It is alleged Dan Brown and his wife spied on our Templar yahoogroups where a race was under way to get out THE NO.1 BOOK. Around ten years ago, I pointed out Mark Pinkham was selling Mystery Tours for big bucks – while the jury was still out – and thus this is a Con Job. This is when Ian Sincalir of Gnosshead went after me with his chariot of gnostic fire, he saying “A wheel has come off Jon’s cart.”
Click on this Youtube, and read the rest. What a great soundtrack and background sound to my long study….my run for the Roses!
Denis de Rougemont was a good friend of Marcel Duchamp, the surrealist, who created a fictional character, Rose Selavy. Another surrealist, Philippe de Chérisey, forged the Priory de Sion documents – as a prank! Here is an original Merry Prankster!
By the early 1960s Philippe de Chérisey met Pierre Plantard, and together they developed an interest in Rennes-le-Château. From the mid-1950s local hotelier Noël Corbu circulated a story that the 19th century priest Bérenger Saunière of Rennes-le-Château had discovered the treasure of Blanche of Castile. The author Robert Charroux published Corbu’s story in his 1962 book Trésors du Monde. In a letter dated 2 April 1965 to his girlfriend, de Chérisey wrote: “Don’t tell anyone, but I’ll be setting out again for four days in the Pyrenees with Plantard to see if we can get any closer to Mary Magdalene.” A mixture of de Chérisey’s humor and surrealism can be identified within his activities relating to the Priory of Sion hoax, Gisors and Rennes-le-Château, contained in his correspondence as well as in his documents that he deposited in the Bibliothèque nationale de France in Paris.
 ParchmentsDuring the early 1960s de Chérisey forged two parchments, photocopies of which appeared in the 1967 book L’Or de Rennes by Gérard de Sède. De Sède’s book adapted Corbu’s story to fit-in with Plantard’s claims about the Priory of Sion. The parchments hinted at the survival of the line of the Frankish king Dagobert II, that Plantard claimed to be descended from, as well as attempting to verify the existence of the 1000-year-old secret society, the Priory of Sion. The two “parchments” were later used as source material for the 1982 book The Holy Blood and the Holy Grail, which was itself used as a primary source for the 2003 bestselling novel The Da Vinci Code. Other documents, containing fake genealogies, were planted in the French National Library, the Bibliothèque Nationale in Paris throughout the 1960s, 1970s and 1980s.
Pierre Plantard and Gérard de Sède fell out over book royalties when L’Or de Rennes was published in 1967, at the same time Philippe de Chérisey announced that he had forged the “parchments”. De Chérisey elaborated about this in his 1978 unpublished document L’Énigme de Rennes, claiming they were originally made for his friend Francis Blanche, as material for a French radio serial entitled Signé Furax. A second document by de Chérisey entitled Pierre et papier (“Stone and Paper”) provides a more detailed explanation, giving the more complicated decoding technique to one of the “parchments” by using a Knight’s Tour 25-letter alphabet, omitting the letter “w”, the knowledge of which can only be known to the forger. An English translation of this document, together with a reproduction of the original, was published by Jean-Luc Chaumeil in 2010.
The name of the piece, L.H.O.O.Q. (in French èl ache o o qu), is a pun, since the letters when pronounced in French form the sentence “Elle a chaud au cul”, which can be roughly translated as “She has a hot ass”.
As was the case with a number of his readymades, Duchamp made multiple versions of L.H.O.O.Q. of differing sizes and in different media throughout his career, one of which, an unmodified black and white reproduction of the Mona Lisa mounted on card, is called L.H.O.O.Q. Shaved. The masculinized female introduces the theme of gender reversal, which was popular with Duchamp, who adopted his own female pseudonym, Rrose Sélavy, pronounced “Eros, c’est la vie” (“Eros, that’s life”).
Rrose Sélavy, or Rose Sélavy, was one of the pseudonyms of artist Marcel Duchamp. The name, a pun, sounds like the French phrase “Eros, c’est la vie”, which translates to English as “eros, that’s life”. It has also been read as “arroser la vie” (“to make a toast to life”).
