Vimana 21 - No 13 - special Tapisserie de Beaune - 3eme trim 1983

Magazine Overview

Title: VIMANA
Issue: 21
Publication Date: 3rd Trimester 1983
Publisher: Association Dijonnaise de Recherches Ufologiques et Parapsychologiques (ADRUP)
Price: 10 Francs

This issue of VIMANA, a French-language review of information from the ADRUP, is a special edition dedicated to "The Mystery of the Tapestries of Notre-Dame de Beaune" and a "Close Encounter with Traces" that occurred in 1954.

The Mystery of the Tapestries of Notre-Dame de Beaune

The magazine delves into the historical context and artistic significance of the tapestries housed in the Collégiale Notre-Dame in Beaune, a city renowned for its art and wine.

Historical Context

The tapestries, described as a marvel of artistic heritage, were saved from destruction during the French Revolution of 1789. One panel, depicting the Nativity, was missing and later found by chance, though damaged. The city of Beaune owes much to the Virgin Mary, and the liberation of the city on September 8th, the feast of the Nativity, is noted.

The narrative traces the history back to 1470, when Cardinal Jean Rolin, son of Chancellor Nicolas Rolin (founder of the Hôtel Dieu de Beaune), sought refuge in Beaune. Cardinal Rolin, a man of significant ecclesiastical and legal standing, was known for his generosity. In 1474, he commissioned a series of tapestries depicting the life of the Virgin Mary, based on "The Golden Legend" by Jacques de Varagine. The artist Pierre Spicre was contracted to create the designs (cartoons) for these tapestries.

The Role of Pierre Spicre and Hugues le Coq

The attribution of the tapestries to Pierre Spicre has been a subject of debate. The article discusses the historical evidence, including a contract dated September 13, 1474, between Rolin and Spicre for the cartoons. Pierre Spicre was an active artist in Dijon around 1470 and also worked for the Chapter of the Cathedral of Lausanne. His trace is lost around 1478.

However, the article highlights that Hugues le Coq, an Archdeacon who succeeded Cardinal Rolin, later took over the project. It is suggested that Hugues le Coq's profile replaced Cardinal Rolin's on the tapestries, along with his coat of arms and the famous cardinal's hat. This substitution implies that Hugues le Coq became the primary donor and may have influenced the final design.

The Anomalies in the Tapestries

A central focus of the investigation is the presence of unusual forms within the sky depicted in the tapestries. The article notes that on the second panel (Departure of the Virgin) and the third panel (Visitation), there are shapes resembling clouds or "priest's hats." These forms are described as contrasting strangely with their dark blue color. A third, less distinct form is also identified in the panel depicting the Flight into Egypt.

These anomalies are consistent in shape and dimensions, measuring approximately 10 cm long and 3 cm high. They are consistently located in the sky, near representations of castles or fortified cities. The article quotes historical interpretations, including one suggesting these might be transformed "little hats," symbols of a cardinal's fortune, or even UFOs.

"La Légende Dorée" and the Tapestry Content

The tapestries are based on "The Golden Legend" (La Légende Auréa), a collection of saints' lives written by Jacques de Varagine in the 13th century. The section concerning the Virgin Mary details her aristocratic lineage, her mother Anne's marriages, and the betrothal of Mary to Joseph through a test involving a flowering staff.

The contract with Spicre stipulated "21 stories of Our Lady," but only 17 panels are accounted for. The explanation offered is that Hugues le Coq, possibly facing financial constraints compared to the wealthy Rolin family, may have reduced the number of panels. The article concludes that hypotheses denying the attribution to Pierre Spicre lack value.

Counter-Investigation: Close Encounter with Traces at Poncey sur l'Ognon

This section details a "Rencontre Rapprochée avec trace" (Close Encounter with Traces) that occurred on October 4, 1954. The article is presented as a continuation and conclusion of a previous investigation.

Editorial and Association Information

The editorial section provides information about the ADRUP, a non-profit association operating under the French law of 1901 and a member of the FFU (Fédération Française d'Ufologie). It lists the association's responsible members, including Martine Geoffroy (President), Jean-Claude Calmettes (Vice-President), Patrice Vachon (Treasurer and Enquête), Jocelyne Vachon (Secretary), and Patrick Geoffroy (Para/contactés).

Information on membership fees and subscriptions is provided, with active members paying 100 Francs and supporting members paying 100 Francs or more, while subscriptions are 50 Francs. The secretariat's address and phone number are listed as A.D.R.U.P., 6, rue des Gémeaux, 21220 GEVREY CHAMBERUON, Tel. (80) 34.37.67.

The association states that reproductions of articles require authorization and that the documents inserted are under the responsibility of their authors, not necessarily endorsed by ADRUP.

Recurring Themes and Editorial Stance

The recurring themes in this issue are the intersection of historical art and potential anomalous phenomena (UFOs), historical research methodologies, and the reporting of UFO encounters. The editorial stance appears to be one of serious investigation into unexplained phenomena, both historical and contemporary, within the framework of ufology and parapsychology. The magazine aims to present detailed research and encourage critical analysis while acknowledging the speculative nature of some findings.

