Ros’ Marked Rock Number 3: (Accompanied by 3 ½)
By Steven & Evan Strong
We are of the firm opinion that an incredibly inconvenient but nationwide pattern is beginning to emerge, and that the last influx of three potential candidates to join the first two rocks Ros has provided for us, opens up possibilities and locations that have even caught us unawares. The third ‘batch’ of three rocks come from inland Queensland and expands the distance and area we are researching well past one thousand kilometres. All three new rocks are of the same make, possibly chert, and as with Ros’ Rocks 1 and 2 very hard, fine grained and compact. No store bought chisel would disturb, let alone engrave into the surface of the rocks we received yesterday. The questions at hand no longer relates to if, but what does it all mean and are there more of these sacred Original rocks spread throughout the entire country?
Of the three rocks Ros purchased, with the benefit of time and a much closer inspection, the smallest in length is undoubtedly worthy of inclusion with Ros’ Rocks 1 and 2. This rock is much smaller, less than one fifth the size of Ros’ Rock 1 and it is at first glance, far less imposing than either of the earlier rocks. The same can be said when comparing the quantity of markings, the other two rocks number in the hundreds while the smallest rock contains 33 lines, has no peckings and nor is there evidence of in-filling. I have to be honest in admitting that I was more than a touch underwhelmed when first sighting this rock. Knowing that Ros had purchased these rocks for the express purpose of supplementing Ros’ Rocks 1 and 2, my first reaction was that none of these three aspirants were deserving of inclusion into such an elite class.
Apart from being much smaller (7.2 cms long, 4.5cms wide and 3.3 cms high), the other two rocks have four sides while this one has eight. Having the least amount of markings (33 lines), what distinguishes this rock is not so much the quantity, but quality of lines on display. The rock has the widest line of all the engraved rocks (35mms) and this is merely an opening gambit. There are at least four widths of engraved lines (20mms, 10mms and >2mms) and not only the widest but narrowest lines are both found on this rock. There are no less than three lines that run continuously around the rock’s three main sides and quite a few other lines join onto those that wrap around the rock.
Bearing a trait evident on the second rock, some of the thicker lines are not perfectly straight, and as before some of these thicker lines on this smaller rock vary in width, and on occasions is quite jagged. As it is with Ros’ Rocks 1 and 2 the much thinner and quite possibly considerably older lines engraved into Ros’ Rock 3 are much straighter and consistent. However, it is a mistake to assume this smaller rock is a lesser-cousin of the two larger rocks. There is one feature of this rock that not only eclipses the meagre collection of imprints on Ros’ Rock 2, but stands above what seemed at the time to be a very striking collection of imprints stamped into the first rock.
Over 1,000 Degrees
Imprinting was first identified on Ros’ Rock 1 and there is one amazing example we have previously highlighted. Granted even though more numerous on this smaller rock there is nothing stamped into the surface that is of that size or complexity. Being a much smaller rock by comparison yet containing the most imprints, these artificial indentations appear to the eye to be far more dominant in proportion as it is nearly equal in number to the lines and because of this, must take on a greater role in the narrative encrypted into rock. There could be 28 imprints on this rock and possibly more with ten on what we suspect could be the main top ridge, seven on the next edge, two clusters of five on two of the smaller ridges and one, with a strong possibly of two, imprints positioned on the flatter sections.
As noted in some detail when discussing this very sophisticated feature, the technological implications that can account for these depressions is very radical to say the least. The fundamental issue and contradiction this creates, relates to the mechanisms involved in not breaking the surface and thus exposing the lighter surface beneath, as happens in varying degrees on all eight sides. How the top layer of rock can be pushed inwards yet not disturb or crack the crust is a much more difficult assignment, and can only come about through the application of intense heat. Those with much more knowledge in such fields than us have suggested the temperatures needed have three noughts, and as far as we can ascertain no accredited expert in Australian pre-history has ever proposed that the Original people were familiar with an oven or such technology. We would also add that any device capable of generating such an intensity of heat is a very recent addition to the Homo sapien sapiens tool-kit and certainly well beyond the reach of any combination of a rock, stick, bone and open flame technology.
