The Adena Tablets of Ancient Ohio – The Gaitskill Stone Tablet

© 2014 B. L. Freeborn

A stone tablet from ancient Kentucky. The Gaitskill Tablet.

A stone tablet from ancient Kentucky. The Gaitskill Tablet.

Gaitskill Stone Tablet

Gaitskill Stone Tablet shown upside down here so that the spider appears.

The Gaitskill Stone Tablet is assumed to be an image of a spider. The similarity to an insect is obvious with the legs and the large round abdomen. It was found in Mt. Sterling, Kentucky around 1920. It is dated to 500 BC to 200 AD.

Symbols 'wa' and "Magnus'

Symbols ‘wa’ and “Magnus’

209 i

Symbol for i.

In order to study it we have to turn it right side up and once we do we see some rather familiar features. The ‘wa’ (Luwian Symbol #439) is center bottom with its bold feature and two round circles. The loop in this glyph can also be interpreted as sound ‘i’ (glyph 209) and on each side of it are two ‘sa’ symbols or perhaps craters.

Ha or pa glyph #224.

Ha or pa glyph #224.

In previous posts it was suggested this is the north pole or polar axis from which all measures of longitude and latitude are taken today. Here depicted very clearly is just that. The pole stands atop a grid of hash marks 3 x 3 wide. This gives us 33 and 9. It also gives us 93.3. The hash mark symbol appears in the glyph repertoire as #224 with sound ‘ha’ or ‘pa’. Pa gives us the first syllable of both power and pole. Ha gives us ‘heah’ in Old English which means high. Both terms indicate importance and surely the seat of measurement is extremely important.

On top of the pole are three joined triangles which appear as scary teeth in one direction and a crown in reverse. This too appears in the Luwian glyph system as #231, Castrum, or ‘camp.’ This completes the message that this is the ‘home’ of the ‘po’ on ‘heah’. Despite sounding blatantly Anglo, it also sounds accurate.

Symbol Castrum means camp.

Symbol Castrum means camp.

Before moving on, the 33 we have seen before but the 93.3 is knew. It brings to mind that the average distance to the Sun is 93 million miles. It would be remiss not to note a few more numbers. Does the north pole not sit at 90 degrees north latitude? Is this pole not positioned on a grid? If we count out the two circles and three triangles to the crown there is a reappearance of the number 23 32. The Arctic Circle ends at 23 degrees 30 minutes. The two circles are once again suggesting two positions for the pole with its two circles on each side of the vertical. So we have one obviously where it belongs in the north but where are they saying the other was? Could the answer lie in the 3×3 grid?

But the image continues.

Once the image is rotated it loses its spider appearance but still has two faces. The upper face has angry eyebrows, two teardrops for eyes and a dot in the middle of the forehead as the Hindu’s wear. This reminds us of the Metcalf Stone with its initial symbol of a triangle. So here too we find the idea of one comet which split into two. If the expression is interpreted correctly, then it caused anger and weeping. The number 112 is easily found within this face again.

The overall exterior shape of this creature in stone has two straight bars on each side at the bottom. Above these are four flame or wing shapes. Two and four reminds us of the hours in a day. Topping this 24 pattern is the center round. If we begin with this center round as 1 and count around the image there are 12 wings. 1 and 12 once again appears and 112 = 2 x 56. If we begin at the bottom and count upwards then we find 2,4,1 or 241. The square of 241 is 58081 which is another number to add to our list which suggests the distance Earth travels in a year or 584 million miles.

If we begin at the center round and count in either direction then we form 1 and 4 to create 14, the number of days in a fortnight. At the bottom the four bars remind us that 14 x 4 = 56.

Symbol for flame.

Symbol for flame.

The last two things to be noted are the similarity to the Luwian glyphs for Flammae (flame) symbol #477 and Femina (woman) symbol #79 which is an oval. The eight exterior wings thus become flames around a central “woman” or place of origin. Taking this one step further, the straight lower bars taken across the figure become the glyph #384 in a shape similar to #388 which represents simply the number ‘two.’ In other words, the artist is describing a flaming comet which was really two.

