Part Three

The purpose of this additional page is to try to take what has been said before, on many pages of this site, and to try to distill it into something just a little more definitive... even though it’s fairly obvious that for as many dents as can be made into the mysteries of the Templars and of Rennes-le-Chateau, there is so much yet to consider, and so little overall success that has been made, even if the grandest ambitions and capabilities of our more modern ancient wisemen have already been identified here. Most of the images on this page are toward the bottom, so please bear with me.

While some of the purpose and principles of C. S. Lewis’ "Aslan" and other characters may have been identified, the exact nature still awaits precise identification, and a detailed analysis of the work in general may never have been done. The full analysis of the paintings of Poussin, Teniers, and others, involving not only their symbolism and geography, but probably most importantly, the importance of their hidden mathematics, still remain probably not only yet uncompleted, but still unattempted if even fully contemplated, and in general the meaning of the ambitious, gigantic pentagons and pentagrams formed by the Templars remains still unspecified.

Suffice it to say that those responsible for the mystery may have had a much broader pallete than they get credit for; it’s quite possible that there are myriad reasons for relying on Teniers and Poussin as part of the clues, and these names could yet also prove to be cypher keys (re-read the famous phrase carefully), they may never have deviated from the goal that is apparent in Poussin’s "Et in Arcadia Ego" in any of their work, and the invocation of names of specific works may be capable of implying a broad genera, including not only their copiers, but a number of the painters who, for example, attempted the theme of the Temptation of St. Anthony.

Heironymous Bosch’s own version seems to be literally swarming with peculiar touches and clues, one of which may have been so powerful a symbol in it’s possible alchemist’s meanings, that it still appears in the modern work of Francis Bacon.

Some of Poussin’s imitators, according to the resources listed below on this page, may have gone even farther into peculiar idiosyncrasies, typical for Sauniere’s church, than Poussin, and particularly notable is the sense that they have not deviated from the use of the hidden sacred geometry either. What the cypher means by "Poussin", or "Teniers", could ultimately mean a large number of people and their works.

At this point, the latter can only receive more speculations in addition to the premise that they might have been perfecting meteor deflectors, or making dimensional doorways so huge as to perhaps be of the scale required to serve some cataclysmic situation. Particle accelerator arrays? Gigantic Hermetic flasks in which they aspired to harness interplanetary relativistic energies, into some more usable form, perhaps by enhancing the magickal properties of the plants that occurred there? Certain points on the world grid have been noted for their unusual life forms, and there’s a possible recurring pun occurring through the involvement of the "Fleury" family, this in addition to many references to vegetation within the Rennes-le-Chateau mystery which have not yet been attended.

Could they have had aspirations that grandiose? Or even more so? Did they aspire to use the time reversal energies in some inconceivably grand scale, such as turning back some the atmospheric aspects of the confines of the pentagons to those of the days when the atmosphere may have bestowed such longevity as Methuselah enjoyed and when God somehow got the blame for the frequent "wrath" of lightning? Did they thus aspire to pour their elixir of life over the very countryside, to perhaps create their very own land like Lewis’ awakening Narnia? Or, perhaps more correctly, were they the heirs to the knowledge that they were standing in the ruins of these ambitious on the part of far earlier humans?

As absurd as these possibilities sound, they pale in comparison in both breadth and improbability in comparison to the capabilities and vision of Nikola Tesla, and as much as we may have to dismiss them almost as fast as they are mentioned for their overall incomprehensible nature, they at least must be mentioned in the course of applying deductive reasoning.

What, conversely, can we make issue of that is more reasonable, and perhaps more within the confines of practicality?

