-B. L. Freeborn, August 2012, updated Sept. 2022
– It is not what is under the bed that is frightening, but what flies overhead.
(This is the conclusion to the series on the Mystery Stone. The compiled article is posted for those who missed a part to the left as a page.)
We have been discussing the images on the Mystery Stone of New Hampshire. The Face, the Top/Bottom Gears, the Tepee/Home, the Circle, the Arrows, Two Spears/Shield and similar Ancient Iraq art have been discussed in previous posts. Now we look at the innocent little spiral.
Two sides of the Mystery Stone, Wikimedia, by New Hampshire Historical Society
That innocent little spiral that stands alone so close to the bottom, is just a twirl. Is it innocent? We have seen it many, many times. It suggests revolution, infinity, turning, a whirlpool… Was it innocent? Or was it deadly? Was it so deadly that it takes a good understanding of engineering to grasp the how of it? What turned? How did it turn? Faster, slower, all around? Could it have turned? Something turned. What was the something? Or does it just mean the danger is all around us at all times, and is present still?
Many pages of discussion on this subject can be found in future posts. The mechanics behind it from an engineering standpoint are explained in the paper: “A Planet Most Miraculous: The Mechanics of Earth’s Rotating Crust.” The what and how much is explained. But it is the ear of corn that tells us what turned and what happened.
So, let us look at that plain old ear of corn.
Corn and Shield side of New Hampshire Mystery Stone, B. Freeborn, Public Domain
- It is an ear of corn, plain and simple. Most importantly it has been shucked. The rows run in vertical lines. The kernels run in orderly squares. Remember that little square purse the fierce spirit held so firmly with his big muscular arm in the Assyrian relief from the prior post? It is the same idea. So here is a quick riddle that repeats and repeats in all this ancient art. What meets at right angles, runs in rows, runs in columns, segments round objects like in pine cones or kernels in corn? And from the image of the tent we can add, what fans out from a central pole?
Would an ear of corn not amply portray the concept of longitude and latitude to an intelligent scientific civilization, supposedly us, in the distant future? Given our knowledge base should we not be able to grasp that they are trying to convey the message that the impact of a comet turned the lines of longitude and latitude? Are they not saying that the planet was shucked like an ear of corn? But this is impossible!!! Not really. I give an explanation of the mechanics from an engineer’s viewpoint in the paper linked at the sidebar.
Top View with Corn, Tent and Dividers, Mystery Stone of New Hampshire, photo B. Freeborn, Pub Dom.
We shall add credence to this interpretation. If you look at the stone from the top down, you see directly opposite to the corn is the tent. One represents longitude. One represents latitude. Between them is the central pole and the image of a gear. Longitude and latitude work together. The dividers are poised alongside to measure the change.
– The fates chose me, the fates chose thee, the fates will choose again…
We have discussed all the images except for the last circle with the funny images within it. We will close by returning to the face.
- This circle with the deer leg or arm thing seems like the artist was trying to draw a shield made out of pinto hide. When the realization dawns as to what it is, opinion changes. This can be interpreted in many ways. Is it an image of an arm raking and creating grooves with flames spouting out of mountains, and volcanoes in the upper part? It can also be seen as submerged land. Perhaps this is an image of what happened after the impact of the comet. The planet was raked. It was exploding, and ripping. It was being destroyed. As the surface was shucked the crust folded in places and chasms gaped wide in other places.
Shield on Mystery Stone
Where -oh- where was man during this assault upon the planet?
There he is in the same image. It changes now. Now we can see it as an arm swimming through debris. We see animals in the water with him. They are drowning as the oceans rolled out of their basins. This is what would happen if the planet is disturbed. This was not a tidal wave here and there. It was all at once. All of it. Water. It sweeps up and out of ocean basins like a tipped bowl. It is a force that cannot be reckoned with or imagined. They are swimming. They are all in the water on a drowning world. The deluge is upon the world. And it rained for forty days and forty nights.
New Hampshire Mystery Stone, B. Freeborn, Public Domain
Now the image of the face reappears. It is a chilling, cold image. It is a man floating and dead in water. A silent face bobs upon the dark black surface. Sightless eyes stare into nothing. Mankind is gone.
There is more to this story. I suggest that you not stop here. Future posts explain much more.
We close with the story of the stone:
We were a contemplative people who lived on a planet 7910 miles in diameter that turned at a fixed rate around a Sun of diameter 864,000 miles.
And this place we called home.
We measured our world and the heavens with rays of longitude. It was perfection.
Our lives were complete until the day the meteorites came.
And then the comets struck.
We saw them coming. Two impacted with the planet, our home. Because of the impact the earth was shucked like an ear of corn.
The surface turned.
The planet was raked and burnt. The ground split asunder. The mountains spewed forth flames. The people and all that lived were engulfed by the oceans. Nothing was spared. The deluge was upon the land.
We swam and swam and watched the animals drown. We swam and swam until we could not hold on.
We all perished. Our homes, our peace, our happiness, our knowledge, all gone.
noahsage 
Many statues and other artifacts from cave burial sites were looted and sold in Oklahoma. Some of these appeared Egyptian. Anyway, I would view these artifacts in awe, and sadly saw them disappear into private collectors’ hands, probably to never be viewed publicly. There were no archaeologists working Oklahoma, and the ones working behind the desks in teaching positions would simply tell and threaten people to leave artifacts alone, and that anything not fitting the models of former civilizations were obviously not what they seemed, or were forgeries. I once tried to share an Ogam-script pendant, along with a site of thousands of ship-building tools. This was a settlement 2,000 years BC. I really do not feel any of this history will be revealed due to either ineptness, inefficiency or by design.
It is being revealed now but it will be not accepted as valid in our lifetimes.
Where can I learn more about what you have described?
It is true what you say in reply, for the sciences are as controlled as the media, politics, medicine, military, etc – if it is meaningful to people, it is surely controlled. If you study the peoples of the times, there are two older types, not necessarily thought to have come close to this region. One burned their deceased on funeral pyres, having made new tools to place with them – these are not who we look to for answers. But the others, the much older, burned with their deceased the actual tools that person owned and used. You will find orange ochre in abundance upon them. What you want to look for are the ground stone tools you cannot explain – for if hafted, surely no man could have used them, for they were much too heavy. However, rest assured they were used, indeed.
I would think a site with thousands of stone tools to be exciting. An extremely heavy tool is often part of a larger assembly and need not be used be a single man. Think of how long a two man saw is.
Yes, at first I thought the random, larger stone tools must be used with tandem workers, or on some sort of lever system; however, I have discounted that on the basis of what I have further learned. I started out as a naïve arrowhead hunter. I have since found many ground stone and slate tools at many sites, but nothing approaching the enormity or systematic assembly-like manner of the original. It’s not only stone tools, but nearby resting sites, as well, for what appears to be royalty; these were not burned. One is of a female, with carefully crafted stones which were fashioned into all manner of pastel colored jewelry. There is no way to confirm, of course, but the closest historical leaning of anything similar would be Leif Erikson’s account, since the wild grapes he mentions were plentiful here, and non-existent in the Great Lakes region.