The model

 

Analysis of a model

The model is the final rough cast on which all the written elements and the final modifications as requested by Saunière are found. The object is made in plaster and fixed into a wooden frame. The whole plaster model is dyed so as to simulate bronze. The base girdling the landscape is made of four small wooden planks painted brown.
This “final draft” would then be used to produce a wax master for a single model, as had been requested by the client, Saunière. The end result would have been produced in bronze; it would have had a significant weight and encumbrance – something that would have been of great importance to the client.

The model resembles a “military map in relief”, representing a topographical portion of a place with mountains, valleys, paths or river, hollows and one building. The precise dimensions in millimetres are: length 1= 600; length 2= 607; width 1= 395 and width 2= 424. The dimensions of the label are 132 by 94 mm. The height of the wooden frame is 55 mm over the whole perimeter. The highest point of the decoration is about 140 mm.

Most interesting is that these dimensions coincide with the dimensions of the tomb of the Lady d’Hautpoul, in the cemetery of Rennes-le-Château, the very tomb made famous by the original creators of the enigma, as well as a tomb that was to suffer the rage of Saunière. Coincidence? It definitely does not seem to be the case. Rather, one would suggest that Saunière carefully measured the dimensions of the tomb, and would later re-use those dimensions for the creation of his model.

There are five inscriptions: GOLGOTHA Mt DU CALVAIRE (Golgotha Mount of the Calvary), JARDIN DE GETHSEMANI (Garden of Gethsemane), TOMBEAU DU CHRIST (Tomb of Christ), TOMBEAU DE JOSEPH D’ARIMATHIE (Tomb of Joseph of Arimathea), CITERNE (water reservoir). The first four inscriptions are in capital letters, the fifth is in small letters and in italic script. In one of his letters, Saunière stated he wanted to modify the geometric direction of the two lone groups of words. Originally written vertically, they are now horizontally.

At the top right hand corner is a label with the titles in printed characters, in a flat hollow made for it:

LE CALVAIRE ET LE SAINT - SEPULCRE ---------------- ETAT PRIMITIF

 

The Calvary and the Holy Sepulchre ---------------- Original State

The text can be interpreted on two levels: “original” also implies an alteration took place later on. On this level, the model represents the “true state” or “truth” of something, before it was changed later, the change making it no longer true or accurate.

Creating the model

Saunière had asked for a model of which only one copy would be made. He had paid the total cost for this before the work started. The casting technique would have been the same as for all other models done by the artisan: a plaster cast was made, which would allow for modifications up until the moment of the bronze casting. From the plaster model, a mould is then created, often consisting of several pieces. This mould is a negative image of the final work, into which the liquid metal will be poured, thus creating the final model, in bronze. Afterwards, the plaster model and the mould would be destroyed, thus ensuring the uniqueness of the finished product. And this was what Saunière would have expected. But it never came to that stage of the process and what I have in my possession is the plaster model, which would have been true to the final product.

This model is the work of a professional model maker and creating such a model would have been no problem whatsoever for the founder. This would mean the base should be perfectly rectangular. But the base is not a rectangle with right angles, but a trapezium. The latter gives us an angular difference of between three and four degrees. It might not be much, but it should be noted that making it a perfect rectangle would no doubt have been easier for this professional firm.
All geographic outlines or land surveys carry some indications that allow the user to situate himself in space. Normally, the “base reference” is the direction of terrestrial North, which is mentioned on all maps we use, even those that have a relief.
However, on this model there appears not the slightest indication of orientation or symbolic direction. Lapse of memory? Probably not. Intention? Probably yes. The variation noted between the (imaginary) right angle and the real angle of the small wooden frame would be superimposed perfectly on the traditional readable variation on each cartographic reference of the Ordnance Survey/I.G.N. with regard to the usual direction of true North.

On each document requiring a precise orientation, North is always indicated by a ‘Magnetic’ North, as well as by true North, the difference between magnetic and true North being 3,98 degrees. Curiously, we note that using the French I.G.N. maps, the difference between those two Norths corresponds precisely to the declination at the “cartouche side” of the model. It indicates to the reader of the model as to in what direction Saunière wanted us to look at the model.

As mentioned, the final product carried a religious overtone, which would hardly have surprised the model maker, as the customer was a priest. The place names and the title of the model clearly call to mind the area where the Passion of Christ was played out. But there seems to be a mismatch between the topographic reality of the Jerusalem area and the area represented on this model. Furthermore, the nature of the symbolism used in this model is also doubtful. No religious brother, I would think, would have risked committing some flagrant mistakes, like giving Jesus a different tomb from that of Joseph of Arimathea. We will return to this later.
The information is also lacking any real detail. The style corresponds with little else. It can neither be attributed to a popular fashion or a anything particular. Furthermore, it lacks everything that we would expect to see from Saunière in his usual religious acquisitions and style, as evidenced in Rennes-le-Château.
Furthermore, we cannot conclude that the final product has any harmonious qualities. Aesthetically, it is very controversial; the appearance is to say the least somewhat doubtful, if not even ridiculous. If it has a goal, it is clear it will not leap out at the first glance. But the price, which was very high for this unique and original piece, gives the lie to the possibility that this was a sudden impulse, a prank or a joke, as we know the priest was not one to waste money.
These conclusions suggest that the model contains specific information that only Saunière was able to extract from it quickly and easily… or that a group of other people would, given some additional information, be able to “read” the model. What could this information be? In what form was it presented? For who was it intended after the death of the priest? Or why? What was its true purpose?

This article was excerpted from Chapter 8, The Model, from Saunière's Model and the Secret of Rennes-le-Château.