Big Things Come in Small Packages: Ros’ Rock 12
By Steven and Evan Strong
Ros told us in advance that this rock was small, but even that description fell short of the mark, it was far smaller than we ever thought possible. Knowing there are supposed to be dozens upon dozens of individual lines and imprints engraved into this rock, the mere thought of placing all that information within such a small package is as unsuspected as it is without precedent. By our rough count there are no less than 63 separate cut lines and imprints found on a piece of rectangular rock coated in chert measuring at its widest margins 3.5 cms by 2 cms.
From first sighting an immediate comparison to Ros’ Rock 1 was obligatory. Ros refers to this tiny rock as “mini-me,” with the first rock she found over twenty years ago being the original from which this miniscule duplicate was modelled. This likeness is only reinforced by the fact that both rectangular rocks have one side untouched with the clean chert veneer still unbroken. Equally, we already have another version, three times bigger than the newest smaller addition, which is the same shape and proportion as the largest of this genre, Ros’ Rock 1.
Exhibiting the same colour, shape, undercoat, thin crust of a chert coat, cut lines and sundry other similarities, it seems reasonable to assume that this rock does belong to an expanding category of three, of which Ros’ Rock 1 sets the tone and themes addressed. This hierarchy helps in establishing a general setting when trying to understand what was being communicated in stone. We are firmly convinced that the grids and lines on the largest rock are maps and that some of this pertains to distant constellations and journeys from there to here. It could also be that one side provides geography and destinations markers throughout the globe, both locations could be encoded, but without doubt there is a star map on Ros’ Rock 1.
All three rocks are exact, every line on Ros’ Rock 12 (with two minor exceptions) is straight or consistently curved, there are no jagged lines or variation in width, it is all narrow, straight down the line and so precise. This is a trait very much in keeping with what is required when accurately charting journeys or orbits, and this we believe is in evidence on Sides 1, 2 and 3 of Ros’ Rock 12. We have no doubt this is a map spanning across all sides and edges, but hold every doubt in finding a precedent or key. We have never seen anything like this arrangement before, here or anywhere, and at least half the cuts are barely visible to the eye unless assisted by a magnifying glass.
The Tracks of Three Lines
What rapidly became a fascinating exercise is tracking and examining the paths taken by the four major clusters of contributing lines beginning on Side 1. The concentration of lines side by side barely a millimetre apart yet parallel, creating a deceptively jagged outline, has never been seen before by us or in evidence on any rock in the collection.
Near the top of Side 1 is a cluster of up to seven straight lines which slopes down and runs across the face to a rounded edge. Once tapering to two lines this duet continues cutting through the surface of Side 2, then to counterbalance the descent on the first side, the line gently rises upwards to the next edge. Those two lines continue on Side 3 maintaining the same sharp cut, depth, width and angle of upward inclination. It is as if the lines dip noticeably on the first side then regathers equilibrium and begin to rise on the second side and this upward path continues on the third side until the upper line stops. With one remaining line selected to conclude this distant narrative, it nears the edge of the fourth side, but proceeds no further. From start to finish, during which six of the seven lines are shed, the lines measure 43 mms.
Next in descending order is a collection of five lines which is pared back to one before reaching the first edge. The continuity is lost before rounding that corner and the spread of what remains is broken into three smaller separate lines evenly spaced apart across Side 2, but still faithful the same alignment set on the first side. The same angle and reconnected line is struck into the chert 8 mms further on in Side 3. This separation, yet still remaining faithful to the same set path, is an integral part of the overall package, beginning as a major feature on Ros’ Rock 1. The maintenance of an angle when the line stops then resumes after a gap can be found on no less than half a dozen marked rocks.
Continuing our descent the third line is the thinnest of the four, but the second longest. It is merely a combination of two lines that continue around the edge and half way across the second side, which then widens into three, perhaps four lines in the final cluster. From start to finish, this sequence measures 31 mms, which is 12 mms shorter than the longest line.
The bottom line is 3 mms thick and obviously also the accumulation of smaller lines, but estimating a number is too difficult. What is particularly interesting is the length, 19mms, which is 12 mms shorter than the second longest line, which again is 12 mms shorter than the longest line. Is this yet another intentional ploy, or one more freak random coincidence?
What is without precedent and beyond the reach of any natural agents, is the delicate cluster of adjacent straight lines that form three larger shapes. In three locations there are 7 lines with a combined total width of 4 mms, 5 lines measuring 3 mms across and four lines co-joined with a shared width of 2mms. In combination these 16 lines occupy less than one centimetre of chert. The delicacy of cut, steadiness of hand and strength of blade on display demands a technological base of exquisite sophistication that is seemingly at odds with an Original naked hunter-gatherer society brandishing sticks, stones and bones. It doesn’t matter how a nomadic tribesman in ancient times combines any selection of animal bones, branches and stones, whatever is created will not be able to cut such fine lines into hard chert. Irrespective of any assumptions and deductions that may evolve, this vacuum in technology denies that the markings on this rock, and many others, can be created by such crude materials. We need no less than metal, and possibly much more, to succeed in this endeavour.
