Ancient Riddles to Test Our Wits: DaVinci’s Last Supper

Leonardo da Vinci's Last Supper

Leonardo da Vinci’s painting of the Last Supper in Santa Maria delle Grazie painted in 1498. Wikimedia, public domain.

© 2017 B. L. Freeborn

Another ancient riddle presents itself in this fabulous and famous painting of the Last Supper by Leonardo da Vinci. It is well known he was involved in secret societies. Is he revealing any secrets in this painting?

Note the following possible symbolism:

  • The figure of Jesus creates a vertical triangle.
  • The empty space to his right creates an inverted triangle.
  • The man to his left is pointing upwards with his right hand.
  • The feminine figure on Jesus’ right has a disembodied left hand slicing across his neck suggesting beheading.
  • All the cups on the table are made of clear glass making them difficult to see.
  • There is a large dish in front of Jesus central to the image.
  • The image is painted and centered over a door.
  • The window behind Jesus has an arch painted over it.
  • The painted ceiling is a grid of 36 squares.
  • The disciples are grouped 3 and 3 on each side. There are 3 windows on the back wall and 3 pillars on each side.

A closer examination of the Last Supper reveals clues to da Vinci’s knowledge of long held secrets.

    Perhaps some meaning can be affixed to this possible symbolism.
    • Are the cups on the table nearly invisible because they are not important to the real story?
    • Is the grid work the man points to on the ceiling supposed to represent longitude and latitude lines?
    • Are the 36 squares supposed to suggest the 360 degrees of a circle?
    • Are the repeating 3’s used to suggest 33? Is this the 33 of Scottish Masonry or is it latitude from the North Pole which is 57 degrees north latitude where Hudson Bay lies?
    • Is the arch above the highest window the Nastapoka Arc of Hudson Bay where it appears a massive comet impacted?
    • Is the dish central to the image and over the door to indicate it is a large round opening?
    • The up and down triangles are seen in the Grave Creek Stone below. The symbolism is also seen in the letter N and in the first Hebrew letter aleph which is essentially an N as well.
    • Is he saying the ‘central mountain’ ‘went in’ to a ‘disc shaped hole’ with a pronounced arc?
    • Does all this imply it was mother Earth itself that was beheaded?

Note the similarities to other ancient art studied in previous posts as shown below.

Copy of stone found at Grave Creek Mound, West Virginia, Ohio River. The middle column depicts the up and down triangles.

Shaman Bear from Newark Mounds, Newark, Ohio. The man holds a decapitated head on his lap.

Assyrian Relief, Detail of Cup, Brooklyn Museum. The dish on the center of the table like the dish in the relief seems to be central to the topic.

Gaitskill Stone Tablet from ancient Ohio showing grid and pole at top.

Baal, a Statute from Ugarit.14th to 12th BC. Louvre, Wikipedia. The man points up with his right hand and his left hand is held low.

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Thence Came Baal

By B.L. Freeborn © 2013

Baal, a Statute from Ugarit.14th to 12th BC. Louvre, Wikipedia,

Baal, a Statute from Ugarit.14th to 12th BC. Louvre, Wikipedia.

Beltane and Baal are they related? It has already been proposed that they are. The scant information on Beltane suggests it involved building bonfires, the union of male and female, fertility, and the maypole. The maypole ceremony involves weaving long ribbons around a large pole held vertically. This idea is usually interpreted in the classic phallic manner. Yet, we might travel further in our understanding of the ancient world if we broaden our minds a bit. Can we not represent the north pole as a vertically held pole? Do not the lines of longitude project out from the pole in the same manner as the ribbons on the maypole? Certainly then, the object of weaving the lines about the pole is to remind us that lines of longitude and latitude are measured from this central point. In “The Deep Mystery” it is related how this concept can be found not only in the Cuneiform records but it can also be found in Native American lore, just as the Noah story appears in both places. It is a relatively easy concept to understand but twice as easy to misunderstand if one has never been taught about longitude and latitude. It was simple then to relegate the maypole to a sanitized sexual symbol.

The word Beltane conjures up the image of a bell. While the word Baal brings to mind a ball which is reinforced by images such as we see in this Baal-Ugarit Statue. Yet these images might converge if we picture that a fiery ball might appear as a bell and indeed, in Old English, a baelfire is a funerary pyre. What possible connection can there be between a maypole and a ball-fire? This is one facet of the story Newark might help answer.

Circle and Octagon of Newark, Ohio Earthworks portrayed as a circle joining with a square.

Circle and Octagon of Newark, Ohio Earthworks portrayed as a circle joining with a square.

The pieces of Beltane we are left with is the concept of male, female and fertility. Since it is a spring festival we might assume these latter parts are all self-explanatory but we can take them another way as well. We look directly at Newark now and see that Baal, Bael, can be described by the circle which leaves the square as its counterpart. So then, in the circle-square we have the union of male and female which is indicated by the circle-octagon with the neck between them. Let us say the circle impacts with the square and causes it to rotate. There are two identical squares within the Octagon which are rotated. Let us say that the union is so abruptly intense that the square breaks outwards. It is shattered and torn. The Old English word for torn is teon which is of course derived from the number ten and our fingers. Our ten fingers are used to tear apart. Hence, ten becomes teon. Now we have a better understanding of the word Beltane. It is Baal-teon which is then correctly illustrated here. Baal has impacted with the square which we may assume is Earth and it is torn apart. The image of Newark explains the effect of the impact is not only a rotation but a shattering. The images further relate a shift occurred which is portrayed to us by the translation of the two images across the plane equidistantly 6 diameters or 1.2 miles which echoes the statement “the earth was created in 6 days.

