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wilsondownes · 5 years ago

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The Red Serpent: 5. Reaching the Meridian Line

Rassembler les pierres éparses, oeuvrer de l'équerre et du compas pour les remettre en order régulier, chercher la ligne du méridien en allant de l'Orient à l'Occident, puis regardant du Midi au Nord, enfin en tous sens pour obtenir la solution cherchée, faisant station devant les quatorze pierres marquées d'une croix. Le cercle étant l'anneau et couronne, et lui le diadème de cette REINE du Castel.

To assemble the dispersed stones, work with square and compasses to put them back together again in regular order. Seek the meridian line going from the East to the West, then look from the South to the North, finally in all directions, to obtain the searched-for solution, positioning oneself in front of the fourteen stones marked with a cross. The circle being the ring and crown, it is the diadem of this QUEEN of Le Castel.

The poet is clearly done with pleasantries, like introducing friends and relating long walks. In this stanza, he seriously calls one’s attention to the bigger picture. The fact that one should evidently start looking all over the place for clues, leads one to suspect that the landmarks will eventually reveal some kind of geometrical pattern too — the meaning of which, like those in the texts, is still a mystery in itself.

5.1 With square and compasses

One is now instructed to assemble the ‘sixty-four dispersed stones of the perfect cube’ and put them back together again. Exactly what ‘in regular order’ means is at this stage anyone’s guess. The relevant landmarks in the area, which seem to have been scattered randomly, therefore actually form part of a well-ordered whole — the bigger picture.

To reduce the seeming chaos to order, one is told to use two instruments, namely a square and a pair of compasses. These are the two most basic measuring instruments, which still today figure prominently in Masonic lodges. This is quite logical, as the latter had developed from earlier builders’ orders in which these instruments were paramount. A square is used to draw straight lines and rectangles, and compasses, obviously, to draw circles. These are once again antipoles, with which the poem is interspersed.

A square and compasses are mainly used to draw sketches and diagrams on paper, and in this case, the ‘paper’ is undoubtedly a map of the area. Although the map at the back of Boudet’s book (see Figure 14) only includes the region from the entrance to the Sals Valley south of the town of Serres to the Serrat Plateau south of Rennes-les-Bains, and is also not drawn exactly to scale, it shows certain landmarks that are not indicated on modern maps and that could be significant. For this reason, Boudet’s map should be used as a basic map of the area.

The poet mentions two more landmarks on the route, namely those one apparently has to regard as starting-points in order to uncover the geometrical pattern(s) in the area. The first is a spot where a certain line of longitude and a certain line of latitude cross, and the other a place that seems to be the centre of a circle. Next, one is supposed to ‘look ... in all directions’, which implies that from there, one can systematically start working towards ‘the searched-for solution’.

5.2 The St. Sulpice meridian

The obvious question now is: Exactly which of the multitude of meridians and lines of latitude crossing each other on the map is the poet alluding to?

The only meridian singled out in the document Le serpent rouge is the one indicated by the copper strip on the floor of the St. Sulpice Church in Paris. As was mentioned earlier, the floor plan of this church included in the document clearly shows this meridian, with the letters P and S and the words ‘PRAE-CUM’ next to it. This meridian runs 2°20’05.6”E of the prime meridian at Greenwich. It lies very close to the Parisian meridian — 11.4”W of it — which dates from before when the Greenwich meridian started being used as the international line of reference for coordinate systems.

On Boudet’s map, this specific line of longitude runs close to the eastern border of the area, in other words, east of the immediate area in the Sals Valley where one finds oneself at this point.

The question arising, though, is whether somebody alluding to a meridian that in all probability relates to the hiding place of a treasure, would make it this easy to pinpoint. One tends to believe that the St. Sulpice meridian would rather lead one to the exact meridian — and region — the poet has in mind.

Fig. 14. The map of Edmond Boudet

5.3 The Rose Line

In the document Au pays de la reine blanche, a meridian that might be the line one is looking for is mentioned.

Just to put this document in perspective: It was published under the pseudonym Nicolas Beaucéan, which Franck Marie in Rennes-le-Château, étude critique [40] (‘Rennes-le-Chateau, A Critical Study’) deems to be one of Pierre Plantard’s pseudonyms. The name Beaucéan refers to the Knights Templar’s flag. (The Knights Templar was a Medieval Christian military order that existed from shortly after the first crusade until 1307.) This flag comprised parallel white and black blocks — once again echoeing the white and black theme in the poem. In the documents in the French National Library, the Order of the Knights Templar is also associated with the forerunner of the Prieuré de Sion, the Order of Sion.

As for the meridian: The one referred to in the above-mentioned document is called the ‘Rose Line’, in other words, the ‘red line’, which immediately calls to mind the ‘red serpent’. According to the author of this document, the abbé Courtauly had the following to say about the Rose Line: ‘If the parishes of Peyrolles and Serres are the twin children of Saint Vincent, the parish of Rennes-les-Bains protects the heart of the Roseline.’ The Rose Line therefore runs past (or through) the church of Rennes-les-Bains. The fact that this particular line falls almost exactly in the centre of Boudet’s map, leads one to believe that this could be the line the poet has in mind.