Sélavy emerged in 1921 in a series of photographs by Man Ray of Duchamp dressed as a woman. Through the 1920s, Man Ray and Duchamp collaborated on more photos of Sélavy. Duchamp later used the name as the byline on written material and signed several creations with it.
Duchamp used the name in the title of at least one sculpture, Why Not Sneeze, Rose Sélavy? (1921). The sculpture, a type of readymade called an assemblage, consists of an oral thermometer, a couple dozen small cubes of marble resembling sugar cubes inside a birdcage. Sélavy also appears on the label of Belle Haleine, Eau de Voilette (1921), a readymade that is a perfume bottle in the original box. Duchamp also signed his film Anemic Cinema (1926) with the Sélavy name.
From 1922 the name Rrose Sélavy also started appearing in a series of aphorisms, puns and spoonerisms by the French surrealist poet Robert Desnos. Desnos tried to portray Rrose Sélavy as a long lost aristocrat and rightful queen of France. Aphorism 13 paid homage to Marcel Duchamp: “Rrose Sélavy connaît bien le marchand du sel” [in English: “Rrose Sélavy knows the merchant of salt well”; in French the final words sound like Mar-champ Du-cel — Duchamp’s compiled notes are titled ‘Salt Seller’]. (Note that the ‘salt seller’ aphorism – “mar-chand-du-sel” – is a phonetic rearrangement of the syllables in the artist’s actual name: “mar-cel-du-champ.”) In 1939 a collection of these aphorisms was published under the name of Rrose Sélavy, entitled Poils et coups de pieds en tous genres.
L.H.O.O.Q. (French pronunciation: [el aʃ o o ky]) is a work of art by Marcel Duchamp first conceived in 1919. The work is one of what Duchamp referred to as readymades, or more specifically an assisted ready-made. Pioneered by him, the readymade involves taking mundane, often utilitarian objects not generally considered to be art and transforming them, by adding to them, changing them, or (as in the case of his most famous work Fountain) simply renaming them and placing them in a gallery setting. In L.H.O.O.Q. the objet trouvé (“found object”) is a cheap postcard reproduction of Leonardo da Vinci’s Mona Lisa onto which Duchamp drew a moustache and beard in pencil and appended the title.
The Surrealists and the Priory de Sion
(Images: Marcel Duchamp. Andre Breton. Scene from Cocteau’s
move ‘The Eternal Return’. Joaquin Miller. Rougemont.
Cocteau’s ‘Beauty and the Beast.)
“Duchamp gave a “loose” translation of L.H.O.O.Q. as “there is fire
down below” in a late interview (Schwarz 203). Steefel points out
that, when spoken in English, L.H.O.O.Q. sounds like “LOOK” ”
The International Order of Gnostic Templars™
A Modern Day Spiritual Knight Templar Order Dedicated to
the Revival of Gnostic Wisdom & the Goddess Tradition of the Original Templars
Our Authentic Gnostic Knight Templar Lineage
The Gnostic Knight Templar lineage of the IOGT originated two thousand years ago with John the Baptist, founder of the Johannite lineage of Gnostic Grand Masters in the West. The Grand Masters of this gnostic line were all given the title of John, which denoted “He of Gnostic Power and Wisdom.”
John the Baptist passed the lineage to Jeshua ben Joseph (Jesus Christ), who as John II passed it to his two closest disciples, Mary Magdalene and John the Divine, who subsequently assumed the title of John III. Following John the Divine the lineage of Johannite Grand Masters passed down a centuries-long lineage of Johns until the time of the First Crusade, when the presiding Grand Master became Theoclete, John LXX. In 1118 CE Theoclete passed the Grand Mastership of the Johannites to the first Grand Master of the Knights Templars, Hughes de Payen, who then became known as John LXXI in the gnostic line. From that time onwards the Knights Templars were the official representatives of the Johannite tradition and all their Grand Masters were simultaneously Grand Masters of the Johannite lineage.
