The Secrets of The Poussin Code

Part II

The Allegory of The Coronation of Celestine V

Offical Version:
An Allegory of The Coronation of Celestine V
by a French artist 16th century Celestine V (orig. Pietro del Murone)
Italian saint and pope 1294;
resigned _1210-1296
Dimensions: 49.29 x 37.02 cm / 19.41 x 14.57 inch

Allegory is a form of extended metaphor, in which objects, persons, and actions in a narrative, are equated with the meanings that lie outside the narrative itself. The underlying meaning has moral, social, religious, or political significance, and characters are often personifications of abstract ideas as charity, greed, or envy.
Thus an allegory is a story with two meanings, a literal meaning and a symbolic meaning.

Hi all. This is a rare glimpse at a hitherto hidden masterpiece entitled: An Allegory of The Coronation of Celestine V.

Hi again all and here is the second part of a continuing saga of adventure and learning and enlightenement. As you can see above for many years it has been attributed to an unknown French Artist of the 16th Century. Over five years ago, on an early website of mine, I suggested that it was probably older than this and I questioned the fact that it was even a French artist. Over the last five years I have never stopped looking for this colour version ( I only had a cropped black and white version to work with). Just recently I finally found a colour version but the colours were not really true and it was only a very small image. Someone who has been following my progress arranged to have the image below released to me as a gift with instructions to release it to the Rennes le Chateau community. This I have done posting the mage to all boards which I frequent. Over the last five years I have also never stopped searching out the Old Masters and studying Renaissance paintings and about 6 months ago I suggested that this image might in fact have been done by The Flemish master, Jan Van Eyck. again my firend who has been following my progress suggested I just might be correct. Later he had this to say about the painting immediately after the painting was given to me: The 'Celestine' painting is believed - but not proved - to be by Barthélemy van Eyck. He was a nephew of the famous Hubert and Jan van Eyck, who painted the stunning Ghent altarpiece. Hubert and Jan were the Harlem Globetrotters among the painters of their time. Not even the later renaissance artists could match their skill on, for instance, perspective and geometry. Barthélemy van Eyck was “peintre et valet de chambre” (painter and chamber lord) at the court of René d'Anjou. Although popular and romantic belief have it that Good King René illustrated and painted his written manuscripts himself, the more professional art view is that he could not have possibly done that (he started way too late in life to achieve that level of skill) and that the works in books like “Le Cuer d'Amours Espris”, are more likely from the hand of Barthélemy. Interesting to note that René d'Anjou was at the time imprisoned by Bourgondian duke Philip the Good. Guess who was “peintre et valet de chambre” at that court.... Jan van Eyck. Barthélemy van Eyck has also been linked to The Annunciation triptych altarpiece at The Cathederal of Ste Marie-Madeleine at Aix-en-Provence..

Above you will see the image of The Allegory of The Coronation of Celestive V. The life of Celestine V is shrouded in mystery and the only records we have are from church sources so are dubious at best. The one thing we do know is that apparently Celestine 'abdicated' the papacy and was the first and only Pope to ever do this. Why it was done can only be conjecture but there has never been nor will there probably ever be a Celestine VI. The above painting was the hardest of the three infamous paintings brought to the world's attention in the book "The Tomb of God" by Richard Andrews and Paul Schellenberger. We only have this colour image due to the genorosity of Mark Harlem and some of his "friends" who have decided to release it to the public domain as a gift and I was chosen as the person to deliever it. The paainting is beautiful and has a 'feel' to it that begs deeper meaning and hidden thoughts and the title itself "The Allegory" says much about what may be in the painting as 'allegory' by definiton means having another meaning above the one that is apparent. I was convinced that this painting had the same geometry as the other two shepherd paintings of Nicolas Poussin so I went in search of it.

The early images of where we drew lines on the painting looked promising and I will give you an example of what some that were tried when this was being discussed on message boards.

Here we see an image posted by Gary Osborn showing his 23.5 and 52 degrees.
The significance which can be read about in his forthcoming book



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Here you see an early overlay af The Great Pyramid on the painting.



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Here we have combined a couple of elements.



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I even was working on a tie-in to Washingtoin DC. which I have by no means exhausted yet.
I am sure we will find some very interesting things in Washington when I return to this city and
do some more overlays. I already have a particularily interesting one in mind.



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Here is an overlay of Washington DC and our Celestine painting.
Please be advised that I only did the overlay.
The upside down pentagram was sent in by a poster at Graham Hancock's board. I forget who it was, sorry.



