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MessagePosté: Lun Aoû 14, 2006 7:43 am 
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Inscription: Sam Déc 31, 2005 4:31 pm
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Paul J. SAUSSEZ a écrit:
Paul J. SAUSSEZ a écrit:
I'll scrutinize your web page !

roscoe a écrit:
Please do. Unlike Smith I'm not afraid to be challenged.

Here is an extract from your web page:

"... it has been found that the phrase on the tomb is a direct anagram of the final result with PS PRAECUM removed. This incredible fact has not been alluded to by Philippe de Chèrisey in Stone and Paper and we can only assume from this is that it wasn't alluded to because he didn't know about it. In other words Philippe de Chèrisey was not the original author as indeed Plantard had been saying all along. It is clear that the document which Jean Luc Chaumeil has in his possession is nothing more than Philippe de Chèrisey's own attempt to solve the puzzle himself."

On the contrary, Chérisey clearly alludes to the anagram in "Pierre et Papier":

.



FIRST OF ALL LET ME FIRST STATE THAT THIS IS NOT COMING FROM PHILIPPE DE CHERSIEY BUT FROM A PAPER HELD BY JEAN LUC CHAUMEIL WHO HAS BEEN KNOWN TO HAVE ATTEMPTED TO SELL FAKE DOCUMENTS IN THE PAST. THIS DOCUMENT HAS HANDWRITING SIMILAR TO THAT OF PHILIPPE DE CHERISEY'S

Citation:
"..I would like to have the reader observe that a prodigious phenomenon occurs, which no logical brain has been able to explain: after composing text A with text B to obtain text C, which, confronted with text D, gives text E, it so happens that text E is the exact anagram of text D, i.e. composed of the same letters..."


This does not allude to the fact that de Cherisey composed the phrase BERGERE PAS DE TENTATION.......etc. He is admitting nothing here.

But I will amend my website accordingly.

Citation:

And:

"...wouldn't it be prodigious if, at the end of all this work, we could but reconstitute the funerary text ? Prodigious and perfectly stupid... May our reader rest assured: another text is to be discovered and it is an anagram of the tombstone."

And again:

"Common opinion has it that abbé Bigou, parish priest of RLC in 1781 and author of the epitaph, also composed this amusement. Such is not our opinion: the anagram was composed in our time and includes a signature which we shall discover when analysing the decoded text."


Nowhere here is de Cherisey admitting he made the whole thing up.




Citation:
Chérisey is fully aware that the headstone had been engraved by Bigou around 1781 (I personally think Bigou engraved the epitaph around 1792, but this is irrelevant). He clearly states elsewhere that the engraving is the starting point of his process. He is of course alluding to himself when he says that the anagram was composed "in our time", meaning 1965. The signature, as Chérisey explains it, are the words "A MIDI" because they sound like his stage name "AMEDEE"


This is entirely consistent with my original theory that the document. Stone and Paper is de Cherisey's own attempt to decipher the text himself.

So the statement at the bottom of the webpage de Cherisey innocence

Which is:

Conclusion
Philippe de Chèrisey wasn't the author of the parchments

_________________
"In the Aude, the peasants rather believe in the malignant spirit, the fairies and the underground geniuses than with the Virgin and the Angels”


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 Sujet du message:
MessagePosté: Lun Aoû 14, 2006 7:55 am 
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Paul J. SAUSSEZ a écrit:
Gstar a écrit:
Just as I expected, evasion of the question. You and Smith are like worms, you squirm out of any question you can't answer. Let me demonstrate. What did de Cherisey mean by "Teniers"? You don't need to translate the book, just give the short answer in your own words. Should be simple enough. I bet one million dollars Saussez can't do it. That will show that I am his superior, as we already know.


Dear Mr Superior,

I actually don't mind feeding pearls to swines from time to time, so here is a verbatim translation of the low-down on Teniers as given by Chérisey:

"The presence of Teniers in the message indicates a path to follow from the curch of RLC to the church of Saint-Luc, a village further north. This is infered from two anecdotes concerning the painter, the robe of his procurator, his trade association. Teniers' last painting shows a procurator wearing a black robe. When asked about his health, the ageing Teniers said he had burnt his last tooth to get the ivory black of the robe. In his youth, Teniers held the position of master of St Luke's brotherhood in Antwerp, which gathered all painters.
Some details in the church play on this:
a/ at the foot of Mary Magdelene, there is a skull with one tooth missing and a cross engraved on top
b/ the procurator of the church is Pontius Pilatus, shown in the first station of the Cross. In Rennes, the procurator washes his hands in the white basin held up by a black boy.
The village of Saint-Luc and its church are at the foot of the Mort mountain as is the cross on the skull at the foot of the Magdelene. Since the first station of the Cross leads to Golgotha, i.e. the mountain of death, we therefore have an itinerary from the church of RLC to the church of Saint-Luc. One could object that this itinerary is contrary to Teniers' biography, who went from youth to old age, along with the procurator when he was admitted to St Luke's brotherhood. In fact, one must travel the path backwards, since Teniers is duke of Antwerp."


Chérisey is reaching to make a point, since the village north of Rennes is LUC, not Saint-Luc. The last words "duke of Antwerp" are misprinted for "Luke of Antwerp".

Chérisey's other explanations of the BERGERE... anagram (PAX..., LA CROIX..., CHEVAL DE DIEU..., etc.) are all of the same gibberish.

You owe me 1.000.000 $.