Leading up to their arrest on Friday, October 13, 1307 in France, many Knights Templars sailed to Scotland, where they were able to preserve their ancient secrets of gnosticism, alchemy, yoga, & their unbroken lineage of Johannite Gnostic Grand Masters from the East. In Scotland, King Robert the Bruce founded the Royal Order of Scotland, a Freemasonic organization designed to preserve the gnostic and alchemical secrets of the Knights Templar. King Robert then placed himself, along with the future monarchs of Scotland and members of Clan Sinclair, as the Grand Masters of the new organization. The two initial degrees of the Royal Order, that of the Knight of the Rose Cross and Knight of Heredom, eventually expanded to become the 25 degrees of the Rite of Heredom, and, finally, the 33 degrees of the Scottish Rite of Freemasonry.
During their early years, when the Templars left Palestine after nine years of excavating under Solomon’s Temple, the Knights brought to Scotland four trunks full of Jewish temple treasures they had excavated and a cache of Johannite scrolls that authenticated their Johannite heritage. These four trunks were subsequently given over to Clan Sinclair and then stored in the crypt under Rosslyn Chapel near Edinburgh. Many of the Johannite secrets they contained came to life by Earl William Sinclair, who was himself a distinguished gnostic, as hundreds of images attached to the interior and exterior walls of the chapel. Rosslyn Chapel thus became an official headquarters of the Johannite tradition.
When Freemasonry was gradually infiltrated with Christians and their patriarchal ideology, much of the ancient gnostic and alchemical wisdom once possessed by the Knights Templar was lost although the Craft continued to retain John the Baptist and John the Divine, two ancient Grand Masters of the Johannite line, as its patron saints.
Our Knight Templar lineage was passed to Grand Prior Mark Amaru Pinkham and Grand Prioress Andrea Mikana-Pinkham by International Grand Prior Sir Ian Sinclair, who is both a distinguished member of Clan Sinclair and a ranking member of the Royal Order of Scotland. The goal of the IOGT Grand Priors is to resurrect the Johannite Gnostic Lineage and Tradition which has been lost or misunderstood for hundreds of years.
Grand Prior SE Sir Mark Amaru Pinkham, KGCTpl
Commander and Initiator
Sir Mark Amaru Pinkham received the Accolade of Fisher King in the IOGT
from Sir Ian Sinclair, Grand Prior of the Scottish Knight Templars,
at the Prince Henry St. Clair Preceptory at Noss Head, Scotland in July 2004.
Sir Mark received the highest accolade of Grand Prior of the IOGT
from Sir Ian Sinclair, Grand Prior of the Scottish Knight Templars,
at the Prince Henry St. Clair Preceptory at Noss Head, Scotland in July 2005.
Grand Prioress SE Dame Andrea Mikana-Pinkham, KGCTpl
Commander and Initiator
Dame Andrea Mikana-Pinkham
received the Accolade of Fisher Queen in the IOGT
from Sir Ian Sinclair, Grand Prior of the Scottish Knight Templars,
at the Prince Henry St. Clair Preceptory at Noss Head, Scotland in July 2004.
Dame Andrea received the highest accolade of Grand Prioress
of the IOGT from Sir Mark Amaru Pinkham, Grand Prior,
at the St. John’s Knight Templars Preceptory in Sedona, AZ in September 2006.
I noticed that my post on “The Love of Beauty and Money” contains an
accidental, or, coincidental connection to Duchamp’s Mona Lisa
theme, were the word LOOK ( magazine) is below the fire (fire below)
at the Bohemian Grove, and Beauty (Rena).
Most artists see these connections, and find them profound. Most
normal people are threatened by these cosmic accidents that suggest
there is a subliminal and invisble higher power at work – for just a
few. They choose to believe most artists are mentally ill in some
fashion, yet, they enjoy the fruits of their labour, their alleged
illusion-making. Some movie directors play with these connections,
and poets always do. For this reason the Catholic church did its
best to wipe out Greek Poetry and the Romantic Languages, because of
its multilayered meanings that delved into the psyche and the
underworld, the afterlife, where poetic wariors were want to go
after meeting their death, then return to tell other of their
surrealistic adventure. Normal people have no problem demostrating
their Faith in the afterlife at a church, as long as the minister
does not discribe it. There is also a safety in numbers factor here,
as well as at the movie house and the museum.