Circle and Octagon translate 6 OCD across plane to become circle and square. Drawing by B.L. Freeborn.

Circle and Octagon translate 6 OCD across plane to become circle and square.
Drawing by B.L. Freeborn.

Right side of Newark Earthworks taken from Burks drawing.

Right side of Newark Earthworks taken from Burks drawing.

We can then postulate that the three images on the right indicate the condition of Earth after meeting Baal, its new relationship to the Sun, and an oval which we do not understand as of yet. The Great Circle as the Earth indicates the distance it travels in a year, the length of its day, and its velocity via the numbers 580, 1200 x 2, and 66.6. But we need to interpret the steeply formed neck, the bird, and the crescent in relation to the circle. The answer is supplied  by the artifacts which have been found: balls, crescents and meteoric iron. In fact, there is another clue supplied in an article by Romain.1 The Great Serpent Mound is built very near the Serpent Mound Impact Crater in southern Ohio. The .8 mile diameter crater was caused by a meteor impact between (we are told) 256 and 330 million years ago. All things considered it would seem then that the “bird” within the Great Circle is a meteor and the steeply formed neck is its impact site into the Earth. The crescent below the bird then is its crater driven deep into Earth. This suggests more than a passing understanding of the formation of craters such as the one found in southern Ohio.

In “The Deep Mystery” there is a chapter on dating craters and the extreme dates such as we see quoted above are examined and come up a wee bit long to say the least. It is demonstrated that it is possible that this crater and many others are relatively recent and from the time period of Cygnus as indicated by the cross formation imbedded in the Newark layout.

Moving to the second of the earthworks on the right side we have a square. This exhibits measurements present in Earth’s orbit. The square as a symbol of measurement is found identically in Olmec art and Assyrian art.2 It is presented in Egyptian art and identically in Sumerian art. The square is the foundation of measurement. We can see this for ourselves on any map that shows longitude and latitude. The lines form squares.

This leaves us once again at the Oval where we remain perplexed for just a wee longer.

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References/Footnotes:

  1. Romain, William F., Ph.D., LiDAR Views of the Serpent Mound Impact Crater, “Ohio Archaeological Council,” January 2012.  See: http://www.ohioarchaeology.org/joomla/index.php?option=com_content&task=view&id=361&Itemid=32
  2. Freeborn, B.L., “The Odd Little Purse in Olmec and Assyrian Art.”  See: https://noahsage.com/2013/02/17/the-odd-little-purse-in-olmec-and-assyrian-art/
  3. Freeborn, B.L., “The Deep Mystery: The Day the Pole Moved,” Tiw & Elddir, 2013.
  4. Baal Image: Wikipedia, Jastrow, PD.  http://en.wikipedia.org/wiki/File:Baal_Ugarit_Louvre_AO17330.jpg

A Little Mystery Hidden in the Hebrew Alphabet

– B. L Freeborn, Oct. 2012   (last updated 6/2017)

There is a similarity between the Hebrew Alphabet and the Sator-Rotas. A few minutes of time spent looking at the alphabet may help us with the long worn out mystery of the Sator-Rotas.

In 1933, J.P. Frey suggested that Latin speaking Jews were the likely source of the Sator-Rotas Square because of their love of puzzles and because there were Jewish settlements in the area of Pompeii, the location of the oldest known encryption. Duncan Fishwick, MA, University of St. Michael, Toronto discussed this and other ideas in his 1959 article about the Square.

The Sator Rotas has perplexed many noble minds. The more time that passes the more answers are proposed. I am not proposing an answer just yet. That can wait a few more posts. I am only building on Frey’s observation noted above. Duncan’s complete article is available here.

Sator-Rotas from Oppede, Luberon, France. Photo by M. Disdero, Wikipedia.

The Sator-Rotas dates back to 79 AD Pompeii. We look at the Square and note that around a central N is two circles of letters in a square fashion. The inner ring of letters is EPEREPER. The exterior circle creates the name of the puzzle: Sator-Rotas or Rotas-Sator. Now observe the similarity of this puzzle to the Hebrew Alphabet.

Recall that the English Alphabet is composed of 52 symbols for 26 sounds. There are two symbols for each sound which are a capital letter and a small letter. Similarly, the Hebrew Alphabet is composed of 27 symbols for 22 sounds. Only five sounds have two symbols but they are not “capitals.” They are used when the sound falls at the end of a word. So we might group this alphabet into two parts. Those with “end caps” and those without.  (Note: fonts will not co-operate. Bet and Zayin have vowel points.)

! w # $ % & } ( ) * – 2 3 8 9 : ;   and the five pairs:   , + . / 1 0 5 4  7 6.

This all looks like Greek to anyone who does not understand the alphabet. So, I will help. The first seventeen, 17, letters do not have ‘caps.’ The last ten, 10, letters are the pairs for the sounds which equate to k, m, n, p and ts in English.

The first letter that looks like an ‘N’ is the letter ‘Alef’ and represents the ‘ae’ sound. Because of its similarity to ‘N’ and its central place in the Sator puzzle we will pull it out and make it the center once again. Now we have our central letter “N” or  !, the inner circle composed of the 10 letters that have endcaps and the outer ring composed of the 16 other letters.

