A New possible solution to the question of "Et in Arcadia Ego" at Rennes le Chateau and Shugborogh Hall

There are four additional English estates that have reproductions of the Tower of the Winds in Athens built on them in the form of follies or whimsical pieces of architecture. West Wycombe, Summerhill, Mt. Stewart, Shugborough, and Moor Park. Oxford Universities Radcliffe Observatory is also a reproduction of the Tower of the Winds. Additional information supporting the notion that the Tower of the Winds on Shugborough Estate was meant to function as an axis would also include another famous Estate a little further south closer to London. Moor Park would serve as Admiral Anson’s home near London and place of retirement.

Moor Park and its associated Tower of the Winds and artwork may hold many clues germane to the Rennes le Chateau mystery and other mysteries discussed to this point in North America. First an examination of how the Tower of the Winds at Moor Park works will help to illustrate the similar themes as displayed by the Tower of the Winds at Shugborough. Shugborough, West Wycombe, and Moor Park were all constructed in the Palladian style of architecture that Thomas Jefferson would also later value and use in his structures.

The Moor Park Tower of the Winds was demolished but writing about the house suggests it was oriented the same way as the main building of Moor Park about 13 degrees east of True North. This additional Tower of the Winds was said to have been situated in the middle of a small pond. Though it has been demolished the foundation is still partially visible. The Tower of the Winds at Moor Park may have been meant as a sighting device pointed at places on the globe valued by Admiral Anson. Each facet of the octagon may be used to infer an arc or azimuth on the globe.

Using this orientation the Tower of the Winds at Moor Park points an azimuth on the globe directly to the Kensington Rune Stone in Minnesota. This is an amazing correlation that now has Anson associated with both the missing Stone of Destiny from the sandstone pillar on the Milk River in Alberta and the Rune stone that seems to keep popping up in many instances of this tradition including the fact that the Dome of the Rock, Newport Tower, and Ames Pyramid all point to the Kensington Rune. There are indisputable family links between all of these monuments.

This association may indicate that Anson was aware of the International Peace Garden that the Shepherd’s Monument points to, and the Kensington Stone that the Peace Garden points to on the globe. Note also that the sandstone pillar where the Stone of Destiny may have once rested is associated with the Peace Garden by being situated nearly exactly on the same latitude or 49^th parallel. This indicates that Anson was also aware of the hidden significance of the site of the International Peace Garden. His friend Dashwood was part of the family group that would later establish Dunseith North Dakota and the International Peace Garden. It is also likely that Anson had true knowledge of the Newport Tower not only via his Admiralty connections but via his family relation to the Earls of Stafford.

Anson’s Moor Park Tower of the Winds also displays another “Kensington” connection. The octagonal form of the tower creates an azimuth or arc on the globe that points directly to Kensington Palace in London. This azimuth represents the opposite direction that points to the Kensington Rune in Minnesota. Indeed part of the landscaping of the park to the east of the Mansion house itself seems to match this azimuth coming from Moor Park Tower of the Winds. This connection is bizarre. Two Kensington’s pointed to by the same Tower of the Winds both situated on a single arc on the globe suggested by Anson’s Moor Park Tower of the Winds. Is it possible that Anson is telling us he knows why the stone in Minnesota is named for Kensington? Is it a coincidence that the location of the Stone is named for the same place pointed to in England Kensington Palace? Earlier we examined the influence of the Hill, Eaton, and Ames family in the region near where the Kensington Rune is located. This may also include the influence of the Douglas family. It appears that the builders of the Newport Tower, possibly the Stafford’s, were aware of this. This makes sense in that the Stafford’s had intermarried with the Anson family in the past. Staffordshire and its nobles seem to be a kind of center for this tradition.

Amazingly the azimuth on the globe that points to Kensington Palace from Moor Park continues across the globe in a southeasterly track finally intersecting with Basilica San Vitale in Ravenna Italy. This is amazing. The octagon of San Vitale also points back along the same arc on the globe to Moor Park. The structures point the way to each other. An additional azimuth suggested by the octagon of San Vitale also points to the Mausoleum of Theodoric just a few miles to the northeast.

Theodoric’s Mausoleum is also an octagon from plan view. The roof or lid to Theodoric’s crypt is one of the largest cut stones ever produced by man in history. The octagon of Theodoric’s Mausoleum points an azimuth or arc on the globe directly to the Church of St. George in Lalibela, Ethiopia. The rock hewn churches of Lalibela are famous for possibly once housing the Ark of the Covenant. The array of obelisk and windrose at the Vatican point the way to Lalibela. Discussed already is the relationship of follies in Halifax Nova Scotia and how they may relate to the travels of James Bruce in Ethiopia.

The example here at Moor Park displays a value and knowledge of what Lalibela truly means on the part of Admiral Anson before Bruce’s trip to Ethiopia. Lalibela also fits into some of the notions of Sir Francis Bacon’s “New Atlantis” and “New Jerusalem” concepts and may have even helped him to develop this concept. Mescal Lalibela originally built the array of churches there as a “New Jerusalem” or place for pilgrims to visit after the Muslims gained control of Jerusalem and associated Holy sites. Later we see many of the landscaped arrays in Williamsburg, the International Peace Garden, and Washington D.C. representing the “New Atlantis” concept.

This array of Moor Park, San Vitale, Mausoleum of Theodoric, and Lalibela echoes the layout of talismans we examined earlier in Halifax Nova Scotia and even repeats the association to Lalibela. The fact that Anson’s Moor Park Tower of the Winds points to San Vitale is also significant in light of what we learned about Empress Theodora and Mary Magdalene from the mosaics present at the basilica. It is amazing that many of the new axes or directional structures built by this family group continue to reference many of the same places that are valued by others in the know. The Moor Park Tower of the Winds is no exception. The alignment of the Rennes le Chateau Chapel, Chateau Hautepol, Chateau Blanchefort and the Village of Arques point an arc on the globe to Basilica San Vitale as well. The Star of Henry Lincoln points to Basilica San Vitale. Note also that the word “arc” is also associated with the story of “Arcadia” via its namesake Arcas. In turn Arcas is associated with the constellation of his mother Calisto known as Arcturas that was placed in the sky by her lover Zeus.  

