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gasc1988

Two new Poussin paintings key to RLC mystery

62 posts in this topic

There is 6 years I've received from my mother 2 paintings which were in my family since a long time . They came from a priest Henri Gasc ,priest in a church Notre Dame de Marceille near Rennes le chateau . He was my ancestor.

I thought all Catholic Priests were required to be celebate and unmarried since the 11th century??

How can you be a recognized decendant of Henri Gasc, unless... he was removed from the priesthood?

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The maze shaped form in the photo does appear to be a labaryinth.The question is, do the locals know about it.What was on the land in the past?Was there some sort of building there,etc?

I don't know when it was made, could be modern, could be old. The only thing I could find in Google was this notice about a music concert there;

"16 heures, Labyrinthe, Prat de Juge

Concert par le collectif "Roger"

(40 musiciens de la Haute Vallée)."

http://www.artistesasuivre.org/2005/index.shtml

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I thought all Catholic Priests were required to be celebate and unmarried since the 11th century??

How can you be a recognized decendant of Henri Gasc, unless... he was removed from the priesthood?

I asked her that by e-mail and she said Henri was her great great uncle. I guess Henri's brother wasn't a Catholic priest.

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I asked her that by e-mail and she said Henri was her great great uncle. I guess Henri's brother wasn't a Catholic priest.

Then that is not an ancestor, right? It is a relative, or distant relation.

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Then that is not an ancestor, right? It is a relative, or distant relation.

She did say "ancestor" didn't she. Maybe just her poor English. If she wants people to believe her she should publish her family tree and the documents relating to the inheritance. So far, all we have is her word for anything.

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so i dont get it. what is the mystery? is it an art history mystery like a common method to proportion the painting?

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so i dont get it. what is the mystery? is it an art history mystery like a common method to proportion the painting?

No, it's a mystery about a secret society of some kind possibly hiding a religious treasure somewhere and using sacred geometry as a treasure map of sorts. incidentally, I found a painting by a Dutch painter, done in 1610-20, which appears to be the basis for the painting owned by Gasc. Like it, it has a ship of the time it was painted instead of an ancient type. Note also the water spraying from the whale's nostrils.

287f6lj.jpg

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Posted (edited)

Forgot to mention the painter's name is Adam Willearts. That image is a lot bigger when you click on it. The ships have the same horizontal checker pattern on the stern as in the Gasc painting. A detail which is a little odd is that there are two ducks floating on the large wave just below the whale. Seems a little out of place in a storm.

Edited by GS1

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Posted (edited)

The duck or ducks may be a reference to the chapel of the 3 kings built by Baldassare Ubriachi. His family crest was a duck and it is inlaid on the floor of the chapel. This is in Florence, where the painter Adam Willearts was from.

Baldassare as patron of the Magi chapel and Gio-

vanni as the heir-apparent of patronal rights at the nunnery of

San Baldassare; Baldassare degli Ubriachi in starting his chapel

of the Three Kings about 1365 followed the devotional lead of

an allied family. If the Baldesi had built a suburban altar where

only cloistered nuns could worship a King, Baldassare Ubriachi now

owned a city chapel where the merchants of Florence could pray

to the Magi.

The building and its ornamentation were finished by 1378,

as can be demonstrated hy a curious iconographic feature unnoticed

by previous scholars. The Ubriachi ducks on the capitals and

tombstone of the chapel, as well as those on the lintel and capitals

of the Chiostro Grande, are identical. But the two large coats

of arms painted so ostentatiously on the cast wall of the chapel

have a distinct addition: these ducks bear a red cross on their

folded white, shield-shaped wings, each cross on its side. The

historian immediately suspects that this variance distinguishes a

Florentine magnate from a popolano: the chapel was done by a

magnate or grande, whose subsequent popolarita was then celebrat-

ed, as such grants commonly were, by the red cross on white

of the popolo on the wall* This hypothesis seems all the more

probable because the popolo motif was also painted above each

of these two ducks, this time as a red cross within a red circle.

...It is their translatio, the bodies of the Kings in a common sarco-

phagus, worshipped by devotees awe-struck at finding the royal

bodies uncorrupted. This scene of translatio may refer to the

legendary movement of the Kings' bodies to Milan from their

earlier resting place in Constantinople, It may also, however, an-

nounce to the world that another Magus, Duke Giangaleazzo

Visconti. has triumphantly "returned* to princely Milan.