This image utilizes so fully the hieroglyphs in use in Anatolia Turkey in 1200 BC that we must pause to consider the possibilities this creates:

  • The resemblance is purely coincidental.
  • It is from Turkey.
  • It was made in America by someone from Turkey.
  • It was made in America by someone taught /descended by someone from Turkey.
  • A third group of people created and inspired the art. They lived in Turkey in 1200 BC and Kentucky in 500 BC.
  • The symbols express a common language both continents shared.
  • North Americans traveled to Turkey and shared their language.
  • The Scottish Picts who used the symbols in 1200 AD and the Ancient Irish who used the symbols in 3000 BC were somehow related to both the Turkish of 1200 BC and the North American of 500 BC and 500 AD … and the Egyptians of 2500 BC.

Or…. there is really something that is missing from our history books.

We continue on by looking next at the Low Tablet

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Hudson Bay as a comet crater of recent origin.

The Adena Tablets of Ancient Ohio – The Berlin Tablet

© 2014 B. L. Freeborn

The Berlin Tablet of Ancient Ohio

The Berlin Tablet of Ancient Ohio

The Berlin Tablet is unique in its shape but not its message. We begin by comparing it to artwork found at Knowth, Ireland. Kerbstone 86 depicts a strong image and a familiar shape. This stone was studied in a prior post but here the symbolism repeats in a totally different place. If one were to draw a bold outline around each lobe of the Berlin Tablet the same strong U shape appears. The line through the middle of the kerbstone has a dot on each side. The line through the middle of the tablet has a dot on each side. The kerbstone is considered to be 5000 years old and sits half a world a way. Like the Odd Little Purse in Olmec and Assyrian Art there is an obvious connection here.

Symbols #439 'wa' and #363 'Magnus'

Symbols #439 ‘wa’ and #363 ‘Magnus’

This symbol in Luwian Hieroglyphs is #363 Magnus meaning ‘great’ with sound value ‘ur’. Exactly as in Kerbstone 86 it is doubled and so we have ‘great-great.’ Another way to look at the doubled symbol is to consider the one opening down as Magnus or great, and the opposite opening up as a crater. Then the statement is ‘great-crater.’ This is wholly consistent with the idea of comets.

Sketch of Kerbstone 86

Sketch of Kerbstone 86

Studying the image on the stone gives us once again something for the uninitiated. It looks like a bird with a very distorted eye next to a little tree. Here then is exactly what we saw in the remaining half of the Wright Tablet. The double tailed comet appears as the head. The odd eye is then a doubled eye within a comet which is flying towards a tree. This tree could be called the tree of life or the polar axis through Earth which is directed towards the Pole Star. So then we have a great-comet headed towards the great-tree.

Within the tree is a similar shape as we saw in the nest portion of the Wright Tablet. Here it has seven strong lobes on the exterior and two on the interior plus the handle. Closer inspection reveals a lobe in the middle which is inwards so the inner image is the series 1,1,2 or twice 56. The total number of lobes is 9 so divided to make 2 and 7 or the number 792 which we recognize as the diameter of the planet. The number 72 is significant in relation to the polestar since precession causes the direction to which the axis points to change over time at the rate of 1 degree per 72 years.

Just below this inner shape is a circle. It is none other than the ‘sa’ symbol that has been consistently found in the other tablets. Below it and acting as a mirror to it is another ‘sa’ circle across the central line or pole. It has been suggested that two ‘sa’ refers to the word ‘sess’ meaning ‘seat.’ Perhaps seeing them as ‘es’ makes it easier to hear. But if one listens carefully to ‘es-es’ not only can the Anglo word ‘sess’ be heard but it sounds remarkably like Isis. Taking this one step further, the first syllable of Isis sounds exactly like the Anglo word ‘ice.’ And then if the subject has not been taken too far we might hear ‘sess’ in the name of the King of Egypt ‘Ramses’. This word is spelled in Ancient Egyptian as ‘r-m-s-s’ making it entirely possible the last two s’s are pronounced ‘sess.’ Although, it appears we have strayed off topic it is pertinent to the discussion to note that the Anglo word for border or number is ‘rim.’ This then implies that in Old English the name Ramses pronounced as rim-sess means ‘number-seat’ and Isis is ‘ice-seat.’