Similarity between Hebrew Alphabet and Sator-Rotas

If the alphabet is also a puzzle then we are left with a clue by understanding that each letter represents a number as well as a sound. The letter  equals one. The letter  w equals 2, and so forth. The sum of all 27 letters in this alphabet is 1775. This letter for a number is what is called the gematria values. From here the puzzle unravels in numbers. I apologize for the excessive numbers but cannot avoid it.

So we take note of the following:

The total sum of the alphabet is 1775 and that is two times 887.5 and 1/4 of 7100.  Twice 1775 is 3550. Which is all significant but not important here.

It is very important that 1775 = pi x 565. It is also important that 1/1775 = .000563.

The central number of the alphabet is 1 and sums to 1.

The outside sixteen, 16, letter group of the alphabet sums to 1214. Which is 4 times 303.5 and 12 + 14 = 36. This is also important but not significant here. However, it is important that the exterior ring on the Sator Square is also made of 16 letters.

It is of ultimate importance that the ten duplicating letters (, + . / 1 0 5 4 , + 7 6) sum to 560.  This is nearly the same as 565 we just saw.

So, we have an image created by 1 in the center, then 560 and then 1214.    1560 + 1214 = 2774  another significant number.

Compare then this next similarity to the Sator puzzle. If “one” is considered to be the center then the  EPEREPER inner ring, when converted to numbers using the Hebrew equivalents, becomes:

E = !  = 1

R =  9  = 200

P =  = 80

This gives us the string of numbers: 1, 80, 1, 200, 1, 80, 1, 200 which sums to 564

and plus the central  ! or 1 equals 565.

The 560 and 565 of the alphabet reappears in this puzzle as the 564 or 565 of the center of the puzzle.

All those who speak Hebrew will recognize this pattern, 565, from the letters which spell Yahweh or 5,6,5,10.

The meaning of the numbers 16, 17, 36, 303.5, 335, 560, 565, 887, 1710, 1775, 2485, 2774, 7100, and 3150625 is neither abstract or ephemeral. They and other mysteries are revealed in depth in “The Deep Mystery.”  They are too lengthy a topic for a post no matter how interesting or revealing they are.

Interest piqued? Note this other little mathematical fact about the alphabet. That 1 and 560 we have seen before. They appeared as 10560 and as 1056 which we had obtained while discussing the meaning of Noah’s age of 950.

In what year was Noah born? 1056    (Biblical counting that is. Not real years.)

And what is more interesting 10560 is 2 x 5280.  Which is easily recognized!  No? How many feet are in a mile?

We are led on a further quest…..Who designated the feet in a mile? Who designed the alphabet? What is the meaning of 56?

I let this whole matter rest for consideration before the Sator Rotas is examined further.

Thanks for reading. Feel free to leave a question or a comment.

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Mystery Stone of New Hampshire

Compilation of all postings on Mystery Stone – – B.L. Freeborn, August 2012

-Thus it came to pass that the day the planet was to die was upon them, and there was no escape.

Mystery Stone of New Hampshire, photo B. Freeborn, Public Domain

We have been trained to think within the box’s four sided, top and bottom constraints. About the time I went to school, there were whisperings that a guy named Leif may have come to America before Columbus. But it was still gospel that in 1492 the Old World discovered the New World and its people. We are still taught the New World’s people came to this continent via a long vanished land bridge in Alaska. And so, tests were designed, grades were determined, and to pass school, we were indoctrinated into these beliefs.

Perhaps you have heard that in Keuka, New York there were remains of an ancient settlement? Those remains have been erased and are sadly gone now forever.

Large fallen phallic stone found in central Vermont. Photo Joseph D. Germano.
Credits

There are over 800 known ancient sites existing in the New England area of which -nothing- is ever said. There are an assortment of dolmens, menhirs, henges, and stone chambers all of which are strikingly similar to those found in the UK and Europe. In fact, some of these stones have writing on them in the Gaelic alphabet, Ogham, as shown above. (Stone has fallen over.) Just a few miles from Boston is a 30 acre site. I have driven past another site for years and was totally unaware of its existence. If you dig deep enough in the literature and the internet (no need for a real shovel) you can find information on some of these sites. Few, if any, are protected except by diligent landowners. The possibility that they will vanish forever like the Keuka site is very real. Our very ancient world history is in jeopardy.

These sites are in addition to the massive array of ground works reportedly built by the Hopewell and Adena Indians that span the better part of North America. (By the way, the name Hopewell sounds English because it is the last name of a property owner upon which a group of mounds sat. The name Adena has a similar beginning.) We are taught today that they were ignorant natives that scooped up dirt in baskets and dropped it in places to build random piles. We are told they are of relatively recent origin (800 to 1000 AD) and probably built for burial purposes.

Miamisburg Mound, Ohio, photo B. Freeborn, 2012, Public Domain.

View from Miamisburg Mound to southeast, photo B. Freeborn.

Miamisburg Mound, Ohio is shown in the picture as it appears today in 2012. The view is spectacular from the top. From this vantage point there is unlimited visibility and directed light can be seen for miles upon miles. The view shown here is towards the southeast looking in the direction of the Great Serpent Mound which is now an Ohio State park.

Ashurbanipal as High Priest, Wikimedia, Pub Dom.

