Bill Kersey’s desk study following his September field trip  to Rennes-le-Château indicates  the surprising possibility that the painter, Nicholas Poussin knew of the location of the Sacred Treasure of the Visigoths.  His Louvre painting, ‘Les Bergers d’Arcadie’ certainly provides clues that led Bill Kersey to the Royal Treasure site together with the key to unlock the Dionysian cipher but Bill could not be certain of  a direct link to the more important Sacred or Temple Treasure.  To locate this it needed the direct instructions from the Visigoths via their application of the geometric cipher about fifteen centuries earlier.

   However, once the location had been established in the field, and Bill was able to examine the Poussin painting in the light of the recent field exploration it did seem that Poussin  had included indicators as to the required location..   This was after careful study of the painting together with Poussin’s earlier work in the Duchess of Devonshire’s collection, ‘The Shepherds of Arcady’.

   This opens up many questions about Nicholas Poussin and his patrons and friends.  There are always so many unanswered threads in this enigma.  Rennes-le-Château remains a rich source of mystery but when the spade hits the dirt much will be revealed however, this will doubtless yield a whole lot more questions.

   Now David Teniers (the younger) paintings are seen to be important.  “Poussin Teniers gardent le clef…pas de tentation…” referring to the location of the treasure that the Visigoths pillaged from Rome.  Early  biographers put Nicholas Poussin’s birth date round 1594 in or near the small town of Les Andelys in Normandy.  The Mannerist painter Quentin Varin  recognised his talent and encouraged the young Pouissin to become a painter where he learnt the trade from several different artists.

       His early years were by no means easy and  he worked in Florence, Paris and Rome for various patrons.

   Theories regarding the source of his connection with the Dionysian cipher  or Quadrivium as it has been have been suggested but this is speculative at present.  Various painters have been privy  to knowledge of this system of geometry but Nicholas Poussin actually  visited Rennes-le-Château  to record the location of at least one of the hoards.  The two Shepherds paintings have been dated from 1630 to 1645.  After suffering declining health Nicholas Poussin died on 19th November 1665.  The impact of his paintings lives on.

‘Les Bergers d’Arcadie’ (Paris Louvre).