The Tablets
In this section dealing
with the church at Brenac we will take a closer look at the rather unusual
depiction of the tablets Moses received from God. The photograph below
shows the domed ceiling within the church. At the centre can be seen three decorative
panels while the two outermost ones hold the
representations of the Tablets in numerical form. In fact the panels with
the tablets face each other directly. The paintings are exquisitely
rendered and it seems clear that a craftsman of some considerable ability
was used for the work. The paintings all date from about 100 years ago and
thanks to the excellent state of the roof they have been preserved in
remarkable condition. It is uncertain whether the work was
commissioned at this time as new and unique piece of art or was perhaps a
duplication of what already existed.
The tablets themselves
can be seen here being held by mythical beasts.
The following images show
the tablets in greater detail and you can click on them to see a larger
photo.
I
suppose it is tempting to call these creatures Salamanders in order that
we might make some sort of direct reference to the church at Rennes-le-Château
but in all honesty the similarity is somewhat tenuous at best.
What is undeniable on the other hand is the rather odd numerical
arrangement of the Ten Commandments. If you begin by looking at those on
the right hand panel, you can see that they conform to what we would might
expect:
What is
interesting about the right hand tablet is that the paw of the lion is
apparently trying to obscure the number 1. This would seem to indicate that
only the second and third numbers (i.e. the Roman numerals II and III) are
being referred to. For those of you who have read my sections on the church
at Rennes-le-Château, you will be aware that I pointed out the numbers 11
and 111, both of which appear on the wing of the devil. Well, here we have
the same numbers again, in Roman numerals II and III but which of course can
equally be read as 11 and 111 in our own numbering system. The second of the
tablets is equally strange in that the paw of the animal is trying to
obscure a very small Roman numeral V, value 5 in our numbering system. So
here we have 5 and 1 both being hidden from us or possibly it could be 1 and
5 since the tablets actually read from right to left. If we are meant to
include the tiny V then the panel on the very left would read 5, 5, 6 and 7.
Perhaps commandment number 5 was so important that it was given twice to
Moses. If we assume that the numbers 5 and 1 are being hidden from view then
it stands to reason that our attention is automatically being drawn to them.
which ever way we read them they can be formed in to either 15 or 51
therefore we can make the number 1551. The numbers can equally be formed in
to 5115. Both are interesting from the point o view that they can be exactly
divided by 11 to produce 141 and 465. when added together they then produce
606. It is obvious from this number that we only need to add 60 to arrive at
the famous 666. If however we simply take the numbers 1551 and 5115
and then add them together we get 6666, which is interesting to say the
least. Whereas we were looking for 60 to make 666 we now have our 666 with
the number 6000 added. Could this be what the creator of this visual
cryptogram wanted us to find out? I think not. I think the secret of these
tablets goes much deeper.
If we now
continue and take a look at the next set of tablets, the
panel on the right seems to suggest something completely different.
Are we to believe that
Moses came down with 16 tablets rather than the 10 reported in biblical
texts? If this were to be true and the priests of this region knew it and
had proof of it, then it would indeed answer many questions and perhaps
even solve the great mystery that has hung over Rennes-le-Château for so
many years. There would also be some red faces in the Vatican. The other possibility of course is that the craftsman was
either illiterate or dyslexic or possibly both. If that were the case then
we are to also assume that the priest or patron who commissioned this elaborate
and presumably extremely costly work would have been happy to settle for a botched job. I personally think
not.
In this tablet we also have
an added dimension namely the left hand one containing what appears to be
a written text. The writing itself is illegible but at
the very top can be seen some more Roman Numerals:
The Roman
Numerals are LVV or the equivalent on our numbering sequence of 60.
Remember just a moment ago I was looking for the number 60 to make up our
number 666, well here it is. Is it just chance or was it added here just
for that purpose?
If we now
take all the numbers appearing on the tablets our revised plan looks like
this:
| 5, 5, 6, 7 |
| 1, 2, 3 |
| 4,
16, 10 |
| 60 |
It does seem like the
numerals on the left hand tablet are actually L and V only while the last
V seems to be part of the text. However since just these letters are
clearly visible the artist and designer clearly meant for us to read them
and presumably use them.
What is particularly
interesting is the way in which the Roman numerals have been added to each of the tablets.
The one containing the numbers 4, 16 and 10 have all the numerals
adjusted so that the left hand numbers align with one another (IXV). The
other two tablets have all their numbers centered. Notice that the
numbering of the tablets begins from right to left and not left to right
as one might expect and finally note that we are missing many of the numbers
namely, 8, 9, 11, 12, 13, 14 and 15 (assuming that is to say that we have 16
tablets in all). This list will obviously need radical revision if 60 on
the extreme left hand tablet
represents the highest of the commandments.