Perhaps this is one of the simple basket carrying people that helped to build the mounds in North America? Perhaps King Ashurbanipal (668 BC-626 BC) helped to build them. Here he carries a basket of soil to contribute to the rebuilding of a temple in Ancient Iraq.

I am giving you this background and posing these questions so that as we discuss the New Hampshire Mystery Stone you will understand this stone did not just appear from nowhere. It simply cannot be a hoax. It may have been stolen from the artist and hidden, but nothing this beautiful gets tossed carelessly away. It is more likely that it was a water burial of a great noble person which allowed the stone to end up in Lake Winnipesaukee, New Hampshire and eventually buried near its shore. And when do I think this person was buried? The information on the stone is too old and too forgotten by us, and even the Native Peoples, to be of recent origin.

The message of this stone is not “a lone voice in the wilderness crying out.” This stone is a beautifully rendered version of  a message that has echoed across the ages. It is an incredibly important message that is about to reverberate clearly again.

Once you understand the message it becomes understandable why our ancestors built these monuments, and so very, very unclear as to how we managed to forget so dreadfully much.

To continue to stay within the box is to cheat ourselves. Just because our education does not allow for any of these possibilities, does not mean they are not true. One must step out of the box just long enough to hear the message of the Mystery Stone. There is plenty of time to jump back in to its small confines afterwards.

So we begin our study of this silent little stone……

This small artifact is on display in the New Hampshire Historical Society in Concord. Found in 1872 near Lake Winnipesaukee, its origin remains unclear. Its meaning alludes traditional translation. The only explanation for its symbols and purpose that I have found is that it represented a treaty between two tribes. The first time I saw it, this explanation was satisfactory. Sometime ago I had another look at it and I had the same impression. It was the ear of corn and the indiscernible shapes in the circle beneath it that kept making me think this must be a relatively recent tribal object. I now think this is incredibly old and an object once owned by a High Priest, King, or Queen of great importance. It was that same simple ear of corn that finally made me exclaim in awe as it yielded up the stone’s secret.

Tent side of New Hampshire Mystery Stone, photo B. Freeborn, Public Domain.

Tent side of New Hampshire Mystery Stone, photo B. Freeborn, Public Domain.

A study of this artifact proves it to be a truly magnificent and complicated work of art. It contains information privy to only a few persons in the Old World. This small harmless looking stone is of a noble nature and its message is vastly important. I call it a Lamentation Stone.

It is a mere 4 inches in height and has a diameter of only 2 ½ inches. Onto this small surface ten images are carefully carved. The stone is made of quartzite or mylonite. The surface is smooth and polished. If it was a naturally occurring stone that was utilized by the artist, then he was fortunate in his find and with his skill. The art is flawless except for a chip near the forehead of more recent appearance. The work is intricate and detailed. The proportions are perfect for the message, so if the artist had faltered he would have had to find another stone of equal ellipsoid perfection. This suggests the stone was turned and then polished to the desired proportions.

The fact that it was probably turned leads most experts to quickly conclude it is of 19th century origin. This would be thinking only within the known context of our accepted knowledge of history. Consider that we cannot explain the construction methods of some of the oldest sites to be found in the world. The debate as to how the Great Pyramids were built still rages. The explanation as to how stones can be cut and fit as perfectly as they are at Machu-Picchu alludes us. Into this class falls this perfectly cut stone. We have two options open. It is either 19th century or extremely, extremely old.

The idea that it is 19th century is problematic to start. This was first machined before it was decorated. The symbolism is of tents, corn and arrows. Hence, we quickly conclude it was not colonial in nature but tribal. How many tribes had lathes or turning equipment? So then we conclude it is early American art of a unique nature. But that does not seem either satisfactory or logical. If the symbolism could be understood, then we might understand its origin.

On the front panel a large face is cut. On its left side are 2 small symbols, on its rear are 3 and on its right are 2. This comprises 7 small images. On its top is a circle with 8 triangles and a 1/8 th inch bore hole. On the bottom is a circle with 8 triangles tacked on. There is a 3/8 inch bore hole in the bottom. This then creates 10 images upon the stone. Its circumference calculates to 7.9 inches. The layout appears in the sketch.

Layout of images on New Hampshire Mystery Stone, B. Freeborn, Public Domain.

We shall look at each image individually. Before we begin, we look at it overall and see this array of images creates the following number sequence. The face = 1, then 2 images, then 3 images, then 2 images, and then the face = 1.  Or 1, 2, 3, 2, 1

12321

The square root of 12321 is?

111   exactly.

And 111 can be said to represent God.

Consider that there are 7 images in the back grouping which reaffirms the special number 7. Add to this the two images on top/bottom and obtain 9. And then the face makes ten or we have these numbers in series 7, 9, 10 or  7910. The circumference of the object is 7.9 inches. We know this number today as the diameter of the Earth at 7920 miles. This object is an oblate sphere. The Earth is an oblate sphere. This object has circular areas on the top and the bottom just as Earth has circular areas on the top and bottom called the polar ice caps.

The array of seven scenes if read as rows becomes a series of numbers: 3, 3, 1 or we might say 33.1. This number represents an important concept I cannot explain in a posting. I refer you to my book “The Deep Mystery” available at Barnes and Noble. This number represents an extremely significant idea portrayed repeatedly in the Ancient World.