A separate azimuth or arc suggested by Moor Park transects to the south directly to the Cathedral of Santiago de Compostela in the city of the same name. Here we see both of the estates that Anson was associated with including follies at Shugborough that point the way to Santiago de Compostela linking to all the mysteries of St. James and the land of Scota. If all of this is true then it may have been of significance to Anson that one of the most important victories The Battle of Cape Finesterre was fought right off of the coast of Galicia and the Torre de Hercules in A Coruna. The Torre de Hercules and A Coruna are both major symbols to Pilgrims traveling to Santiago de Compostela from England, Scotland, Wales, and Ireland. All of the Pilgrims from these regions landed in Galicia at A Coruna and made their pilgrimage on foot along the route between the two cities.

Another arc from Tower of the Winds Moor Park reaches the Monastery of Montserrat in Spain. The Paris Observatory grounds also generate an arc on the globe that points the way to the Monastery. Montserrat is one of the locations that many authors and researches suspect as being the place where the Cup of Christ or archetypical Holy Grail was once located.

An arc also extends to the fortress of Gisors and all its associated “Cutting of the Elm” history that is so important to both the French and English lines of Norman families we see valuing the spatial arrangement of architecture on the face of the globe in a talismanic or mystery school manner. Gisors also possesses an extensive history involving the Normans, Knights Templar, and mythical Priory of Sion.

Within the jargon associated with globes and maps the word “arc” also has a unique interpretation in the language of the birds as applied to this mystery of the navigators. It may also relate to the origins of the name “Arcadia” that is central in our studies of Shugborough, Rennes le Chateau, and other places. The story of how Arcadia got its name may have many interpretive applications in other aspects of these mysteries as well as relating directly to how people were to make geographic associations from place to place. Ultimately Arcadia is named for Arcas the son of Callisto consort of Zeus.

As this story progresses we will see the consorts of Zeus and their offspring having a role in many stories in a similar way to how Shakespeare applied real families and real history that seemed to have a bearing on the development of North America later.

The story of Arcas and Callisto involves Zeus and her becoming lovers. Eventually Calisto becomes pregnant. Hera Zeus’ wife becomes jealous and turns Callisto into a Bear still holding the human child. The child is born and is named Arcas. Zeus hides Arcas in the mountains in a region that will come to be known as Arcadia via this myth. Arcas becomes a great warrior and hunter.

Eventually Arcas is involved in a part of this myth that may reveal a great deal as to why the concept of Arcadia is valued by a bloodline later. These connections raise many mysterious and interesting questions.

At one point Arcas is serves a kind of morbid player in a grotesque scene perpetrated by Callisto’s father Lycaeon. In an attempt to test the all seeing eye of Zeus Lycaeon attempts to cook Arcas on a grill to serve the parts to Zeus to see if he “knows” this without seeing what had been done. Of course Zeus see’s what is going on and saves and reanimates Arcas while condemning Lycaeon to be a Werewolf. This is the origin story that may serve as a great symbol or metaphor as to why a kind of predator class of people may have been lured to a value of our studies here through history. Later we even see the active involvement of the Biddulph family of Staffordshire. Biddulph literally means “War Wolf.” This metaphor may be part of what is being valued in this saga leading us to Poussin, The Anson’s, Rennes le Chateau and Shugborough Hall. The All Seeing Eye of God or Zeus in this case is also a recurring theme in a value of Arcadia on the part of the cast of characters studied here.

As the story of Arcas and Callisto continues many other pertinent metaphors are exposed. One day while hunting Arcas encounters his mother the bear in a sacred district of forest and begins to take aim to kill the bear. Zeus seeing this places Arcas and Calisto in the heavens in the form of the Constellation Ursa Major and Ursa Minor. Arcadia is named for Arcas who is identified as is his mother as a Bear in the heavens placed there by Zeus.

One of the major clues linking Shugborough Hall and Rennes le Chateau is the presence of a rendering of Poussin’s “The Shepherds of Arcadia” in bas relief mirror image on the famous Shepherds Monument there. This painting has been associated in many stories and theories concerning Rennes le Chateau as well. The mysteries of Rennes le Chateau and Shugborough may be linked via the imagery of Poussin but some interesting links also exist with architecture and themes at Stirling Castle. The octagonal Kings Knot at Stirling creates an arc that passes over the Shugborough Tower of the Winds extending to Rennes le Chateau matching the portion of Lincoln’s Star in the landscape there that was suggested on a since destroyed headstone there. The star of Rennes le Chateau points back to Shugborough and the Kings Knot.

The imagery of Poussin is repeated in the landscape near Rennes le Chateau in the form of the “Pontil’s Tomb” located very near the Paris Meridian. We also see the Poussin painting displayed in the Louvre precisely on the Paris Meridian within the Museum. The imagery of the Shepherds in the painting is important to consider when comparing these themes to artwork that is prominent at Anson’s Moor Park. The themes of Moor Park match the themes we see at Shugborough and Dashwood’s West Wycombe Estate. All of these values may link directly to the myth of Callisto and Arcas. The village of Arques near Rennes le Chateau may have even been named in reverence for this connection and may be more pertinent to the Pontil’s Tomb imagery than anyone suspects.

The Ballroom or main room of Moor Park is lavishly decorated with reproductions of several classic paintings that display characters that appear similar to the same characters in Poussin’s paintings. The art at Moor Park references a fairly obscure myth and legend that may change the scope of or interpretation of the Poussin piece in relation to Rennes le Chateau and what it may mean by being included in the Shepherd’s Monument.