Before we try to be completely reasonable, let’s pause for a moment for a last application of intuition and gut instinct. One thing that I have not yet mentioned here, is that the mystery of Rennes-le-Chateau may not revolve around a single cipher. There is another, which is produced on page 205 of the Fanthorpe work, which reads:

"FREE STANDING POPPY GRAND SQUARE TENIERS HOLDS THE KEY FOR RICHES FAR ABOVE MEASURING JUSTICE AVENGES THE HERETIC THE EXTENDED HAND BANISHES FEAR FORTY FEET BELOW TWO MILLION POUNDS ARE BURIED"

I have certain issues with whether this contrivance concocted by the Fanthorpes using the Vigenere Square technique is really "nonsense", as it is said to be, which is maybe the most enigmatic part of the whole book. What it suggests is in fact remarkable. Maybe the Fanthorpes already know far more than they’re saying, which still remains obviously typical for many who have half an initiation, and have taken to Sauniere’s own game, and maybe it’s an exquisite Freudian slip - the very sort that might have produced the endless "coincidences" they have noted in their book, for such is the way of inspiration.

But at least for the sake of saying so, this expression, while making a reference to the very real possibility that the Order in question may have been responsible for the "Money Pit" that is explored in this book, gives me a persistent picture in my head of a crop circle whose responsible factor leveled and braided the grain while it left a lone poppy in the middle of it standing erect. Leave it at that I very much like mentioning that wondrous "free standing poppy" if you will, but there it is, and one can only wonder. The image of this very phenomena has been captured on film, which is of course why I’m bringing it up.

In a certain manner of speaking it might be read to mean that the treasure of the Money Pit was placed there in a way that it could only be reclaimed in a certain way by people who possessed a certain amount of a certain kind of knowledge, and had this treasure come from the inexhaustible coffers of the alchemists, it’s unlikely they would have needed to return for it. Much as the rest of the Rennes-le-Chateau mysteries of mere mortal treasure, it’s as if it were put there as a glittering incentive toward hastening the technological development of mankind in general, as are the riddles of the Inklings. Had they indeed been part of this brotherhood of inexhaustible wealth, their writings are not born out of financial incentive, nor the wish to preserve secrets. However you look at, the Fanthorpe’s false riddle is far from nonsense.

For what it is worth, the crop circle mystery has been well-connected to the Martian mysteries through complicated mathematics.

Of what is far more deliberate and reliable, something that has occurred to me within the course of reading "The Magician’ Nephew", is that the strikingly memorable scene that occurs in a garden on a hill, surrounded by a wall, is one slip of attention away from reminding one of the intriguing character of Aleister Crowley’s "Sun" trump in his Thoth tarot (click below image), and the association between the Thoth tarot and the mysteries of Mars is no stranger to these pages.

Perhaps it is not anti-climactic to this inquiry to consider whether or not the elements of C. S. Lewis’ Narnia works may reflect the content and perhaps the sequence (this occurs relatively late in the story, as the card occurs toward the end of the Trumps) of the Tarot trumps in general, beginning, then, of course with the Magician and the previously understated title of "The Magician’s Nephew".

Are we looking at the title subject of his "The Dark Tower", the intriguing addition to his Perelandra Trilogy? Does the appearance of the Queen represent the progression to the High Priestess card, and her wild ride on a carriage the Chariot? Lewis may be, by coordinating the themes of his writing with the Tarot, unlocking the meanings of the Tarot further while pointing toward further illuminations of his own concealed meanings.

Taking this all further into the context of precocious magickal science, we may find that the hill, at least in Crowley’s version, represents a possible quantum mechanical expression, a suggestion imparted by a number of his other cards, and his own constantly re-emphasized knowledge of and involvement with the so-called "mundane" sciences.

Further, if we restate the observation that Lewis’ work seems to include reference to a trump of Crowley’s tarot, in addition to that of other decks (The arrival on a flying horse in Lewis’ book also refers to the child riding the horse before a wall in the Ryder deck), besides integrating what seems to be known about some subtler, more alchemic meanings of the Ryder cards, consider any possible relationship between Lewis’s knowledge and that of Crowley, and look closely for parallels between their expressions, in spite of the peculiar sensationalist context of the quizzical and pedantic ways the religious "status" of these two individuals are perceived by mainstream Christians. They may well prove to be something far other than the diametric opposites they appear to be, although something of their approaches is indeed distinctive from one another.