The towns of Peyrolles and Serres mentioned in the quotation, lie to the north of Rennes-les-Bains. One can easily spot these from the lookout point on the hiking path between Roque Nègre and Blanchefort. The writer connects them with the ‘twin children’ of St. Vincent — a saint one has already come across: It is said that he is mentioned in one of the parchments allegedly discovered in Rennes-le-Château.

St. Vincent was a friend of Jean-Jacques Olier, the founder of the St. Sulpice Church, wherein a meridian is indicated across the floor. Just like Olier, St. Vincent is also associated with the leadership of the Compagnie du Saint-Sacrement, which apparently was a front (or another name) for the Prieuré de Sion.

In the above quotation, the churches of Peyrolles and Serres are linked to the Rose Line. A quick glance at the map reveals that they fall on lines of longitude on either side of the Rennes-les-Bains church. Upon closer examination, however, one discovers that these churches lie perfectly symmetrical on either side of the meridian running through the cemetery behind the Rennes-les-Bains church.[41] As the Rose Line dates from the time when these churches were built, one could allow for a minor error of a few metres. The directions in Au pays de la reine blanche therefore correspond exactly to what one finds in reality: The church of Rennes-les-Bains indeed ‘protects’ this line.

On the map, this meridian runs past Lampos in the north — the white rock formations on the slopes of Cardou. Lampos lies straight across from Blanchefort on the other side of the ravine when entering the Sals Valley from the north. South from there, the meridian runs through the Rennes-les-Bains cemetery, further south through the spot where the Sals and Blanque Rivers converge, and still further south, past a fountain called Fontaine de Madeleine (‘Fountain of the Magdalene’.

The fact that this meridian runs through the convergence of the mentioned rivers unveils a beautiful symmetry in the area. This, once again, corresponds to the balancing of the poles in the riddle, which is crucial to finding one’s way.

5.4 Lampos

According to Boudet, the name Lampos comes from the word ‘lamb’. He writes: ‘This last rock separated from Cardou and presenting several points reunited at the base, gave our ancestors the idea of small beings comprising a family ... [They] poetically named these needles Lampos. This word derives from ‘lamb’ or ‘to lamb’, when speaking of the sheep.’ [42] This rock structure does indeed look like white lambs grazing on the slopes. The poet later also connects it with the baptism of Christ, and therefore John’s words: ‘Behold the Lamb of God.’

When looking at the copper strip indicating a meridian in the St. Sulpice Church, one makes the astounding discovery that it is indeed linked to the ‘Lamb of God’. At the one end, the line runs to the gnomon in the northern wing of the church, on which it is vertically produced. Right next to the line on the gnomon there is an inscription — as well as the symbol of the Lamb of God! This inscription also appears in the document Le serpent rouge. Just as the Rose Line runs through Lampos, so the meridian line in St. Sulpice is (literally) connected with the Lamb of God. It is therefore highly likely that this symbol on the gnomon serves as an indication of where the relevant meridian lies — the one that runs through Lampos at Rennes-les-Bains!

This discovery is the first indication that the riddle in the poem and the information in the related documents possibly not only pertain to the convictions of Pierre Plantard and his circle of friends, but could also be based on a geometrical pattern in the Rennes-les-Bains region that had existed long before any of them did! Although it is certainly possible that Pierre Plantard linked the symbol of the Lamb of God on the gnomon to Lampos, the fact that both had existed long before his time implies that others before him had the exact same association in mind. It is therefore not coincidental that the meridian running through Lampos also falls in the middle of Boudet’s map, and that all the landmarks on this map can easily be ordered in respect of this meridian. This proves that Pierre Plantard did indeed have access to certain secrets that at least date from the time of the Compagnie du Saint-Sacrement.

Fig. 15. The inscription on the gnomon

5.5 The Rennes-les-Bains cemetery

To reach the cemetery behind the church of Rennes-les-Bains, one takes the footpath from Blanchefort, and at the fork, the path going down to the tarred road. At the second little bridge, there are steps leading down to the water from the Pontet Fountain that flows from a pipe underneath the bridge. This water is rich in iron and leaves a reddish deposit on the ground. From here, one follows the road into Rennes-les-Bains.

It is quite a rare experience relaxing with a cold drink outside the café fronting the town square, which is shaded by the majestic plane-trees in the centre. The opposite right-hand corner of the square conceals the entrance to the passage-way that leads to the church.

When entering the vestibule, which is separated from the church itself by a door, the first thing that catches the eye is an iron cross decorated with roses, with a Virgin and Child in the centre. Underneath this cross one finds three inscriptions: ‘IN HOC SIGNO VINCES’ (‘BY THIS SIGN YOU WILL CONQUER’), ‘DOMINO VIE RECTORE’ (‘TO THE MASTER WHO SHOWS THE WAY’) and ‘PETRUS DELMAS FECIT’ (‘MADE BY PETRUS DELMAS’), with the date 1856 underneath. One immediately wonders if the abbé Vie, whose name features in the middle inscription, is the one who is supposed to show the way.