The main room of the Estate House is also reflective of a value of the Tower of the Winds in Athens. Even though Anson’s Tower of the Winds had been demolished the remaining artwork of the house indicates a value of this concept. Included in each corner of the main room is a rendering of the Greek god of the Wind of that direction just as displayed at the real Tower of the Winds. The Von Humboldt Estate in Potsdam also repeats this theme with each corner of the structure being decorated with a similar bas-relief to that seen on the original tower in Athens. The house itself still serves as a clue as to a directional value suggested by the orientation of the building that also matched the once present Tower of the Winds there. The ceilings of the great room include representations of Goddess Aurora of the Dawn and a “fake” two dimensional representation of the interior of the dome of St. Peter’s Basilica. This may serve as a Catholic reference.

Present with in the main great room of the mansion is a series of paintings that display the story of Io the mortal woman and her relationship with Zeus. These paintings are all copies of classic works reproduced by Thornhill. Strangely this story has many overtones of the later story of Europa the nymph that inspired the name of the continent. Hidden in this value of Greek mythology may also been some strong hints that the mythic genealogy of Zeus and Io was somehow valued in metaphor or reality by the same later cast of characters that valued the concept of Arcadia and the Tower of the Winds.

In a story very similar to that of Callisto and Arcas Zeus was smitten with Io who was a beautiful mortal maiden. Hera noted that Zeus was gone and went looking for him. Zeus saw Hera coming and quickly turned Io into a White Cow. Hera immediately recognized this cow as Io and demanded that Zeus give her the Cow. Zeus reluctantly agrees planning on returning Io to a woman as soon as he can.

To prevent Zeus from seeing Io Hera arranges for Argus Panoptes (all seeing) to guard the white cow. Argus is also representative of a Shepherd thus repeating the theme of the Poussin painting “The Shepherds of Arcadia.” Argus had one hundred eyes so could still rest with some of them closed making him a superior guard for Io. Zeus seeing this employed Hermes (Apollo) to steal the cow away from the guard Argus. Ultimately Hermes is forced to slay Argus by beheading him and is compelled to present the head to Hera who then took Argus’ eyes and placed them in the tail feathers of the Peacock thus explaining that in myth.

This myth has some fascinating parallels with the concept of the All Seeing Eye that was referred to in the myth of Arcas and Callisto. Argos Panoptes means Argos “all seeing” in one translation. It may be that this myth and the character of Argos is a metaphor for the concept of the All Seeing Eyes of God and the Egyptian parallel of the same concept using a single eye. Freemasons and other secret societies would later value this concept. It appears that the Peacock may serve as a metaphor for the All Seeing eye as interpreted in this myth of Io and Argos. According to Fulcanelli’s “Mystery of the Cathedrals” the concept of Argos and Jason and the Argonauts is also central to interpreting many aspects of several different mysteries that appear to have been intentionally placed into the public realm. Each of these conundrums will teach you many concepts needed to understand what has been left to follow. In the process many historical truths are revealed.

Upon being freed from captivity Io is left to wander the world. Hera seeing this sends a “gadfly” to continually torment the white cow. In an attempt to escape the gadfly Io swims the Bosporus in what would be Constantinople thus inspiring the name of that waterway. Bosporus literally translates to “Ox Crossing” or “Cattle Crossing.” Eventually Io makes it to Egypt where Zeus manages to turn her back into a beautiful woman. There she eventually marries a Pharaoh and has many children and grand children. Among these progeny is Europa the namesake of Europe. Europa is the great great granddaughter of Io herself. Io is in fact the root of all the human and god hybrids that are documented in Greek Mythology. The entire story references a bloodline of humans that intermingled with the gods. The parallels to the story of Christ and his family as viewed from a Gnostic perspective are obvious.

In a story very similar to that of Io Zeus later kidnaps Europa in the guise of a White Bull. This is interesting symbology in relation to the earlier story of Io being turned into a white cow. Now her descendant also involved with Zeus in kidnapped by the White Bull and taken to Crete thus inspiring the name of Europe. The blood of Io and Zeus is now returning to Europe. This is similar to the story of Mary Magdalene, The Three Mary’s, and Merovingian mythos all rolled into one. This saga also has overtones that may point the way to Queen Scota as well. In a strange way this may also reflect the concept espoused by people like Michael Tsarion who say the Celts expanded throughout the western world spreading druidic ideas and that they eventually boomeranged their way back to Ireland and Scotland via Queen Scota.

This is likely the reason that these themes are valued and are present in the Rennes le Chateau, Shugborough, and now Moor Park mysteries. These images have been presented to you with clues that infer Arcadia and Mary Magdalene via the mythology of Io. Here is the reason why. This is the same message being shown to you at the Shepherd’s monument at Shugborough with out the addition of the paintings from Moor Park to clue one into the true identities of the characters in the Poussin painting which may in metaphor include Europa/Mary Magdalene, Hermes, and Argos. Et in Arcadia Ego. It may be that the Shepherd’s monument can’t be interpreted correctly without the additional information about Io included in the paintings at Moor Park.

Both of these stories are strangely related and include what may be interpreted as Merovingian imagery. The story of Io has her coming from Europe to the Levant and Egypt. Then later her descendant is taken by Zeus back to Europe even inspiring the name of the continent on the back of a white bull echoing the story of how Io came to Egypt. Combined this tale also resembles the story of the how the Merovingian’s came to Europe on the back of the sea beast Quinotauar. The Merovingian origin story and the story of Io, Europa, and Zeus have many parallels and this may be the reason this story is displayed so prominently at Moor Park as valued by Admiral Anson and others. This saga is noteworthy also because it displays a distinct value of severed heads and mythology that fits the values of the people that owned and sponsored the artwork in question.

The story of Lycaeon, Arcas, and Zeus may also imply that a race of Werewolves were known to exist. Whether in metaphor or reality this is a strange concept that may relate to the cold hearted nature of certain factions of the ruling class. It is strange that such a story is related to the Arcadia mythos. Many people may have identified with the concepts suggested by the story of Lycaeon in relation to Vampires and Werewolves. The themes suggest by the story of Lycaeon have many later myths and legends attached that continue into the modern world in the form of theories involving shape shifting beings and “reptilians.” It does possibly also exposed a Saturnalian view of these myths and legends as used to control the temporal fabric.