In doing so, there is perhaps something conspicuous when we look at Crowley’s "Art" trump (click above image), whilst we have these fabled "blue apples" on our minds, and that is the seven nuclei of the Nitrogen atom which appear on this card, flattened within the nucleus and symbolizing the atomic number rather than the atomic weight, identical to the manner in which many ancient diagrams of atoms do, and with the azure coloring to assure us that the etymology of "azure" and "azote" that tends to associate them is indeed valid, even though the proposition has led some authors to prematurely criticize it for having distorted the frame of reference to suggest it means the ancients "worshipped Nitrogen". The worship of Nitrogen may be ludicrous, but rather than insisting on worship, we may wisely insist on the Nitrogen, and momentarily set aside the provisional idea of worship; the ancients recognized and seemingly anthromorphicized this element, and others.

The significance of Nitrogen in our context, of course, is that it seems appreciably missing from the present Martian atmosphere - Richard Hoagland hopes, with some reason to believe, that Mar’s Nitrogen has remained underground on the planet, and that it conveniently has a very difficult time getting out of any serious discussion of ectoplasm. While ectoplasm remains largely "Ghostbuster" stuff, and the stuff of mostly privileged mediums to consciously pump a little of, it’s been alluded to many times by mystics of many peoples who supposedly didn’t even know what nitrogen was, often replete with indicators of it’s atomic number or weight, and it may yet play a large role in magickally transforming other worlds, and looking scientifically at its nature does anything but discourage that thought.

In a manner of speaking, these are the "blue apples" to which Sauniere’s cipher refers, in a close parallel with the evidence provided for similar styles of symbolism in support of documenting part of the actual history of the time-reversal science of the alchemists known as palingenics.

The Art (left) and Star (click right image) trumps from Aleister Crowley’s Thoth tarot. The Star card has been cited elsewhere on this site (as other of the Thoth trumps have been associated with the goal of Martian colonization at this site, such as the "Face on Mars" page) for the strong indications that it embodies the message of the concerns of colonizing Mars - through in fact the magickal science to turn it into an earth-like planet.

Compared with the chemical symbolism of this card’s counterpart in the Ryder tarot, the observation that nitrogen still existing beneath the surface of Mars, as Richard Hoagland hopes, may exist bound in the form of Nitrates.

The Art card (above image) shows an atom of Nitrogen and what may be the scalar techniques used to deliberately liberate it from the Martian soil en masse. Crowley’s elaboration of this card in his Book of Thoth gives this card perhaps the most attention of any, and his voluminous notes touch on the Emerald Tablet’s symbolism - symbolism that may yet unlock the hyperdimensional physics of uprisings of energy in a tetrahedral pattern at latitudes of 19.5 degrees north and south on bodies throughout our solar system.

They also touch on the alchemic symbolism that the green robe symbolizes (the all-important) vegetation, although he as quickly next denies it as he soon does the same in regard to the appearance of the acronym "vitriol" appearing on this card, formed by the message advising visiting the interior of the earth.

It’s pretty easy to believe this is referring to tapping matter and energy flows from inside planets in the line of arranging their constituencies to be rapidly earth-like, and the fact that alchemy may yet be proven to involve ectoplasm should not be overlooked, for in suggesting that tapping these upwelling may be done very similar to how mediums may tap it to produce manifestations, he is also using here the alchemic symbol of the hermaphrodite, who in older forms can often be seen far more blatantly to be tapping this amorphous, clammy, "animal magnetic" stuff of the earth.

We shouldn’t rule out the similarity of the animal symbols here to the animal symbols representing certain energies of geomancy and feng-shui, or the rules by which they present themselves in a fortuitous manner, for borderline science and mysticism still sometimes struggle to be sure that chi and ectoplasm are not either intimately related, or one and the same, and the same symbolic role for these animals as is found here may also be intended in the works of the Inklings when they occur there.

