Visitors since February 24th,
2006
The Secrets of The Poussin Code
When men on the
chessboard
Get up and tell you where to go
[and was it not The Knight's problem on the chessboard
that led us to the clue: Poussin and Teniers hold the key
?]
And you've just
had some kind of mushroom
And your mind is moving low
Go ask Alice
I think she'll know
When logic and proportion
Have fallen sloppy dead
And the White Knight is talking backwards
And the Red Queen's "off with her head!"
Remember what the dormouse said:
"Feed your head, Feed your head, Feed your
head"
Hi all.
Over the last couple of months I have alluded to a secret
discovery I have made in the paintings of Poussin and The
Allegory of The Coronation of Celestine V and it is the
reason for this website to divulge or explain what I have
found. The fact that I have found the significance of
some hidden geometry is but one layer of a multilevel
problem and it will be up to others such as Gary Osborn,
Steve Nixon or Morph to delve into the more esoteric and
hermetic meanings that it may involve. I have come to my
conclusions but there is still much to be found as the
consciousness of the world awakens a little more each
day. I am going to post representative images and then
explain how I got to each stage. Where I have saved the
flash program that gave me the image I will post that so
that one can see graphically how it was obtained as an
overlay. I sincerely hope you enjoy my presentation.
The Giza Plateau
and The Golden Spiral
concept and design by Gary Osborn
Click on all thumbnails to see a larger image.
This image shows an overlay of Gary Osborn's idea of
placing a Golden Spiral in the center of The Giza Plateau
to see what it would reveal. Note also that this image
also shows my discovery that the eye of The Golden
Shepherdess defines on the horizontal the exact border of
Phi. On the surface not in itself earth shattering but
since all links to Phi for this painting were denied it
is most certainly worthy of note since the finest art
scholars and the entire Rennes le Chateau community
failed to see it. Some have belittled the finding and
claimed it is self evident and was known but it has not
ever been published anywhere (that I know of). Notice
that Gary chose 51 degrees for his image but I was
determined that it had to be 51.83 (Phi angle) or 51.84
(seked 5 1/2 to 7). However this was a beginning for
further research. As much as this looked like it could
fit I was determined to find something a bit more
concrete that would show there was a valid reason for
posting this image over the painting and thus the search
began.