Who created this magnificent work of art, so important for

its associations with the history of Milan and the Visconti? Art

historians have generally rejected the earlier idea that Baldassare

Ubriachi was himself the artist, and have suggested as well that

the work came from Baldassare's workshop rather than having

been done on the site."' With the important information from

Baldassarc's will, however, wc are now able to suggest the name

of the master: it was Giovanni di Jacopo Giovanni, master of Bal-

dassare 's works of bone throughout these years and the merchant's

testamentary executor. As both Semper and von Schlosscr have

pointed out, large numbers of Ubriachi ivories in Europe show such

common features that they must have come from set forms."*

Maestro Giovanni was probably the creator of these forms. Yet

in this stupendous triptych of the Certosa, done to commemorate

such an important occasion, maestro Giovanni must have played

the creator to the full.

The theme of this work was Milanese, its entrepreneur was

named Baldassare. Can it be an accident that this was so: that

a Baldassare who had already outfitted a Florentine chapel honor-

ing the Magi, conceivably been associated with their Florentine

procession of 1390. definitely had a relationship with the father

of the emperor-elect who made Giangaleazzo a duke, as well as

with other European monarchs, was chosen to produce this Magian

monument? Perhaps so. Yet there is here in any case an indisput-

able link between the Magi cult in Florence and the one long

established in Milan, the first such definite link scholarship has

been able to show. Baldassare clegli Ubriachi was certainly the

first Florentine of the time to introduce the Magi theme into

Florentine monuments and perhaps into public life. It remains

to be determined if his early contacts with royalty had inspired

his devotion and his chapel, and if Giangaleazzo was inspired to

hire Ubriachi because of the Florentine chapel and procession.

Only one thing seems clear: our travelling merchant Magus was

an important link in the world of Magian cult and iconography.

Google Books; Church and Community, 1200-1600: Studies in the History of Florence and New ...By Richard C. Trexler

There was apparently a "cult of the magi" in Florence and Milan. Was Poussin involved with this? Who knows? Maybe the treasure is the bodies of the 3 magi which were supposedly kept in one tomb. In Shepherds of Arcadia we see 3 men and a woman in front of a tomb. Maybe the three men represent the 3 magi and the woman represents Mary.

29vxmds.png

crest image http://giubileo.comu...plesso_5_3c.htm

Edited by GS1

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Posted (edited)

The Adam Willaerts Jonah painting appears to contain at least hexagonal geometry and possibly also the pentagram. In this image you see that the central mast is perfectly vertical and a slanted mast to its right is at the angle of one of the hexagram lines. When that hexagram point is positioned at the end of the slanted mast and the centerline is aligned to the center mast the top point of the hexagram is also right at the top of the mast where the flag starts. Seems an unlikely coincidence. The circle around it also passes perfectly along the whale's snout. The pentagram is not referenced definitively but one line does pass along the head of the man standing on the deck with his arms raised, which a hexagram line also passes through.

1zxmrl2.png

Edited by GS1

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Posted (edited)

So we have this "cult of the magi" in Florence and the Chapel of the Magi built by Baldassare Ubriachi whose family crest is a duck, as seen in the painting by Adam Wlliaerts which is clearly the inspiration for the Jonah painting which Francois Gasc belives to have been painted by Poussin. Is there a conncetion between Poussin and Florence? Yes there is;

Except for a trip to Florence about 1620-1621 and another to Lyons shortly thereafter, Poussin spent the years between about 1616 and 1624 establishing his position in Paris.

http://www.encyclope...as_Poussin.aspx

We also have a drawing of Florence by Poussin;

2dhfts2.png

This tells me that Poussin may have had knowledge of the Cult of the Magi in Florence and may have based his Shepherds paintings on that theme. I do not, however, believe that he painted the Gasc paintings and I'll show you why.

Here's another painting by Willaerts of Jesus Preaching on the Sea of Galilee. The boat is virtually identical in shape to the one in Gasc's Storm on the Sea of Galilee painting.

