The four painters were commissioned by the Rosicrucian Order to portray four different locations through their paintings, one of which is where the Holy Grail is hidden. If you plot these four locations in a map and connect them all together, you will see that they will form an almost perfect St. Anthony’s cross! Believe me, I kid you not.
While still an unknown child prodigy and under the guidance of François de Nomé (1593-1620) who was probably physically incapacitated at that time, I believe Leyster painted anonymously “A Description of the Fall of Atlantis” under the moniker “Monsu Desiderio” in an unknown date.
Judith Leyster’s painting obviously points to Atlantis, which the Rosicrucians believe is located at the intersection of the Ferro’s Meridian and the Equator. Its coordinates are therefore 0°N, 18° 8' 7" W. (See chapters 3 & 4 of this website).
Guercino (1591 – 1666) was tasked to paint “The Flaying of Marsyas by Apollo” between 1618-1622 while Poussin (1594-1665) was tasked to paint his second version of “The Shepherds of Arcadia” in 1638:
Teniers (1610-1690) was tasked to paint “The Temptation of St. Anthony” in 1647:
Did the four painters, François de Nomé, Guercino, Nicolas Poussin, and David Teniers II, form a special guild of painters among the Rosicrucians, and did each of them serve as Grand Master of this guild one after the other? Did they paint these four masterpieces in order to commemorate their ascension as Grand Masters?
To know the location pointed to by Tenier’s “The Temptation of St. Anthony”, we need to refer to the coded message of one of Berenger’s parchments, namely:
PAX DCLXXXI PAR LE CROIX ET CE CHEVAL DE DIEU
Peace 681. By the cross and this horse of god.
Of the four paintings shown above, only Tenier’s painting contains a cross. For this reason, we know that the coded message above was meant to identify the location pointed to by Tenier’s painting.
A Bulgar tribe, led by Khan Asparuh, moved westward, occupying today’s southern Bessarabia. After a successful war with Byzantium in 680, Asparuh’s khanate conquered Moesia and Dobrudja, and was recognized as an independent state under the subsequent peace treaty signed with the Byzantine Empire in 681. The same year is usually regarded as the year of the establishment of present-day Bulgaria.
Madara is the name of a village east of Shumen in northeastern Bulgaria. There is a plateau in this village where an early medieval large rock relief was carved.
The relief, 23 meters above ground level in an almost vertical 100-metre-high cliff, depicts a majestic horseman believed by some to be a Thracian god of war. The horseman, facing right, is thrusting a spear into a lion lying at his horse's feet. An eagle is flying in front of the horseman and a dog is running after him.
The scene symbolically depicts a military triumph, and the relief is believed by some to be a monument built to commemorate Khan Asparuh’s victory in 680, which resulted to a peace treaty in 681.
David Tenier’s painting “The Temptation of St. Anthony” depicts a cave amidst a rocky mountain background. There is a large cave called the Nymphs’ Cave located at the bottom of the Madara rider relief. Deep inside the cave lies a huge stone of a regular rectangular shape with three crosses engraved on top of it. Look closely at the temporary altar used by St. Anthony in the painting; it’s a huge stone of a regular rectangular shape!
I believe that Tenier’s painting is a depiction of this cave. Further, Tenier’s painting shows a skull and a grail in it. This tells us that the location of this cave was the burial place of a yet unidentified person, and was also used to hide the Holy Grail. The Madara Horseman is located at exactly 43° 18′ N, 27° 9′E.