So long as you use Shepherdess NO Temptation i.e. The Teniers painting where St Anthony is NOT being tempted by the devil i.e. This one (also with shepherd and sheep in the distance)...
And so long as you people continue trying to figure out the enigma when it is translated into English
....then you will never
So what does BERGERE PAS DE TENTATION
You've got the wrong painting darlin'. It's this one:So tell me why there is copy of this very painting at Shugborough Hall as well as the famous Shepherdess monument. This being the former home of an Admiral famous for his NAVIGATION skills. Interestingly the Teniers painting can be found in Shugborough Hall but has the odd title of Elisah and Elijah fed by Ravens
The symbol for the transcendental number for the ratio of a circle’s circumference to its diameter has not always been ‘π’ (pi) the 17th letter
of the Greek alphabet, this did not occur until 1706 when it simply appeared from nowhere in a book by William Jones called ‘Synopsis palmariorum matheseos’
. In the book Jones uses π for other expressions also so his choosing appears to have been arbitrary. William Jones was a personal tutor to George Parker who was the cousin of Thomas Anson, Fellow of the Royal Society and also George Anson the Earl of Lichfield who was the famous navigator and the husband of Elizabeth Yorke (Lady Anson).Thomas Anson had also been the founding member of the [Dilettanti Society along with the Earl of Sandwich and Francis Dashwood and together they sponsored the study of ancient Greek and Roman art and the creation of new work in the style. Thomas Anson had also visited Versailles whilst building work at Shugborough was going on.
With regard to the Shugborough Monument it is Thomas Wright who is the most significant here. Wright was an astronomer and was born at Byers Green County Durham in 1711, the son of a carpenter. These seemingly humble beginnings culminated in the study of Euclidean mathematics and astronomy and it was he who wrote “An original theory or new hypothesis of the universe”
where he explains that the Milky Way is caused by our edge on view of our galaxy an idea that was taken up by Immanuel Kant. He has been described as the precursor to Sir William Herschel and supported Newton and Halley in the new theory of comets; it was Wright who spawned the word Nebulae
to describe groups of stars. He set up his own school at Sunderland where he taught mathematics and navigation
, he later moved to London to work on a number of projects for wealthy patrons including the Duchess of Kent, to whom he taught geometry and surveying
. He was even invited by the Czaritsa Elizabeth to become Professor of Navigation at the Imperial Acadamy in Petersburg. During this period Wright was instrumental in designing many gardens and country houses but significantly he designed and built the Astronomical observatory tower
known as Wright’s Folly close to his birthplace at Westerton, County Durham. However it is at Shugborough Hall, close to Lichfield, Staffordshire in England and at nearby Hodnet Church that Thomas Wright was particularly active. It can be confidently stated that Wright worked at Shugborough from 1748 – 1749 and was active in laying out the grounds and adding a library and dining room (formally the drawing room) for the soon to be wed George Anson and Elizabeth Yorke.
In 1763 in letters to her brother Philip Yorke, Lady Anson speaks of the Shepherdess monument, some fourteen years after Wright is known to have been there. Wright had been a personal tutor to Philip Yorke’s wife (Lady Anson’s Sister in Law) and the Yorkes lived at Wrest Park in Bedfordshire
where Wright built a Mithraic Altar and Root House (for Mithraic Priests), it is important to state that this altar also carries a cryptic message written in some kind of ancient cuneiform which is translated into Latin on the other side.
Wright was in no doubt that the earth was nothing more than another planet in a giant collection of other stars and planets however he did have theories on the transmigration of the soul which was a theological doctrine that taught that the soul, after death, would inhabit a succession of other worlds, becoming progressively more prefect. Wright is particularly famous for building Follies in the gardens of English stately homes and wrote a book in 1755 describing designs for arbours and grottos which he called “Universal Architecture”.
The shepherdess frieze itself was carved by the Dutch sculpturer Scheemaker but it is likely that he never saw the real painting but modelled his sculpture from a reversed print possibly copied by Lady Anson from Poussin’s Les Bergere d’Arcadie from Chatsworth. However the surrounding arch is generally thought to have been built by Wright.
Wright’s ideas of the universe appear to stem from 18th century ideas of the Druid religion. In one of Wright’s earliest books he wrote in 1734 called “Elements of Existence” he imagined the universe as three great spheres where the middle sphere he calls “The Sphere of Felicity” where life is happy and balanced and in 18th century Druidism there is “The Circle of Felicity” Both ideas are from the 16th century mystic Jacob Boehme who influenced many 18th century philosophers in the philosophical clubs of London in Wright’s day.
The Martinist Movement which was started by Papus which is based on the teachings of the French mystic and philosopher Louis Claude de Saint Martin (1743 – 1803) who took his lead from his mentor Martines de Pasqually. Pasqually had in turn taken his philosophy from Jacob Boehme and Louis Claude Saint-Martin called Boehme his ‘second’ master. In “Elements of Existence” Wright also appears to have been greatly influenced by the mid 17th century Rosicrucian writer Robert Fludd whom Wright directly quotes in a later publication called “Second Thoughts”.
