The part about the cathedral in Carcassonne is interesting. The SP emblem really is very similar to the PS at the top of the tombstone, same oval shape surrounding it, same dash between the two letters, just the letters reversed. I hadn't heard about this before, if that was your discovery it is certainly a significant one and a very nice find.
What I also find interesting is that this is a cathedral of st. Vincent and there is a chapel of St. Vincent in Paris, in the same complex as St. Sulpice, in which Poussin's Institution of the Eucharist painting originally hung. That painting contains the same geometry as his Shepherdess painting and depicts the Holy Grail- http://grailstar.4t.com/eucharist.htm
As for the vertical line on the Shepherdess tomb representing the Rose Line, that could be one thing it was intended for. The fact that it is not vertical but almost two degrees from it indicates that it must also have had some other purpose. I have clearly shown that the purpose of that angle is that it is part of a geometry concealed in the painting. I am the only person on earth who actually has an explanation for the exact angle of the vertical tomb line, which is NOT 1.5 degrees from vertical as Tomb of God suggested but a little over 1.81810889 degrees. If you blew the painting image up to a large enough size, I predict that this exact angle could be verified (using the left edge of the canvas as a reference for true vertical or a line across the tops of the left and right staves as true horizontal).
Until someone else is able to explain that precise angle, and the precise angles of all three staves, I will continue to claim to be the one and only true solver of the Poussin Shepherdess painting, in addition to Teniers St. Antony and St. Paul painting, the Poussin Eucharist painting, Poussin's Sacrament of Penance, Sacrament of Marriage and Sacrament of the Holy Eucharist paintings, the 1618 Rosicrucian print and last but not least da Vinci's Last Supper painting.
I have a feeling it is going to be a little difficult for anyone to top that. Not only did I solve the Shepherdess painting but I confirmed it with a bunch of other Poussin paintings, established the likely designer of the geometry as being Leonardo da Vinci and established that the geometry was known to the Rosicrucians with the 1618 print.
Guess what, Rennes-le-Chateau researchers are actully STILL ignoring ALL of this. i could understand them having doubts when it was just the one Poussin painting and the Tenier painting but I think it is VERY obvious by now that I was correct all along. How the HELL are people like Lincoln going to explain away ALL of those art works PERFECTLY matching up with the exact same incredibly complex geometry? They can't, plain and simple. Now they realize that they were indeed idiots, as I indicated at the time, and there is no way around it other than trying desperately to pretend that all that stuff on my website doesn't exist. Well it is going to be very hard with me going around forums like this one and posting the link. The very silence of all these supposed experts is mute testament to the fact that they are at a total loss to explain away any of it.
Try it Roscoe, or Ian. Explain away the geometry in the Shepherdess painting. Then I will ask you to explain away the same geometry in each of six more works of art, one at a time. The old "coincidence" excuse is going to fall apart after about the third or fourth work of art and then you've got nothing.