The two circles that inspired the above and the bar create another hieroglyph (#439) with sound ‘wa’ which was also central to Kerbstone 86. The  meaning of ‘wa’ in Old English is woe. Pushed further to the left is another ‘sa’ circle so that once again we find 1 circle, 1 line, 2 circles for 112 or twice 56. The artist was thorough in expressing 112 for along the lower side of the bar are two jut outs that create 1,1 and then 2 circled circles.

What then is the rest of the distorted image? Spending time counting it seems futile for it is truly a mess and that is probably the full intention of the artist. But careful study reveals 2’s and 3’s and these numbers have been seen in the other tablets as 23 32 and 23.5. They imply the limit of the Arctic Circle. So then, the great comet strikes the polar tree, the sess, seat of all measurement. A great-crater forms. It was woeful as all was destroyed. The world is literally a mess. This is the same message as found in the New Hampshire Mystery Stone, the Newark Earthworks, and Aberlemno Stone of Scotland. They tell the story of a comet impact. They even allude to the correct shape of the Earth in the overall shape of the stone with the new pole north-south as we know it today.

Comments have been made in relation to these posts that this sort of an impact would have killed nearly all life on the planet and therefore it is impossible for these artists to be relating something so fantastic. But this is what the artist shows – devastation of unimaginable proportions. It does not require this artist to have lived through it. Indeed, mythological and actual history report that few life forms lived through the deluge as confirmed by the massive skeletal debris piles found on various continents. These events were witnessed and survived by a few people, perhaps those out of harm’s way on the far side of the world. They recorded it as strange images such as “The Venus of Willendorf.” Their children, spurned on by legends of their grandparents, later came to view the destruction and pay homage to vanished civilizations and life. Some remained behind to restart civilization on the American continents and others returned to their homelands having viewed the devastation firsthand.

Perhaps the Gaitskill Stone Tablet will prove this all wrong!! It’s cartoon-ish features are of a fearsome spider.

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Hudson Bay as a comet crater of recent origin.

The Adena Tablets of Ancient Ohio – The Wright, Lakin B and Meigs Tablets

© 2014 B. L. Freeborn

Art from Ancient Ohio- The Wright Tablet

Art from Ancient Ohio- The Wright Tablet

A portion of the Wright Tablet is shown. It was found in Montgomery County, Kentucky and it appears so dramatically different from the other three tablets previously studied that they seem unrelated. Hence, other authors have described them as different in style and content. In due course we shall see that the difference is a result of artistic choice and the message is the same.

This tablet when viewed on its side as shown, looks deceptively like a bird with a vertical eye, beak, neck, and body. It also seems to be positioned above its nest. The deception is probably intentional to mislead the uninitiated. The initiate would see that the egg in the nest looks remarkably like an eye. The eye is surrounded by something that has a tail. In fact a comet also has an eye, is surrounded by matter and has a tail.

Caelum Glyph - Heaven

Caelum Glyph – Heaven

The bird head has a similar feature and the beak forms two tails. Indeed, this vertical eye looks remarkably like the Luwian Hieroglyph Caelum, symbol # 182, which means heaven. It has no associated sound. A comet can be described as a bird from heaven.

209 i

Glyph 209 for sound i

The line in the middle was represented in the Grave Creek Tablet as the center area with two rhomboids. We can see it as symbol #209 which has sound ‘i’. Attached to the bar is a circle with a dot in it which we associated previously with ‘sa’ from symbol #402 Scutella meaning shield. Sa-i or i-sa can be created by these two sounds. Eventually we will find both are appropriate. The first suggests ‘see’ and the second ‘ice.’