It is an affirmation to the concious connections I have been making,
that Thomas Pynchon was influenced by the `White Goddess’ by the
poet Robert Graves, as I have been studying this book for six years.
The connections between Marcel Duchamp and Denis de Rougemont, are
extremely profound for, for here alas come together most of the
eliments of the Priory de Sion, that some have suggested was
invented by Surrealists as some kind of hoax .
I have exchanged heated e-mails with Steve Mizrach and Paul Smith
who discuss this alleged hoax from the viewpoint of scholars, who
like ministers enjoy their time behind the pulpit, and do not really
look forward to the return of Jesus, thus, anyone who associates too
closely with THEIR subject matter, is going to be titled deluded and
insane – even if they are a Surrealist Artist, and possible kin to
Rougemont. No one likes to be upstaged.
My famous sister was thrilled when she upstaged me, she gleefully
beginning her autobiogrpahy of this wonderous event. However, her
biographer did not include any material from this autobiography, he
saying they were “the ideations of a woman who was not well when she
What goes around, comes around, aye?
We live in a world of dull ministers who are destroying the true
prophets so they can praise them, own righteous bragging rights –
because this is SAFE! No one wants to be compared to the dude who
walked into a cathedral on LSD, and declared he was Jesus Christ.
Most of western humanity sit in the pews fretting over our
Collective Guilt Trip, nurturing it, sitting on it and keeping it
warm and fresh like a hen her egg. Why not blame the Priory de Sion
hoax on the Surrealists and the Bohemians, the hallucinators, for
someone must be responcible for reality being askew, after God & Son
gave us Perfect Normality.
“Yet another theory,” offers The Priory of Sion Hoax, “proposes that
the Priory of Sion was an invention of the Surrealists. In his book
Cosmic Trigger III, Robert Anton Wilson gives strong play to his
wife Arlen’s theory that the Priory is really a pataphysical
conspiracy initiated by ‘grand master’ Jean Cocteau. (Pataphysique,
an art movement created by Alfred Jarry at the beginning of the 20th
century, had strong links to Surrealism, Dadaism, and Concrete
Poetry; in essence, it postulated that the main mission for art was
to bullshit people.) In essence, a massive hoax pulled off as sort
of a giant work of performance art.”
“Steven Mizrach claims that the Priory of Sion is ultimately linked
to the 19th century Parisian artistic circles the Symbolists and the
Surrealists  ? without providing the slightest bit of historical
evidence to support that theory: so where does it originate from? We
know that Philippe de Chérisey was interested in surrealism, and his
surrealist ideas found expression in the Priory Documents that were
composed by him ? but this cannot be used as `evidence’ that the
Priory of Sion has its origins in the Surrealist Art Movements of
19th century France! And Philippe de Chérisey was not even connected
with Plantard’s activities before the early 1960s. So this
particular theory by Steven Mizrach is very easy to debunk.”
“Among Continental conspiracy buffs, the Grand Loge Alpina has a
reputation for unspecified mischief rather akin to that of the
Bohemian Club in America. That is, although not even the most avid
critic has ever clearly demonstrated that the Grand Loge Alpina
engages in criminal or even unethical behavior, it is known to
include some of the richest men in Switzerland and the genera]
assumption is that, like the Bohemian Club, it is some sort
of “invisible government,” or at least a place where the Power Elite
meet to discuss their common interests. In a general sort of way,
the GLA (an abbreviation for the Grand Loge Alpina which I shall use
occasionally to avoid monotony) is more or less the group that
English Prime Minister Harold Wilson once characterized as “the
Gnomes of Zurich” – the cabal of bankers and financiers who, Wilson
claimed, have more power than any rival coalition in Europe.”