It is easy to imagine the person depicted lived in a cold climate since it appears he is wearing a hood. This is emphasized by two small etched lines as if there are shoulders shown below the face. So the place from which this came was likely cold. The face is serene and silent, almost sad. It is beautiful and perfect in its proportions. Is this not a statement that says, “We were a beautiful and contemplative people” ?

Lines showing shoulders on Mystery Stone, photo B. Freeborn, Public Domain.

Lines showing shoulders on Mystery Stone, photo B. Freeborn, Public Domain.

The images on the top and bottom are circles with 8 triangles each. They appear as shown in the cropped images. 8 is an interesting number. It can be said to be 2³ and this always make me think of infinity: doubling, doubling, doubling in all directions. When the 8 triangles from the top and bottom are added together it sums to 16. The Earth moves at the rate of 66,624 miles per hour and so in any given day it moves nearly 1600,000 miles around the sun. The world tirelessly turns and turns rotating the heavens around us. It turns like two enmeshed gears. If the two images are put together a gear assembly is created.

Top and Bottom images create a gear, Mystery Stone of New Hampshire.

Recall the group of seven images plus the two on top/bottom create the number 79. They can just as easily be arranged as 7 + 2 to create the number 72. The rate at which the pole star precession occurs is one degree per 72 years.

The overall length of the stone is 4 inches and its width is 2 ½ inches. 4 / 2.5 = 1.6. Here appears the 16 again. The distance Earth moves in a day is 1600,000 miles.

And continuing the idea that the oblate sphere represents the Earth, is there not a large white polar ice cap at each pole? A line through the pole points to the pole star. This stone had a hole in its top and bottom so that a thin staff/pole can be inserted in the bottom and another thin pole can be inserted out of the top. This creates a planet with two ice caps, a pole, and a reminder of the rate of precession of the pole star.

Summing up so far, our stone tells us we have a contemplative people who lived on a planet 7910 miles in diameter that turned at a fixed rate.

Cogwheel by Pearson Scott Foresman, Wikimedia, Public Domain.

So far so good.

I suggest the grouping of seven images on the back and sides of the stone should be read top to bottom, left to right. So we begin with the first image on the left of the face which is the Tepee or tent. Upon visiting the museum and seeing the Mystery Stone, we were told by the staff that it probably came from out west because the Plain’s Indians lived in tepees of the style depicted. This is difficult to argue except that does not preclude other people at other times living in the same style of structures. In fact, the style of tent is not exactly all that unique. It appears in Egypt both historically and presently. It is a style that gives an economy of form and materials. To limit it to one single group of people in a particular time period is excessively restrictive. In fact, the Cherokee tribe is originally from the St. Lawrence and South Carolina areas which means it is not solely a style found in the plains but just as common as the idea of a house with four walls.

We let the argument linger as to when and where, and continue on with the study.

We shall call the image a home because that is more meaningful. Home is where we all live. This home has three panels shown so we might assume it is made of six panels. 6 reminds us of the number of minutes that create an hour and seconds in an hour. From the top projects four stakes. We could say they represent the four corners of the world, or 4 x 6 equals 24 hours in a day. Between the three panels lies 2 distinct lines. So, we have a series of numbers again: 4 3 2 shown by one half of the home. We might take a leap and say two halves would give us 864 and 864000 is the diameter of the Sun and exactly the number of seconds in a day is 86400.

We might also say this home represents the measurement of the world from the pole. If a line fixed at the pole sweeps out we obtain lines of longitude, just as portrayed by the tent. The tent measures 90 degrees. Each panel measures 30 degrees. Thirty degrees is what is called a double hour in longitude. We call every 15 degrees a different time zone.

Now we look for the symbolism in the circle. At first I had attached negative connotations to it such as hole or abyss but then I considered its position beneath the tent. Looking only at the positive we find it can mean: wholeness, completeness, and perfection of form. The Moon is a perfect globe as is the Sun. The Earth is perfection. The planets move in circular orbits. In fact, they move in orbits similar to the ellipsoid form of the stone. Perhaps it then means life was perfect. Life was harmonious.

So, I add to the translation thus far: “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 with rays of longitude. It was perfection. Our lives were complete.”

Still, so far so good.

– The eye cannot see what the mind cannot conceive.

Mystery Stone, photo by New Hampshire Historical Society

The image of crossed arrows that is almost a tepee appears in the center back. I like the phrase: the eye cannot see what the mind cannot conceive. That explains why we cannot understand what appears in this image. If it is arrows, they are arrows that have bounced because only two of them have heads.

I suggest they are two images in one. They are first a set of dividers which are used to measure on maps, to inscribe circles and to measure the heavens. They represent the measurement of the Earth and Heavens. As a set of dividers, one must ask at what angle are they positioned? What angle did they want to preserve for posterity? It seems that they record an angle of 56 degrees at the main top and bottom intersection. The smaller angles (very difficult to measure from photos) at the bottom appear to be 35 left and 30 degrees on the right. The sum of 30 + 56 = 86 which reiterates the diameter of the sun at 86400 miles. The sum of 35 + 56 = 91 and 91 represents the Earth’s closest approach to the Sun at 91.4 million miles. The number 56 can be found four times in this small image by considering all the angles displayed. It is an intriguing number that is explained in detail in “The Deep Mystery.”

56 – We discussed this number previously in the post about the 56 Aubrey Post Holes (June 2012) which have been found at Stonehenge in England. It is mysteriously always present yet not a word is ever said about it. It appears in the spelling of Yahweh. It appears and reappears, secretly, over and over.