Lewis’ deft use of symbolism may not in fact be so limited; the riddle of Aslan, to judge from only the first two of Lewis’ "Narnia" books, is a challenging puzzle. In "The Lion, the Witch, and the Wardrobe", while he makes Aslan into a Christ-like figure who is martyred and reborn, it’s perhaps hard to justify that Lewis’ replacement of Christ with this character could have been born out of any genuine Christianity.

He seems more than ever to be less of an insider, and even less of an infiltrator of Christianity, than a commentator and benevolent critic from the outside, effectively mistaken for an insider by his Christian audience, which is again the same perception that a close look at his "Wormwood" and "Screwtape" characters produces. Even while he must be aware of the magickal and alchemical roots of his Church, he seems far more the magickian.

We could make short work of the proposition here, that the Inklings combined the inspiration of ancient and modern science with the occult, in the form of the Tarot, simply by bringing up the fact that Charles William’s story, "The Greater Trumps", as the title suggests, is centered around the Tarot... just as we could make short work of guessing the possible hidden multidimensional secrets in the Inklings’ work by simply referring to another of William’s titles, "Many Dimensions".

It wouldn’t even be out of place to ponder whether this associations born out of a phenomenal curiosity could have, like those of others, included members of the Golden Dawn, the Theosophists, the Rosicrucians, or the Freemasons, and eventually there isn’t much getting around having the same thoughts about Lewis Carroll. Even though the Fanthorpes only make the gentlest allusion to such a possibility as Carroll’s involvement with the Prieure and the Inklings, the proof may, as with the Inklings, "come out in the pudding".

It is the actual content of the work, and what may be hidden there, that may be in the end by far the best indicator of the reality of such a premise. (I’ve long been tempted to assign the obvious value of the tachyon, a theoretical faster-that-light particle, to the White Queen, who is "so far ahead of herself"... which is only to start with). Suffice it that Carroll’s prerogatives, much like those of the Inklings, and not ironically, those of traditional peoples, may have been to forge an early start by weaving into a child’s fables enough information to last several lifetimes.

Perhaps for now this quote from a webpage on "The Mathematics of Lewis Carroll" will suffice as the beginnings of evidence that his talents and interests were even more in accord with those of the Inklings; Carroll, like MacDonald, in addition to being a fantasy author, was a mathematician:

"His contributions to mathematics are also quite numerous, ’..he devised a system for working out a determinant (used for solving lots of simultaneous equations) which is algorithmic (doesn’t need intermediate decisions), and he is recognized as one of the founders of the theory of proportional representation (voting procedures).’ He also gave much to the world of creative or educational mathematics. He devised lots of problems, games and puzzles for those of any age. Dodgeson [Carroll’s real name, Charles Lutwidge Dodgeson] died in 1898 and it is said that,

"His books are among the most quoted works in the English language, and his influence (with that of his illustrator, Sir John Tenniel) can be seen everywhere, from the world of advertising to that of atomic physics."

Science, of course, entails the premise of the art of being able to make accurate predictions based on information. That’s a critical key to when something should be identified as a science.

The premises laid down in here in general predict that familiar threads should run through the writings of the Inklings, that relate to such Templar-oriented things as Mars, and tesseracts, and "strange" energies, and that they will be perhaps far more than the novelties of fiction.

I shouldn’t have been surprised, then, to tear into C. S. Lewis’ "Out of the Silent Planet", and within the first twenty pages, the main character is not only kidnapped and on his way to Mars, but in a room on a ship that, while the description of the ship that follows it refutes it, is nonetheless a very accurate description of a segment of a tesseract. (below image)

We are also told by the characters that the mechanism of the spaceship is "exploiting the less observed properties of solar radiation".

Does one necessarily need to finish the book, any more than having had to open it in the first place to know what was coming, to make more accurate predictions, and meaningful speculations?