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The following images which you are about to view are the result of many, many hours of drawing lines, doing countless overlays and bascially taking my mind to the edge. I honestly wish I could convey the absolute amount of work that went into an image that you will absorb in an instant. Again this is a culmination of a journey which started in 1991 with the printing of The Holy Place by Lincoln and I can still remember when my dear mother said to me on a visit with her at that time, "Don, you just have to read this one". Well I did and it started a 15 year journey that is slowly nearing completetion and the sense of satisfaction is very overwhelming. (But as always new doors always open ). There are so many people I have to thank for getting me here that a list would be impossible to make but I will try. Authors such as Graham Hancock and Robert Bauval must surely be near the top of the list as do Von Daniken, David Furlong and his Keys to The Temple , Ralph Ellis and his book Thoth, Architect of The Universe , and a special thank you to Steve Nixon who is still putting together his views from a totally different aspect of this mystery for it is as I have said multi-level and as one responder said in a mesage to me at The Daily Grail, "There is plenty here for all of us." It has that many levels. Steve always seemd to send me something or other to start my search again and he once asked if I even cared anymore and I assured him it was always working in the back of my mind. Next up is a relative new comer, but an amazingly insightfull man who has helped me enormously, is Gary Osborn. Gary dropped into my life seemingly out of the blue on Graham Hancock's message board and his obsession with the angle of 23.5 degrees (which I honestly at first thought was spamming) finally led me to search it out myself. I remember an innocent image of a knight on horseback which I found and on laying a protractor onto it was shown clear as a bell the angle 23.5. I went on to examine many images and find it in a lot of them and this directly led to starting my search anew. Gary then was gracious (and confident enough in me) to send me some of the work he had done on one of the Poussin paintings and it convinced me absolutely there was geometry involved and so I started drawing my own lines and we have seen where it has led. And a special thank you of course goes to my beloved mother who passed away 2 years ago on February 23rd and who always instilled in me a desire to search for the truth, to be good always and to strive for perfection. She lived to see my Kundalini and part of my very early discoveries but did not live to see my solution to some of the things she had been searching for all her life. She instilled in me a desire to always question everything and I can only smile as I think of her looking over my shoulder as I type this and seeing how far I have come from that early question I innocently asked her about 50 years ago, 'Mom are there any jobs as puzzle makers" ( I being very good at doing jig-saw puzzles even at the young age of 6}, "No" she replied, "I am afraid not". Seems she may have been just a tad wrong on that one. But my final thank you is to a gentleman who's two books have allowed expansion of thoughts undreamed of in my youth. He has opened up avenues and paths that none but the brave dare tread. He has been my guider and mentor and refrence since I first picked up his books in 1998 and they were absolutely directly resposnible for igniting the first fires of The Kundalini and the journey which followed. His pentagram and insites into the temple at Rennes is the reality of where we are now, Too few know of his work and even fewer understand it. He was and is a genius and has unquestionably been gifted with receiving his own personal light and his works will live on far after those in the orthoxy have gone below to their just rewards. His name, David Wood.

And finally to my family who have had to live through some very bizzarre times and thought patterns and who although they do not understand it all they sense that I may have stumbled onto something. And one last one for Angelica, my eldest who was watching as I was overlaying the pyramid onto The Celestine painting and having absolutely no success making the lines or anything meet. She looked at me and said "Dad, why don't you reverse the image of Celestine?", and the rest they say is history !

Before looking at the following images try to remember one thing. The Celestine painting is probably from around 1420 to 1430. This means that this EXACT SAME GEOMETRY was used in two paintings painted over 200 years apart in time. This geometry had to be part of what was being taught in the art schools, probably St Luke's Guild and it does absolutely point to Giza, The Great Pyramid and The Giza Plateau for how else to explain this exactness spread over 200 years ? And in my next installment we will go in search of the 'X' on my treasure map.

Enjoy and wonder and think ...

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The main thing to notice here is the scale. The Celestine painting is very small. The Poussin painting is by no means a giant but what we are seeing here is the exact relationship in size between the two paintings. It is the exact same geometry. It is freaky in it's neatness and it can not ever, under any circumstances be deemed a fluke. The pattern is exact in size and scope yet they were painted 200 years apart. Either Poussin copied directly from this painting or the grid (which is absolutely the same) was drawn first on his canvas ! And the cut cross on Celestine's "key" matches exactly the pointing finger and the 'X'. It is amazing ! And I love it ! And the yellow "eye line". Beautiful !

To be continued

back to Part I

Best Regards
Don Barone

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