In every other rock in this series all exhibit no less than three differing widths of cut lines, therefore three blades of increasing size. But not on this rock, it is highly likely ‘one size fits all.’ It would appear that if requiring greater width the same blade was used again and again, on one occasion seven times. For whatever reason, only one tool was deemed sufficient and this repetition of line and width running across three sides reinforces our belief that there is one central theme and continuous narrative.
Another intriguing offering that is just as unique, is the abundance of horizontal lines cutting across or intersecting with three vertical lines that run down the face of Side 1. Looking like something akin to three tally sticks, the leading and longest vertical line makes contact with 18 horizontal lines, the slightly smaller and fainter line that runs almost parallel has one less point of intersection or cross-over and the smaller of the three lines has a tally of five or six. With no less than 40 points of connection all found within the confines of 2.6 cms by 1.2 cms, this of itself is a concentrated accumulation of information, yet this scorecard does not include the associated shapes made and new angles created.
Outside the Lines
Momentarily leaving aside this maze of lines, shapes, angles and sundry points of contact and transmission by skirting around the perimeters, what becomes immediately apparent is the uniformity of rounded edging and consistency of what seems to be a fine polishing that verges on a lacquer. When I have held this rock facing the sun the glare is so intense the rock turns a blinding reflective white. This tiny rock is exceptionally smooth to touch, fine in grain and was made to an ancient formula. All eight sides are smooth and rounded, the edges are equal in every respect. The satin finish, lustre and balance are all indicators that this rock is not only a human artefact, but one of considerable sacred importance and was deserving of much time and needed a multiplicity of techniques when constructed.
Of course the same shape, polish and rounded edges is very much a trait shared by all three rocks of this genre, but this check list is incomplete and to sustain this interconnection there has to be an imprint of stature and prominence on Ros’ Rock 12. That distinctive pattern was set with Ros’ Rock 1, and equally being positioned on the top edge, not on any main face, there must be more of the same location. As would be expected, that is the case. Standing alone is the largest imprint, a semi-circle measuring 6mms in diameter and is easily the deepest. As it is unaccompanied by another imprint and has only two lines that both cut across the corners, the imprint becomes more noticeable as the flat top is almost clean and untouched.
What seems to add considerable gravity to the significance of this stand-alone imprint is a delicate cut 5 mms below that runs parallel to the curve above made by the imprinted circle. No other imprint on this rock has a symbiotic cut line that traces the same alignment or makes any detectable contribution. This is not only unseen before, but reinforces our belief that these rocks are a separate category as it is obvious that this imprint is a very important part of the message encoded into chert.
As it is with all three rocks, the smallest of the collection has been formed in a way where each side can readily support the weight of the rest of the rock when used as a base. We suspect the clean side was left unmarked as this is the place where the right-hand thumb is to rest. This explains why it fits so comfortably when held in this manner and why it slopes inwards and accommodates the fleshier part of the thumb. It ‘feels’ as if the thumb has rubbed away some of rock, or perhaps it was originally moulded to accommodate the top of the thumb.
Scratching at the Surface
I seem to be afflicted by an attack of clichés recently, the cancer article and now this one both open with sayings that fall well short of the mark and seem a bit shallow. That is why they were chosen, in both cases we are at best scratching at the surface as there are too many unknowns to be definitive and just enough left on display to make some solid generalisations.
So obviously shaped, so patently formulaic in rectangular form, sharing the same chert veneer and off-world content and destinations, this small rock has over one hundred lines and signs that point towards the stars. Now aware of the Original Dreaming Story and guidance as to the off- world origin and star maps engraved into stone on Ros’ Rock 1, but not at liberty to be more specific until allowed to say more, this smaller rock has to have information that relates solely to “as on top.” Whether a star map, marker of distance between constellations or planetary movements is not clear, all we can say is that its concerns are extra-terrestrial.
The technology is sophisticated, that case has been made and concluded some time ago, the application of a thin chert overlay we believe was molten at one stage is compulsory, the antiquity is not in dispute and nor is its Original ancestry. All talk of ancient advanced technology spread across Australia is ‘done and dusted,’ we want to go further back, way back to where the inspiration in ideas and cross-fertilisation through genes took place. And whenever we do that, no matter by what path we travel, it all comes back to what eminent geneticist, Professor Rebecca Cann, postulated to be the “two distinct lineages”(1) that led to the rise of the very first Homo sapien sapiens in Australia at least 400,000 years ago. She was unable to resolve this genetic impasse in naming who these lineages were, simply because she kept her eyes to the ground. According to keepers of the Original Old Ways the answer is as simple as looking outside this ‘Earthly box, once doing so it becomes obvious that one strand of genes were in residence on country, while the second set came from the Pleiades.
It is our opinion that this rock is one small, but important chapter in that narrative. The problem we still face is in defining the harmonics and tuning of this rock at every level. As proposed earlier, and never left out of any consideration, chert is a silicate, and silicon is the material chosen recently to store huge amounts of information. What if there is that which can be seen and that which is stored within awaiting the right key, note or song? What if there are Original men and women who know of such things?
The markings on this rock are either part of that chorus or due to natural causes, it has to be one or the other and there can be nothing in between but the sky and stars above.
(1) Robert Lawlor, 1991, Voices of the First Day, (Inner Traditions International, Rochester: Vermont), 26.