Forgotten Origin

The Rock of Ages

The Rock of Ages

By Steven & Evan Strong

Special Thanks to Rocks Previous Guardian

The Smithsonian Institute has conceded that Ros’ Rock 1 is unique and of great significance, as have many academics and researchers. Even so, in many respects, this most recent arrival surpasses the credentials of Ros’ Rock 1. We are of the opinion that this rock is even more sensational in the implications involved and revisions demanded. Irrespective of our flights of fancy, what cannot be disputed is that this rock is utterly unique, there is nothing like it here or anywhere else on this planet. That much is certain but with one caveat, that it is the genuine article.

And that is the only ‘elephant in the room.’ It has to be a fake; that is the only respite remaining in these turbulent seas. Otherwise nearly everything assumed to be factual when it comes to the evolution of humanity and literally, all that followed up to the most recent surge in technology, has to be wrong at almost every level. This engraved rock has to be inspired by mischief, motivated by duplicitous intent or idle hands. If it is genuine, then that contains an obligatory admission that the sophisticated technology on display is only available to specialists today, but was also being used in Australia in pre-Cook times.

The engraved “Churinga Stone” was ‘collected,’ along with some associated Original artefacts of highest quality and power, in the 1860s kept in a cave located in the dry centre of this continent, at a time before any substantial mining enterprise or reason to establish commercial farming, very few non-Original people were living in the area. Every day was difficult and an eternal drain and strain on people unfamiliar with the land. Staying alive, eking out an existence, was the only imperative, anything else was a luxury and creating such an elaborate exact testimony with no financial gain is pointless and illogical.

Even if we mistakenly dismiss these realities as a general rule that holds true until this example, is the cardinal imperative when reconstructing a fake copy, there has to be something to copy from. This unique artefact falls well short in that respect, equally, the degree of skills needed bears the hand of a mason supreme using tools of incredible strength and finesse that was never supposed to be part of any Original tool-kit. Ignoring these ever-present truths, if this deceitful person did actually design and engrave, he or she then hid their work in a remote cave and spread around it exquisite carvings and sacred Original objects and then walked away. What came out of this is that this supposed hoaxer got nothing for all the effort beyond anonymity, sunburn, sore wrists and an empty wallet and belly.

Inconvenient Mathematics

That this artefact was discreetly placed away from prying eyes and placed beside Original sacred objects of high esteem, hidden and protected from the elements inside a cave and found so soon after the first white incursions into this area, is almost undeniable proof everything inside that cave is the genuine Original article. Even if mistakenly prepared to ignore these ever-present realities, it is still the case that this stone cascades in pure mathematics. The exactitude of line, shape and ratio is solely through a deliberate plan and the steadiest of hands.

  There seem to be, at first glance, seven mathematical principles/formats under discussion.

*The ratio of three central points in this design is beyond the realm of any form of coincidence. The height and width of the top triangle is 4.8 cms x 9.6 cms, which of course is 2:1. But when factoring into this comparative equation the length of the entire geometric arrangement of 19.2 cms, which is exactly twice and four times longer than the measurements of the triangle, thus creating a 4:2:1 ratio, an incredible consistency begins to emerge.

*There are eight lines in two rows at the top section that form a division between the triangle, thumb rest and the rest of this intriguing linear display. Four of these lines run horizontally beneath the triangle and the other four are beneath the engraved male thumb-rest, and every line measures nine centimetres.

*The uniformity of width and depth of cut, consistency of line and conformity to the straight and narrow engraved into this very hard and uneven surface supposedly has no precedent on this continent until the Invasion. The tools required necessitate nothing less than a hardened steel blade, which is not supposed to be in any pre-Cook Original tool kit.

*There are no less than 78 triangular/pyramid shapes found within, which of course, was a very popular geometric form in ancient Egypt.

*All of these pyramids, and many other shapes, are found within 21 distinct patterns.

*Most of the linear patterns contain series of parallel lines.

*The leading triangle measures 6.5 cms x 6.5 cms x 9.6 cms. Two angles are exactly 45 degrees and the third, obviously 90 degrees.

In total, the geometry, ratios, precision and masonry skills needed to create this Original artefact stand outside every accepted account of life in Australia before the British Invasion. What it means is another step forward, but the script is unique, sophisticated and a mystery yet to be solved. The same can be said for the rock palette upon which this testimony was engraved, it too is surrounded with questions as to its make, and in particular, the unusual additions.

Made in Australia.

At the present stage of proceedings, that is all we have, that the rock was made in Australia some time ago. How it was formed, the processes involved and any type of label is still under consideration.

Beginning on fairly firm ground, this rock seems to be sedimentary with close to ten separate layers easily identified. Having said that, I was immediately aware of the increase in weight when first holding the rock. Having held hundreds of sedimentary rocks over the years, the expectation was a weight of about one, to one and a half kilograms, never double that and some more on top. It is incredibly heavy, far in excess of any comparative sedimentary rock.