If you look at the tablet
containing the numbers 4, 16 and 10 they appear thus:
The value ten in Roman
numerals is never written VV but instead is always written as X. Perhaps
the inference here is not to show Roman numerals VV but instead to use
this in its French pronunciation "Double V" or W in English which has a
value of 23 in the alphabet. What is fairly clear is that at least the
left hand column should be read from top to bottom. If we take the largest
value possible it would be 16 while the smallest would be 4. I we read the
numbers in strict mathematical sequence then it would be 14. It is
interesting that using this arrangement the value 16 appears twice, once
from top to bottom in the left hand column and across the middle column.
If you have read my section on the Visigothic pillar you will see that 16
is very prominent there.
Alternately of course, we
are perhaps being asked to substitute the alphabetic value of W in which
case we get something rather interesting:
The left most column now
adds up to 13, the middle column adds up to 13 and the diagonal from the
bottom 3 reads 31 while the central row adds up to 16. Also the only two columns which can be fully
added together are the first two and they produce 13 and 13, the last
columns is simply 1. 13 x 13 x 1 is 169. Now if we invert 169 to make 961
somewhat remarkably we find it has a perfect square root, 31. Here
we see mirroring again and it seems very clear to me that Saunière and
Boudet borrowed heavily from churches all over the region. It is also
clear that many of the churches in the region seem to have employed the
complex use of numbers either as a sort of visual aid for enhancing
religious worship or perhaps for deeper and more occult reasons.
At this point we need to
look at all the numbers we have:
By adding 51
and 60 we get 111. This number is very important and has a direct bearing
with RLC, vis-à-vis the wing of the devil. Notice also that on one of the
tablets only the Roman Numerals 11 and 111 are being shown, the very same
numbers as appear on the devil's wing.
Having stared at these
numbers for some time I was suddenly alerted to something interesting. This is what I saw:
You may be asking what is
odd about the numbers in red. Well, they just happen to be the same numbers
that can be formed out of the strange letters IXOIS on Boudet's tomb, that
is to say the numbers 11 and 310 when IXOIS is inverted.
At this point I have to say
very, very clearly, that I am not suggesting for one single minute that
this is one of Boudet's personal creations. Instead what I am implying is
that Boudet like Saunière, begged, borrowed and stole whatever they could
and from everywhere they could find it. Another possibility is that Boudet
and Saunière were part of some inner circle of occult knowledge, a secret
fraternity if you like, for whom these numbers may have been used
throughout the centuries in some ritualistic way. Certainly they carry a
deeper meaning and both Boudet and Saunière were desperate to pass them on
at all cost.
Now if we read the
remaining numbers from left to right and down through the lines we can
obtain 71, 24 and 16.
Altogether they
too also add up to
111. Here again and in a completely different way, the number 111 has
reappeared. Also if you look at the very first tablet you will see the
numbers 1, 11 and 111 have been arranged in a pyramidal manner. This gives
you 111 down either diagonal as well as along the bottom. It would seem
that here too this number carries a major significance and is being drawn
to our attention forcibly. It is worth mentioning that many private
chapels in many churches contain elaborate decorations and quite commonly
one can see a triangle carved in marble with the number 333 below it.
If
we take our numerals 1, 11 and 111 in pyramidal order we do in fact get
333 by taking the lines of numerals on each of the sides of the pyramid.
We now need to take a look
at Boudet's book La Vraie Langue Celtique and in particular page 111. At
the bottom of the page is a Biblical citation and it appears exactly as
the following:
|
(1)
Gen. c. IX. v. 18. 19. |
Most important of all, notice that the middle
three letters are IXV which happen to be exactly the same letters formed
vertically in the tablet containing the numbers 4, 16 and 10. The first
number on the tablet is 4 and by looking at this citation you can see that 4 from the end or 4
from the beginning takes you directly to IXV. Also if you take the Roman
numerals C IX these once more add up to 111. Finally we have the numbers
18 and 19 which superficially appear not be to be connected to puzzle in
any way. However we only have to remember the use of mirroring and then if
we mirror the number 19 to make 91 then 18 joined on to 91 gives us the
very date engraved on the Visigothic pillar 1891.As this was not enough if
we deduct 4 from 1891, we find that the number 1887 is perfectly divisible
by 111 to produce 17 which is also a key number and appears amongst other
places on the Hautpoul tombstone.
