Extrait carnet Villard de Honnecourt (site de la BNF)
Sources Templier Veritas.

Celtic Nations

Sur les traces de Boudet.

Sur les traces de Boudet
ou le... méconnu

La troisième croix peu connue du cromleck de l'abbé Boudet oriente l'initié vers une autre partie de la carte de "La vraie langue celtique" !

Sources la Gazette de Rennes-le-Château.

Celtic Mythology.

The old, war-weary year has been sunken headlong into the waters of the womb-cauldron of rebirth to be born anew as a young hunter-seer fían once again. Happy Hogmanay to ye all!

L'année vieux, Las de la guerre a été engloutie tête baissée dans les eaux de l'utérus-vasque de la Renaissance de naître de nouveau comme un jeune chasseur-voyant fían une fois de plus. Hogmanay heureux à vous tous !

La Mauresse.

La Mauresse, fille cachée de Marie-Thérèse Choyée mais non reconnue, la mystérieuse religieuse noire mise au couvent, y reçut toute sa vie des visiteurs de marque et signait "Marie-Louise de Sainte-Thérèse" comme pour mieux... > La suite sur http://bit.ly/UqwVex

Leonardo da Vinci.

Sources : Michael W Domoretsky OUT OF THE NOW! For the very first time in over five hundred years on the cover of Leonardo da Vinci, The Painters Key, discovered by Michael W. Domoretsky is that of a new born baby in Optical Illusion form; on the chest of the baby sitting The Virgin of the Rocks (sometimes the Madonna of the Rocks) is the name used for two Late Renaissance paintings by Leonardo da Vinci, of the same subject, and of a composition which is identical except for two significant details. One painting usually hangs in the Louvre, Paris, and the other in the National, London. For a few months in late 2011 and early 2012 the two paintings have been brought together in an exhibition at the National Gallery, London. The paintings are both nearly 2 meters (over 6 feet) high and are painted in oils. Both were painted on wooden panel; that in the Louvre has been transferred. Both paintings show the Madonna and Christ Child with the infant John the Baptist and an angel, in a rocky setting which gives the paintings their usual name. The significant compositional differences are in the gaze and right hand of the angel. There are many minor ways in which the works differ, including the colors, the lighting, the flora, and the way in which sfumato has been used. Although the date of an associated commission is documented, the complete histories of the two paintings are unknown, and lead to speculation about which of the two is earlier. 1483 – 1486, the Louvre, Paris 199cm x 122 cm (78.3 in x 48.0 in.) Regards,

THE REAL SECRET OF LEONARDO