9gdlac.jpg

Here's one by Willaerts son Abraham about the first Dutch war. Note that the flags are the same color as in the Gasc Jonah painting. So that flag color must be a clue to the Gasc painting being connected to Willaerts. This painting below was done in 1652-54, which is when that war happened. The orange/red flags with the cross at the corner must be the flags of the Commonwealth of England, which is who the Dutch were fighting in that war, since they used that cross in their flags. So with the Gasc Jonah painting being strongly linked to the Adam Willaerts Jonah painting and possibly this Dutch War painting by his son Abraham, the Gasc Jonah painting must have been done by somebody who had been in the Netherlands after 1652.

The obvious question arises of how Poussin could have seen these paintings when they were in the Netherlands while he was in Italy or France. This suggests to me that the Gasc paintings were not done by Poussin but by someone who had actually been in the Netherlands at some point in their life. Poussin was also a Catholic while Willaerts was a Protestant who fled France for that very reason, religious persecution by the Catholics. So I must conclude that the Gasc paintings were not done by Poussin, unless he made a secret trip to the Netherlands. Possible but seems unlikely. His life is pretty well documented. There are also paintings by Dutch artist Jan Abrahamsz Beerstraaten with similar type ships and orange/red flags from the same time period such as the one on the Battle of the Sound Wikipedia page.

The red flags are apparently just battle flags indicating that they are engaged in battle. Other countries than England used them as can be seen at the linked page.

2wnmvs8.jpg

Edited by GS1

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Posted (edited)

When I said "at he linked page" I meant a link that I edited out. Couldn't edit out that sentence because the editing period apparently ran out. Just use the Wikipedia search bar to find the Battle of the Sound page. I removed the link because it always went to a different page even though I copied the actual url. Anyway, it seems to me that the Gasc paintings must have been done by a Dutchman rather than a Frenchman.

Edited by GS1

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it's interesting to see a boat drawn by Poussin !people say often :Poussin has not painted or drawn boat !it's wrong!

http://aaaahooooohparichotphilippe.over-blog.com/article-13560562.html

Look at my page where i speak about jules Romain and Brill influences (boats and story ! )

http://www.lesecretdepoussin.com/expert.php

for GS1 i dont want answer him but POU and TOU(toulouse is in FRANCE!) and dutch painter it's not serious !!!

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VERY IMPORTANT CLUE on one of "parchments".it has been never explained why there was the reference to Lac de GENESARETH on the parchment ? it's an exclusive study below .. this clue is the key of the RLC enigma . In on one of my paintings we see a biblical subject in reference at the lac de GENEASARETH! and it's true the key is AD genesareth as it's explained in this parchment /

1)The coded parchmentsBelow, an exclusive study, sent this site by Mr. Gerard Papadimopoulos, we thank:Text translation detached from the rest of the message (BLES REDIS SACERDOTIBUS SOLIS) is: The Treasure of Rennes is for insiders.On the other hand, one can see that if we draw a diagonal line starting from the cross, to the right instead of the fourth row just before the word MANDU to the second cross which is on the tenth line continuing towards this diagonal penultimate N the last line, the word ZION. We can deduce that the message has to do with THE PRIORY OF SION. The signature on the message being that of the priory without context.Sign the certificate No. 2 is singular. At first glance this does not sound like much, but if we return this signature, appears once again the word ZION.When the letters A (reversed) and N, their meanings remain unproven (note: one direction?). What we can say is that they seem connected by an arrow imperfect.There are also signs or letters written in small print, if you take these signs for letters and we follow their order in the text, then we discover a new cryptic message: REX MUNDI is REXMUNDI: King of the World.Is this a new key to understanding a new message in the text?In the middle of the text we find the letter A written in uppercase, while all the other "a" is lowercase. A continuing after this, we see another sign, Omega.So we ALPHA and Omega, the beginning and end.Between these two signs, letters shifted up giving us: ARETH.By taking up the other seven letters shifted, we ADGENES. By assembling all this, we find: AD Gennesaret: Towards Genesareth.Genesareth Lake Tiberias or the Sea of ​​Galilee, which holds an important place in the New Testament.By taking down the other letters offset, we obtain: Panis SAL: The bread and salt.Here is a New Key: Towards Genesareth, bread and salt.