The first impression is that this tablet is devoid of numbers in contrast to the Kiefer Tablet. However, the ‘sa’ circle provides us with 1, the bar’s black hollow area is 1, and the two sides of the bar creates 2 or 112 appears once again. The bird’s head also provides 112. The area to the left of the vertical eye is shaped to create a dot, the eye forms 1 and the tail forms 2. The nest area also provides 112. The eye is 1, the tail is 1 and there are two lobes on the loop surrounding the eye. There appears to be twelve lobes on the exterior of the nest but the right edge is too worn to confirm this. If it is 12 then the ‘sa’ provides 1 and the 12 completes the number to create 112. Counting dots and circles across the image gives 1,1,1. Including the bird eye in the count gives 1,1,2. Recall 112 is 2 x 56.

This bird head symbol is identifiable in the Meigs County Tablet and Lakin B Tablet. The Lakin B Tablet is a photo from Ohio Archaeologist and the image on the right is from David Penny’s report. The location of both tablets is unknown. Both tablets consist of an eight panel layout except the Meigs squeezes in the double central image which will be dominant in the Cincinnati Tablet (future post). However, the artist preserved the 2 x 4 layout. The number 2,4,8 is apparent here and what is 248 but a reminder of the circumference of the planet at 24868 miles. Taking this one step further, by squeezing in the two extra panels the Meigs records the series 2,4,8,6 which makes the comparison stronger. Or it can be said it records 8,6,4,2 as was noted in the Grave Creek Tablet and it relates to the diameter of the Sun at 864,336 miles. There is no suggestion here that the artist or society was able to measure the planet or the Sun just that they were taught the numbers and their importance in the very same way the average person is today.

Lakin B on left and Meigs Tablet on right.

Lakin B on left and Meigs Tablet on right.

What is apparent is that the Lakin B (from Mason County, West Virginia) appears to be instructional as if someone created the tablet to explain an event and we can almost hear s/he speaking to us. The Meigs (from Meigs County, Ohio) tablet upon close inspection seems to relate the same story but slightly more stylized and with hash marks in the bottom left indicating numbers were inherent to the story. If the image is accurate the number 792 is easily counted out. Counting the full set as 9 and then counting left to right to the largest mark is 7 leaving 2. The Kiefer Tablet noted 79-24 and which reminds one of the diameter of the planet.

Examination of the bottom left of the Lakin B reveals scallops on the figure that appear to count out nine with two on one side of the figure and seven on the bottom which may also create 792. Or indeed, there is no reason to exclude the number 279 which also relates to astronomical measures. The distance to the asteroid belt which lies beyond Mars and encircles the four inner planets is 2.79 Astronomical Units (ie. 2.79 Earth to Sun distances). Taking this useful set of numbers one step further, they also make 29.7 which is the longest period in days between full Moons and is the diameter of the Earth in reverse.

A good idea as to what story these tablets relate might be found by reviewing the easily read Metcalf Stone.

Next we follow the bird head and it takes us to the Berlin tablet.

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The Adena Tablets of Ancient Ohio – The Kiefer Tablet

Kiefer Tablet: An Ancient Ohio Tablet

Art from Ancient Ohio: The Kiefer Tablet

© 2014 B. L. Freeborn

The Kiefer Tablet was found in Miami County, Ohio. Some people think it represents a bird’s tail and feet which is a change from the phallic stigma most ancient artwork suffers under.

This is an exercise in numbers and once again an opportunity to observe Luwian (La Ang-a) Hieroglyphics embedded in art half a world a way from where it should be found. The image is in the correct orientation to view this tablet. The Ohio History Museum displays it on its side. This is the lower portion and there is a very similar tablet that we will look at in the future that gives a good idea what else was inscribed on this sandstone piece.