As for the third inscription: In 1856, Petrus Delmas apparently published a writing entitled L’Armorial du Languedoc-Roussillon (The armorial bearings of the Languedoc-Roussillon’) in which one or more of the antique Plantard family coats of arms appeared. The existence of such a book can, however, not be verified.

Walking straight through the vestibule, one reaches the cemetery behind the church. Here one finds the grave of the abbé Jean Vie, who died in 1872 at the age of 64. According to his epitaph, he became a priest at 32, which neatly divides his life into two parts of 32 years each, 32 ‘black’ and 32 ‘white’ years — corresponding to the Knights Templar’s flag, as well as the blocks on a chess-board.

The date on his grave, namely the 1st September, is written as ‘1 er 7 embre’, and therefore also implies 17 (in French, 7 is ‘sept’). Together with the French pronunciation of his name, ‘Janvier’ (meaning ‘January’), one therefore has an allusion to the 17th January — the same day Sigebert is said to have been brought to Rhedae. This is also the holy day of the archbishop of St. Sulpice, the patron saint of the church in Paris that had been named after him, who died on the 17th January, 647. Given the connection between this date and St. Sulpice, it is highly likely that this grave relates to the meridian indicated on the floor of the St. Sulpice Church.

Next to the grave of the abbé Vie is that of Boudet’s mother and sister. The white tombstone is bestrewn with black crystals - again the white-black theme. Between their epitaphs is a vertical line with arrowheads at the top and bottom, and one’s first thought is whether this is not perhaps indicative of the Rose Line.

As the Rose Line indeed runs past these graves,[43] there is little doubt that they are connected with it. This would imply that the cemetery not only boasts an important meridian, but also that the priests of the church had been aware of it and left all sorts of clues about it. Another grave to be found here — which later on proves to be of great significance — is that of Paul-Urbain de Fleury, the son of Paul F. Vincent de Fleury and Gabrielle, Marie de Blanchefort’s daughter.

According to Au pays de la reine blanche, the church of Rennes-les-Bains protects the ‘heart’ of the Rose Line. This ‘heart’ in all probability alludes to a point where the Rose Line and a line of latitude cross, which would imply this line of latitude is the other line the poet is referring to. The next landmark implicitly mentioned in the poem is therefore to be found here in the Rennes-les-Bains cemetery.

5.6 Mirror images

One now expects the poet to enter the church of Rennes-les-Bains. He does, after all, mention the 14 ‘stones’ marked with a cross, which undoubtedly refers to the 14 Stations of the Cross. The Stations in the Rennes-les-Bains church, however, do not include any of the peculiarities found in the Rennes-le-Chateau church, which means it is rather the latter that is relevant at this point. One therefore has to position oneself in front of the Stations of the Cross in the church of Rennes-le-Château — which forms part of the ‘all directions’ one is told to look in.

The poet switches very cleverly between the two churches of these towns. Just as one thinks one is supposed to enter the church of Rennes-les-Bains, he actually has the one in Rennes-le-Château in mind. He clearly had no intention whatsoever of making this a walk in the park.

Just as the poet metaphorically refers to the landmarks on the route as stones, so he also calls the Stations of the Cross in the church of Rennes-le-Chateau ‘stones’. There is therefore a parallel to be drawn between the route in the Rennes-les-Bains area and the Stations of the Cross in the Rennes-le-Château church. This emphasises precisely what one discovered earlier, namely that he calls the route a pilgrimage as an allusion to the Way of the Cross as depicted in the Rennes-le-Château church. The route outside the church of Rennes-les-Bains therefore corresponds to the Way of the Cross inside the church of Rennes-le-Château. These two are therefore mirror images, as it were.

One now starts noticing exactly to what extent the poet’s description of the route tallies with the inside of the Rennes-le-Chateau church. As was mentioned earlier, the description of the poet’s friend standing on Blanchefort corresponds in detail to the first Station of the Cross in this church. The high pulpit directly to the right of the first Station could certainly also be indicative of this look-out on top of Blanchefort.

In the description of the route past Roque Nègre he mentions having to chop down vegetation. This tallies with the depiction in the second Station of a boy dressed in brown, gathering pieces of wood. In the following stanza, wherein a flight is mentioned, the Pontet Fountain is the next landmark, as it is the only place in the region that can be directly linked to Sigebert.

Just after the second Station of the Cross is a statue of St. Anthony the Hermit, who, just like the boy in the second Station, is dressed in brown. The question is whether one can link St. Anthony to the Pontet Fountain — or maybe rather to Sigebert.