Wright also wrote another strange book and the front cover it says:
THE SHEPHERD’S SONGS TO GUIDE THE WAY,
THE HORN WAS BLOWN,
THE TREASURE LAY
On the back page it says:
“If my readers should at any time remark that I am particularly dull, they may be assured there is a design under it – British"
The Shepherdess monument we know was copied over several weeks by George Anson's wife Elizabeth Anson from a collection of the Duke of Devonshire's collection at Chatsworth House. Elizabeth Yorke, who once had a painting made of herself dressed as a shepherdess. She having spent some time before her marriage in France around Lyon. In Elizabeth Yorke's collection . Her portrait was painted by Vanderbank before her marriage and she is dressed as a shepherdess. Another picture can be seen at Shugborough holding a copy of the Shepherds of Arcadia by Poussin. The Anson’s library contains works from Virgil, Ovid, Sannazaro, Sir Philip Sidney and Spenser, all authors who used Shepherds in Arcadia as a theme in their writings. One literary work which directly alluded to in Lady Anson’s letters is “L’Astree” by Honore D’Urfe. She had five volumes of the 1617 edition of Astree and these are still in the library at Shugborough. L’Astree is the French equivalent of Sidney’s Arcadia but the idealised setting is in France not Greece it is also mixed with Protestant propaganda. In this version the Shepherdess is Astree named after the Goddess of Justice who is called Astrea by Virgil and Ovid. Astrea is the Virgin daughter of Zeus and Themis and is likened to the constellation of Virgo and is the Goddess of Justice because of the close proximity of the scales of Libra, she is depicted on top of the Old Bailey in London, the British Law Court. In the French version of l’Astree the shepherds and Shepherdess live on the banks of the river Lignon just west of Lyon. Interestingly this story features a Druid called Adamas and this appears to be the very first occasion in literature where the Druids are mentioned. The story also includes Meroveus the principle king of the Merovingian dynasty. Madam Helena Blavatsky also identifies Astrea as the constellation of Virgo in her Theosophical Glossary.
Lady Anson’s letters are possibly one of the keys to this mystery. In a letter to Thomas Anson on September 20th 1750 she speaks of the “Gentil Berger”
and she remembers that since she left “les delectables rives de votre belle Lignon” (delectable banks of the beautiful Lignon)
she has never ceased remembering the happy moments among the “ces Vallons Fleuis, ces Collines ombrageuzes, ces Eux claires et andoyantes, et sur tout ces Bergers et Bergeres so courtois et aimable qu’un le trouve”
. (These small flowered valleys, these ombrages hills, these Eux Clairs and Andoyantes and on all these Shepherds and Shepherdesses courteous and pleasant that one finds there), she continues that her heart merits the name of “Mirroir de la Vraie Reconnaissance” (Mirror of the true Reconnaissance)
a feature of Astree. She also alludes to the “Fontaine de la Verite d’Amour (Fountain of true Love)
in the Palace of Isoure in which true lovers could see themselves before the evil fairy put a spell on it. One month prior to her writing this letter in August 1750 Lady Anson wrote to her sister-in-law Jemima Grey informing her that she is copying the Duke of Devonshire’s picture “5, 6, 7 or 8 hours a day” that had been lent to her at her father’s London home at Carshalton, this is the first version of the shepherds of Arcadia that Poussin painted which is still on show at Chatsworth House, the ancestral home of the Duke of Devonshire. Lady Anson died in 1760 and is buried in the Colwych parish church of Saint Michael and All the Angels .
In Virgil’s Golden Age this perfect world was under the rule of Saturn and in his fourth Eclogue he includes the prophecy of the return to this Golden Age, clearly an allusion to astrology. He says:
“Iam redit et virgo redeunt Saturnia regna” –
“Now returns Virgo, and returning Saturn reigns”
Shugborough is built in the neo-classical style and the shepherd’s monument is the gateway declaring the link to Poussin’s ideal Arcadia. A drive at Shugborough on the way to Tixall Hill crosses the river Sow and the bridge carries the inscription that is straight from Ovid’s Golden Age:
HIC VER PERPETUM
Here is perpetual spring.
The decryption says ‘Poussin Teniers Guard the Key’ and as encryption rarely uses superfluous lettering then we are talking of a specific key. This painting does indeed ‘Guard the Key’ The Key of Solomon’s Temple and remember that the name Solomon is made up of three words that mean the sun. Why should Poussin be able to discuss “certain things” with a French priest who was brother to the king’s superintendent of Finance? Well the king of France was about to undertake a large expensive project to fix a meridian line and map the whole region of his influence and he would employ the best astronomer of the time Cassini in order to do this. Additionally Louis XIV (The Sun King) was also involved in a major project to remodel Paris as a Sun Temple involving the Italian architect Bernini.
Poussin did not finish his work in Paris and fled back to Rome, the reason normally given is that other artists, like Simon Vouet became jealous. It was in this period that Poussin also stood in some kind of conflict with the monarch. From 1642 until his death in 1665 Poussin continued to work mainly in historical genre back in Rome and this included the Seasons series (1660-64) which includes the painting for autumn entitled Grapes of the Promised Land showing some Blue grapes the size of Apples being stolen, a passage from Numbers 13:23
featuring a place called The Brook of Eshcol.
Grapes of the Promised Land by Nicolas Poussin. BLUE APPLES being removed from the Brook of Eschol
In the Abbey of Sion, Switzerland.
Numbers 13 speaks of Moses and the twelve tribes of Israel he sent out looking for Sion.
And so incidently does the Lobineau Document
ever entered the French Language before Paul Eluard's poetry? Has it ever referred to grapes or raisins or anything to do with a Fruit or a vegetable, ever
I just want to know because it keeps being shoehorned into rlc by Roscoe for no particular reason and it's an easy enough question.