http://www.renneslechateau.com/francais/parch2.htm

2)THE SERPENT ROUGE is an “opuscule” on the mystery RLC .

it’s an enigmatic book and it’s one more time a proof of the relation between this

mystery and my paintings . read this link of my site with these links:

http://www.light-of-truth.com/gunnartomasson/Le_Serpent_Rouge_and_Boudets_Treasure.pdf

http://mysteresdelaude.com/?page_id=51

http://www.lesecretdepoussin.com/arcadie.php

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Posted (edited)

The preaching from the boat on the same lake, Sea of Galilee/Lake Tiberiasis, is illustrated in the painting by one of the Willaerts above. Maybe adgenesareth refers to that painting. Never know.

Edited by GS1

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the Willaerts above?????????

and "serpent rouge"????? willaerts painted with astronomy ! and science?stop!!!!

you don't know the art ; it's not important but you can't say wrong things and why????

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Posted (edited)

These elements return in the world of POUSSIN which draws its wealth from the Greek mythology! Iil resumed(took back) the subjects and the images of the Greek medallions.. POUSSIN had "its" iconography!! interesting parallel between Jonas and Jason whom I developed in my site..

Draco the marine monster but also the whale.. http://books.google....e jonas&f=false

http://www.lesecretd...com/arcadie.php

to translate in english... sorry!!

Marduk et son attribut, le dragon, ]détail d'un cylindre de sceaux en lapis-lazuli, dédicacé à la divinité par le chef babylonien Marduk-zakir-šumi I (v. 854-819)

Le serpent qui est associé à Marduk puis son fils Nabû, comme attribut, a été créé semble t-il bien plus ****, peut-être sous la dynastie chaldéenne (626 - 539), à l'instar du dragon cornu, qui apparaît alors sur les murs de Babylone, en particulier à la porte d'Ishtar (déesse de l'amour et de la guerre, et dans l'avenue processionnelle qu'elle ouvre, ornementées par le roi Nebucadnetsar (Nebucadnezzar, Nabuchodonosor). Nul doute que cette impressionnante exposition a frappé le regard des juifs que ce roi a fait captifs à Babylone (vers 587, II Rois 25:27-30 ) et qui retrouveront la Palestine sous le règne de Cyrus (- 538). Cette longue tradition sumérienne (nous l'avons vu pour le déluge) puis assyrienne a influencé la tradition juive du dragon, qui est appelé en hébreu thannîn (tannin), ce mot désignant parfois le serpent lui-même (Exode 7 : 9, Deutéronome 32 : 33) Bel et le Dragon v. 23). A l'inverse, le nom traditionnel hébreu du serpent, sârâph (peut-être à l'origine du séraphin), est traduit quelquefois par dragon, comme dans Esaïe 14 : 29 (parce qu'il vole?) et 30 : 6. Le dragon est associé, dans l'Ancien Testament, aux cataclysmes : Additions à Esther 1 : 4 et 2 : 6, personnifiant les ennemis deYahveh et de son peuple, comme...Nebucadnetsar (Jérémie 51 : 34). Il continuera de personnifier les représentants du Mal dans l'Apocalypse, sous la forme de l'Antéchrist, et là, nous rejoignons le monde de Beatus, qui connaît le dragon sous sa forme latine, draco, dérivée du grec drakôn (du verbe derkomai, "regarder", "fixer du regard", caractéristique connue de ces reptiles), qu'utilise la version des Septante pour traduire les termes hébreux tannin et Liwyatan (d'une racine hébraïque : tordre, courber) le fameux Léviathan, monstre à plusieurs têtes dans les Psaumes 74 : 14, monstre en sommeil dans Job (3 : 8), animal marin fantastique et joueur dans Psaumes (104 : 26), qui ne permettent pas de faire du léviathan un monstre serpentiforme. Le drakôn grec désigne des serpents géants ou aquatiques, qui souvent étaient gardiens de trésors, tel celui qui gardait le jardin des Hespérides, Ladon, vaincu par Héraklès (Hercule) dans le onzième de ses fameux Douze Travaux hercule-dragon-ladon-cratere-paul-getty-museum-pm.jpgou celui qui protégeait la Toison d'Or, tué par Jason jason-dragon-coupe-attique-vatican-pm.jpgLe mythe du dragon a donc une très longue histoire quand s'en empare la tradition chrétienne, nous le verrons bientôt au travers des illustrations de l'Apocalypse. http://www.lesecretd...com/arcadie.php

Jason régurgité par le Dragon, coupe attique, 500-450, peinture attribuée à Douris. Cité du Vatican,Museo Gregoriano Etrusco Vaticano, n° 16545. On peut voir, derrière le dragon, la Toison d'Or accrochée à l'arbre donnant les pommes d'or du jardin des Hespérides.