All of the paintings at Moore Park are in the same style and seem to depict similar characters to those seen in Nicolas Poussin’s “Shepherd’s of Arcadia.” Indeed Io was originally from an area of Greece that may be considered Arcadia or Achaea. The Romans referred to the entire Peloponnese region as Arcadia and a city named Arcadia exists in the Peloponnese as well. It appears as if the political divisions shown on maps of the region today do not reflect what may be considered “Arcadia.”

The symbolic representation of Hermes presenting the head of Argus to Hera may also have many overtones valued by the Knights of St. John and Knights Templar in reference to John the Baptist. Hermes is representative of the many magi present in occult traditions of this era. The Anson’s were said to be associated with the Knights of St John. Some sources also state that Argos was once the King of Arcadia. If true then the entire tale of Io would take on different overtones with regard to the head of the King in relation to many of the stories of Royal skullduggery in the works of Shakespeare. The symbol of the head may also be suggestive of the Green Man as seen at many stops in this saga. The sacrifice of Arcas by Lycaeon subsequently saved by Zeus may also apply to the fallen kings of later history.

This entire series of images and myth may serve as a metaphor for the story of Queen Scota and how she came to Spain then Ireland and Scotland. It may also serve as a metaphor for how the Merovingian mythos began as well as the arrival of the Three Mary’s at Saintes Maries de La Mer. In addition this maritime tale of people arriving from points east to Europe may also apply to the story of St. James also associated with the land of Scota in Galicia and Santiago de Compostela (pointed to by the Moor Park Tower of the Winds). In short this is an extravaganza of hidden Jacobite beliefs and mythology. Why and how did Anson know about the Kensington Rune, Stone of Destiny, and site of the International Peace Garden? Why is he referencing the Ark of the Covenant connection to Lalibela?

Here again at Moor Park is another impressive array of art and architecture that suggests there is a belief that they are related to the blood of not only Jesus Christ but Queen Scota. All of this is reflective of a true value of their Egyptian and Scythian heritage as stated in the Declaration of Arbroath. It appears that a specific cast of families and individuals had identified with the stories of Io and Europa as a metaphor for themselves. Their way of telling us may include specific architecture, metaphorical interpretation of different myths and legends from many different cultures, and intentionally contrived “quests” that may teach one the truth about what they believe and value. Over the centuries many may have mistaken these families values of myths and legends as an indication of their pagan beliefs when in fact many of these symbols and metaphors conceal a distinctly Christian message. They were using mystery school techniques learned from the early Christians of Rome to conceal their true philosophical and spiritual beliefs which were at various times illegal in England and elsewhere.

All of the references to Io and Europa could also easily apply to Mary Mother of Christ just as well as Mary Magdalene. In fact it may make more sense in the long run that much of these stories of Mary could have just as easily applied to Our Lady. Upon her death Mary also rose after tree days just as Christ had. This also leaves the door open for the possibility that she also escaped to Europe with other members of her family in the same fashion the legends of Mary Magdalene suggest. If true this process would have resulted in the same hidden tradition of the blood of Christ we associated with Mary Magdalene in other views. In short the Auspice of Maria AVM symbol seen through this entire string of mysteries may actually be referring to Ave Maria. All of this possible hidden truth may also apply to James brother of Jesus and the mysteries of Santiago de Compostela that seem to have a great appeal to many different factions of alternate Christian belief in addition to the standard Catholic beliefs applied to Iago. Either way via Mother Mary, James, or Mary Magdalene there was a belief among certain quarters that they had descended from the blood of Jesus.

In tandem with what is known about St. Andrew and Arcadia is it possible that this reference to Io is also associated with that region and the Poussin Painting? Is it Argus the Shepherd in the tomb in Poussin’s version of the story? Are Arcas and Callisto represented as well? Note phonetic similarity between the names Argus and Arcas. Given our interpretation here it is also easy to see why the figure of Europa may be representative of the figure of Mary Magdalene or the bloodline of Jesus that included his brother James. It is possible that the Shepherds of Arcadia are somehow referencing Argus and his missing head? The image of a “missing head” may be interpreted many different ways.

In Williamsburg the story of how Blackbeard’s head was fashioned into a punchbowl (w/ silver ladle apurtant) echoes of this value. Ultimately is “what is in Arcadia” a reference to Io who is also associated with the Moon by some descriptions? It is possible that Poussin was commenting on the original paintings that the ones at Moor Park are copies of. He was at least painting in the same style with a similar theme. He is steering us to the same set of myths that suggest Io and Europa leading us to a metaphor for Mary Madgalene or the Three Mary’s and Sara the Egyptian girl of Saintes Maries de La Mer. Sara may be representative of Io nee Scota the Egyptian Queen. The story of a man’s beheading in association with a Queen or royal figure cannot help but remind one of the stories of Salome and John the Baptist.

In this realm it may be enlightening to examine the person who owned Moor Park prior to Anson obtaining the property.

James Scott 1^st Duke of Monmouth, 1^st Duke of Buccleuch (1649-1685) was the original owner of Moor Park. James was the Bastard son of Charles II. After his father’s death James attempted to take the crown by force from his first cousin James II. After having failed Scott was beheaded. This is also ironic with regard to the theme of one of the series of paintings ending in Hermes presenting the head of Argus to Hera. It may be that Anson had later added this artwork in veneration or out of respect for James Scott and as we will see Charles I and the 1^st Earl of Stafford as well. Both the Duke and his Grandfather Charles I lost their heads because they were Stewarts who opposed the Parliament movement in England.

Also noteworthy is Scott’s relation via his wife to those that would later play a large role in not only the development of the Untied States but the symbols that are valued by the country. Scotts would be involved in the creation of the Great Seal of the Untied states and other representative artwork such as the famous Washington campaign buttons that are highly collectible today. The name Scott, Scot, or Scotus has also been associated with many “magi” or intellectual scholars in the alchemical tradition. The name Scot or Scotus somehow became associated with the magi of both Charlemagne and Frederick II Holy Roman Emperor. It appears that during the age of Charlemagne any Scottish intellectual “Magi” may have been known of as “Scotus” regardless of their given name. Here an association with such an array of artwork may be considered to have hidden overtones especially when related to a Scott that would be king. There is no doubt that the addition of this specific artwork and a reproduction of the Tower of the Winds at Moor Park on the part of Anson was a nod of respect for the estates former tenant.

