Secret_History

Afterword 655
said that, in 1538, his wife and children died of the plague. Around the same time,
he had a falling out with Scaliger, and he was accused of heresy by the Inquisition
because of a statement made in earlier years.
Nostradamus’ biographers tell us that he left Agen and “wandered around
Southern France”. It was only in 1546, two years before the consecration of Auch
Cathedral, that Nostradamus settled in the village of Salon de Craux which has
laid claim to his glory for all these many years. To sum up the mystery we find
here, Nostradamus lived in Agen for 13 years, and there are 8 years that no one
knows exactly where he was or what he was doing. It is quite likely that he took
refuge with Marguerite of Navarre who was the patron and protector of such as
Nostradamus. One wonders what influence Nostradamus may have had on the
history depicted in Auch Cathedral?
Scaliger, we should note, is the “author” of the accepted historical chronology
that is coming more and more into question in the present day. It is possible that
the falling out between him and Nostradamus related, in part, to disagreements
regarding how history should be viewed and taught.
In 1550, one year after Marguerite’s death, a tributary poem, Annae,
Margaritae, Ianae, sororum virginum heroidum Anglarum, in mortem Diuae
Margaritae Valesiae, Nauarrorum Reginae, Hecatodistichon, (yes, long title!) was
published in England. It was written by the nieces of Jane Seymour (1505-37),
third wife of King Henry VIII. So, certainly, all these ladies were in contact with
one another, and it is likely that secrets were shared among them.
Thus we see, in the person of Marguerite of Navarre, an individual who is
central to the mystery of Auch Cathedral, whose associations suggest to us that she
was well acquainted with esotericism and possibly even secrets passed down from
the time of the Crusades against the Cathars - and more. Fulcanelli points us to
Rabelais, and Rabelais leads us to Marguerite, and so we arrive at Auch Cathedral
where the great mystery awaits the attentive seeker.
The next photograph is a close-up of the Burial of Christ said to have been
inspired by Margaret of Austria, kinswoman of Marguerite of Navarre, showing
the four women of the eight figures. [See Plate 11.] Notice the headdresses of the
four women. That of the woman in the position of wife is distinctively different
from those of Mary, the mother, and the woman to the right of the “wife”.
Plate 12 is a close-up of the woman standing in the place of honor of the wife of
the deceased, holding the crown of thorns. In Plate 13 you will see a Sibyl from
the windows of Arnaud de Moles holding a palm branch of Hope/Fertility. Note
carefully the spiral insignia over their breasts. Note also the unusual turban of the
wife, identical to the turban of the Sibyl.
Now, let’s take a look at one of the carvings in the Choir of Auch Cathedral that
depicts the Gifts of the Magi to the Infant Christ. [See Plate 14.] Notice, in
particular, the hats of the “Three Kings”. The one at far right still has his on, the
one kneeling has laid his on the ground, and the one in the center of the tableau
has lifted his in such a way that it seems it covered the chalice he holds in his other
hand. Again, we note the similarity of the head coverings: turbans that are
associated today with the Arabs. We wonder what relationship the “wife” of Jesus
had to the “Magi”?