Astonishingly, there are indeed two things pertaining to St. Anthony that relate to Sigebert. The first is that the holy day of St. Anthony falls on the 17th January — the day (in 681) Sigebert had allegedly been brought to Rhedae. The second is that, while St. Anthony is regarded as the prince of all hermits, Sigebert (as well as his next two descendants, Sigebert V and Bera III) was also referred to as the ‘hermit prince’ as a result of his living in a cave on a hill close to Rhedae. It would therefore seem that the ornamentation between the Stations of the Cross in the church of Rennes-le-Chateau also relate to the route!

In the fifth stanza, one discovers the next landmark on the route to be the heart of the Rose Line in the cemetery behind the church of Rennes-les-Bains. The rose-decorated iron cross in the vestibule of this church could also allude to this heart. In addition, the fourth Station of the Cross is dominated by rose colours: Mary Magdalene is dressed in apricot-coloured clothes with shades of pink in the creases, and Jesus’ mother is wearing a light rosy pink dress.

Next to the fourth Station is a statue of St. Germaine of Pibrac, holding a bunch of roses in her dress. She was a shepherdess of the Languedoc who was raised to sainthood in 1867. Her story corresponds greatly to (and is probably just another version of) that of St. Roseline, whose holy day is also on the 17th January. St. Germaine’s day of remembrance, the 16th June, is also the day on which the French nun Marguerite Marie Alacoque had the vision that led to her worship of the ‘Sacred Heart’. This, too, could be related to the heart of the Rose Line.

Roses, St. Roseline and the Sacred Heart, all related to the Rose Line, can therefore be linked to St. Germaine. The similarities between the landmarks on the route and the ornamentation in the church of Rennes-le-Chateau are therefore unmistakable. This means one can again and again search the Stations of the Cross and the ornamentation for clues — precisely as the poet suggests.

5.7 The circle

After being led to the heart of the Rose Line in the Rennes-les-Bains cemetery, one is now lured to the ‘circle’. This reference is not merely to this shape — it has a bearing on another spot just a short distance from the cemetery, on the outskirts of Rennes-les-Bains, called Le Cercle (‘The Circle’). In view of the fact that compasses are mentioned, it would seem that this place is to be used as the centre of the circle one has to draw. Boudet alleges that this very spot is the centre of the stone circle that is to be found in the area.

To get to Le Cercle, one walks in a southerly direction from the church of Rennes-les-Bains down the main road. Right on the outskirts, a narrow road branches off slantwise to the right. Following this, one turns left just before the last stone building on the left-hand side.

Entering the house’s yard, one immediately sees Le Cercle — an ancient stone circle of about 7 m in diameter. The house to the left was built on top of some of these stones, which are visible at the bottom of the wall to the left of the front door. Some of the other stones are only just visible above the surface.

The poet compares this stone circle to a ring and a crown. This brings to mind the ring of Solomon, which is also associated with a treasure. The crown does, after all, have a royal connotation. According to legend, Solomon appointed the devil Asmodeus as keeper of the cave in which his treasure was hidden. One day, the king lost his seal ring, upon which the devil refused him entrance to the cave. It was only after Solomon had found the ring again that he could drive the devil away.

In accordance with this tale, the devil does indeed also figure in our story — and he has an armchair just a short distance from Le Cercle!

Figuring out how the stone circle could be symbolic of Solomon’s seal ring is the easy part. The ‘seal’ of Solomon, which is also the symbol of the poet’s friend, does, after all, have a circle as base, with all the points of the hexagram on it. One therefore has a circle here that could easily be drawn on a map, with Le Cercle as the centre thereof. This corresponds to the poet’s advice about using a pair of compasses.

What strikes one is that the two geometrical patterns that are implied in this stanza, namely two lines crossing, and a circle, correspond to the two geometrical patterns on the coded texts, namely lines that cross each other, and a hexagram. This could certainly imply that the geometrical patterns on the texts are related to the last two landmarks in the area, namely the heart of the Rose Line and Le Cercle. The latter should, by the looks of it, serve as the base for drawing the seal of Solomon (a hexagram).

Besides the ring and crown, the poet also mentions the diadem of the queen of ‘Le Castel’. The ring, crown, diadem and queen are all indicative of royalty.

This is not the first time one hears about a queen. The poet already in the third stanza refers to the ‘BEAUTY’ and ‘QUEEN’, both in upper case. In the fourth stanza, he follows it up with another reference to the ‘BEAUTY’, and here, in the fifth, with another to the ‘QUEEN’. As in the rest of the poem, everything is in perfect dualistic harmony.

The queen is of ‘Le Castel’, which either refers to a place called Le Castel, or alludes to a castle. It also calls to mind the area where our queen Blanche came from, namely Castille — a name that also has a bearing on a castle. It is furthermore reminiscent of the castle where the ‘sleeping BEAUTY’ lies.

The ‘QUEEN’ and the ‘BEAUTY’ most likely refer to different aspects of the same female figure, and ‘Le Castel’ is where one is headed. It would seem, then, that the poet is drawing more attention to the fact that the ‘solution’ of the bigger picture will only be clear once one has reached this ‘castle’.