It is true that James Scott had opposed what would later become a Jacobite symbol in the form of King James II. Note that he is named for Santiago just like many other Scottish and English noble of the Stewart line. Scott was protestant and James II was Catholic. It appears that Scott had opposed the forces that would come to create a country out of the colonies in North America. The entire tale of Scott’s beheading in relation to the series of paintings displaying the beheading of Argus and the story of Io may be a way of Anson valuing Scott in a deaths head cult kind of way. If Anson was a Knight of St. John it is also known that they valued the story of John the Baptist thus making the severed head a symbol of interpretive importance to this organization. This type of value may be viewed as a kind of grotesque but legitimate form of respect as well. The Duke of Monmouth was a Stewart who had attempted to regain his title in an armed insurrection. This would have also possibly been a source of inspiration to the Jacobite cause even though he as not Catholic. The severed head theme is repeated on the Triumphal Arch at Shugborough Hall.

Lost among all of this imagery of the severed head and Charles I is a direct connection to the imagery of Arcadia. The character of Philip Sydney the brother of Mary Sidney Countess of Pembroke wrote a work dedicated to his sister entitled “Arcadia.” The last words of King Charles I prior to his beheading was a passage from Arcadia known as “Pamela’s Prayer.” This prayer contains imagery directly referencing Argo and his and Zeus’ all seeing eyes in addition to many secular themes that are surprising given the Kings Catholic faith. The prayer seems to be an admonishment of the view that Charles was intolerant of other faiths. The fact that Charles chose this passage from a work entitled Arcadia may be directly related to the theme of the paintings at Moor Park and the imagery of Poussin we see on the Shepherd’s Monument at Shugborough Hall. This may be the message that Anson is telling us. The Shepherd’s Monument and other artwork valued by the Anson’s is an admission of their Jacobite sympathies to the lost Kings of the Stewart line of rulers.

“All-Seeing Light, and eternal Life of all things, to whom nothing is either so great that it may resist, or so small that it is contemned: look upon my misery with thine eye of mercy, and let thine infinite power vouchsafe to limit out some proportion of deliverance unto me, as to thee shall seem most convenient. Let not injury, O Lord, triumph over me, and let my faults by thy hand be corrected, and make not mine enemy the minister of thy justice. But yet, O God, if, in thy wisdom, this be the aptest chastisement for my inexcusable folly; if this low bondage be fittest for my over-high desires; if the pride of my not enough humble heart be thus to be broken, O Lord, I yield unto thy will, and joyfully embrace what sorrow thou wilt have me to suffer. Only thus much let me crave of thee, ,—let my craving, O Lord, be accepted of thee, since even that proceeds from thee,—let me crave (even by the noblest title which in my great affliction I may give myself, that I am thy creature; and by thy goodness, which is thyself) that thou wilt suffer some beam of thy Majesty to shine into my mind, that it may still depend confidently on thee. Let calamity be the exercise, but not the overthrow of my virtue: let their power prevail, but prevail not to destruction. Let my greatness be their prey; let my pain be the sweetness of their revenge; let them (if so seem good unto thee) vex me with more and more punishment. But, O Lord, let never their wickedness have such a hand, but that I may carry a pure mind in a pure body!"

-Pamela’s Prayer from Arcadia by Philip Sydney

There are few characters in this era of English History that are more connected to the works of Shakespeare than Philip Sydney and his nephews, Mary’s sons, Philip Herbert and brother William Herbert. As discussed William and Philip were the subject of the dedication in Shakespeare’s First Folio written by Sir Francis Bacon’s friend and associate Ben Jonson. These associations may show why it is important that Charles I chose a passage from Sydney’s “Arcadia” and what this may tell us about the Wilton Circle of authors and artists associated with Mary Sidney Countess of Pembroke. The Wilton Circle and those associated with Sir Francis Bacon have overlap in people, themes, and Philosophy. Mary Sydney appears to have been the intellectual and artistic equal of Sir Bacon. It may well be that Lord Bacon was well aware of the concept of The Shepherds of Arcadia and its hidden meanings to these people and himself.

Illustrative of how Philip Herbert and the Sydney’s are connected to the Bacon family is the fact that Gorhambury Estate features a full-length painting of Philip Herbert from the era of Sir Francis Bacon. Philip Herbert had also married Susan de Vere the daughter of the 17^th Earl of Oxford one of many prime suspects to have created the works of Shakespeare. It may be important that Moor Park is so close to the site of St. Alban’s and Lord Bacon’s original Gorhambury House. It appears many of the families of other suspected as being involved in the works of Shakespeare are Bacon and descendant family associates. As noted the 13^th Earl of Oxford once owned Moor Park.  

Many people have even deciphered codes present in the dedication passage of the volume in the Sydney brother’s honor. The entire scope of his influence in this realm may be viewed with regard to the influence of his mother and the Wilton Circle of artists and writers that were part of this group including Ben Jonson who wrote the dedication in the first folio. The fact that Charles I would choose a passage from this particular work of Sydney is interesting and applicable to the mysteries we see Anson displaying at Shugborough and Moor Park.

Here again an additional Arcadia connection from another mystery we have examined here may come to bear. The Wither’s “Book of Emblems” that is theorized to have been used on headstones at the Bruton Parish Church is thought by some to have been produced by the brain trust of Bacon as well. Interestingly Wither’s was the author of poem’s in additional works using “Arcadia” in the title and theme of the work. Both the Wither’s book and another similar book that applies to headstones at Stirling Castle entitled Quarles “Book of Emblemes” were both printed in 1634 during the reign of Charles I. Poussin’s Shepherds was completed in 1637-38 also during this era.