Edited by gasc1988

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oh god............... :sleepy:

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oh god............... :sleepy:

That added a lot to the debate.

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IT'S A VERY IMPORTANT CLUE IN THIS PAINTING TOWARDS THE KEY OF THE ENIGMA !

important on this boat PIERRE, which I explain the representation of the great bear. Here are the references: astronomer Julius Schiller Coelum Stellarum Christianum, 1627 source: http://djaipi-nedgaleries.blogspot.fr/2007/05/cartographie-j-schiller.html - The Barque of St. Peter: Exit the Big Dipper. Here the pot becomes a fishing boat

Poussin was an astronomer cautioned and referred to Schiller in other of his paintings. Here the boat becomes the great bear but also a sarcophagus for the Egyptians, and knew so well Poussin ancient Egypt! a sarcophagus is a coffin and a safe return to ARCA! The idea of a coffin and safe returns to the painting through a detailed coding that gives meaning to Poussin. He explains so what the word ARCADIA is the key to his secret and that enigma...

In teh mystery RLC in my site on the inteview i sepak about it :Boudet was one of the protagonits of this mytery and has wrotten a coded book to give the key of the RLC enigma . THE CROMLECH OF RENNES LES BAINS or THE VLC . In thisbook here is what he said extrait VI - Les Atacini - L'Aude - Les radeaux sur l'Aude - Carcassonne

"Trees, skinned(sifted) by their bark and by their branches, were dragged to the Aude, of which waters brought them in quillan and to Espéraza. To Quillan, in Latin Kilianus-Killow-hone, black earth(ground) and black stone, - we could begin to make float on Alder the trains of wood gathered(combined) in rafts carry(wear) the name of squared - because, wagon(trolley), - raft, a wooden train on the water, a floating WAGON (trolley)-. The construction of these rafts took place especially [222] to Espéraza, and hardly thirty years ago, the largest part of the population of this big village belonged to the corporation of radeliers. It is really prodigious that the industries and the occupations of the Celts so keep(preserve) intact until our days."

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Nice find,

Thanks

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Hello,

The clues given in this interesting book, leads to the key to the secret of Poussin revealed by my paintings . It's a difficult and long book so i choose to give some elements from this book,which are in connection with my paintings.and help to go to the secret

Introduction to Elizabeth Van Buren, although to many authors have treated of Rennes-le-Château, mystery bound for some to the Knights Templar, the Cathars, in Solomon's treasure, others to the legends of King Arthur, in the quest for the Holy Grail, or the Merovingian kings semi-divins, the truth about Rennes-le-Château is immensely more fantastic that skeptics could imagine.

EXTRAIT :from her book

http://www.scribd.com/doc/64513492/Elizabeth-van-Buren-Rennes-le-Chateau-Refuge-de-l-Apocalypse-Portail-vers-d-Autres-Dimensions

“Three trucks carrying the treasure of the Templars from Paris just before the dissolution of the order were symbolic of the spirit-soul-matter. These trucks were the three Chariots of the heavens, the two that are visible in the sky of the northern hemisphere, the carriage of Osiris, the great bear; the little Dipper which is associated with Set; and the Chariot in the sky of the southern hemisphere, but is invisible to those who live in the northern hemisphere, the Argo Navis, the carriage of the sea. It was the boat in which the Argonauts sailed in search of the Golden Fleece. Canopus, the brightest star in the sky after Sirius, is located in this constellation. It was called Suhel in Saudi, a synonym word of wisdom. Columba, the dove flies near the stern of the boat.”