Hope maketh not ashamed.

40. Marie, F. 1978. Bagneux: S.R.E.S.

41. The western walls of these churches provide the best reference lines.

42. Boudet, H. 1886. La vraie langue celtique ... Carcassonne. Reissue: 1984. Belisane: Nice, p. 231.

43. The grave of Jean Vie lies on 2°19'11.7"E, which I took as the Rose Line.

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buz-muet · 2 years ago

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L'instruction du Roy, en l'exercice de monter à cheval

PLUVINEL Antoine

Edité par Pierre Rocolet, en la gallerie au Palais, aux Armes de la Ville, Paris, 1627

Né à Crest, dans le Valentinois, Antoine de Pluvinel (1555-1620) est envoyé très jeune en Italie où il travaille sous la direction de Pignatelli. Formé aux arts équestres par ce dernier, il est, à son retour en France, nommé premier écuyer du frère du Roi, le futur Henri III. Maintenu dans ses fonctions sous Henri IV, il est, en 1594, autorisé par son ancien camarade le Chevalier de Sainct-Antoine, à fonder sa propre Académie d'équitation. Adepte d'une nouvelle méthode de dressage (l'assouplissement plutôt que la contrainte), Antoine de Pluvinel cherche à faire travailler au cheval "la cervelle plus que les reins ou les jambes". Une de ses règles: "Il faut être avare des coups et prodigue des caresses afin, comme redirai toujours, d'obliger le cheval à obéir et à manier plutôt pour le plaisir que pour le mal".Antoine de Pluvinel meurt en 1620 sans avoir pu éditer son ?uvre. Une première version paraîtra en 1623 sous le titre "Le Maneige royal" à l'initiative du dessinateur et graveur Crispian de Pas ainsi qu'à J.-D. Peyrol, son ancien valet de chambre. Une deuxième version, de meilleure qualité quant au texte dû à René de Menou Charnizay et écrit sous forme de dialogues entre le jeune Roi Louis XIII (alors adolescent) et son maître d'équitation, paraîtra en 1625 sous le titre définitif "L'Instruction du Roy en l'exercice de monter à cheval" avec les splendides illustrations à double-page dans un encadrement soigné de Crispijn (van) de Passe le jeune (ca1597-1670).

abebooks.fr

#antoine de pluvinel #arts équestres #1627

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margridarnauds · 6 years ago

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laz, fox, ivanova, delenn, lyta

THANKS AVERY.

Lazare de Ga-Peyrol

overall: who? / i hate them / i dislike them / kinda wanna fight them / they’re alright / i like them / i love them / *accidentally drops thousands of pictures of them*

opinion: again, who??? / the purest bean / cinnamon roll / who knows really / sinnamon roll / the problematic fav

otp(s): *Opens up Wip* *The ghost of a dozen Ronan/Lazare WIPs come back to haunt me*

other ship(s): Ronan/Laz/Olympe is still Very Important to me, I ship Charles/Laz in terms of “Things That Happened in Laz’s Past that fucked him up badly so now he can commiserate with Olympe over unrequited crushes on the royals”. Personally, I don’t see that one as anything more than a one-sided crush that Charles took advantage of, but, like, it’s a Thing. (Also, the curtain calls for Toho are…suspect for me, given that the two of them are paired together. Could be nothing, I don’t know, and I’m trying to keep myself from asking anyone who’s seen it because I want to see the Toho with as untouched a mind as possible. I know, I know that’s funny coming from me.)

#noromo ship(s): Laz and Solene spend most of their time together laying back and talking shit about Ronan, with Laz occasionally going to her for advice because I THINK I BROKE HIM WHAT DO I DO which then involves Solene having to reassure him that, no, Ronan’s just Like That.

When I don’t ship Olympe/Laz (which is…..90% of the time,) I highly support them as a BROTP who routinely beard for one another at important events, bullshitting some reason for why they can’t be together while they bond over both ditching the royals for their own respective Mazurier siblings and both being repressed in different ways. Olympe isn’t as emotionally represssed as Lazare, but “Les Mots que l'on ne dit Pas” confirms that she doesn’t say a LOT of what she thinks, and Takarazuka!Olympe is obviously always restraining herself to an absolutely insane degree of politeness, especially in her interactions with Charles. Also, Lazare would at least be aware of other gay men, though I can’t feel it was something Grandpapa de Fuck encouraged, whereas the extent to which women were allowed to know about the possibility of being in a sexual relationship with another woman is...debated. Like, the rumors around Marie Antoinette really were a watershed moment there and Olympe should PROBABLY be aware of that, but...it’s dicey. It’s very dicey

Also, Papa du Puget and Laz had a father/son type of relationship, with Pierre-Francois essentially taking one look at this broken, emotionless wreck of a human being and going “OLYMPE? DID YOU SAY YOU WANTED A BROTHER?” This was sadly cut short in the Zuka version by Laz doing…that, effectively losing two people close to him with one hastily made order.