Before we leave the pattern formed by the crossing lines, notice that there are two large triangles created. This is another version of an often seen symbol. You have seen it most of your life in two forms. The symbolism appears as the Vesica Pisces which is created by the intersection of two circles. In this case the Vesica is split in two halves. The offsetting of the circles is shown by the two identical triangles. Placing a circle in a vesica creates the all seeing eye on a dollar bill, and the basic form was borrowed by the Christians to represent Christ in the symbol of the fish. The original meaning behind these symbols is of great importance and once again I must refer you to my book.

The second idea recorded here is very, very difficult for us to understand. I discuss this in my book at length with many good references, so I shall not go into the complete background here. Just rest assured I am not just pulling this out of my hat. This image represents meteorites, or hard rain, as the ancients put it. A rain of pelting meteorites came. Sometimes ancient texts describe it as arrows falling. Arrows from heaven came.

So far so good for the translation but the story has taken an odd turn.

So our translation thus far reads: “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.”

The next image is of the crescent moon and the crossed spears. This is the image that has always made it very convincing this stone is about a treaty between two tribes. However logical that is, let us set it aside for the time being and reinterpret this image. Notice its position. It is centered within the seven images upon the back. It is the turning point of the story. Previously, we had “a rain of arrows” now we have something that looks like a truce. Could this indicate not only the turning point of the story but the final turning point for mankind?

My interpretation is not something I am just pulling out of the air. Not at all. People have been slowly coming to this realization these last few decades. Something big and bad happened to our planet. We cannot figure out where, or when, or exactly what. Here we have it spelled out for us and we still cannot see it. I discuss at length in my book “One” how I arrived at this conclusion and discuss this very same message from other sources in great detail. I can only say we are not giving the subject justice in these brief paragraphs.

In looking at this image we see it is formed by two lines that cross at 90 degrees. If we add the two dots to this we can obtain 90 + 2 = 92. And to what does the 92 refer? It is roughly the distance from the Earth to the Sun in millions of miles. One Astronomical Unit is 92.95 million miles and the closest approach of the planet to the Sun is considered to be 91.4 million miles.

It can also represent a time period. And how can one represent time with a cross? We have been doing it for a couple thousand years. The day Christ died is indicated by a cross. The date to which this image refers is also represented by a cross. The constellation Cygnus, known as the Northern Cross, was the location of the pole star 14,000 to 16,000 years ago. By referencing the cross, Cygnus, the time of the event is remembered.

Now to understand exactly what happened we need to study the image again. To read this symbol properly it should probably be inverted. Then one can see the shield is a crater. This is the impact of not one, but two comets. The two dots are also significant. There are numerous ancient drawings that display this two dot pattern just as the Great Serpent Mound in Ohio does. This is a record passed down to us from eyewitnesses. This is a record of two comets which impacted and formed a crater. There are numerous comet craters that exist. The Pingualuit Crater in northern Canada is nearly perfect. Was this one of them? The Barringer Crater in Arizona is nearly perfect. Are these the two comet impacts or?  Or! Or! Or were they just impacts of what they called “hard rain”? Did the craters they are referring to here dwarf these perfect craters? Were there people who survived these impacts? There are many other crater possibilities. In my book I discuss which craters were formed according to ancient records. There are specific craters to which this symbol refers. I discuss the age of these craters and others according to geologists. This, too, is a lengthy and interesting topic.

So, now the story is speaking of a vastly great tragedy. Next we pause to look at another ancient source which repeats and confirms the idea put forth above……

This image is a relief from Assyria (Calah in present day Iraq) of the Winged Genius. It is currently in the Walters Art Museum.

Assyrian Relief with Winged Genius, Walters Art Museum, Wikimedia

Assyrian Relief with Winged Genius, Walters Art Museum, Wikimedia

Notice the cone shaped object in this Spirit’s right hand. The description file reads:  The “benevolent spirit uses a cone-shaped object to sprinkle from his bucket some magic potion upon either a sacred tree or the king depicted on the adjacent relief.”  If I might re-translate what this not-so-benevolent spirit is doing. He is sprinkling meteorites on the adjacent King and he has the ultimate weapon poised in the air – a comet. It is the cone shaped, egg shaped object that looks a whole lot like the New Hampshire Mystery Stone. He, as a giant, god, or Nephylim, is the force that guides the object. The other details in the relief are explained in “The Deep Mystery” as symbolism in other works of art is deciphered. This relief is dated to 883 to 859 BC.

Detail of Cup depicted in Ashur-nasir-pal II Relief from Brooklyn Museum, photo by Wally Gobetz.

There are other versions of this relief. In another, also from Iraq, is a nearly identical representation of the spirit except the man is portrayed as a bird. There are adjoining images which display a man carefully holding a flat cup which is a symbolic depiction of the crater. The detail images of the cone show it is similar in appearance to a pine cone or made of small pieces which is an accurate representation of many comets. We know now that comets are often made of large masses of ice crystals and rock adhered together. From other ancient sources we can determine that a comet came to Earth that broke into pieces. This idea is confirmed in this art. Two pieces struck the planet as shown here in this section of the Asshur or Ashur-nasir-pal II reliefs in the Brooklyn Museum. Between them lies what is called the tree of life but we might correctly call it the polar axis. In our small New Hampshire stone we have the same egg shape and a hole in the top of the stone for an axis. So, we have two comets approaching the polar axis.