This chronology raises the possibility that The Shepherd’s of Arcadia is also referring to Mary Queen of Scots and the story of her beheading as well. It seems many Stewarts met their end this way in this era of history. Many art historian interpretations of the Poussin painting state that the overall theme is that of a Memento Mori. It appears they are correct yet this context addresses this themes association with Shugborough Hall and Rennes le Chateau. Many of those valued with this Arcadian imager include those close to or admired by George Anson, Sir Francis Bacon, The Wilton Circle, the Stewarts and beyond. The de Vere family and its association with the Wolf or Werewolf theme also may place them in a special position to value the image of Arcadia and its mythology.

With this in mind it is of note to mention that William Herbert 3^rd Earl of Pembroke once owned the Moor Park property prior to James Scott. William Herbert married the sister of his brother’s wife Bridget de Vere. Another de Vere cross over into what is becoming a culture of artists and authors in the vein of Shakespeare. William is of course another subject of the first folio dedication directly involved with a property that George Anson would later build a Tower of the Winds replica on just as he had at Shugborough. Even the Shepherd’s Monument was later arranged by a later Earl of Lichfield into the Shepherd’s Monument as a display of Anson’s knowledge of the meaning of this entire scheme of imagery and symbolism related to the Poussin painting in tandem with the artwork seen at Moor Park.

William was undoubtedly aware of the symbolism of his uncle’s work “Arcadia” and why Pamela’s Prayer was an important symbol in relation to the Shepherds of Arcadia. William was also a great patron of Shakespeare as was Philip. If there were any two men in the know with regard to the secrets of Sir Francis Bacon and William Shakespeare these two would seem to be among the best candidates to have used and applied this information in many different ways. It is possible that these intelligent writers and minds of the Wilton Circle were involved in a form of intelligence gathering coupled with Enochian and other occult imagery in the tradition of Dr. John Dee. We may see a later version of this same culture nearby Moor Park at Sir Francis Dashwood’s West Wycombe Estate and its famous “Hellfire Club.”

It is also entirely possible given all of this intrigue that figures like Mary Sidney and her sons Philip and William may have even been involved in arranging all or parts of these mysteries in association with Sir Francis Walsingham and Sir Bacon. Admiral Anson and other subsequent owners of the property would have all added to the mystery and displayed their knowledge of it by adding additional artwork and talismans to the property as time went on. In this way they displayed their knowledge to others in the know. All of this may help to form a window into the philosophy and values of those that may have used the works of Shakespeare in a mystery school or intelligence service way to represent their ideals and goals. Apparently their codes and ciphers extended beyond the arrangement of words and letters in books to include a metaphorical quest that may be interpreted by the artwork, architecture, folklore, and places they valued.

Even more spectacular is the fact that the property of Moor Park was originally owned by the nearby St. Alban’s Monastery only about six miles to the northeast of Moor Park. Another significant family that once owned the property has been a subject of interest in this story. John de Vere the 13^th Earl of Oxford once was lord of the manor there. De Vere was obviously the progenitor of the 17^th Earl of Oxford de Vere who many suspect of having involvement in the works of Shakespeare. William and Philip Herbert married the 17^th Earls daughters Susan and Bridget.

Some also associate the family name of de Vere with the legend of the Werewolf referenced in the mythology of Arcadia and its namesake Arcas. The German version of Vere is Weir. Again this is reminiscent of the meaning of the Biddulph/Bidwell name interpretation of “War Wolf” phonetically similar to “Werewolf.” The de Vere family in a very real way may value this story if they somehow believed they had descended from real Greek Arcadian nobility of myth and legend.

This may also relate them to others who may apply the lineage of Troy to their family values and beliefs. If true all of this may also explain a value of the Tower of the Winds, Constantine, the Merovingian dynasty, Mother Mary, Mary Magdalene and Christ. Given the fact that Pope Adrian IV was originally from St. Alban’s also brings us to the coincidence of the similarity of his name when compared to that of the bard Shakespeare. Pope Adrian’s original given name was Nicholas Breakspeare. It is possible that Breakspeare trod the grounds of Moor Park at the time it was part of St. Alban’s Abbey. Is it really possible that even the name of Shakespeare is related to the name of Breakspeare in this mythology?

Later the property was owned by Robert and Lady Anne Franklyn after Admiral Anson. It may be the Franklyn’s are related to Benjamin Franklin of the United States. This property has been owned by a cast of characters that are related to the circles of Sir Francis Bacon and what would later be considered Cavalier and Jacobite ideals. The Franklyn family also have an association with the Beale family via their memorials in All Saints Maidstone that seem to have been replicated in the Bruton Parish Church in Williamsburg. James Franklin, Benjamin’s brother, actually produced a celestial almanac he published at Newport Rhode Island as well. This would be an activity that has been theorized here as being associated with the reason the Tower was even constructed in the first place.

Almost every connection to this property has a role in other aspects of the history discussed in this book to this point. All the families are there. All of the theories of their involvement in the works of Shakespeare are inferred in a mystery of this type. Many of these families and characters seem to have been referenced in the works of Shakespeare and later literature and artwork. The fact that Philip Sydney meant “Arcadia” to be for his mother and close circle of friends attests to how they may have expressed themselves in metaphor and meaning that only the other well read authors and intellectuals of his circle could understand. This group also obviously included people as influential as King Charles I himself.

It is also important to note that one of the more prominent figures impeached just prior to Charles I was his supporter the 1st Earl of Stafford. Part of the struggle of Charles I was his problems negotiating his rights with Parliament. His largest supporter as a Member of Parliament was Thomas Wentworth Earl of Stafford (1593-1641). Eventually relations between Parliament and Charles deteriorated to the point that they were demanding the head of the Earl of Stafford for crimes he had committed in the process of supporting the King in the legislature. Eventually Parliament forced the King into a corner from which he was forced to consider losing his monarchy or executing his loyal friend Wentworth.

In the end Charles had to sign the warrant for Stafford thus making him another martyr in the Jacobite cause.