crack ship(s): Given Laz’s relative lack of screentime, nearly ANYTHING he’s involved with is inherently a crackship. As far as “things I’ve toyed around with but generally refuse to acknowledge”: Lazare/Louis. It would put a new perspective on Laz’s devotion to the royal family and drive to protect them, and parallel even closer to Olympe’s crush on the Queen. It would also make his eventual, inevitable failure to protect the King even worse. I did toy with a one-shot for Herbert from Tanz der Vampire and Laz, where an older Laz would have to fight off the vampire’s amorous advances while on a mission from Napoleon.

fav headcanon(s): I will die on the hill of Sugar Daddy Laz, even if Toho seems dedicated to ruining my hopes and dreams. (”BUT THE COOOOOOOOOOOAAAAAAATTTTSSSSSS” I cry out into the abyss, to which they reply, “Lol, what coats?”) Like, it’s a fantastic excuse for having Ronan and Laz be in regular contact, deepening that relationship while also explaining where the fuck Ronan is sleeping every night. (And gives us Insufferable Neatnik Lazare VS………Ronan)

Also, the idea that Laz never learned Latin or Greek and that, in general, his education was constrained only to military shit, which opens him up to ridicule when he’s around other aristocrats at Versailles or whenever he’s invited to, say, a ball in Paris. (Charles in particular enjoys playing with him, because it’s a means of asserting himself even if he himself doesn’t keep up with most of it, historically having said that he couldn’t read 4 pages without being bored.)

After the Bastille, no matter what, Laz resigns from the army or is yeeted out. Like, I genuinely can’t see any real way where he sees everything he’s seen and done everything he’s done and is still in the army. I think he’d either be a good scapegoat for the violence in the streets (with a HUGE possibility of retaliative violence by the mob, especially in the immediate aftermath), or he would resign himself out of guilt and the realization that the army that he joined and devoted himself to was never going to be the same again.

ALSO. HE IS AUTISMS. I WILL FIGHT FOR THIS ONE.

Fox

overall: who? / i hate them / i dislike them / kinda wanna fight them / they’re alright / i like them / i love them / *accidentally drops thousands of pictures of them*

opinion: again, who??? / the purest bean / cinnamon roll / who knows really / sinnamon roll / the problematic fav

otp(s): Xanatos/Fox/Owen

other ship(s): I could ship Elisa/Fox, especially after “Eye of the Beholder.” I’m not sure where I stand on Hyena/Fox. Like, I think there’s *potential* there, given that OH MY GOD THEY WERE CELLMATES, but it’s not a dynamic I’m particularly interested in.

#noromo ship(s): Fox/Dingo, as the two members of the Pack who were able to break free of that shit.

crack ship(s): ….I don’t think I really have any, at least for her? I’d have to rewatch Gargoyles again (oh, the pain, the pain), but yeah, I don’t think I really have any solid crackships for her.

fav headcanon(s): She, Owen, and Xanatos are a throuple who raise Alex together, with Owen looking after Alex when the other two are away. (I mean, this verges on canon but…)

Also, we know that canonically, Irish Mythology exists in the Gargoyles, and Fox is half Third Race, so, like…there’s some huge magnificent crossover potential there. I have mixed feelings about how she and Bres would get along, but, like…Bres has always had a soft spot for the troublemakers, and they could bond over their shared daddy issues. (Real angsty shit: His son, Ruadan, was a redhead with a penchant for theft and trickery, and seeing Fox might trigger Dad Mode in him.) Catch her and him conspiring to steal back the sword Orna from Bres’ brother Ogma to give to his old friend and ally Tethra as a birthday present. (Though he was less than pleased when Puck tried to troll HIM, Bres and Puck have DEFINITELY conspired at some point to troll the Tuatha dé and might or might not have had a brief fling before Bres met Sreng, I don’t accept constructive criticisms on this one. Puck gives him Hell on occasion for being an absolute sap for a boring Fir Bolg with no sense of humor that he’d met [1] time, Bres is thrilled when he finds out about Xanatos/Fox/Owen because it gives him so much ammunition.)

Titania is less than pleased with the situation, Oberon is amused, and Bres doesn’t give a fuck what either of them thinks because he ran out of fucks in the 18th Century BCE. Like, c’mon, my dude’s buried the body of a freaky Grecian witch, he’s died from being poisoned by a bunch of bogstuff, he’s died multiple times, he doesn’t care WHAT the King and Queen of the Third Race think. And, of course Fox is always going to be best bros with someone who doesn’t care about what her mother thinks, this is the woman who canonically went in a ninja outfit to break into her father’s airship just to tell him she was pregnant after trying to ruin his company. That woman lied to her for years and tried to steal her son, like...No.

