The Ancient Secret Hidden in Noah’s Age

The meaning of Noah’s age can be understood by relating it to astronomy and the most important numbers related to Earth: its diameter, the distance it travels in a year and its distance from the Sun.

Darren Aronofsky’s new movie “Noah” will be released this month. One does not have to believe the story to wonder about it. Indeed, wondering about it includes questioning the age to which Noah lived. The image above solves the riddle but leaves us still in a state of disbelief.

If we accept the premise that the ages of Noah’s fathers gives us Earth related values, then we must ask how did they determine these values in the first place which have been calculated only recently by our finest scientists? This suggests there previously existed a society upon this planet which had achieved a high level of scientific achievement and someone was determined not to let this knowledge be lost. In fact, the story of Noah relates just such an idea, the demise of the world‘s entire civilization. In contemplating this mystery one should consider we still use the Sumerian’s system of time measurement and the forerunner to the Noah story existed in their society.

So then, we are forced to give up the absurd idea of giants and men living ten centuries and we must trade it for an even more fascinating mystery. Unless one has accurate knowledge of these values it is impossible to reveal the secrets of the Old Testament (or Torah). This then is how this secret has alluded us for so many centuries. What had originally been created to help keep the memories of the sages strong and accurate became a mystery to us. This also proves despite fervent use of the sword through the centuries to eradicate this knowledge, the pen is still mightier.

The mystery is not gone. It lays before us rich and deep. We need no boat large enough to contain all animals, nor the gravelly, steady voice of Russell Crowe to make it true. We need only appreciate the Earth and recognize that it is the only vessel large enough to carry all which lives around the Sun for a full year, year in and year out.

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Skewed Beauty or Skewed Radio-Carbon Dating?

– B.L. Freeborn, (c) September 2012. (updated Nov. 2018)

Image copyright H. Jensen / Universität Tübingen
Image not in Public Domain

Venus von Willendorf, Naturhistorisches Museum Wien, by Oke, Wikipedia

Vénus gravettienne de Savignano, Musée Pigorini de Rome, photo by Vincent Mourre

Are these figurines, as archaeologists would have us believe, ancient man’s idea of female beauty? Other explanations suggest that women suffered from deformities and illnesses.

I am going to offer up an explanation that is unique. But before we step out of the box and think creatively let us recap what the academics tell us.

The Venus Figurines are usually headless, arm-less, feet-less images of rotund, deformed females. Specimens are modest in size ranging from an inch to ten inches in height. They have been found mostly in Europe but with finds as distant as Irutsk Oblast in Siberia. Notable specimens are dated as follows (per Wikipedia):

  • Venus of Hohle Fels,  35-40 thousand years from Swabian Alb, Germany;
  • Venus of Galgenberg, 30 thousand years from Lower Austria;
  • Venus of Dolni Vestonice, 27-31 thousand from Moravia, Czech Republic;
  • Venus of Lespuque, 24-26 thousand from French Pyrenees;
  • Venus of Willendorf, 24-26 thousand from Lower Austria;
  • Venus of Mal’ta, 23 thousand from Irkutsk Oblast, Russia;
  • Venus of Moravany, 23 thousand from Moravany nad Vahom, Slovakia;
  • Venus of Brassempouy, 22 thousand from Aquitaine, France;
  • Venus of Laussel, 20 thousand from Dordogne, France;
  • Venus figures of Gonnersdorf, 11, 5-15 thousand from Germany;
  • Venus of Monruz, 11 thousand from Switzerland.

Venus of Brassempouy, located in Musée d’archéologie nationale Height: 1.4 in.

These are all classed as Venus figurines yet there are three distinct styles. We might say they can be divided into three groups:  obese-decapitated, elegant realistic, and modern art. Most of the list is of the first type. Brassempouy is delicate and realistic while the Gonnersdorf are sweeping curves as found in modern art. The academics say they span a period of 35,000 years. Most falling in the range of 35 to 11,000 years ago.

Venus Vestonicka, photo by Petr Novák, Wikipedia

Is it likely that this strange style of art was repeated for a period of 24,000 years? Or is it more likely the time span of this art was much more narrow? What could cause radio-carbon dates to be in error?

Radiocarbon dating is based on the steady rate of formation and then decay of carbon-14. To skew the results there had to have been changes in the Earth’s magnetosphere, cosmic ray input and/or climate. This would vary the results for a small time event window by 10’s of thousands of years. What could disturb the Earth so greatly that the amount of carbon-14 laid down in layers over the ages is stirred up over a vast area?