Hwi

Hwi

On the left and right side are two designs described as feathers by some authors. They very well may be, but they also bear a strong resemblance to glyph #329 which has the sound ‘hwi.’ In this use the tail is pushed to the far side to allow it to look like a feather. Indeed, in the Grave Creek Tablet the words ‘seat, quarrel-seat, quarrel-seat’ were proposed and now we find ‘hwi’ which is easily translated to hwie or hwy in Old English. The modern spelling of the words: what, where, when and why places the w before the h. The original spellings placed the h before the w just as the glyph suggests. Now we have a double exclamation of ‘why, why’ and assuming both tablets relate to the same idea then whatever occurred at this ‘seat of quarrel’ was distressful.

Indeed, like a modern cartoon the image expresses a collision with clarity. The U shape appears to strike the lower shape and a ‘bang’ seems to emanate.

Although the above is conjecture the numbers are real. We begin taking note of numbers in this center shape. We can easily count 2 lines, 1 band, 2 lines and then it repeats. Or we can count it as 1, 1, 2 and then 2,1,1. Or if you prefer 1,1,2,1,1. Any way you please, we need to attach some meaning to at least one of these sets. The 212,212 sounds like the 21212 of the last tablet which suggested something that repeats. Multiplied by pi (3.1415) it is 66637. Multiply 212 by pi and it is exactly 666. The velocity of Earth is 66624 mph. The 112 is 2 x 56 which is a number often found in ancient art and sites. The 2,1,1 allows for someone to read it in reverse and obtain the same number or multiply by pi and obtain 663, a less accurate reminder of Earth’s velocity. Also possible is the sum of the two numbers which gives 333. This number was clearly expressed in the previously studied Grave Creek and Allen Tablets.

Next there is a whole series of numbers expressed around the bottom oval. They appear to start at the left and move around it. At the top left find the large black stripe as 1, then the exterior and interior triangles as 7 so 17. This is an important number to this message as well. Or perhaps it begins with the triangles and we find 3,4 or 4,3 triangles which gives us 34 which we saw on the previous tablets. It is also 2 x 17. We have seen 43 as well but it appeared as 2 x 43 or 86.

At the bottom find 12 black triangles and 12 white triangles. The sum 24 reminds us of the hours in a day, while 1212 is the reappearance of a repeating pattern. This pattern suggests 1 became 2 repeatedly.

On the right side there are 5 triangles and on the outside there are 4 so that we have 45 or 54 or maybe just plain 9. Twice 45 is 90 and twice 54 is 108. Both are significant. The number of degrees between north to east, east to south, etc. is 90. The distance between the Earth and the Moon is 108 Moon diameters.

Then it ends with 1 black area, 1 white and two triangles or 112 which is 2 x 56 again. This confirms it is to be read left to right as done here.

Considering the left side the triangles in white are 7 and on the right are 9. This creates 79. The sum of the bottom triangles is 24. Assembling these as 7,9,24 or 7924 reminds us of the diameter of this planet or 7920 miles. Summing them gives 7 + 9 + 24 or 40. A square of 40 to the side has 56.5 as a diagonal. The 56 reappears.

Other combinations can be argued but this gives us plenty to look at. In review then we have on this tablet 108, 112, 1212, 14, 17, 24, 333, 34, 40, 43, 54, 56, 56.5, 66624, 7, 79, 86, 9, 90, and 7924. This gives us a substantial list of numbers which is more than describing it as ‘feathers and a bird’s tail’ as some have done.

To keep a complete and updated list including the numbers previously found on tablets we have: 108, 112, 1212, 14, 17, 212, 21212, 23, 23 32, 23.5, 24, 26, 32, 33, 333, 34, 40, 43, 52, 54, 56, 56.5, 66, 66624, 7, 79, 86, 9, 90, 7924 and 8642.

This then leads us to look at the next tablet for a greater understanding of the Ancient Ohioan’s message, method of writing and their language.

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New Hampshire Mystery Stone Photos

More photos to help you see the new Hampshire Mystery Stone. Click on the image to get a better view!

New Hampshire Mystery Stone: Using two mirrors the museum display allows more symbols to be viewed.