Equally, sedimentary rocks usually are of one colour, or if there other colours they are in layers or veins, not mottled. This rock has a mixed palette of brown, orange, grey, yellow, gold and traces of what could have been a black coat of resin and chert. With the exception of the residue of the black veneer, there is no distinction or layering, all these colours are spread all over, and that also includes thousands of gold specks.

All of the same size and found in each layer, the golden specks were commented upon by the gentleman who bought this rock. A miner in his earlier years, he told me that the gold specking of this intensity was a feature unknown to him, as was the rock itself. He had shown it to others in his trade, and they too were unable to give it a classification or supply any explanation.

Two or Three Original Motifs

Discreetly positioned amongst the exactitude and parallel lines are no less than two instantly recognisable Original symbols for man and woman. More to the point, every other straight line and shape is engraved into the original uneven surface, the male and female symbol were both engraved on a smoothed level surface. This is deliberate, perhaps it is a means to cut further into the rock so that when the male thumb rests it gets a better ‘purchase’ of what energy lays within?

As to whether these two, and probably three, inserts were done later by an Original hand or at the same time, or even by a non-Original scribe, will probably never be resolved. Nevertheless, it is another reason why this rock is genuine, unique and so powerful. Outside the two sites where a male and female image is engraved, there is one other part of this unified design that has a blank ‘canvas. That small section is damaged through impact and a section of rock was dislodged, but there still remains a piece of a curved line, and this could be all that remains. What adds to the possibilities, is that if there was something more substantial at this station, in combination those three sites make a triangular shape which is in keeping with the central motif on this rock.

A Message from Uncle Marbuck

When Uncle Marbuck spent some time up close and personal with quite a few of what he called the “star rocks collection,” we spoke of the two defining traits of this sacred ensemble: the straight lines, intersections, angles and lengths that make up this language being cut into a dark resin and chert coat attached to a base rock. This rock ticks both boxes, there are more straight lines, lengths and angles here than on any other rock in the collection of close to two hundred. There is a residue of the dark coat still attached, but most has worn away.

Star Rock Collection by Samarah Wood

As much as it really does not fit into every acceptable version of the past, this rock was taken while resting in a sacred cave surrounded by a magnificent collection of sacred objects over one hundred and fifty years ago. It is not a hoax, nor a recent replica of a proto-type that never existed, but the real deal.

The most compelling reason to believe in the sanctity of this rock, is that the person who so graciously gave this magnificent artefact to me, has a soul of the highest integrity and is of impeccable character. For this man to lie about such serious matters is impossible, and that absolute truth brings the matter of authenticity to a close.

A Solid Base

This rock was made here at some time before Cook arrived, extending past that statement of fact the rest is at best a possibility.

The surface is rough and uneven, yet it could have been smoothed off, as it is for both thumb prints, but instead of creating a level plane it was left in its natural state. With the exception of the two symbols and fringe, every line is exact in the path, width and destination. The patterning, angles, lengths and shapes is high-order geometry on an uneven surface we see as an intentional dichotomy.

In its precision, symmetry and consistency there is nothing in this country that comes close. But as to the content … there may be ancient Egyptian/Original/Pleiadian undertones and God knows what else, but that is a work in progress and some way off before completion

Four Choices Placed in the Dirt on the Cave Floor

Beginning with the least likely protagonist, this rock was engraved by a person whose major consideration was existing. From an European viewpoint, the location it was ‘found’ is indeed the ‘dead heart.’ But there amongst the drought, searing daytime temperatures which can drop to below zero at night, someone with highly advanced masonry skills created this bogus arrangement of lines. Once completed, it was hidden in a cave and then left beside Original sacred objects. The incredible mathematic synchronicity is just a random by-product, the sophisticated and quite expensive tool kit needed has no function anywhere in this area for some time, but nevertheless, this unknown graffitist had the tools, talents and mischievous intent.

The next least likely option and only slightly less ridiculous than the first candidate, is that this was engraved by Original people long ago using a stick, stone and bone tool kit. It just couldn’t happen, the lines are too uniform, too straight, too consistent and the rock too hard to penetrate with any natural product. Even for the most hardened blade, this is a huge task, and we suspect something much further up the ‘technological tree’ was applied.

That leaves us with one out of two, the only sensible response is to choose between a relic from an earlier, advanced civilisation or due to the input of non-terrestrial beings. It really does have to be one or the other. Our personal preference is an Alien influence, but either way, the answer has to include no less than a massive revision of early human evolution and history.

In the meantime, this introduction is by no means complete. There are geological experts to consult in relation to what this rock is and how it was formed. Of even greater importance, is the meaning of the engraved geometric narrative, undeniably there is intention and a formulae underpinning this linear testimonial. In that pursuit, there is less certainty and a person who may well have the gift, is on the horizon, but such is the monumental task at hand we can only wait and see how that eventuates. At this preliminary stage, what is firmly established is that the ‘rock of ages’ is lacking in precedence or a satisfactory explanation found within any conventional account of human evolution.

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