This issue of "LES MYSTERIEUSES FORMES" (Mysterious Forms) delves into two primary areas: the interpretation of enigmatic symbols and imagery in historical art, specifically a tapestry from Beaune, and a detailed account of a UFO sighting in Poncey sur l'Ignon, France, in 1954.

Analysis of Historical Art and Symbolism

The article begins by examining a tapestry, presenting three hypotheses for the mysterious forms depicted: a flaw in the artwork, a natural phenomenon (potentially a UFO), or a symbolic representation. The authors lean towards the latter, focusing on the interpretation of a "Cardinal's hat." They discuss the historical context of such imagery, noting that while ufologists have found analogies with UFO phenomena in historical art, many such interpretations are based on misinterpretations of natural events or artistic conventions. For instance, strange cloud formations in a Della Francesca painting are identified as lenticular clouds, and representations of comets in medieval art, like the Bayeux Tapestry, are explained as contemporary interpretations of celestial events.

The discussion then centers on the Beaune tapestry, questioning whether the depicted form is indeed a Cardinal's hat. The article explains the symbolism of a Cardinal's hat, its historical evolution, and compares it to representations from the 15th century. It notes that while the Beaune tapestry features elements resembling a Cardinal's hat, it omits other insignia. The historical context of Cardinal Rolin and his conflicts with the Chapter of Beaune, as well as the political climate under Louis XI, are explored. The authors suggest that the tapestry, possibly created by Pierre Spicre, might contain hidden messages related to these historical events, using ambiguous symbols to convey a narrative without directly provoking the authorities. The article highlights the difficulty in interpreting medieval symbolism with a modern mindset, emphasizing the importance of understanding the era's context.

Further analysis of the tapestry reveals other symbolic elements, such as an "eye in the wall" and a "cross of St. Andrew." These are interpreted not as errors but as deliberate messages. The "eye in the wall" is linked to the Cardinal banni (exiled Cardinal), and the cross of St. Andrew is associated with the spirit of Burgundy. The article posits that the tapestry was created during a dramatic period marked by the decline of Burgundy and the suppression of its ducal symbols by Louis XI. The creators, possibly Spicre, used ambiguous symbols to preserve the memory of figures like Rolin without incurring the wrath of the king. The tapestry is ultimately described as a "book of mysteries."

The Foncey sur l'Ignon UFO Case (October 4, 1954)

The second major section of the magazine issue details a UFO sighting that occurred in Poncey sur l'Ignon, France, on October 4, 1954. The case is presented as significant due to the eyewitness testimony and the subsequent discovery of physical traces on the ground.

The Primary Observation

Mme Fourneret, the main witness, reported seeing a cigar-shaped object in the sky around 8 PM. She described it as orange but not blinding, and it appeared to be moving towards her house, growing larger. Frightened, she closed the shutters. Her father-in-law, who is blind, was also present. Her husband and other men returned later from the fields and discovered unusual traces in a meadow approximately 40 meters north of the Fourneret residence.

Gendarmerie Findings and Initial Skepticism

The gendarmerie documented the traces, which covered an area of 1.5m by 0.5-0.7m. The grass had been "torn up and projected in small plaques" in a circular pattern with an 8m diameter. The plaques were detached from the soil to a depth of 20cm, and some perennial plants remained rooted. The report noted the absence of burning or oil and concluded that the traces suggested more than a simple prank.

Despite the gendarmerie's findings, a local newspaper article from October 7, 1954, suggested the incident might have been a prank, implying that some local youths had intended to trick Mme Fourneret by pretending to have seen a flying saucer. This led to speculation about a possible "canular" (hoax).

Refutation of the Hoax Theory

The article strongly argues against the hoax theory. It points out that Mme Fourneret was relatively new to the village and that the alleged pranksters, Bernard Bouiller (son of Mme Bouiller) and M. Jacky Girardot (son-in-law of Mme Fourneret), would have had difficulty fabricating such elaborate traces in the short timeframe. M. Girardot, a young military man on leave, had indeed intended to play a prank by talking about seeing a saucer, but he and Bernard Bouiller left the local café at 7:55 PM and returned to the amiante factory (15 minutes from the village) by 8:15 PM, making it materially impossible for them to have created the traces before the men returned from the fields.

Furthermore, the article cites the analysis of ufologist M. Jean Tyrode, who investigated the case and provided evidence refuting the possibility of a hoax. Tyrode noted that the traces were peculiar and that for four years after the event, the grass in the affected area did not grow normally.

A Second Observation and Further Investigation

A second, related observation is mentioned: M. François Bouiller, working for the mayor, reported seeing a large cigar-shaped object, similar to an airplane fuselage, around 8:45 PM on the same evening. Other individuals also claimed to have seen luminous objects later that night.

The gendarmerie conducted a formal investigation, resulting in a report (No. 391) titled "Information on the appearance of an unidentified object." The case attracted attention from various authorities, including the air police and state intelligence services. The article concludes by stating that Mme Fourneret confirms that people still inquire about her case annually, underscoring its enduring mystery.