The only issue would be that Xanatos and he would probably get into intricate debates on Capitalism VS Socialism at the dinner table, both of them sporting smarmy little smirks as they do so. (Puck is thrilled even if Owen stoically handles the whole situation, exchanging long-suffering looks with Sreng.) Also at some point shortly after the debacle with Orna, Alex ends up with, like, a HUGE Irish wolfhound (not a Gargoyle beast like Bronx and Boudicca, since they’re too closely associated with Cu Chulainn and, by extension, Lugh for Bres’s taste), slightly bigger than a miniature pony with red ears, golden eyes, and a crimson and gold collar of velvet, which Owen has to explain is a gift fairly given and that to refuse it might be to offend him. (Bres’ initial idea was to give a giant pig, a descendant of his prized monstrosity Babgiter before Owen talked him out of it, which his inner Puck greatly resented because having a huge pig running around Xanatos enterprises would be hilarious.) Fox routinely threatens the thing, but somehow it can often be found curled up on the couch next to her or seated next to her during chess games with Xanatos. At some point, it bites Oberon’s leg when he gets a little too pushy in his opinions on childcare, earning Fox’s eternal love and respect (and the best kibble money can buy + unlimited scratchies because he’s a Good Boi.)

Ivanova,

overall: who? / i hate them / i dislike them / kinda wanna fight them / they’re alright / i like them / i love them / *accidentally drops thousands of pictures of them*

opinion: again, who??? / the purest bean / cinnamon roll / who knows really / sinnamon roll / the problematic fav

otp(s): Talia/Ivanova

other ship(s): Delenn/Ivanova.

#noromo ship(s): Sheridan/Ivanova are so good as a brother/sister team

crack ship(s): I seem to vaguely recall shipping her/Kelsey from the one ep. with Jason Ironheart but I’m too scared to go back into our pm logs to find it because I feel like that would be going into a dark, dark abyss. Also, a lot of scrolling.

fav headcanon(s): LET HER AND TALIA LIVE HAPPILY EVER AFTER, DAMMIT. THEY LEFT THE AVENUE OPEN.

Delenn,

overall: who? / i hate them / i dislike them / kinda wanna fight them / they’re alright / i like them / i love them / *accidentally drops thousands of pictures of them*

opinion: again, who??? / the purest bean / cinnamon roll / who knows really / sinnamon roll / the problematic fav

otp(s): Delenn/Sheridan (Fuck you JMS)

other ship(s): Ivanova/Delenn

#noromo ship(s): Lennier/Delenn, unfortunately for Lennier.

crack ship(s): None that I can think of, atm? I know I’ve probably thought of at least ONE with you during one of our Cursed conversations, but none spring to mind.

fav headcanon(s): I didn’t want to say it, but fuck I’m starved for headcanons atm because thinking machine broke. (I blame it on the terrible combo of Bres + Lazare, AKA The Long-Haired Idiots With Daddy Issues And Terrible Coping Mechanisms Club).

That band around her head that is left over from when she was more...Minbari in appearance is hella sensitive. Most of the time, in the little amount of quiet time they get, she’ll lay her head on John’s shoulder and he’ll gently rub his fingers over it as she closes her eyes in meditation, the movement roughly akin rubbing the back of a cat’s neck. During frick fracks, it’s a little bit more...intense.

Lyta

overall: who? / i hate them / i dislike them / kinda wanna fight them / they’re alright / i like them / i love them / *accidentally drops thousands of pictures of them*

opinion: again, who??? / the purest bean / cinnamon roll / who knows really / sinnamon roll / the problematic fav

otp(s): I don’t think I really have any solid Lyta ships yet? On some level, I feel like she’s kind of, unfortunately, flown under my radar? (Which is definitely going to impact the headcanon section as well) I feel like she’s going to be one of those characters where I’m going to have to watch things over a few times. Lyta/Black leather?

other ship(s): Lyta/G’Kar, Lyta/Kosh (I hate that this is the extent of ships I’ve got for the obvious lesbian character, but Lyta is a kinky fuck and I’m going to expose the little vorlonfucker for who she is.)

#noromo ship(s): Zack/Lyta. LET ! LYTA ! HAVE ! A ! FRIEND !

crack ship(s): Lyta/Ezri Dax from DS9. Don’t ask me why, just…trust me on this one.

fav headcanon(s): Honestly, I don’t feel like I know her well enough to have formed anything solid for her. I have a half-baked idea that her current issues as far as feeling kind of used and alone has its roots in first being used by Psi Corps and then by the Vorlons, being in this position where she really couldn’t ask for or receive that recognition even when she was starved for it.

#janetcarter #asks

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vhs-80 · 7 years ago

Photo

Pierre Peyrolle, from JCA Annual 5 (1984)

scan

#80s #80s art #retro art #retro 80s #80s illustration #retro design #JCA Annual 5 #VHS Power Graphics #vhs power scan #vhs power

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johnsellph · 4 years ago

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Tour de France Stage 17 Preview

The Tour de France’s only high altitude stage, today sees the race climb Col de la Loze for the very first time. It’s the strangest of climbs, a cycle path that feels like a roller coaster ride.

