Earth/matriX
Science in Ancient Artwork
by Charles William Johnson

The 360c Square: a Design

Continue Part II:

Same pattern in squares

Now, following this same pattern of filling in the blanks on the different squares will produce the patterns and designs that are herein illustrated. The reader may note that the first four squares (numbers 1-4) cancel themselves out:

In one repeats the above pattern of annotation on the different squares, then all of the spaces will be filled for the numbered squares 1-4. There will be no blank spaces appearing.

Only on the square number 5 do blank spaces thus appear as of this pattern of annotation:

After following the pattern of annotation for the four sides, four blank spaces remain. In a sense, from this perspective of design, something has been 'created', and one could easily understand how the number 5 may have come to reflect the idea of creation or the Creator in some ancient cultures: if a pattern of numbers was being employed similar to this one. (It shall be impossible for us to repeat each individual step for each one of the grid/squares included in this essay dues to requirements of space.)

The next square, of the number 6, now poses a dispersion of the four blank spaces previously observed; it were as though they had moved. From the mere presence of the four blank spaces, one may now observe the concept of 'movement'.

Square Number 7 (7 x 7) represents a qualitative leap from the previous grid pattern. Many more blank spaces appear. But, most striking is the apparent "quinqunce" (quinqunx) design that appears at the center of the grid. It is not exactly as one might expect the quinqunx element to appear, since the center square is left blank and not darkened. Again the number '7' reflects a number of the creation as well in some cultures.

The following square reveals a very strong center of four blackened squares. It also suggests to us a configuration that resembles many ancient designs of a square within a border area:

Also, from another perspective, the concept of movement would appear to show itself as revolving around the central axis in a counter-clockwise direction. The four L-shaped figures ( ) suggest such a movement in our mind.

In the square number 9 (9 x 9), the concept of movement really begins to take on a definite visualization pattern. The leftward, circular motion is definitely suggested by the arms of the central figure within the pattern. Another design becomes visible; that is, the T-shaped figure.

Square Number 9 (9 x 9): Definite Movement

The T-shaped figure may be viewed in black or white within the design in relation to one another. This particular design may be found on interior walls within structures of ancient sites.

The square number 10 (10 x 10) is an extensive of square number 8 with its L-shaped arms lengthened by one square blank. The square number 11, however, reveals something that this author finds extremely suggestive: five quinqunx-like figures: one at the center and one situated in each corner.