Among the "less observed properties of solar radiation" are those connected by Vedic texts to the ancient aircraft of India, the miraculous Solar Science of ancient India, which in turn may both be connected to the ancient science of Egypt, and not surprisingly, the Martian monuments seem to have a consistently Egyptian flavor, very much as a replica of the Face on Mars in New York state is not far from pyramids itself.

The pyramid of course can be considered to be one sixth of a hypercube, or tesseract, as the description in Lewis’ work also suggests a pyramid, upside-down, seen from the inside.

If we experimentally assume what seems to be the usual, that Lewis is close to a source of initiated science in the form of George MacDonald and the Priory of Sion, we may be given additional insight into the problem that Richard Hoagland proposes, that of utilizing what is, or should be, for practical intents and purposes, the hyperdimensional origin of the sun’s energy.

Can we succeed in the assumption that there is something about the sun’s output of energy that continues, perhaps holographically, to have the hyperspatial quality of its hyperspatial origin? Or even that there is something beneficial and useful in this that is not of the order of energy, but instead of the order of this hyperspatial quality? Most importantly, can we effectively connect such a view to the whole spectrum of esoteric history and symbolism, and to the spectrum of miracles or magick which we desire to facilitate, and may require to make reasonable work of altering the face of Mars to accommodate human needs?

Finally, there is C. S. Lewis’ fragmented manuscript, "The Dark Tower", purported to have been rescued from the flames by Lewis’ gardener, Walter Hooper, after Lewis’s death.

Apparently a fourth part of his "Perelandra" trilogy, the discussions of the mechanisms of interplanetary travel become seemingly more explicit than ever. It’s also reinforced in Hooper’s preface how the end of the first part of the Trilogy’s ends:

"After remarking that his enemy, Weston, had ’shut the door’, to space-travel through the heavens, he ends his letter (and the book) with the statement that ’the way to the planets lies through the past’, and that ’if there is to be any more space-traveling, it will have to be time traveling as well...!"

Hooper speculates somewhat convincingly that Lewis began the Dark Tower immediately after finishing "Out of the Silent Planet".

Even before one pours themselves into the discussions that occur within "The Dark Tower", one wonders what to make of this. The premise is of course that however "fictional" and figurative this may be, even if Lewis himself may be quoted as saying so, that it in fact may be part of a concise knowing and even tested science of interplanetary travel connected to the secrets of the Templars and the mysteries of Rennes-le-Chateau, and the context of Lewis simply being a Christian is no more absolute when applied to Lewis as when such a dubiously restrictive label is applied to the priest, Sauniere.

In fact, much of the moralizing of "Out of the Silent Planet" doesn’t seem as much to be an expression of Lewis’ profession to Christianity as it does simply a necessity of fabricating an adventure plot. Were it that Aslan had truced with the Queen and "The Magician’s Nephew" had ended with a nice, "proper" Christian ending like the magickal lion returning her world to life and her gratefully changing her ways. Were it that the earthmen were as willing as Ransom to get along with the Malacandrians, and they should all live together happily ever after in peace. Rather than Christian values, these bittersweet turns seem more like disappointing black backgrounds for any shining details to stand out against, be they snippets of scientific ideas, or odd words which may yet be shown to form codes and ciphers like those of the Priure de Sion.

As literally as we can take it, whether out of context or not, because that is indeed the trick of the treasure map model is to alter the "conventional" context in order to obtain the true message, be it in the case of Sauniere, or, accordingly, in the case of the Inklings.

Certainly, we know that eventually long range space travel must overcome any time dilation which is predicted by Einstein; Alan Holt’s NASA design in fact promises to overcome this difficulty. In a way, therefore, space travel indeed must involve some "time travel". But to Mars? Mars is certainly close enough that time dilation isn’t so much yet a necessary concern.

We can of course refer to Tom Bearden’s assessment of Tesla science, that the technological mastery here indeed encompasses the mastery of time, just as we can fall back on the Templars being in touch with mastery of time-reversal magick.

But is this necessarily all?

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