This is de Cherisey's attempt to solve the text himself. It is NOT a word by word explanation of how HE composed it

_________________
"In the Aude, the peasants rather believe in the malignant spirit, the fairies and the underground geniuses than with the Virgin and the Angels”


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MessagePosté: Lun Aoû 14, 2006 12:49 pm 
Yes, and a very bizarre attempt indeed. DeCherisey launches into what is obviously one of his few talents, concocting overly verbose fairy tales based extremely loosely on fact. When you really look at it, though, you see that it really has no substance at all. He thinks that he can distract us from the issue by throwing a long mish mash of meaningless gobbledy gook, mostly factually inaccurate at us (showing he was making it up on the spot).
He didn't bother to explain why he even went to all the trouble to make the message by rearranging the letters from the Blanchefort gravestone when he could have simply made up a message based on nothing at all and using a simple substitution code.
Stone and Paper is such an inadequate explanation for the message that it PROVES beyond all doubt that he didn't compose it.


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MessagePosté: Lun Aoû 14, 2006 9:40 pm 
http://home.graffiti.net/pos2006/pdch.jpg


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MessagePosté: Lun Aoû 14, 2006 9:40 pm 
Image


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MessagePosté: Lun Aoû 14, 2006 10:54 pm 
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Inscription: Sam Déc 31, 2005 4:31 pm
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rennes17 a écrit:
Image


So he wrote his conclusion and registered his solution to Bergere Pas de Tentation....etc with an attorney at law and in his novel he gives his ideas on what the solution to the clues written by someone else is.

I guess he called it messy because he wasn't sure it was correct or not.

_________________
"In the Aude, the peasants rather believe in the malignant spirit, the fairies and the underground geniuses than with the Virgin and the Angels”


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MessagePosté: Mar Aoû 15, 2006 12:01 am 
You forgot to mention the Loch Ness Monster connection
Nutcase


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MessagePosté: Mar Aoû 15, 2006 8:15 am 
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Perhaps you can explain to us why de Cherisey should "REGISTER HIS CONCLUSION" with an attorney at law.

Why does he make something up only to attempt to prevent people (in this case Gerard de Sede) from using it? It is more likely he would want to prevent de Sede from using his hard earned "studies" as to what he thought the solution was.

Yes he is the author of the SOLUTION to BERGERE PAS DE TENTATION etc. Well one of the many authors to the solution anyway.

here's what the attorney's letter says:

Citation:
I received your letter and I write at once at the Maison JULLIARD like with Mister de SEDE, to protest against the use without authorization, of the two parchments of your manufacture and deposited with my study, this in the work: The GOLD OF RENNES. Please accept, Dear Sir, with the insurance of my devoted feelings


The word manufacture is highlighted because the French word 'fabrication' can also mean 'made from a copy' and as Jean Luc Chaumeil only appears to have photocopies of the parchments in his possession then this is the most likely scenario. If de Cherisey wrote the whole thing then why doesn't Chaumeil have the originals?

And no he cannot simply insert letters into another text then photocopy it. But if he did this with the D@gobert parchment why didn't he do the same with the Shepherdess parchment?

Of course you are reminded that de Cherisey presumably gave de Sede the solution and decryption method, so please explain why they both got this wrong if they were the creators of the code?

You are also reminded that the Hautpoul stone (which Chaumeil says is made up and simply means Big Chicken, apparantly directly quoting de Cherisey) is KNOWN to have existed in 1905


_________________
"In the Aude, the peasants rather believe in the malignant spirit, the fairies and the underground geniuses than with the Virgin and the Angels”


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MessagePosté: Mar Aoû 15, 2006 12:51 pm 
You forgot to mention the Loch Ness Monster connection
Nutcase


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MessagePosté: Mar Aoû 15, 2006 1:01 pm 
Where are the original parchments, Smith?


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MessagePosté: Mar Aoû 15, 2006 1:03 pm 
You forgot to mention the Loch Ness Monster connection
Nutcase


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MessagePosté: Mar Aoû 15, 2006 1:05 pm 
Why don't you just get them from de Cherisey's lawyer if he has them? I thought Chaumeil was supposed to show the real ones in his book, so where's the picture?


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MessagePosté: Mar Aoû 15, 2006 1:06 pm 
You forgot to mention Bigfoot in connection to your RLC hoax theory.


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MessagePosté: Mar Aoû 15, 2006 1:59 pm 
From Circuit, by P. de Cherisey;

"But nothing can any longer stop Charlotte for whom the words jostle at the postillion gate. Poussin and Teniers are two painters who became famous by The Shepherds of Arcadia for one and The Temptation of St. Antony for the other. The Shepherds is for Poussin as The Temptation is for Teniers. If they could guard their key is it that there no longer exists the lock for this object and that the parchments were not there prior to the revolution and had no provenance with Anton Bigou. But they were from 1861, the era of the third painter (Delacroix)."

Gee, it sure looks to me like de Cherisey thought the message referred to the two painters and their two paintings.

I also have the tables of the letters as shown in the book as they are supposedly produced from the knight's tour. It wouldn't be difficult to see if he used a 25 or 26 letter alphabet to produce them. He doesn't actually show an alphabet and he doesn't show how the last step produced the decoded message. So once I actually check the tables I will know if he really produced the code or not. I'll do that when I have time. I'll scan the pages if anyone wants to see them for themselves.


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MessagePosté: Mar Aoû 15, 2006 2:09 pm 
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rennes17 a écrit:
Here is demonstrated what kind of people take the myths seriously.

:lol:



You mean the kind of people who know that Jean Luc Chaumeil has tried to tout and sell fake documents in the past and that you continually fail to explain to us why we should believe him this time.

_________________
"In the Aude, the peasants rather believe in the malignant spirit, the fairies and the underground geniuses than with the Virgin and the Angels”


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