New Hampshire Mystery Stone: Using two mirrors the museum display allows more symbols to be viewed.

For those seeking more information on North American language and writing systems, “The Lenâpé and Their Legends: With the Complete Text and Symbols of the Walam Olum,” by Daniel Garrison Brinton, 1885 should be of interest. This book has been re-published beautifully by Bibliolife. (A sample page is at the bottom.)

The  Lenâpé, also known as the Delaware Indians, wrote in hieroglyphics as did many other tribes in North America. Unbeknownst to many, the Cherokee symbols used today did not originate after the Europeans arrival but was in use prior to their influence. Barry Fell documents in his book “America B.C.”, 1989 edition, the comparison of Micmac symbols to Egyptian Hieroglyphs, and symbols found in Iowa and Long Island to both Libyan and Egyptian. This book is packed with epigraphic documentation throughout America that demonstrates extensive interaction between Celts, Libyans, Egyptians, Chinese and other distant places with the Americas. Very little of the North American early written traditions have survived making this book an important record. The majority of their documents were inscribed on perishable mediums as is still done the world over today (including these very words!) which makes this beautiful little stone seem like an oddity. It is commonly believed that the written word was never used by native people. Yet, Brinton reports that letter writing was as common among these people as it is presently.

Evidence of interaction between these ancient cultures can be seen here. Retained in the words of the title “Walam Olum” are two important words. Brinton (pg. 104) explains the root word ‘wul’ means pleasurable sensation and so ‘wulit’ means well, good, handsome, ‘wuliken’ means it grows well and ‘walam’ is red ochre which they found very beautiful. The resemblance to the word ‘well’ is unmistakable.

‘Olum’ means score written on paper, bark or hide. In Modern English, ‘vellum’ means paper usually of a finer quality. This word comes to us from Old English ‘waelrûn’ meaning a song about death. (R and L are not always distinguished by native speakers in the same way Japanese cannot pronounce V’s.) The similarity is clearer in words such as ‘wail’, ‘wallow’ and ‘wailfyll’ or awful.

bottom side circle

The bottom side of this small stone has a hole drilled into it which is both symbolic and functional. It allows the stone to be set on a stick for display and use during ceremonies.

bottom

As reflected in the lower mirror. A closer view of the bottom of the stone.

corn side

The perfect image of an ear of corn is shown. Corn has a long history of appearing in religious images. It can be found in Indonesian art as well as Assyrian art. We must not forget the Roslyn Chapel, Scotland! Its perfect rows demonstrate the idea of latitude.

corn leg circle side

Another shot of the corn side. Notice the side view of the face reveals the stone was rounded before the images were carved.

cornlegcircle

Yet another view of the corn side. The empty perfect circle is directly opposite on the far side from this circle with drowning figures.

face far

Front side of New Hampshire Mystery Stone: Are these eyes wide open? Are these eyes that are closed in contemplation? Is this a person who is bundled up warmly? Or….has this person drowned and now floats in water?

A page of the “Walam Olum” showing the hieroglyphs, the words of the story as they would be read or sung, and a translation by Brinton. He further understood each sign was traditionally accompanied by hand gestures.

 "The Lenâpé and Their Legends: With the Complete Text and Symbols of the Walam Olum," by Daniel Garrison Brinton, 1885.

“The Lenâpé and Their Legends: With the Complete Text and Symbols of the Walam Olum,” by Daniel Garrison Brinton, 1885.

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The Newark Decalogue Stone and Earthworks – Full Article PDF

Thank you for reading.

Here is the Newark Decalogue Stone and Earthworks: An Unraveling Mystery in PDF

Group of Four Mounds called the Bird within the Great Circle at Newark, OH.

Group of Four Mounds called the Bird within the Great Circle at Newark, OH.