The Angelic Society: Three recent French books, Jules Verne:
Initiate and Initiator by Michael Lamy, Arsene Lupin: Unknown Master
by Patrick Ferte, and Fulcanelli and the Black Cat by Richard
Khaitzine, seem to suggest that the PoS came into being as a sort of
artistic society, uniting the Bohemian avant-garde artists of
Montmartre (the Symbolists, the Surrealists, and the Romantics).
Apparently, these musicians, writer-poets, dramatists, and painters
were interested in common themes, and in the Rabelaisian technique
of using Grasset D’Orcet’s “language of the birds”… creating puns,
rebuses, and riddles for the purposes of satire, social criticism,
and concealing knowledge. In the works of disparate creative people
such as Honore de Balzac, Maurice Leblanc, Jules Verne, Raymond
Roussel, Erik Satie, Pablo Picasso, Max Jacob, Valentine Gross Hugo,
Marc Chagall, Gerard de Nerval, Maurice Barres, Josephin Peladan,
Claude Debussy and “Les Six,” Comte Robert de Montesquiou, Victor
Hugo, Jean Cocteau, Charles Nodier, Stephane Mallarme, Maurice
Maeterlinck, Jean-Julian Champagne (Fulcanelli), and perhaps even
Pataphysician Alfred Jarry, can be found the techniques and
interests we today associate with the “Priory of Sion”. Lamy says
that many of these people belonged to a group he calls The
Brouillards (The Clouds) or the Angelic Society, of which the PoS is
a modern manifestation. They are descended from the Gouliards, or
medieval clerks and print-makers, whose mystical and heretical
Cathar watermarks so fascinated Harold Bayley. Robert Anton Wilson
also feels that a number of these people may have also belonged to
the Hermetic Brotherhood of Luxor.
Sion: It’s not clear which Sion the Priory of Sion takes its name
from: Mt. Sion in Jerusalem, or Mt. Sion in Switzerland. In 1956,
the PoS registered itself at Annemasse, not too far from Sion,
Switzerland. Many of the first “prieure documents” seem to have been
released through the Swiss Grand Loge Alpina (GLA). The full name of
the group, according to its statutes, is the Priory of Our Lady of
Zion, or “Sionis Prioratus”, with the subtitle CIRCUIT, which is
said to stand for Chivalry of Catholic Rules and Institutions of the
Independent and Traditionalist Union. In the 19th century, Sion-
Vaudemont was the site of an unusual series of events: a restoration
effort of the Catholic shrines on the mountain by the Brothers
Baillard was “derailed” by the Church, only to be resumed by a
Norman Johannite mystic named Michel “Elias the Prophet” Vintras
whose Church of Carmel preached the Joachmite dispensation and said
the Magdalene would be the Mediatrix of the New Age.
In the early 1800’s, Charles Nodier and Victor Hugo organize a
literary salon at the Arsenal Library where Nodier worked, known as
the Cenacle. Nodier and Hugo were good friends, and are listed by
the “prieure documents” as successive PoS grandmasters. I believe
the Cenacle represents the earliest traceable root of the ‘real’
or ‘modern’ PoS, which I think began as a 19th century society of
Romantics, artists, surrealists, and Symbolists who may or may not
have had any real (more likely, it was indirect) connection to the
earlier OdS, and who adopted “Et in Arcadia Ego” as their properly
elegiac and romantic motto. It is possible that the librarian Nodier
may have discovered a number of key texts in the Arsenal library,
such as Flamel’s translated texts. As for Hugo, he dabbled heavily
in Spiritualism and arcana, and he is now an “ascended master” in
the Vietnamese religion Cao Dai.
Of course, Holy Blood, Holy Grail includes genealogies which allege
that the von Hapsburgs are descended from Jesus and Mary Magdalene.