Kämna: 13 years ago a 10 year old boy got a racing bike as gift so he could join his father and older brother in their hobby and the family went on holiday to France that year where little Lennard managed to climb Alpe d’Huez. Now he’s winning Tour stages. It might sound sudden but before the Tour win came a junior worlds title, a Euro U23 TT title and more, perhaps too much as he took a break from the sport two years ago. He’s just turned 24 and we’re going to hear a lot more from him in the coming years.

The day’s first breakaway was full of star names but got pulled back. Another move formed and this time it managed to stay away, indeed Jumbo-Visma were in no hurry to chase. Pierre Rolland started collecting mountains points, launching from far out because he feared having to sprint. On the long climb to Saint-Nizier Ineos got to work, first a move from Andrew Amador and then Richard Carapaz who was joined by Sébastian Reichenbach, Julian Alaphilippe and Lennard Kämna. Carapaz kept up the attacks and had the other three grimacing but it left the Ecuadorian tired. Kämna attacked over the top of the climb, got a gap and the former world junior TT and European U23 TT champion got to work and took the stage win Bora-Hansgrohe have been hunting for.

Behind it was status quo among the GC contenders. Pogačar launched a late attack but Jumbo-Visma had him marked. Miguel Angel Lopez tried a counter punch and if he got some daylight it wasn’t enough to get even one second back on his rivals. Egan Bernal was dropped, his loss on the Grand Colombier was neither a jours sans to use the French term, nor what Italians call a “sugar crisis”, instead his back is problematic and he was pedalling like Thibaut Pinot, standing on the pedals and trying to rotate his pelvis as if to help loosen things up.

The Route: more déjà vu with the stage start in Grenoble quickly picking up the route of Stage 3 of the Critérium du Dauphiné and copying it up and over the Col de Madeleine. After 25km there’s the unmarked climb up the side of the valley, 6km at 4% but steeper at the start. A chance for Sagan to pressure Bennett again? Sure but even if Sagan wins the intermediate sprint – he’s yet to win one all tour – he’s still got a big deficit to close. Then it’s a big dash around the valley floor to the foot of the Col de Madeleine.

Again this is the same road as used in the Dauphiné, it’s not the main road but via Montgellafrey and has a steeper start but the defining characteristic is the length, 17km. The descent is similar, it’s long and with more bends on the way down than up. Then comes 15km along the valley, short for a rider sat tight in the bunch towed by Jumbo-Visma, longer for a lone rider up the road.

The Finish: a 21km climb (full details here) and in two parts, the first 14km to the ski resort of Méribel is hard going with plenty of 7-% sections from the start but all on a classic ski station road, it’s wide and engineered. Once above of Méribel everything changes as the race switches onto a cycle path that was created in 2019 and is unlike anything else. The TV cameras never capture the slope but you’ll see it’s narrow. Above all it’s irregular, at first it’s manageable but there’s a bend that turns into the woods and things get feral with a slope keeps changing, 20% for 50m, then flat, 12%, then a 6% breather and so on and it keeps doing this, the average gradient per kilometre tells us little. The path emerges out of the woods with a series of tight hairpins and the road becomes less erratic. The profile above misses the brief descent within the final 2km and then then it kicks up again with an 18% wall before the line. Today’s summit finish has both the usual 10-6-4 time bonuses but also double points for the mountains competition

The Contenders: Jumbo-Visma will be only too happy for a breakaway to go away, the Dutch team don’t want to risk a repeat of the Grand Colombier where Tadej Pogačar took a 10 second time bonus with his stage win. Half the bunch will know this and the question is whether a move can form early enough with the right composition of riders in order to start building a lead because they’ll need several minutes lead for the last climb. Today’s course is for the climbers, think Marc Soler (Movistar), Dani Martinez and Hugh Carthy (EF Pro Cycling), Mikel Nieve and Esteban Chaves (Mitchelton-Scott) and Dan Martin (Israel). All of these are riders suited to the finish but the first names bring guarantees about the form, the latter ones less so.

Pierre Rolland (B&B Hotels-Vital Concept) is going well but the stage win is a big ask, if he can get in the break today the Madeleine is ideal for him to take points for the mountains competition.

Otherwise it’s difficult to look past Tadej Pogačar (UAE Emirates) and Primož Roglič (Jumbo-Visma) but how to pick between them? Pogačar won on the Grand Colombier, Roglič was superior on the Pas de Peyrol. The irregular sections of the Col de la Loze make life tough for Jumbo-Visma to control things but harder, not impossible.

Dani Martinez, Marc Soler Tadej Pogačar, Primož Roglič, Marc Hirschi, Esteban Chaves Carthy, Nieve, D Martin, Sivakov, Bilbao, Lutsenko

Weather: warm and sunny, 26°C but with the outside chance of a thunderstorm, a downpour.

TV: live coverage from the start at 12.15pm CEST to the finish forecast around 5.20pm Euro time. The Madeleine starts around 2.40pm and the final climb around 4.20pm.

Tour de France Stage 17 Preview published first on https://motocrossnationweb.weebly.com/

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