This relation between Anson and the Earl of Stafford may also be one of the major reasons that the imagery of The Shepherd’s of Arcadia and its associated mystery were valued by Admiral Anson and his brother Thomas who may have even been named for a Stafford. Stafford represents another beheaded individual in reference to the tale of Argus Panoptes All Seeing. This is also referenced in the Poussin painting featured on the Shepherds Monument at Shugborough and works present at Moor Park. Of course other Stafford’s were likely involved in the construction of the mysterious Newport Tower that is essentially another Tower of the Winds for us to find. It seems that Towers of the Winds such as those of Shugborough and Moor Park were meant as symbols that fulfilled a very practical function in the mysteries left behind by these people. Many have visited both the Newport Tower and Shugborough Hall and missed this connection.

Many have also suspected the Anson’s and Dashwood as well as other tower builders of being Jacobites who supported the exiled Kings of Scotland and England regardless of the variety of Christianity they practiced. The Stewarts had gained a loyal following of people from many different backgrounds that had benefitted during their reign and were subsequently not included in the plans of the new Hanoverian Parliamentary government. This may be why many Jacobite artists and architects seem to reference the “Ancient Regime” or lost era of Royal society and world domination.  The Jacobites quietly set about plotting a new country in North America that would reflect their values in the form of a Republic which they would form and help to dictate in many obvious and secret ways. With the Jacobites came acceptance by citizens of the Untied States of the influence of the Catholic Church as part of the new country. The theme of the “Ancien Regime” is also repeated in the works and architecture of the d’Abbadie family of Hendaye who were also governors of French Arcadia and Louisiana. All of the symbology of Et in Arcadia Ego would later be applied to Rennes le Chateau using the same Poussin imagery that is seen at the mystery of Shugborough and Moor Park.

How are these representations of Io and Argo or Argus applicable to the Poussin painting “The Shepherds of Arcadia” beyond the resemblance of some of the subjects and characters in the paintings at Moor Park? Argus in myth also has a significant connection the region of Arcadia where St. Andrew met his end as well. In addition to the myth of Io and how he was beheaded by Hermes Argus had also been involved in helping the Arcadians avoid a crisis. The lands of Arcadia (Achaea) were being ravaged by a bull that Argo slew thus saving the people and crops. After this he is also said to have killed the Echidna or half serpent half woman creature that guarded the entrance to Hell. The Echidna was the daughter of the Typhon who disassembled Zeus only to have Pan and Hermes put him back together. Some accounts of Argo also have him actually being an Arcadian himself. The Shepherd’s of Arcadia are Argo and Hermes. In Greek Mythology Arcadia was frequently the domain of Pan.

This entire association is very curious given the similarity in especially the yellow clad characters representative of Hermes in the Moor Park paintings compared to the Poussin painting which displays a very similar character in relation to a female figure many speculate represents Mary Magdalene. If this analysis rang true then Mary Magdalene is also playing the role of Europa in the Greek theme that serves as what many people believe to be a metaphor for Mary or the Merovingian bloodline. This is what is being told to us in the stories of Io and her progeny Europa both consorts of Zeus. Mother Mary is of course defacto part of the real bloodline. Somehow many forget this.

So what may this have to do with the Pontils Tomb that has been presented to us as part of the Rennes le Chateau mystery as being associated with the Poussin painting? “Et in Arcadia Ego” or “In Arcadia I am.” Does this famous phrase refer to Argos (Argus)? Is this part of what Fulcanelli is referring to in his work “The Mystery of the Cathedrals?” He refers to “Argotique” as being a metaphor for gothic art. He also stresses the tale of Jason and the Argonauts in which three characters named Argus or Argos are present. The name of the ship in the myth is also the Argo. Ancient mariners or navigators value the constellation Argo Navis as well. Noted before are the similarities to the story of Jason and the Argonauts and the stories of St. Andrew. The Argonauts and St. Andrew traveled to many of the same places encountering many miraculous things along the way. Of course the Jason story ends with him obtaining the Golden Fleece yet ultimately becoming a destitute failure at the very end of the story. Later we may see members of the Order of the Golden Fleece applying the imagery of the Argonauts to many mysteries as suggested by Fulcanelli.

All of this combines to lead one to the conclusion that the Poussin painting, The Shepherds Monument of Shugborough Hall, and artwork of Moor Park are telling us about these people’s belief in the Holy Bloodline coming to Europe via the stories of Io and Europa. Both stories have references or imagery that is very similar to the myth of the Quinotaur bringing Merovich to the shores of Europe. This entire tale in turn is obviously derivative of the story of Europa and Io. Even the myth suggests a bred bloodline including the paternal input of Zeus himself consorting with human women that is in a very real way similar to the story of Mother Mary and Jesus. This does not address the modern version of the Rennes le Chateau mystery yet may provide a rationale as to why the Poussin imagery was applied to the Pontil’s Tomb and other aspects of the area.

The stories of Rennes le Chateau, Shugborough and the Shepherd’s monument, the Kings Knot at Stirling and the mysteries of Bacon’s Vault in the colonies all harken to this mythology. This is the reason the imagery of Poussin was injected into the entire story at more than one place. In turn we do see this imagery associated with the Louvre that served as home and birthplace to many French Kings. The Shepherds of Arcadia painting is located on the Paris Meridian within the Louvre Museum. This entire phenomena may also be related to the “Man in the Mountain Myths” of Charlemagne and other Holy Roman Emperors including Frederick Barbarossa and Frederick II. The Kings Knot, Shugborough Hall, and Rennes le Chateau were all aligned using clues to tell you this at each place including the Poussin imagery and octagonal architecture and artwork. In the past I have speculated here that the altar painting of Rennes le Chateau displays the Tower of the Winds at Shugborough Hall. This may be more likely now given this new evidence.

To repeat from our Mary Magdalene chapter earlier. The Louvre I.M. Pei Pyramid and inverted pyramid create an alignment that forms an arc on the globe that transects to Migdal or Magdala Israel the birthplace of Mary Magdalene. In the opposite direction this arc on the globe extends to Oak Island Nova Scotia. Is it possible that some remains or relics of Mary Magdalene or her followers were left in the Money Pit or somewhere else on Oak Island. This remains to be seen. It is clear that reliquaries and impressive artifacts are being recovered in Jamestown while nothing has been found at Oak Island. Something of this sort is at least being suggested in association with the array of architecture present in Halifax and Lunenburg Nova Scotia.