However, the connection is through Dagobert and the Merovingians, so
if you would rather believe de Sede’s thesis, the von Hapsburgs are
actually descended from ancient Hebrews and extraterrestrials from
Sirius. Whichever theory you prefer, or even if you doubt both of
them, it is interesting that the von Hapsburgs have held the
honorary title of Kings of Jerusalem for nearly 800 years.The
current scion of the clan, Dr. Otto von Hapsburg, is President of
the League for the United States of Europe, a group which has played
a large role in creating the European parliament and is steadily
working toward greater unity between the European nations. He is
also a member of – hold your breath ? the Bilderbergers, which gives
him two odd links with Bernhard of the Netherlands. Prince Bernhard
was the founder and prime mover behind the Bilderberger society, and
the same Prince Bernhard is, according to the Baigent-Lincoln-Leigh
genealogies, descended Merovingian kings and hence from either Jesus
or those ancient astronauts from Sirius.
The photograph opposite shows Winston Churchill obviously moved,
with almost the tears with the eyes. It is surrounded by three men
who look at it and applaud it. We are in May 1948, in The Hague. The
Congress of Europe gathers some 800 Europeans come from twenty
country. These three men, around Churchill, are the French Raoul
Dautry, administrator general of the Commissariat à l’ Énergie
Atomique, Denis de Rougemont, the Swiss convinced federalist, and a
Pole, Joseph H. Retinger. The Congress of The Hague was, according
to D. of Rougemont, “the personal work of Retinger, and perhaps the
crowning of its career”. This gathering opened a series of decisive
stages in the history of the unit of the continent, for which
Retinger was also committed: creation of the Council of Europe, of
the European Foundation of the culture and the College from Europe
in Bruges, implemented of the European Coal and Steel Community just
as of the Treaty of Rome, which will be followed by those of
Maastricht, Amsterdam and Nice.
To federate Eastern Europe
Less known are the efforts made by Retinger in order to create a
federation of the countries of Eastern Europe during the Second
World war. Retinger, then to advise close friend of the General
Sikorski (chief of the Polish government in exile in London),
initiated negotiations with Czech politicians also exiled in the
British capital. It planned to initially widen this future union
towards Hungary, then towards the Baltic States, Austria and
Romania. Talks were even committed with personalities resulting from
Yugoslavia, of Greece, the future Benelux countries (whose D. of
Rougemont says that the idea was born during one from these
meetings) and of Norway. One will find thereafter politicians and
intellectuals of these countries among the participants in the
Congress of The Hague.
Jeffrey Mehlman calls Emigre New York a “speculative memoir:” it is
an attempt to confront a past that both is and is not his own. The
past is a revealing moment in the history of the French intellectual
and literary culture whose charms and lures have inspired much of
Mehlman’s career (by now long and distinguished) as a critic. During
World War II, a stellar cast of French figures (accompanied by many
more lesser-known folk) lived, worked, plotted, and argued in
Manhattan, leaving traces that could still be discerned in the New
York where Mehlman grew up after the War. The notable French figures
on whose lives and writing he concentrates include Denis de
Rougemont, Simone Weil, George Steiner (born in Vienna, but living
in Paris with his family until the outbreak of the War, and a
student at the Lycee Francais in New York), Louis Rougier, Antoine
de Saint-Exupery, Saint-John Perse (Alexis Leger), and Claude Levi-
Strauss. Others, such as Andre Breton, make smaller appearances.
Mehlman deals with each of his major subjects in separate but
concise and well-focused chapters, all based on things they wrote
and did while living in New York, but he places these activities in
the larger context of each person’s career, as well as inside the
mesh of issues and debates that linked and divided the French exiles
from each other. Rougemont’s critique of the moral complacency of
the democracies shared some ground with what was in many ways an
opposite moral stance, Simone Weil’s tortuous ethical absolutism,
which condemned every connection between spirit and power as a fall
into total corruption.
Weil was even less sympathetic to modern democracy than de
Rougemont, but her reasons were ones that made her celebrate rather
than condemn spiritualist stances like Catharism. The latter stood
up for the unconditional, Manichean distinction between good and
evil, an opposition that the Jews were the first to confuse when
they identified God with the worldly well-being of their own state
and people. It was this poisonous alloy of goodness and worldly
power that the Jews had passed onto the Catholic Church, from which
it had found its way into modern political ideologies