Two comets depicted in Ashur-nasir-pal II Relief from Brooklyn Museum, photo by Wally Gobetz.

These comets came to choose who lived and died. The Cross (in the spear/shield image) not only indicates when, it tells us where. X marks the spot. Earth is always indicated in astrology as a circle with an x in it. Life survived, despite all odds. Life, after numerous hardships that we can not imagine surviving, found a way. All the beauty of this planet nearly perished in one fateful tragedy not so long ago. All of the advanced civilizations of the past were wiped out in one, just one, fateful day.

The comet came a mere 14,000 years ago when the pole star was in Cygnus. This time is clearly indicated in the spear/shield. This happened in the age of Virgo, the Virgin. In fact, our present day religious symbolism assures us that we have never quite forgotten when it happened. We have never forgotten the nearly complete annihilation of our species.

The fear that drives the Christians to accept Christ is a deep seated, long forgotten memory of this tragedy. The fear that drove the Aztecs and Phoenicians to sacrifice their own children was the fear of a repeat of this horrific event. It is a fear that has never left us because the reality is – the danger is ever present.

The Giants, we like to call Nephylim, are the massive forces of nature such as celestial dynamics, magnetism, tidal waves and acceleration. An absence of vocabulary and mis-understanding both then and now, creates multiple gods.

So we understand that what is portrayed in this small work of art was common knowledge among the Kings, Queens and High Priests which directed and paid for the art. The belief that this New Hampshire stone once belonged to a great personage can be concluded. It would have been meaningless to the commoner just as it is today to many.

– It is not what is under the bed that is frightening, but what flies overhead.

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 my book “The Deep Mystery.”  The mechanics behind it from an engineering standpoint are explained. 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 my book and in the paper on the sidebar called: A Planet Most Miraculous.

View of Top of Mystery Stone, photo B. Freeborn, Public Domain

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 or he messed up. When the realization dawns as to what it is, opinion changes. This needs to be interpreted in two ways. In the first interpretation, it is 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. This is the 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 gapped wide in other places.

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. More is told here. I suggest that you not stop here. “The Deep Mystery” can 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. There were two which 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.

We remember. We lament. We remember. We lament.

They will return. The danger is all around us at all times.”

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The Ancient Stoneworks of New England and the Mystery Stone of New Hampshire

– B.L. Freeborn, July 2012

What reward is there to thinking within the box? We have been trained to think within its four sided, top and bottom constraints.

About the time I went to school, there were whisperings that a guy named Leif may have come to America before Columbus. But it was still gospel that in 1492 the Old World discovered the New World and its people. We are still taught the New World’s people came to this continent via a long vanished land bridge in Alaska. And so, tests were designed, grades were determined, and to pass school, we were indoctrinated into these beliefs.

Perhaps you have heard that in Keuka, New York there were remains of an ancient settlement. Those remains have been erased and are sadly gone now forever.

There are over 800 known ancient sites existing in the New England area of which nothing is ever said. There are an assortment of dolmens, menhirs, henges, and stone chambers all of which are strikingly similar to those found in the UK and Europe. In fact, some of these stones have writing on them in the Gaelic alphabet, Ogham, as shown above. (Stone has fallen over.) Just a few miles from Boston is a 30 acre site. I have driven past another site for years and was totally unaware of its existence. If you dig deep enough in the literature and the internet (no need for a real shovel) you can find information on some of these sites. Few, if any, are protected except by diligent landowners. The possibility that they will vanish forever like the Keuka site is very real. Our very ancient world history is in jeopardy.

These sites are in addition to the massive array of ground works reportedly built by the Hopewell and Adena Indians that span the better part of North America. (By the way, the name Hopewell sounds English because it is the last name of a property owner upon which a group of mounds sat. The name Adena has a similar beginning.) We are taught today that they were ignorant natives that scooped up dirt in baskets and dropped it in places to build random piles. We are told they are of relatively recent origin (800 to 1000 AD) and probably built for burial purposes.

Miamisburg Mound, Ohio is shown in the picture as it appears today in 2012. The view is spectacular from the top. From this vantage point there is unlimited visibility and directed light can be seen for miles upon miles. The view shown here is towards the southeast looking in the direction of the Great Serpent Mound which is now an Ohio State park.

Perhaps this is one of the simple basket carrying people that helped to build the mounds in North America? Perhaps King Ashurbanipal (668 BC-626 BC) helped to build them. Here he carries a basket of soil to contribute to the rebuilding of a temple in Ancient Iraq.

I am giving you this background and posing these questions so that when I describe the New Hampshire Mystery Stone (next ten posts) you will understand this stone did not just appear from nowhere. It simply cannot be a hoax. It may have been stolen from the artist and hidden, but nothing this beautiful gets tossed carelessly away. It is more likely that it was a water burial of a great noble person which allowed the stone to end up in Lake Winnipesaukee and eventually buried near its shore. And when do I think this person was buried? The information on the stone is too old and too forgotten by us, and even the Native Peoples, to be of recent origin.

The message of this stone is not “a lone voice in the wilderness crying out.” This stone is a beautifully rendered version of the message that has echoed across the ages. It is an incredibly important message that is about to reverberate clearly again.