They are telling you they believe they are related to Mary Magdalene. The entire mystery may have been formed to lead one to this conclusion. This belief took on many mystery school overtones under the Jacobites who created the United States in tandem and contrast to many of their Catholic beliefs. It appears that to many of this elite class that is was indeed acceptable to be an acolyte of Mary Magdalene and a good member of the Latin Church at the same time. This also lent the Catholic faction something in common with those of alternate or Gnostic Christian belief including Protestants, Rosicrucians, and Pagans. All of these views were maintained via a mystery school belief and the desire to establish freedom of religion in the colonies. This is why the image of Mary Magdalene is associated with Rennes le Chateau. None of this new information means the mystery there has been solved yet some light may have been shed on why there is even a mystery there in the first place.

The answer to a question involving why this imagery would be present in both England and France may involve a similar series of events that were played out in France during the French Revolution. The beheading of Louis XVI and Marie Antoinette were among only a few of hundred in a purge of the ruling class of France during this era. It is entirely possible that the imagery of the Poussin painting was valued in metaphor by the gentry class that survived the revolution by viewing this work in the same mystery school manner the Anson’s had. The same concepts of the lost kings, beheadings, and the longing for a more ancient pastoral idyllic life that many of the elite imagined under the “Ancient Regime” of the lost kings of Scotland, France, and England. Later we see many others such as Antoine d’Abbadie openly lamenting past eras that of course were more beneficial to the lifestyle they saw disappearing in the Republics of France and United States as well as the Parliamentary Monarchy in British Isles.

Even Philip Sydney in his work “Arcadia” lamented and longed for a more peaceful lifestyle of days gone by in chivalric England. To them Arcadia undoubtedly is also referring to its use in Greek mythology as a kind of utopian land where life in uncluttered and simple. Hidden within this mythos is the story of the werewolf and the cold hearted nature of man. In contrast to this are many similar views on the part of people like Sir Francis Bacon and his circle that seemed to favor a more open and fair society geared towards the needs and goals of the common man. It may be that in this spirit that these gentry concepts were later turned against the Royal class in a kind of psychological warfare in which one’s knowledge of the other sides secrets was valued in a very real and sometimes talismanic way.

This conclusion does support some of the notions and factors injected into the Rennes le Chateau mystery by Pierre Plantard. Some of his claims seemed to indicate that he felt that if he solved the mystery there it would lead him to the evidence he would need to prove his royal legacy. This is a theory. If true this activity on his part may have been informed by some older legend of the remains of his forebears being hidden somewhere near Rennes le Chateau. This mystery would have adhered to similar parameters set forth in the mysteries left behind by Charlemagne that may have also included the theme of right to rule if the mystery was solved. This may also account for much of the additional landscape geometry discovered by Henry Lincoln in that region.

It may be that many of the mysteries associated with Sir Francis Bacon are based on a similar template. Charles I and the Earl of Stafford lived during the age of Bacon. It is also likely that some of the same families mentioned in this chapter would have an impact on the use of intentionally contrived mysteries to both initiate on one hand while confusing and confounding additional parties on the other. As time progressed it may be that later people viewed these sacred landscapes and prime meridians as a way to encode the location of hidden objects. Just as likely is an associated belief that involves an individual viewing a geographic association with an Axis Mundi as being favorable for their business and personal ventures. This in turn may have led to military applications such as the location of major battles and confrontations. The application and use of time measurement may have also led to a belief in time based vortexes in association with certain points on the earth that had been marked by temples of many different eras including megalithic structures such as stone circles and dolmens. Meanwhile these places are put into the psyche of the public as many visit these places blissfully unaware of their hidden meanings.

“Et in Arcadia Ego” is leading us to stories of Argo, Europa, St. Andrew and the legacy of the Kingdom of Aragon and Anjou family in the later Latin Kingdom of Constantinople and Greece via their control of these regions. Even the name Aragon infers “Argo” or the “Argotique” as in Fulcanelli. These families had a distinct value of St. Andrew, St. James, Mary Magdalene, Constantine, and of course Jesus Christ XP. Charles I and other English and Scottish monarchs may have gained a value of such concepts from France. It may also be that Bacon was inspired in many similar ways during his studies there. It may be that this entire directional tradition had been built into all the gothic cathedrals whose operative stonemason’s were aware of. Architects like Capability Brown, Inigo Jones, Issac de Caus, and John Webb seemed to be aware of these concepts and had built them into the structures of many powerful people.

This concept had its different continental and family meanings. In this realm we may also see a rationale as to why Christopher Columbus sometimes signed his name in Greek characters. He likely did that in association with his relation to the Paliaologos family who were Princes of Arcadia in Greece during the era of the Republic of Genoa. The Paliaologos family monogram is very similar that of Justinian I and Theodora as well. More on Columbus in upcoming work. Henry the Navigator was also obviously privy to this information as well and had Scottish family connections.

It is easy to see how the Anjou’s being Prince’s of Achaea could come to adapt the imagery of Io, Europa, St. Andrew, and Argo into their mystery school interpretation of the Mary Magdalene history they valued and loved. The may have also valued a Trojan bloodline via their association with this region. The Merovingian dynasty had already applied this imagery in their origin mythology including many of the same metaphorical references. They also valued the Chi Rho including the Alpha and Omega symbol which may actually represent the original Rosy Cross XP (CR Christian).

Outsider attempts to decipher or interpret these values have led to a wide variety of misinterpretations and distortions of reality. Often concepts more based on mythology and whimsy is applied to any such concepts. There remains a practical and rational use of any array of monuments that represent a fixed point on the earth. The modern day equivalent may be an Astronomical observatory such as Greenwich and Paris Observatories. The Naval Observatory in Washington D.C. serves this purpose in the Untied States and also displays many of the traditional talismanic overtones of the Greenwich and Paris Meridians.