Synchronicity 3 Part 1
Originally posted on May 31, 2017 @ 8:20 PM
Carl Jung, the man who coined the word “synchronicity” and defined it by personal example. Image Credit: Photo by unknown, upload by Adrian Michael (Ortsmuseum Zollikon) [Public domain], via Wikimedia Commons
Synchronicity continues. And how! Join me on my unplanned forays into Holy Grail mysticism, magical protection, Olde England and film meeting legal research, as well as a small, timely prosperity demonstration supportive of the “being in the flow” concept of synchronicity.
Synchronicity to the Left of Me, Synchronicity to the Right of Me
Poussin, the Grail and Catapults
Poussin was a French painter, whom I first was exposed to via Holy Blood, Holy Grail, the shocking to many nonfiction bestseller which presented the case that Jesus didn't die on the cross, but instead lived and had children: that Holy Grail wasn't a cup but a kingly bloodline…
Part of the argument lay in the hidden aka occult meaning of a painting by Nicolas Poussin called “Et in Arcadia Ego,” shown below. In the context of the book, the claim was that it was intended to represent the true final resting place of Jesus–in France! There was also the small matter of claims there was on ongoing conspiracy to make a member of his bloodline king.
With the above in mind, watch how things start to spin.
It so happened I came across a different Poussin painting, but was only able then to view it as a thumbnail, while bleary eyed to boot. I told our esteemed Webmaster, Karl, about it in Skype Chat, remarking this was a secular painting, inadvertently generating wholesale confusion as a result. When Karl looked at it, this is what he saw. Needless to say, it didn't look secular to him. Now that I can see it at reasonable size, it doesn't look secular to me, either, what with a god, a goddess, cherubs and a satyr.
After being recalibrated by Karl, I still had Poussin's Arcadia painting on the brain. Now, I should tell you that the Cathars figure heavily in the Holy Blood, Holy Grail book. The Cathars were viewed as heretics by the Catholic church, and when you read the Cathars' beliefs, you'll see why the Church went so far as to organize a Crusade into lush, rich Languedoc France (with, of course, no economic gain in mind by Church or the Crusaders, right?) to wipe them out! The Cathars were extremely important in the context of the book, for it says their beliefs showed they understood the truth, to include reverence paid the wife of Jesus, Mary Magdalene, depicted as the Black Virgin. The Albigensian Crusade against the Cathars was out and out genocide by the Church, and that was just for starters. Ultimately, the Cathars had only a few refuges, one of which was the lofty and hard to approach Montségur, That castle is also a key part of the book's argument. Before the castle fell in 1244, a number of important Cathar prelates escaped, taking with them treasure of some sort.
Catapult Synchronicity, Too
To recap, I had a renewed awareness of Poussin, including “Et in Arcadia ego” and related matters from that long ago read book on my brain. In turn, these triggered all sorts of associated memories. While all this was going on, I proceeded to slog, for a variety of reasons, to the end of a deep and demanding academic work, The Catapult: A History. To be clear, this book covers the Classical Period, not the Medieval Period. Even so, it would be fair to say I had catapults, used in the generic sense, on my brain. Additionally, I'd recently spoken with brother Charles about a specialized toy catapult (would you believe a Statapult?) used as a teaching aid for a program devoted to eliminating waste and simplifying organizational processes called Lean Six Sigma, a rigorous program in which he trained. The Statapult is used to provide direct, hands-on demonstration of the Lean Six Sigma methods and execution. Having built working models of real catapults, to me, the thing was an abomination. I therefore repaired to The Art of the Catapult, a gift some years a go from brother Ed, in the hope I might find some palatable catapult projects there, in a book which provides useful history to provide a context for the working models. Pay attention to what happened next.
When I picked up the book it flopped open to page 26, where there was a fascinating discussion on the rate of fire for trebuchets. I gobbled it up, then stopped dead when I learned the information was found in (Italics mine) the records of the Siege of Montségur in 1244 in an account of the effective use there of a trebuchet designed by the Bishop Durand of Albi! This thing was a monster, pulverizing the fortress with rocks weighing as much as 175 pounds! Below is the trebuchet at Warwick Castle. Though it normally hurls fairly light projectiles, it is, in fact, of the same weight class as Bishop Durand's design.
Believe that's quite enough spine tingling for now, don't you? I sure think so!
END Part 1