For any either uncomfortable or unconvinced about the notion that such a concentration of heat was used to soften the surface, pause for a second and imagine going back at least ten thousand years and there you are staring at one of these rocks lacking in any artificial markings in your hand, and your sole task is to punch, chisel or stamp dozens of shapes into this rock. The problem is all you have as tools is what is laying on the ground. Nothing will happen, that is a fact, our interpretation of how this came about may well be wrong, but what we are even more sure of is that any mainstream explanation is guaranteed to be five times more unconvincing. The depth of depression on Ros’ Rock 1 is 50mms, which means the top layer of rock, although extremely shallow and surely less than 10 mms, was forced down at least five times its original depth, yet remained fully intact and unbroken. The same principle and dichotomy is ever-present and all over Ros’ Rock 3, if a chisel or blade was used the thin outer layer has to be pierced or broken, there can be no other result. Whatever the process and whoever the mason or sculptor, none of these imprints can be part of any conventional pre-historical narrative.
What is also apparent for the first time on any marked rock, is absolute evidence of the sequence of application. On the third rock there is one imprint that has an engraved line running right over the top of an oval shaped depression measuring 85 mms x 30 mms. It is patently obvious the shape was stamped into the rock and at a later stage the line was then marked in and over this imprint.
The deeper we look and more time spent in reflection, the more has been revealed that once again breaks the rules and accepted version of past events. As with the other two larger rocks, it would seem that this smaller rock has been polished, in fact of the three rocks this has the smoothest and most lustrous surface and carries the most reflective sheen when exposed to direct sunlight. In what also seems to be part of a pattern, there appears to be no less than two separate times when this stone was worked and marked. And once again, it would seem the entire rock was heated first and then cut into with blades, but on this occasion there is a compelling case to be made that this smaller rock required the most number of blades which were used in literally slicing across the molten surface. As before, there is no evidence of a variation in pressure or a moment where the blade slipped after contact with a firmer grain, it seems to have always been one continuous motion.
One observation, which took many magnified assisted inspections before first noticed, is a deliberate and extremely cryptic form of formalised communication commented upon often in earlier articles written about Ros’ Rock 1. We proposed that Side 2’s primary role, through the repeated use of small and delicate horizontal lines evenly set across that side, is to serve as a connection point between the two sizeable and complex engraved narratives on Sides 1 and 3. In each of the five lines there is a large gap in both directions which eventually reconnect to another line or point of intersection on both Sides 1 and 3. Not even a tenth of a millimetre off on any of the ten occasions these five lines stopped mid-rock face and pointed each way, so exact the alignment and mathematics, it was obvious there was untold ancient knowledge afoot. My immediate concern if wishing to solve this riddle in decoding the wisdom of the ages, was that the intellect and depth of understanding of so many truths possessed by the ancient author was well beyond the collective intelligence of this planet’s entire present-day population of Homo sapien sapiens.
In what was a finding that was never entertained by us, the same literary device was used all over Ros’ Rock 3. Again these segmented lines are of the same faint marking and straight inclination and always reconnect further on, and since we can identify this occurring ten times on this 8 sided rock, it seems reasonable to assume what is on this rock is deliberate and highly refined.
Two Rocks in the Hand and one in the Distance
Amongst all the shared traits through tool and furnace that these three rocks share, this smaller more recent rock gives no indication it was destined to be held in any prescribed manner. Not only fashioned to rest in the hand, the two bigger rocks were meant to be held in the right hand and the second has a very specific grip and evidence of considerable wear caused by the index finger. The smaller, semi-triangular rock has no worn surface, nor a depression or section removed to assist in holding the rock, and seemingly has a slightly different function. Coupled with a quite markedly different arrangement of lines forming an interconnected web, we suspect the narrative here is unlike the other two and possibly less focused on ‘as on top.’ Outside the less than intimate relationship with the human hand or finger, Ros’ Rock 3 is consistent to the pattern evident on the larger rocks and is made from the same material, has imprints, a variety of lines of differing lengths, angles and widths creating shapes and points of intersection of many lengths.
And it is that one omission of an up close and personal interaction between silica and flesh that both rocks serve and the third rock does not, that seems to be the only purpose the next rock serves. Originally this rock was the subject of even less interest than Ros’ Rock 3. There is not one line or mark that could be confidently claimed to be unnatural, and upon further inspection that opinion still holds fast. There are possibilities, some lines were cut into the surface, but nothing can be proclaimed as definite.
To begin with the rocks only redeeming feature is a section that was either removed or the result of natural weathering, which provides a position for the right thumb to rest. Knowing that Ros’ Rocks 1 and 2 were also meant to be held in the right hand, what can be seen on this apparently unremarkable rock could be merely a coincidence, or maybe it was designed to be held in right hand resting between the thumb and index finger. As with so many aspects of the path of research we have chosen, nothing comes easy and more often than not, perseverance supplemented by full sunlight and a magnifying glass will often add some clarity and a touch of nostalgia.
