Vézelay, telluric study and symbolic system

Rock of the fairies, enchanted Stones, Stone Who Turn, duly cemented to prevent it pirouetter, on which one perched a statue of the Virgin before flanking it of a monastery.

We are in country éduen, Gaule hairy, druidic ground. The monks tried well to bring back this nasty bunch in the bosom connected with the church. There they even believed to succeed. The country-writer Henri Vincenot read in the local  churches an other song: that of the bricklayer's mates, heirs to the druidic knowledge. These could handle the golden section and the cord with thirteen nodes to insufflate at the crowned buildings their science of cosmic energies, of the earth currents irrigating the houses of God.

The basilica does not escape from it, quite to the contrary. For which would like to be devoted to the deciphering of the hidden symbols, you shall know that it is scattered with it: this snake which bites the tail, on the foot of the first northern pillar of the nave, doesn't it appear druidic knowledge? Don't the marks of the masons stone, sown on almost each quarry stone, draw they not the square and the compass, instruments of the Large Architect? the hexagramme and the sheet of oak of the druids? And would these spirals carved in the complicated folds of the clothing of Christ, at the tympanum of the narthex, one have put them there to make it pretty? Vincenot enjoyed to see the Celtic god Lug in this Jesus with the immense hands, oddly virgin of any stigmata. And then it believed in the "vouivre", an earth current which would cross the mount Scorpion, source of the Good and of the Evil which clash here since the night of times. (extracted from an article of Marion Festraëts published in the Express magazine)

The abbey of Vézelay, although dedicated to the worship of Marie-Madeleine, had her own black virgin and her dolmen. It is mentioned black virgin in “annals of the crusades” and Saint Louis would have knelt in front of her at the end of September 1244. She was exposed in the crypt.

Vézelay was at all times an initiatory place. The druids of course remained there. The dolmen marked the node of earth currents. It is always on the spot, under the right side of the crypt. As usual, like in Chartres or Notre-Dame of Paris, one cannot reach it. In the book of Rene and Claudine Bouchet, one can find the study of the water currents, as in the book of George Prat the study of the various earth currents.

One can notice the position of the old temple dedicated to Mithra. It is indicated to us by a sculpture representing a head of bull.

Another characteristic of Vézelay is its membership of a series of religious buildings representing the various sites of stars of Ursa Major. The former initiates sought the stellar establishments where they projected a constellation on the ground and where each menhir or dolmen appeared a star. We find that in Puy de Dôme, with the churches "Notre-Dame" or with the churches in Lyon representing the constellation of the virgin.

The basilica is also a path of light…

Projections of light which are driven at the rhythm of the earthmoving around the sun to reach the points so particular to so precise moments lead obviously filled with wonder as not only the axis at orientation of the nave but also its internal structure, this space limited by architecture and filled up light, were given by taking account of the position of the ground compared to the sun; they testify to the wish of the builder to establish construction in a relationship to cosmos. (Andre Bouchard)

With the summer solstice, when the sun culminates at midday, the flagstones of the center of the nave are marked spots of light in an alignment of rigorous and constant precision.

In the basilica are compagnonic terse signs. On a column, a sheet of oak indicates to us the presence of the druidic tradition, shown and hidden by the initiates manufacturers and architects of the Middle Ages.

“Gilbert would never have dared to hope for this honor. Vézelay, for the Burgundian one that he was, it was Mecque. He had come there with his grandfather, in trolley, for the saint Madeleine day, every July 22 of his childhood, and he remembered his amazement when, passed the rise of Crot, one tackled the descent on Saint Père and that, of only one blow, at Montjoie, one discovered the holy crowned hillock of this long basilica, blocked at each end, by its square towers, drawn up very high in the sky of summer. The grandfather, then, stopped Cocotte and, upright, nobly lifted his hat and shouted: “Montjoie! ”
The small Gilbert of then, hardly conscious, felt taken a great pride and a large respect. Never he dared hoping for the honor to take part in this inexpressible size.

What he saw there, and that he had never seen, not having never leafed through an art book since the pilgrimages of its early childhood, intimidated him so much that he could not sleep the three first nights.
These swirls of connected folds the ones with the others gave to Christ a so majestic movement than ever Gilbert would not have dared to imitate them. There he remained confused in front of this dazzling rhythm of spirals. A whole day, there remained motionless in the narthex and when he felt truly a giddiness, he could not prevent himself from thinking of La Gazette. Yes, all these characters danced! They danced under the control of the largest of them, that who spouted out of the mandorla. The others hopped, like impatient following him, but He turned, dancing literally, without no doubt being possible.
And suddenly, by it look at, Gilbert fixedly saw Him whirling. It had is enough to him for that simultaneously to fix the two spirals of folds: that of the knee and that of the hip. The secondary spirals, that of the left elbow and that of the right shoulder, are reflected moving in their turn, like movements, in a deep water, carrying away other movements in opposite direction, creating large and slow interferences, fringed lapping.
Yes, this stone dance evoked water, the swirl of the life. Or rather it was the life and the movement of the world. “

“The engineer advanced on the plate. La Gazette took his cockroach face and approached the tympanum. it started to cherish the admirable hand, large the beautiful dextral one of the Christ in majesty, the divine dancer. Then, having considered it with a large respect, it leaned, and, piously, kissed the palm, lengthily.
- What do you make there, Mister? he asked the engineer.
- See my son, I answers the invitation which is made to me of glorifier the human hand!
- The hand?
- Yes. This one is the first which was placed at the beginning on the way of Saint-Jacques-of-Compostelle, that which passes by Neuvy-Saint-Sépulchre and Orthez. One finds it everywhere on the way of stars…
- And where you see that it is necessary to grant a particular respect to it, Mister?
The Gazette measured the other, which was almost twice larger than him.
- Because everywhere, it is represented disproportionate!
- Naivety! Awkwardness! the engineer with a thin smile of doubt launched. 
- I know that official science calls upon the awkwardness of the others each time it does not understand. But I require it of you, Sir, people who built this building were penguins?
- Certainly not.
- Then why did they represent this hand, in addition perfect, twice larger than it should not be? 
- I never really put myself the question.
- It is a wrong, my son. All that one did at that time is intentional. all is question, here, and all is answer, and if a hand is twice too large, it is that one wanted to say something!
- Devil, you interest me, Mister. And what did one want to say to us? 
- That all is made by the hand, that all proceeds of it. Without the hand, no cathedral… no car either!
It was made a silence.
- It is a great lesson of humility which the tympanum of Vézelay gives to the intellectual, in truth! La Gazette added. “

Extracts of the “pope of snails” of Vincenot… http://users.swing.be/pem/vinc_vezelay.html

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