holistic ratios I drew the 51.51 Gp Triangles (blue lines) above and below the first confirmed circle. Outer 51.51 Triangle The larger blue 51.51 triangle passed through where the penta extended arm breaks the circle. If you look carefully her hand runs with the penta arm and then bends to show you the break point and curve of the first circle….this point in the physical is SERRES. The thumb of Figure B is also giving us the mid distance between the inner holistic circle and the 5.15 main circle….as are the fingers of figure C further round anti clockwise. The larger outer circle produced by the 51.51 brushed the very rear of the tomb and the forehead of figure C and through the base of the stone step. …which in the physical is Bezu peak, situated 3 steps/ divisions round from Rlc on the 14 pointed clock. Bezu falls exactly on the 14 division orange marker line……3 notches along anticlockwise from Rlc. The inner 51.51 triangle The top of the triangle passes through the cross/shoulder point of two penta lines, continuing the 51 degree lines to the apex point sees the centre of Figure A’s hand balancing the 51.51 pyramid, its apex under her hand. Three 51.51 GP lines and three 14 division axis lines merge together on the staff which is now confirmed as a main penta line denoting one side of the longest extended arm. I now connected the lines from the two small penta arms to the base points of the large penta arm. Other interesting features for which I have no explanation are the 3 …..14 division axis lines that pass through the second toe of figures A, B and C in succession anti clockwise. Studying the print I have of the Painting small circular patches can be seen faintly behind some of the points involved….suggesting the geometry was drawn and the picture formed around it. Certainly the section being pointed to by Figure B looks to have been touched up, several very small circular blemishes could be seen near the womb area of the painting, these are very feint but may suggest Poussin tried several centres in order to get it all to click in and still look like a remarkable naturally inspired painting without geometric scaffolding behind it. The penta encoded in Poussin’s painting reflects the geometry within the landscape…..some will say its all coincidence,..If you believe in things being ‘just a coincidence’ here are some coincidences to ponder. The penta centre falls on the figures womb position, coincidentally this centre allows a circle to be drawn which matches the curvature depicted by figure B’s Back/ shoulder and figures A’s open hand position which the circle passes through. Coincidentally the wrists position marks the turn/bend at the point where the penta meets the outer circle . The figure’s arm and hand position define penta arm alignment and 5.15 circle of the landscape geometry. The staff held by figure 2 allows the break of the circle at the top to be coincidentally 1/14 of the circles circumference which coincidentally matches the 5.15 Rlc geometry. This circle coincidentally passes through exactly the ‘pointed finger’ of figure B, which coincidentally is showing an angular penta arm position, coincidentally this distance is exactly two division /spaces marked and noted by the break in the circle leading to the extended penta arm. This coincidentally is three break distances from the wrist position of figure A...just as Serres is 3 break distances from Rlc . Coincidentally the angle of the staff and its relation to and through the circle allows the two divisions to exactly match the 5.15 Rlc geometry….and as such denote the point/position of Rennes le chateau. The staff’s angle through the circle also means the left base leg point falls in the position to match the Rlc 5.15 landscape penta design. Coincidentally three of the 4 14 division lines that pass through the staff also merge with 51.51 triangles on the staff itself. Coincidentally the large rock Figure 2 has placed its foot on, marks another 14 division axis line where the large rock feature of Bezu resides in the physical when matched to the landscape map. Coincidentally Et In Arcadia Ego has ….14 letters These could be seen in sequence as 2+2+7+3 = 14 22 7 ( reversed 7/22 ?)…….3 14 ( 3.14 ?) The circumference measure of the 5.151 mile circle - 5.151 x 3.141593 = 16.18 234 Miles. Rennes le Chateau landscape geometry culminates in a 14 pointed star based on 14 divisions of a circle.