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Ohh… Let It Not be True

By B.L. Freeborn © 2013

Burks drawing of Newark Earthworks

Burks drawing of Newark Earthworks

The story Newark Earthworks relates is the historic tale of Beltane. We begin in the upper left of the layout with the circle, a comet Baal, which impacts with Earth represented by a square. The union of male and female occurs. The square rotates, shatters and a translation occurs. The story continues at the bottom right. The Earth is reformed with a scar. The Old Testament uses the symbolic number 6 for the length of this re-creation of the world. The Earth absorbs Baal represented by the bird within the Great Circle with its crescent as the crater. The Earth’s relationship with the Sun is represented by the square. Earth’s orbit is slightly oval. The square tells us this with its slightly out of square shape. We take our measurement of length from the Sun’s diameter. A mile is 1/864,000 of the Sun’s diameter. We take our measurement of time from the Sun. There are 86,400 seconds in a day. The square’s area echoes this value. The Earth travels about the Sun at 66,624 miles an hour as depicted by the angle of the Great Circle’s neck at 66.6 degrees.

Does the Decalogue Stone depict Baal and the Earth? By B.L. Freeborn, 2013.

Does the Decalogue Stone depict Baal and the Earth? By B.L. Freeborn, 2013.

This is the dreadful message of forgotten Beltane and the great religion of Baal. The Baalist’s left us a message in Ohio.

Front Face of Newark Decalogue Stone

Their minds were full of geometry, numbers and long ago calculated celestial values. They traveled the planet in their angst, their woe, over this event that destroyed all mankind. They were the last of the educated survivors of a prior civilization and their determination to preserve what mankind had attained scientifically prior to Baal’s destruction is at the root of our civilization today. This is an amazing story. It is the cosmology that we will rediscover because “the truth will out.” And once we understand it, the miracle and fortitude of life upon this planet will seem all the more wondrous. We can fancy that this debate over the Decalogue Stones will not die easily because some of the magic of the incantations written upon them call to us still today. We can hope that the prayers put into the mounds as they were built protect us still from the return of Baal. These Angle builders have new modern names: Luwian, Adena, Hopewell, Celts, Irish, Picts, English, Cherokee and many others. We have forgotten who they were. We are rediscovering what they preserved for us. Shamans of long ago teach us our forgotten worldwide heritage. They wove the message into the Earth for us to find. They created simple, straightforward images. This is a warning to value what is truly important and that we too can be knocked back into the stone age. This is our history. It recalls the day a great civilization ended and a scattered few survived to repopulate the world.Side view of Great Circle

But we began with the debate over the Newark Decalogue Stones by questioning whether they are fake and if they are Jewish. Now we wonder if they are Baalist? Or are they Anglo? Were they left by visiting engineers? Did they belong to the High Shamans of the people who built the earthworks who were educated in surveying and of Baalist belief? We have explored these issues. It is time for a conclusion. Here are three images to help one form an opinion. The image above lies hidden in the Decalogue Stone. The next is Squier’s detail of the Great Circle and the last is from NASA. Their art reveals they had an excellent understanding of what transpired. They spelled it out for us in every manner possible. Can we grasp the horror of it all?

NASA image of crater

NASA image of crater

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The Cross that Tells Us…

By B.L. Freeborn © 2013

Book of Kells, Chi Rho Page. PD.

Book of Kells, Chi Rho Page. Wikipedia. PD.

The Cross amid the art of the Book of Kells symbolizes the cross of Christ. Or does it? Why would a people be led to constantly remember this shape through the retelling of the death of its messiah? A not so simple answer is that once upon a time someone wanted something else entirely remembered and since they were soon to become a conquered people they worked their own beliefs into the newly arrived religion. So we see in this art a beautiful cross and what do we see laid out quite neatly in Newark? Why a cross! And amid the cross is a diagonally placed square just as we see in the Book of Kells!

A  cross imbedded in the layout of Newark Earthworks. Wright Square is similar to the diamond that appears in the Book of Kells Cross.

A cross imbedded in the layout of Newark Earthworks. Wright Square is similar to the diamond that appears in the Book of Kells Cross.