Once you understand the message it becomes understandable why our ancestors built these monuments, and so very, very unclear as to how we managed to forget so dreadfully much.

To continue to stay within the box is to cheat ourselves. Just because our education does not allow for any of these possibilities, does not mean they are not true. One must step out of the box just long enough to hear the message of the Mystery Stone. There is plenty of time to jump back in to its small confines afterwards.

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The Mystery Stone of New Hampshire, Part I

– B.L. Freeborn, July 2012

– We are the descendants of the vulgar masses of old. We yearn for gnosis but run from it like frightened, silly children when it presents itself.

This small artifact is on display in the New Hampshire Historical Society in Concord. Found in 1872 near Lake Winnipesaukee, its origin remains unclear. Its meaning alludes traditional translation. The only explanation for its symbols and purpose that I have found is that it represented a treaty between two tribes. The first time I saw it, this explanation was satisfactory. Sometime ago I had another look at it and I had the same impression. It was the ear of corn and the indiscernible shapes in the circle beneath it that kept making me think this must be a relatively recent tribal object. I now think this is incredibly old and an object once owned by a High Priest, King, or Queen of great importance. It was that same simple ear of corn that finally made me exclaim in awe as it yielded up the stone’s secret.

A study of this artifact proves it to be a truly magnificent and complicated work of art. It contains information privy to only a few persons in the Old World. This small harmless looking stone is of a noble nature and its message is vastly important. I call it a Lamentation Stone.

It is a mere 4 inches in height and has a diameter of only 2 ½ inches. Onto this small surface ten images are carefully carved. The stone is made of quartzite or mylonite. The surface is smooth and polished. If it was a naturally occurring stone that was utilized by the artist, then he was fortunate in his find and with his skill. The art is flawless except for a chip near the forehead of more recent appearance. The work is intricate and detailed. The proportions are perfect for the message, so if the artist had faltered he would have had to find another stone of equal ellipsoid perfection. This suggests the stone was turned and then polished to the desired proportions.

The fact that it was probably turned leads most experts to quickly conclude it is of 19th century origin. This would be thinking only within the known context of our accepted knowledge of history. Consider that we cannot explain the construction methods of some of the oldest sites to be found in the world. The debate as to how the Great Pyramids were built still rages. The explanation as to how stones can be cut and fit as perfectly as they are at Machu-Picchu alludes us. Into this class falls this perfectly cut stone. We have two options open. It is either 19th century or extremely, extremely old.

The idea that it is 19th century is problematic to start. This was first machined before it was decorated. The symbolism is of tents, corn and arrows. Hence, we quickly conclude it was not colonial in nature but tribal. How many tribes had lathes or turning equipment? So then we conclude it is early American art of a unique nature. But that does not seem either satisfactory or logical. If the symbolism could be understood, then we might understand its origin.

On the front panel a large face is cut. On its left side are 2 small symbols, on its rear are 3 and on its right are 2. This comprises 7 small images. On its top is a circle with 8 triangles and a 1/8 th inch bore hole. On the bottom is a circle with 8 triangles tacked on. There is a 3/8 inch bore hole in the bottom. This then creates 10 images upon the stone. Its circumference calculates to 7.9 inches. The layout appears in the sketch.

We shall look at each image individually in separate posts. (Afterwards, the entire ten posts will be repeated as one complete document.) Before we begin, we look at it overall and see there is in this array of images the following number sequence. The face = 1, then 2 images, then 3 images, then 2 images, and then the face = 1.  Or 1, 2, 3, 2, 1

12321

The square root of 12321 is?

111   exactly.

And 111 can be said to represent God.

Consider that there are 7 images in the back grouping which reaffirms the special number 7. Add to this the two images on top/bottom and obtain 9. And then the face makes ten or we have these numbers in series 7, 9, 10 or  7910. The circumference of the object is 7.9 inches. We know this number today as the diameter of the Earth at 7920 miles. This object is an oblate sphere. The Earth is an oblate sphere. This object has circular areas on the top and the bottom just as Earth has circular areas on the top and bottom called the polar ice caps.

The array of seven scenes if read as rows becomes a series of numbers: 3, 3, 1 or we might say 33.1. This number represents an important concept I cannot explain in a posting. I refer you to my book “The Deep Mystery.”  This number represents an extremely significant idea portrayed repeatedly in the Ancient World.

It is easy to imagine the person depicted lived in a cold climate since it appears he is wearing a hood. This is emphasized by two small etched lines as if there are shoulders shown below the face. So the place from which this came was likely cold. The face is serene and silent, almost sad. It is beautiful and perfect in its proportions. Is this not a statement that says, “We were a beautiful and contemplative people” ?

So, I leave you to contemplate the truth and the possibilities….

More to follow…………….next the top and bottom images are examined as we decipher the Mystery Stone.

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Noah plus Seven people on the Ark. Seven days in a week. Why only seven?

So, I will leave you hanging on Noah’s age for a while. Instead, we stop to look at the ark.

Seven people sailed on the biblical version of the Noah’s ark story with Noah. He sailed with his wife, three sons and their wives. This gives us the key number 7.

In older Sumerian versions the ark sails with the main character (not always called Noah), his family and their servants. Many more than seven.

The bible, other documents, and other societies reiterate the number 7.

There are seven days in a week. Why? The birds Noah sent out at the end of his journey were at seven day intervals. Why 7?

Why only Noah plus seven people in this later version, we might ask?

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