Recurring Themes and Editorial Stance

The issue consistently explores the theme of interpreting the unknown, whether through historical artifacts or contemporary sightings. The editorial stance appears to favor a critical yet open-minded approach, distinguishing between genuine phenomena and misinterpretations or deliberate fabrications. There is a clear emphasis on historical context when analyzing art and a thorough investigation of evidence when examining UFO reports. The magazine seems to advocate for a scientific approach to understanding mysteries, while acknowledging the enduring allure of the unexplained, as exemplified by the "book of mysteries" that is the Beaune tapestry.

This document is an article from the French newspaper "Le Bien Public", dated October 7, 1954, reporting on two mysterious aerial object sightings in Poncey-sur-l'ignon, Cote d'Or. The article, titled "DEUX MYSTÉRIEUX ENGINS APERCUS A PONCEY-SUR-L'IGNON" (Two Mysterious Craft Sighted at Poncey-sur-l'ignon), details witness testimonies and the investigation into these events.

First Sighting: The Orange Cylinder

The article begins by posing the question of whether a flying saucer visited the skies of Poncey-sur-l'ignon, or if it attempted to land in a meadow near the asbestos factory. It highlights that multiple people claim to have seen something, leaving readers to draw their own conclusions.

The first mysterious craft was described by witnesses as an orange cylinder surrounded by a green halo. Mme Gainalt, wife of the former master, recounts her experience on a Saturday evening around 7:40 PM. While bringing in her cows, she noticed the farmyard was brightly lit. Looking up, she saw a vertical cylinder, orange in color, surrounded by a pale green light. She called her husband, her daughter Yvette, and a neighbor, Mme Mugneret, to witness the object as it moved over a small wood about a kilometer away. The sighting lasted about ten minutes, after which the cylinder disappeared silently at high speed in the direction of Chanceaux.

Second Sighting: Strange Traces

A second mysterious object was sighted in Poncey-sur-l'ignon 48 hours after the first. This incident involved strange traces found in a meadow. Mme Fourneret is shown in a photograph pointing out these "mysterious craft traces."

Analysis and Critique

The second part of the article, titled "ANALYSE ET CRITIQUE" (Analysis and Critique), reflects on the case 28 years later. The author notes that the case appears solid due to the traces and the serious investigations conducted, with witnesses who have not retracted their statements. However, some details differ among testimonies, which is attributed to the natural variations in personal recall over time.

Mme Fourneret is quoted saying, "On nous a pris pour des imbéciles" (We were taken for imbeciles), indicating a potential hostility or dismissiveness from some quarters during the investigation. The article suggests that the witnesses gained little from the affair, enduring mockery and unpleasant remarks despite their "ephemeral glory."

The possibility of a hoax is acknowledged as always looming. The author points out that only one witness saw the craft for a few seconds, and when Michel Figuet presented criteria for "bulletproof" cases, only the first observation met the requirements.

The psychological impact of the first observation on the village is considered, but the opportunity to investigate further is deemed too late. The article regrets the incomplete study of the traces. It references Aimé Michel's demonstration of Flantier's theory, questioning whether all the uprooted earth actually fell, a calculation that was not made at the time, leaving many questions unanswered.

The case is noted as being documented in numerous UFO books, with the exception of "La grande peur martienne." The author speculates that perhaps other authors couldn't find a flaw, as the witnesses are consistent and not alcoholics. However, the article cautions against jumping directly to the conclusion that an object landed at Poncey, emphasizing that it's unknown if it actually landed. The author calls for more rigor and less science fiction in interpretations, criticizing exaggerated claims of spacecraft landing and bizarre phenomena like white worms wriggling on the traces.

The dossier is presented as imperfect, acknowledging that UFO investigations are never truly finished and can always be re-examined or completed. The primary goal of this article was to gather as much information and documentation as possible for this particular case, which the authors believe they have achieved in this initial phase.

Bibliography

The document concludes with a bibliography listing original newspaper articles, books, and investigations related to UFOs. This includes articles from "BIEN PUBLIC" in 1954 and 1974, and books by authors such as Jimmy Guieu, Aimé Mihel, Figuet-Ruchon, Garreau-Lavier, Vallée, Dalia, and Gérard Le Maire. It also lists investigations such as "Enquête sur les deux cas de M. Jean Tyrode," "Contre enquête ADRUP 1982," an interview with M. Charles Garreau, and documents from CNES and the gendarmerie.

Recurring Themes and Editorial Stance

The recurring themes in this article are UFO sightings, witness testimonies, the challenges of investigating unexplained phenomena, and the balance between rigorous analysis and speculative interpretation. The editorial stance appears to be one of cautious inquiry, presenting witness accounts and investigative findings while also acknowledging the difficulties, potential for misinterpretation, and the need for factual accuracy over sensationalism. The article aims to document a specific case thoroughly, encouraging critical thinking from the reader.