We begin telling the story portrayed in Newark’s layout by examining the square within the cross. This portion of Newark Earthworks called the Wright Square is all but gone. There is a small portion that remains that marks the spot and other than that there are only survey notes. The beautiful Squier-Davis image is known to be incorrect for scaling despite its details. We know from a survey by Thomas in 1894 it was 928 feet by 926 feet. It is assumed by Romain1 2 and others that this is an error from an ideal of 925 feet yet these measures are not too far off for we see 926′ x 928′ gives us an area of 859,328 feet or very nearly 860,000 feet. Hively and Horn report that the east-west axis of the square is 92.8 degrees.3 They felt this was a .8 degree error from the Lunar rise-set point. Yet, one should pause to note the similarity between this number and the size of the square, 928′, which suggests there is no error here.

Going further they report the northwest entrance path runs perfectly straight for 160 m (useless meter!) or 525 feet (or was it 528?) at an azimuth of 306.8 degrees. It then enters the square at an angle.  With a bit of math it is easily determined this is an angle of 56 degrees to the azimuth of the north-south axis. (360 – 306.8 + 2.8 = 56) Furthermore, they were perplexed as to why this avenue did not enter at the center of the side but instead at 30m (useless meters again!) north of the center of the side. We calculate 98.4 feet + 926/2 = 561.4 feet. In other words, the opening breaks the side into two portions: one 561 feet and the other 365 feet. We should immediately recognize the meaning of the latter! This notably repeats the value of the angle of the path at 56 degrees.

Let’s not stop here because the picture is not complete. We have not added them! 926 + 928 = 1854 which is very nearly a number we saw twice at the East Fork. Indeed, 926 and 928 are quite close to 924 and 935 feet we saw there. They were also positioned perpendicularly. Their sum was 1859. Both sets of numbers are portraying not the idea of a simple radius but the idea of an oval, an oblate sphere as we saw in the egg at the Serpent Mound. To do this the values must be similar yet “off.” So they have described quite completely an object with this string of numbers: 365, 926, 928, 1854, 859,000 or at East Fork they used 924, 935, 1859 and 864,000. They threw in two additional reminders of 56 as well.

The square has been discussed first because it seems so insignificant but it appears in all ancient art. It is usually portrayed as the literal seat of all measurement.

Overall, we see in this layout of Newark two structures on the left and three on the right. Two and three create the number 23 or perhaps it is 32 if read right to left. We have seen that the square of 5.656 is 32. Perhaps we should think of it as 23 degrees and 32 minutes and add it to our growing number list.

Does this place with its mounds and ditches speak of the gods? Does it speak of Baal? We note that in Hebrew gematria bet, B, is 2 and lamed, L, is 30. So, the value of the name Baal is 32. The layout then “counts” the name. But if it is 23 then kaph, k, is 20 and gimel, g, is 3. Keg  in Old English is the modern word keg. Might this layout “counted” out mean Baal’s keg? Or Baal’s crater?

What other mysterious coincidences might lie here?

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  1. Romain, William F., Ph.D., Newark Earthwork Cosmology: This Island Earth, “Hopewell Archeology: The Newsletter of Hopewell Archeology in the Ohio River Valley,” Vol.6 (2), March 2005.   See:  http://www.nps.gov/mwac/hopewell/v6n2/one.htm
  2. Romain, William F., Ph.D., Design and Layout of the Newark Earthwork Complex, “Hopewell Archeology: The Newsletter of Hopewell Archeology in the Ohio River Valley,” Vol.6 (2), March 2005.  See:   http://www.nps.gov/mwac/hopewell/v6n2/two.htm
  3. Hively, Ray, and Horn, Robert, Geometry and Astronomy in Prehistoric Ohio, “Journal for the History of Astronomy, Archaeoastronomy,” Supplement, Vol. 13, p.S1; also Science History Publications, 1982.      See:   http://articles.adsabs.harvard.edu
  4. Book of Kells Image from Wikipedia. See:   http://en.wikipedia.org/wiki/File:KellsFol034rChiRhoMonogram.jpg