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

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

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

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

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

Continuing on from where I left off above it was
all well and good that I had found something in one of
Poussin's painting but what really did it prove. It sure
looked good but I would think I would need at least two
more instances of his paintings with the same grid and
pattern in it if we were to accept that it was meant to
be there. The logical choice I would have thought was the
other shepherd painting so it is to that one I turned
next. Here is an image and the explanation of what I did
to arrive there.
The first thing I did was drawn a
horizontal white line across the top of the two staves
(staffs ? staves ? Please someone tell me which one it is
supposed to be ). The second line drawn was a vertical
line drawn at the point of the furthest left staff and
the horizontal white line. I then decided to draw a
horizontal line using the nipple of the shepherdess as
the point of reference. I decided to do this as I thought
that the bare breast was totally out of character for
Poussin in this painting and felt that he might have left
it bare for a reason. I then drew a line from the
intersection of the horizontal and vertical white lines
from the top of the left staff to where the
"breast" horizontal line hit the far right hand
side of the painting. Carrying on I then drew a green
diagonal line defining the actual staff of the middle
shepherd. A red vertical line was then drawn at where
this green diagonal staff line meets "the
breast" horizontal line. and then finally a key line
and insightful one as well I decided to draw a [purple]
diagonal line upward and to the left to where the trunk
or branch of the tree seemed to be following the angle
which the purple diagonal line defined to leave us with
the configuration shown below. Once again the key angles
seemed to be rearing up. These were 23.5 degrees, 38.17
degrees and 51.83 degrees as you will see in the image
below.
Projecting a line through the eyes of the three shepherds
yielded this result.
It looked promising ... and it was !
However before we continue on I have to
post an image that for me was like switching on the
lights in a darkened room. It is an image by John Legon,
an amazing and insightful man, who posted this image and
brought my attention to the fact that the shafts meet. I
really had never considered that before and it would have
remained unimportant except for the fact that John
pointed out that they met AT THE SAME ELEVATION AS THE
APEX OF THE PYRAMID ! This I felt could not be random and
started again my studies which had been on the back
burner and had cooled considerably. It almost makes one
wonder, as did David Wood, that perhaps we are being led.
Here is the key image that directly led to all of this I
am posting.
As now a second to last image and it is a
shame because as much as an image can convey a thousand
words it can not convey the countless resizings and
overlays one goes through to get to this final image. It
looks so easy but in fact stretched over many days and
many, many hours.
Here is the image and a description of how we arrived
here.
In this image as you can see we have
projected the right shafts upward to meet at the far
right top corner of the painting. The pyramid overlay
follows nicely the slope of the angle we have defined by
the purple diagonal line and the red horizontal line
defines and marks the floor of The King's Chamber.
However the key again in this painting is that the
pointing finger and the red line denoting the line of
site of the shepherds defines not the center of the
pyramid but instead marks the center line of The King's
Chamber. Remember this is an earlier version and perhaps
he was not privy to all that he was when he painted Et In
Arcadia Ego, however the obviousness of the overlay can
not reasonably be denied.
But now let us combine all three images and understand
that the geometry that allows all of this to take place
... IS ALSO FOUND ON THE GIZA PLATEAU ITSELF !!!
Please note on this final image that not
only do all the lines meet and define the pyramid but the
distance to the centerline of The King's Chamber and the
pointing finger is Phi and this is exactly what will be
revealed on The Giza Plateau.
So I say to you all now that these paintings are indeed a
map and they are not of France or Rennes le Chateau but
are in fact a map of ... THE GIZA PLATEAU !!!
Next stop Giza !
There is still a bit more about the
paintings and how Celestine V fits into all of this but
for now let's get to the tie in to Rennes le Chateau and
perhaps the final mystery. In order to understand how I
found this or maybe a better way to put it is how I came
to try to fit this all together, one has to understand
that I had always believed that the reasons for looking
for the paintings was a real one. Many had been
discouraged away from the search when it was found that
the parchments were not as old as stated and that they
were in fact a hoax. But in a world of mystery and
subterfuge what better way of stopping the search than to
start it and then prove it was all a hoax. It is like all
conspiracies are. Start it, misdirect and then watch it
wither and die. But I refused to give up and I think I
have been rewarded with perhaps finding the solution.
For those who are new to the search it is important to
understand the findings of David Wood in his epic book:
Genisis: The First Book of Revelations. In this book not
only did David find an amazing pentagram in the Rennes le
Chateau area of France but he went on, as very few are
aware, to tie it all into a vast temple and union of the
male and the female aspects of our existence. I was
convinced it had to tie into the paintings and thus Giza
as well so I kept thinking about it and trying various
things. Before we go on perhaps we should post a picture
of what has been rightly labeled "The Wood
Pentagram" which was found by David Wood in the
hills around Rennes le Chateau.
When this image was first brought to the attention of the
mathematical community people actually argued that it
could not exist as it was not possible, they claimed, to
have a pentagram with all angles equal and yet have one
point outside the enclosing circle. I remember myself
arguing with certain individuals about this very point. I
was amazed then and am still amazed by it. It has not, to
the best of my knowledge, ever been published in any book
or mathematical text book that I am aware of before being
finally brought to the world's attention in his book.
Please take a good look at this map. Study it and learn
it for it really may be one of the two 'pillars' left by
the "Gods" in times of old. There is a legend
that just before the deluge 'God' left all the wisdom of
the ages encoded in two pillars. One of 'earth or clay'
and one of 'stone'. These are the two pillars of
Freemasonry and also the two pillars of Hercules which
lead to Atlantis, in my opinion in reality a state of
mind and allegorical for enlightenment or knowledge.
Could this obscure mathematical symbol and unknown
pentagram actually be found at and on The Giza Plateau ?
I decided to have a look.
Here is an image of The Giza Plateau. It was put out by
The Giza Mapping Project and is as far as I am aware the
most accurate and up to date map which we have.
Here is the same image with a very key single line drawn
on it.
While you are thinking on that let us discuss the two
causeways of Pyramid 1 and Pyramid 2. I have never really
been given an accurate and foolproof reason for why they
are on the angles which they are. I had thought maybe to
tie in with the winter and summer solstice and this may
be correct but why start the bend where they did in
Pyramid 1 and why no bend in the causeway of Pyramid 2 ?
Interesting questions and ones where there are no clear
cut answers, until now.
On another board I asked the question of what a
particular building was and was mocked and laughed at
because it was suggested it had absolutely no relevance
to anything. Here is the building I was asking about.
Those who laughed and mocked were trapped
in the box so I do not blame them but watch as I simply
draw two lines on this image.
The building is at the intersection of the two causeways
so I was simply wondering what it was and why it would
have been placed in such an unusual position. Regardless
let us move on and let's combine the images and watch as
we get this.
These lines have not been manufactured, They are there
for anyone to draw or measure. Now this next image that I
am about to post combines all that we have learned and
thought about from Rennes le Chateau, through the
paintings and all the reading about secret codes and
such. It is a culmination of many years of research and
thinking and studying and wondering. It is amazing and it
is wonderful and it is indeed "The Second
Pillar", the one made of stone and it is where it
has always been. At Giza !
And for those who would doubt this and deny what their
eyes show them allow me to mention one last thing. A line
drawn directly west from The Sphinx does indeed hit the
intersection or 'seed' of "The Pentagram at
Giza" It is definitely the word of Ra.
The Giza Pentagram
Here is an image to explain the finer
points of what points are important
Here a new image
which has been overlayed onto a satellite image.
It is not supposed to be as accurate doing it
this way but some interesting intersections occur
which I overlooked in the image posted above.

Any of a number of these things will lead to this
overlay. One need not even have the tip of The Pentagram
as it will be self evident when all the other things line
up. So it really doesn't matter that we do not know
exactly where the valley temple is it still works.
However by using this Pentagram it does tell us EXACTLY
where to look.
the discoveries continue
in
Part II
Finding the Code in "The Allegory of The
Coronation of Celestine V"
To keep up on further developments
as they happen and to see what others think please go to this
link
A kind article by Gary Osborn. Thanks
Gary !
Cheers
Don Barone
This site has been visited
times since February 24th, 2006
