Bérenger Saunière in Lyon

 

In the footsteps of Saunière

As part of the summer activities of the Société Perillos, there was a two day visit to the Pilat region. The specific “mission” was to retrace the known voyages Saunière made in this region, as we know where he rented a cart – and where he had a breakdown. This took us from the “Péage de Roussillon” to Pélussin, Malleval, Lupé and – rising ever higher – to the chapel of the Madeleine – i.e. Mary Magdalene.
Modern roads do not map onto the ancient routes, though we tried as much as possible to follow or “hook on” to the ancient route. This often meant that we were only 2 kilometres from the next “stage” of the trip, but had to get there in a roundabout way. This was most clear when we were at the chapel of St Antoine and had to reach that of the Magdalene. Today, there is only a “forest road” connecting the road which could be done by car – but would result in a closed gate at the other end anyway, requiring a return over no longer maintained track. It is obviously being converted to the treacherous conditions Saunière found himself in… resulting in his breakdown.
The chapel of St Antoine is best known for the local ritual of throwing a small coin in the nave, accompanied by the making of a wish. We can only wonder whether Saunière did the same on his way past, or whether instead he rushed towards what was most likely his destination: the chapel of the Magdalene.

The giant king

The chapel of St Antoine (St Anthony) is little known, well out of the way, but nevertheless well-maintained. Legend has it that the site originally was there to commemorate the existence of a giant, the king of a remote country, who died in the woods above the chapel.
The story is no doubt linked with the existence of a large tumulus in the forest above the chapel; some of the stones in the tumulus have cup marks. It is a clear remnant of a prehistoric monument, which has no doubt been the basis for the legend of the giant. It does show that the region was populated long before Christianity and that the various religious buildings – including the chapel of the Magdalene – could have been pagan places that were converted to Christianity.

The Devil’s seat

The presence of a “pagan” religious heritage is further verified by two “Devil’s Seats”, a feature better known in England as Druid’s or Priest Chair. They are to be found about 150 metres from the road that climbs from Roisey.
The seat is of interest for another reason, namely that a similar formation exists in Rennes-les-Bains, which has become part of the fabrication of the “mystery”. These ones, however, less renowned and very definitely less visited.

Return to the chapel of St Mary Magdalene in the Pilat

As we know Saunière was climbing this road, there seems to be only one logical destination for him: the chapel of St Mary Magdalene. He would have been able to get there by vehicle. It is this chapel where in January 2001 a painting was cut out of its frame and stolen from the premises, after the thieves had entered through the roof. See the previous part for more details on this theft. We revisited the site partly to see the painting’s replacement, which we had been told was placed within the original frame – and would thus be expected to be an accurate copy.
Of course, the chapel was closed and no-one, it seemed, had the key at hand. The door does have a few openings, which makes it possible to see the inside of the chapel, including the painting – as well as what seems to be electric lights, even though no electricity seems to go into the premises.
But closer inspection soon showed that the new painting was not at all “identical” to what was there before. Obtaining a copy from a work that has been destroyed is normally done by using a projector, taking an image of the original and recreating the scene on a new canvas. The lines are then traced, so that the contours are all conform to the original. It is then “only” a matter of colouring in. Sometimes, the work is so impressive that the copy is superior to the original. This is what we expected to find, but it was not what we found…
At first glance, the replacement painting looks identical, but it is not. Some details are different and it looks like the new painting is more an “interpretation” of the original, rather than a faithful reproduction.

The original

The reproduction

Under surveillance

It is not out of the ordinary that people follow us about on these excursions – as if every step we make should lead to some major revelation. On occasion, people inform us that our research is “monitored” – if not “of interest” – to “the government”. So it happened that during our trip in the Pilat, we wanted to get an update on the police enquiry (the French gendarmes) on this painting, four and a half years post the crime itself. During this enquiry (which only told us they continued their investigations), the gendarmes confirmed that they monitored our excursions, including our March visit to certain churches. (They also informed us they read our website, which is always nice to know…) Was it a bizarre coincidence that during our visit to the Magdalene chapel shortly afterwards, a man appeared out of nowhere, made a quick tour of our party, and then disappeared again? The fact that his arrival, stay and departure on the scene was totally without purpose is a sign that perhaps this person indeed just was bored beyond belief and decided to make a quick visit to the chapel… or else we were his “purpose”?