Would there not be large variations in carbon-14 if the Earth went through a violent deformation and reformation? Would this not cause climate changes? If these changes occurred concurrent to the period of time in which these images were carved, would the dates not vary?

Replica of the Venus of Lespugue, carved from tusk ivory (Gravettian, Upper Paleolithic), Musée de L’Homme, France, by José-Manuel Benito

So if they are not fat, distorted women, what are they?

Perhaps they are images of large comets impacting with Earth which would have caused tremendous disturbances in the planet’s magnetosphere, cosmic ray influx, and layers of sedimentary material. In other words, two large comets impacted and caused a re-shaping of the planet.

I will let the images and sketches tell the rest of the story.

Large comet has fractured and is approaching Earth.

Comet has impacted with Earth.

Earth after Comet Impact.

Details of Impacts Displayed in Venus Images

A Comet Impacts with Earth

The distorted images of women found in these objects of art are a unique way of preserving the story for future generations. Following the impact, survivors in Europe fanned out and educated the rag-tag remnants of mankind. As they traveled they left these hand-carved images behind. These are images of Earth’s past and the day when all but a few of mankind escaped annihilation.

Most likely carved and used during a narrow band of time, say a couple of hundred years at most, the Venus Figurines give us feedback on the accuracy of radio-carbon dating. They point out the carbon dating of objects without knowledge of prevailing geological conditions may cause gross error in understanding.

Were these images carved by direct descendants of the apocalypse of which we are the survivors?

Other ancient records support this idea of a double comet as seen in future posts.


The Mystery Stone of New Hampshire, Part I

– B.L. Freeborn, July 2012, updated Sept 2022

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 now think this is incredibly old and an object once owned by a person of great importance. It was the 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. This small stone is of a noble nature and its message is vastly important.

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 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


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 explain in numerous posts in the future. It 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.


The Mystery Stone of New Hampshire, Part II

– B. L. Freeborn, July 2012, Updated Sept. 2022

– The clock is ticking, ticking, ticking……

This continues the detailed look at the Mystery Stone of New Hampshire.

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.

Recall, in the prior post we had discussed the group of seven images plus the two on top/bottom creating the number 79. They can just as easily be arranged as 7 and 2 to create the number 72. The rate at which the pole star precesses 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 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.

So far so good.

Next we look at the Tent / Tepee ….        More to come as we decipher the Mystery Stone…


The Mystery Stone of New Hampshire, Part III

-B. L. Freeborn, July 2012, Updated Sept. 2022

-Gilgamesh, Let not the Waters of Death touch thy hand. Take thou a pole. And thrust forward..

We have been discussing the images on the Mystery Stone of New Hampshire. In prior posts we have studied the Face and the Top/Bottom Gears.

There is a grouping of seven images on the back and sides of the stone. I suggest the images are supposed to 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, exactly the number of seconds in a day is 86400 and seconds of longitude around the world.

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.

Summing up so far: we have 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 they called home and they measured it by rays of longitude.

So far so good.

Next we look at the Circle…More posts to come as we decipher the Mystery Stone….


The Mystery Stone of New Hampshire, Part IV

Mystery Stone, photo by New Hampshire Historical Society

-B. L. Freeborn, August 2012, Sept. 2022

-Ah…… Eden.

We have been discussing the images on the Mystery Stone of New Hampshire. The Face, the Top/Bottom Gears, and the Tepee /Home have been discussed in previous posts. Now we look for the symbolism in the circle.

Consider 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.

But one must look at the negative connotations, also. Indeed, it could mean hole, abyss or crater. The whole of it must be understood to decide and as it happens this latter interpretation is more likely especially considering it is located under a symbol suggesting longitude.

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.

Next we look at the Arrows…………..More posts to come as we decipher the Mystery Stone…


The Mystery Stone of New Hampshire, Part VII

-B. L. Freeborn, August 2012, updated Sept. 2022

-A mind once expanded by an idea cannot return to its original shape.

We have been discussing the images on the Mystery Stone of New Hampshire.  Now we pause to look at similar ideas from other parts of the world. (The complete article is posted to the left as a page.)

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

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.  This relief is dated to 883 to 859 BC.

Assyrian Relief, Detail of Cup, Brooklyn Museum.

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) tells us X marks the spot. Earth is always indicated in astrology as a circle with an x in it. Life survived, despite all odds. Our present day religious symbolism assures us that we have never quite forgotten it happened. We have never forgotten the nearly complete annihilation of our species.

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 misunderstanding 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 supported.

We will continue with the ominous little curl beneath the Spears/Shield and conclude our study.


New Hampshire Mystery Stone of Lake Winnipesaukee

-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.

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.



Stonehenge posts   Radio carbon dating post