The Index Finger and Seven Imprints
We are now fully convinced this depression, whether partially there to begin with or created from ‘scratch,’ has the hand and tools of humans. The immediate issue to address is simple, there is no way it can be proved this depression is not natural on its own, and that is the saving grace in this interaction. Both curved sides of rock adjacent to the thumb hold are far less ambiguous. The side that was formed or removed to accommodate the index finger has four distinct oval sections where the top layer is missing, each impact point seems to show evidence of some sort of tool that knocked/gouged away a piece of rock. What must reinforce this interpretation is that between each of the four percussion marks the remaining top layer is still intact. So what we actually have are four depressions separated by three thin diagonal lines of the top layer and surrounded by more of the same. All four depressions measure 5 centimetres in length, there are too many coincidences here to dismiss, and for any inclined to do so this rocks narrative is not complete.
On the opposite side, although the edge is quite narrow and would be very difficult to chisel, slice into or imprint being no wider than 30mms, are seven separate imprints. At the top edge, where the thumb depression is at its widest, there is an oval and a smaller circular depression. This cryptic passage continues running down the edge to the middle where there are two jagged lines, this is followed by a small oval and concludes with two diagonal lines. Without doubt the focal point is the thumb and index finger positions, with the imprints along one side and hints of at least six very worn lines all around this large depression possibly supplying directions or words to be used once the rock is held as prescribed.
Nevertheless, no matter how remote, there is an infinitesimal chance all of this is due to natural and random events. The problem being nature can abrade and erode but cannot stamp shapes and lines into a hard rock surface. The presence of imprinting on one edge, and elsewhere on Ros’ Rocks 1 and 2, demands a human tool or oven. However, the imprints on this narrow surface are not as dramatic or large, yet again, could have been caused by nature. There is no obvious narrative, clearly visible lines either chiselled or sliced, no pecking, intersecting lines, shapes or in-filling and all of these omissions do diminish the rock’s impact and credentials.
It is because of the residual hint of uncertainty and absence of so many components of what has been engraved elsewhere, this rock cannot claim an equal standing with Ros’ Rocks 1, 2 and 3. Despite these inherent flaws we believe this rock is a complimentary, but second tier aspirant when it comes to the technology and complexity displayed. It is for those reasons we have decided to name this rock Ros’ Rock 3 ½, as it is half way there and certainly likely, but unlike the other three, doubts still remain.
3 Plus 3 ½ Equals …
Whatever the answer, it isn’t six and a half. There are new rules at play in this geology and technology, we are of the opinion Ros’ Rock 3 is a worthy colleague and stands beside 1 and 2, while 3 ½ is close, but a work in progress and as yet, still under consideration. The question that has never been addressed by any mainstream scholar is why are these marks, imprints, depressions and pecks on these rocks? What tools and technologies were applied, and why was so much time and effort spent using such a massive array of symbols, angles, lines and imprints in chronicling something of immense importance? But alas, today, in our eyes and nearly everyone else, all we can see are lines, dots, shapes and one question mark.
This is merely a preliminary report and precursor to the next ‘batch’ of rocks soon to reach our hands. All we have seen are photographs and an email with a promise from a very good person alerting us to the eminent arrival through post of 14 rocks of a similar make or potential markings of some type. There is a 99.999999% chance Ros’ Rocks 1, 2 and 3 will soon be joined by more rocks, but as always there is always the chance we are wrong. It matters not, because these three rocks, irrespective of whether more or none can be found, are sufficient in themselves and can already combine in making one defiant, yet truthful statement.
Ros’ Rocks 1, 2 and 3 are not part of any accepted conventional historical narrative of both Australia and the planet. With that truth established, the solution is simple, consult the Original Elders and Custodians of Lore and take it from there. But as you do, leave in any preconceptions and books steeped in the invader’s version of what took place in this sacred land before conquest, this can only be done if behaving as a novice. Having done that, knowing that the second and third rock are acknowledged in the 1930’s as sacred objects of immense cultural and mythological significance, they are indeed Original possessions made by their ancestors who had access to technology and insights long lost and never claimed even today.
That, ladies and gentlemen, is the second truth we claim these rocks reveal, once again, the mathematics in this equation seems to come out at around 99.999999%. Put it all together and this adds up to the second time the numbers come out the same. What are the odds of that being merely another coincidence with the good chance of more to come?