Reflections

Based on our experiences this summer, we have some observations:
- the theft of the painting of the Magdalene is not an act of pure vandalism, as the scene that would have been left, would have been one of random destruction.
- The painting itself has no real value. There are other objects that are easier and quicker to steal, rather than cut out the painting from its frame, that would get more money on the market.
- The painting is not really “charming” and few would want to have it over a mantle piece… making it not very saleable – though you never know how the “underworld” works…
So we need to find another, more logical reason. So let us construct a scenario here.
People who have followed the revelations by the Société Perillos and/or André Douzet know that whenever something is put in the public domain, this is both backed up with material that is not made available and some that is made available. At the same time, the “revelation” will also not be the total, but only part of a bigger whole.
To those with little or no intelligence, this has resulted in some of them screaming out that we are all charlatans and conmen. Those with intelligence, but also hoping to play a role themselves, they often “contest” or “challenge” us, in the vain hope that we will reveal more. We often do, but this is normally only material that backs up the initial revelation – not more aspects of the “total revelation” itself.
This is our modus operandi, and it is one that is customary throughout most of the world. So anyone with some intelligence and who has followed or studied the work of e.g. André Douzet since 1995, if not before, will know he conforms to this methodology.
As such, if he directs our attention to this painting in the Magdalene chapel, it should soon be clear that he knows more than he is initially saying about it. So, for someone wanting to know this, he or she could go over to the chapel and try to investigate the painting, to see whether there is something “else” there.
However, this type of person is more of the curious than the criminal kind. But if we are “monitored” by “others” who may know or find out there is more to this painting, and would then try to “remove” it… of course, we have in our possession a photograph of the inscription on the back, which could have been placed there by Saunière. At some point, we will show this. But, because of the theft of the painting, we can not verify that our photograph and the painting itself are identical.

In the footsteps of The da Vinci Code

Let’s indulge in some “what ifs”.
What if “someone” has known for a long time that Saunière had some “business”.
What if this knowledge was being guarded, either voluntarily or not.
What if we by sheer coincidence one day began to begin this secret side of things.
What if “someone” realised this would continue to cascade, either through our own researchers or by other people. Once a key is turned, the door will normally swing open… or be forced open.
What if certain “keys” are therefore withdrawn, or thrown away, so that this cascading effect is either slowed down or stopped.

“Danger looms here”

Admittedly, perhaps we have lost the plot and are pushing the envelope. But various items in this affair are out of the ordinary. First, we reveal a connection between Saunière and this region. Shortly afterwards, the painting is stolen. The theft is in such a manner that it is a “statement”, which is that the thieves only want the painting. It is an enigmatic crime, and this is attested by the police, as almost five years later, the investigation seems to be going nowhere. The gendarmes were not too pleased to have to report on “progress” and it is clear that the gendarmes understand the theft is a statement, including to the gendarmes, that they are confronted with a crime out of the ordinary – and that perhaps even they should not make too many enquiries… The thieves themselves have therefore made a point: “we only care about this painting. Try to find us. If you dare…” And they have gone through a lot of effort, as they tried to get in, but in the end only got in through the roof. They desperately wanted this painting. As if someone panicked, and told a burglar “You have got to get this. As soon as possible. Now…”
Though a copy is made, the copy would only ever be of the front, not the inscriptions on the back, and in the end, even the front is not a perfect copy. We could ask further questions why that is the case too. Specifically, the references that have been left out, are key markers: a mountain top of the Pilat region has been substituted with a “general”, unidentifiable mountain top.
Of course, it could only have been the heat getting to us, in those warm summer days that August is famous for… Then again… it was raining that day…