There is one final aspect
of this citation that I would like to draw your attention to. Note that
the reference is broken up with six dots on the line. Since the number CIX
forms the value 111 appearing within the first 3 of these, it seems
logical that we were also intended to interpret the remaining three. They
are V.18.19. Within this arrangement we can immediately see 3 Roman
numerals, VII followed then by 8 and 9.
At this point I would ask
you to refer back to the section on the church in which I observed the
number 11111 appearing on the devil's wing. It was a number that could be
broken down in to 111 and 11 and here too this number re-appears. The
numerals CIX produce 111 and by simple re-arrangement on the other side of
the line we can obtain the 11. The remaining part of the number now
becomes 5, 8 and 9. Clearly there are numerous possibilities here but one
in particular is striking in the extreme. By simply taking the numbers and
joining them together you get 589 and this number can only be divided
evenly by either 19 or 31. In order to fully appreciate this significance
you will need to read my section on the
Visigothic pillar wherein the numbers 19 and 31 appear with such
regularity that their presence cannot be anything other than deliberate.
In my opinion the relationship between elements appearing in various
places in and around the region and references within Boudet's book are
growing stronger by the minute.
Please also see the section on page 111
Thoughts and observations
about the tablets
Having arrived
at certain conclusions it now
throws up some very interesting questions.
The use of numbers, particularly 16, 11,
111 and 1221 and notably one or two others, seem to be common to many churches in the area and with a
little research may well turn out to be common in a great many other churches
too. 17 is a number that appears almost everywhere and if anyone wishes to
visit the church and village of Prats de Mollo, you will eventually be sick of
seeing the number 17. This leads to the assumption that at the time of their construction and
presumably throughout some part of their history there was another motivating
force at work. By this I mean that although these churches were overtly
practicing Christianity there was another agenda being followed somewhat unobtrusively
just beneath the surface. That is not to say that it was some form of religion
other than Christianity (although it might have been) but that it was
something that did not comply with mainstream popular religious thinking. As
shown in the tablets above, it does seem to be the case that we may not be
dealing with the traditional 10 commandments we got to hear about at Sunday
school. At least 16 seem to be indicated and perhaps as many as 60. In those
days as would probably be the case today I can well imagine the Catholic
church would have a pink fit if they were asked to dust off and re-introduce
all these commandments. Not to mention all the embarrassing questions as to
why they had kept quiet all this time.
Boudet being a learned man and presumably being a man who frequented other
churches and had a large circle of friends within the religious community,
must have noticed quite early on the use of numbers and their associated
imagery in these churches. Being of considerable intelligence I am convinced
that it did not take him long to figure out what was going on and for all we
know he may actually have been part of this group and shared their ideas and
beliefs. For Boudet of course this presented the perfect vehicle for his
codes. He could embed within his books, concealed references to a
multitude of churches in the area and within which were to be found numerical
clues. These in turn could then be used to further decipher parts of his
works. If this sounds complicated, well it is really is. Boudet did not do
things by halves and he certainly had no intention of making life easy for
anyone. There is another interesting anecdote connected with Boudet which adds
still more weight to the idea that he was gathering information. For a while
he was posted to the Village of Durban which lies not more than a few miles
from where I live. At the time it was the repository of a vast archive and it
is known he delved in to these works for some considerable time. Following his
departure it was later discovered that many important documents were
"missing". Can we assume he helped himself? I think there are fairly strong
grounds to assume he did just that.
The church at Rennes-le-Château was undoubtedly (in
my opinion at least) bought and paid for by Boudet and although Saunière gave the orders to the workmen as to what to do,
there is little doubt in my mind that Boudet was the guiding hand behind the
willing student. Saunière for the most part spent much of life indulging
himself in his new found luxury and in particular sampling his many fine wines
and spirits. I am sure most days were viewed through a rich alcoholic haze. I
think Boudet was shrewd enough to allow this to continue simply to give
himself the latitude he needed. In later years anecdotal evidence seems to
suggest that Boudet and Saunière no longer saw eye to eye on many things. We
know, again from anecdotal evidence that Saunière was by this time a confirmed
alcoholic and probably did not have much grasp of what going on about him. The
fact that by the start of the 20th century Saunière was having serious
financial difficulties proves the rift with Boudet who no longer felt the need
to finance him.
There is
little doubt that it was the mind of Boudet that compiled the bizarre tapestry of words and images
within the church of Rennes-le-Château and I am sure that this little box of
treasures is probably the key that will eventually unlock the magic door. The door does not
lead to some vast horde of treasure itself but instead to a world of secret
knowledge and perhaps forbidden knowledge, in the eyes of the church at least.