THE dove is in my painting near the stern of the boat !look at ..near ARGO

http://www.lesecretdepoussin.com/arcadie.php

“the trolley is Ursa. According to the ancient Chinese belief Ursa was somehow related to ancient scales. Scales, or the Balance in the zodiac in Rennes is symbolized by the Phoenix. Libra is the seventh celestial city, and Ursa has seven stars bright “

http://www.lesecretdepoussin.com/liens.php

(in my interview on link page i explain why my paintings are the key if this mystery where we find also Grande ourse and Chariot which are important clues of this mystery . I explain why my paintings are the key if this mystery where we find also Grande ourse and Chariot which are important clues of this mystery)

"But how can we discover Alcor? It would be too easy to get to the point on the map where Boudet says Ursa. He scored on his card 3 menhirs that lie behind the Cabanasse, on the plateau between the two reindeer. They represent the handle of the plough (another name for the Big Dipper), according to the map of Boudet."

“the Abbot Boudet indicates that the tank which gave its name to Rheda was the Sea tank, because it evokes the life rafts floating on the Alder (Aude) to Quillan once. These rafts were named carras, because char; According to the priest were floating tanks.The chariot of Rheda is the Argo, the invisible carriage of the underworld, which is the balance between Ursa Major and Ursa Minor, the two visible lift in the sky. The invisible lift is the third principle that is born of the two-in-one. It represents the soul, balance or Messenger between the mind and body. We have seen that Perceval represented the soul in the same way as the star Dubhe, the balance between Polaris and Merak. The Argo is the macrocosmic symbol of this balance point. As Noah's Ark, the seed of all creation is laid in the Argo, because Conscience never dies, and the total knowledge of all time is preserved in the soul, for the coming ages.”

“Poussin knew the secret hidden in Rennes, and the true meaning of the treasure hidden in his painting "Winter, or the flood" he reveals this sacred place is located at, in the South of the lion and the Dove, where the Valdieu farm is located. Both Poussin and Leonardo da Vinci said this symbol of the Big Dipper for the small farm, which was once owned by the Knights Templar.”

“indications in the various churches around Rennes seem to suggest that the precious treasure hidden in the region is linked to the Ark of the Covenant and the two Tables of the law, the Alliance or the Holy Alliance between God and humanity was his sign in the sky, l. We must not forget that the legend of Moses receiving the Tables of the law is relatively recent in the time scale that begins with the Creation. In religious processions Egypt and Greece a boat or an arch was transported, it contained tables of stone, and cones.(POUSSIN'S SEAL!!) The Arch of the Israelites was modelled on the sacred body of the ancient mysteries and humanity was his sign in the sky, ' Rainbow is close to Ark in heaven”

in her book it's very interesting to read the POUSSIN'S PAINTINGS symbols analyzed by VAN BUREN !it's DA POUSSIN CODE!

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http://janbrueghellimoux.blogspot.fr/2012/08/the-2-paintings-of-francoise-gasc.html

http://art-maniac.over-blog.com/article-la-saga-des-bruegel--42465662.html http://www.royalcollection.org.uk/microsites/b2r/object.asp?exhibs=FLEMB2R3&item=4&object=403033&row=1&detail=about

http://www.lesecretdepoussin.com/en/expertise.php

Hello

I send you some very rich informations. My ancestor discovered these two paintings and coded parchments with which he refers to Poussin and Teniers. Site created by Mary Alice is American is very interesting. It highlights the influence of Flemish painters on Poussin's painting and in particular in my two paintings that I already explained on my website. Brueghel has painted STORM IS CALMED and Brill a JONAS.!

Gasc wanted to tell us that the key search to find the paintings of Poussin was in connection with the Flemish influence .I. join a site which shows the great influence of Flemish painters on Poussin and Claude Lorrain!

Gasc was a painter in his spare time and art teacher and knew very well the paint!

good read! thank you for your passion!

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hello

Again pictures !!bery intersting pictures !!

Interesting pictures proving that between the AUTUMN of POUSSIN and one of my paintings, we have exactly the same composition and the same perspective!

Besides the fact that at the level art history and pictorial we are in convincing elements it is necessary to see another interest, a place with cliffs in touch with its secret there..

mini_121010061954693126.jpg

mini_121010062209523507.jpg

mini_121010065336513027.jpg

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