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© tuesday july 3rd 2001

There is a secret of the 2 Ns distinct from that of the reversed N.
- The first text alluding to the 2 Ns (brother N.N) is the first R + C manifesto in 1614, called the "FAMA FRATERNITATIS", which revealed the rediscovery of the tomb of Christian Rosenkreutz by the Rosicrucians in their holy site, and its removal a short distance away, "sheltered from the perversity of men, in the shadow of thy wings Jehovah."
- The second allusion to the 2 Ns is constituted, in our view, by the signatures of the painter SIGNOL, author of four paintings in the Saint Sulpice church in Paris.
The N of the name Signol is upright on the painting representing the crucifixion.
The N of the name Signol is reversed on the painting representing the arrest of Jesus.
This anomaly, described by P. Plantard and cited by J.L. Chaumeil would, in our view, be an allusion to the distinction to be made between the crucified and the Christ who was arrested: two distinct individuals (see Jesus Christ Bar-Aba, Books I and II), the Christ (Jesus Bar-Aba) proclaiming himself the opposite of the one who was crucified in his place.

Hence the crucified would be the "Dead" designated by Julien l’Apostat in +362, while the "Sword" would designate Jesus Barabbas, the true Christ.
These two designations are found in "Mort Epée" ("Dead Sword") made up of abnormal letters, in the key to the reading of the epitaph of Dame Marie de Nègre d’Ables.
In truth, the secret of the 2 Ns is elsewhere...