magic square???

[ras]

if you notice you can read these words only:

• rotas
• opera
• tenet
• arepo
• sator

read it from any direction..
yuo'll got the same words...
these words are latin...
anyone who's amazed i read in other site that they prove it with other languages but no other words do like these 5 latin words

[aamerghani]

yeah man damn thats cool

[ras]

yeah that's cool you're right but i can't immagine why only these words work on this called magic square?

[aamerghani]

do u have some more man...............

[ras]

more of what???
there's a lot of image of this thing dude!
everytime i think of it im really shocked and in the same time surprised

[jagpawan]

i am also very surprised ras.........
good work....its a very nice & different post........

[ras]

yeah no problemo jagpawan...
im searching other things about this magic thing but they almost all in italian...

[ras]

i got this in the net guys...


Some references mentioned repeatedly:

Walter O. Moeller: The Mithraic Origin and Meanings of the ROTAS-SATOR Square (Leiden: Brill, 1973).
John Ferguson: The Religions of the Roman Empire (Cornell U.P., 1970), p.168.
Edith Kovach in ``The Clearing House Column'' of Classical Outlook, issue of December/January 85-86.

John T. Quinn posted:
> A.R. Burn discusses it in his anthology of Latin
> inscriptions from Britain. "Arepo" appears to be a
> proper name, "Arepo the Sower holds the wheels at
> work." Burn notes that the square was found in
> Herculaneum; if not originally Christian, it soon
> was adopted by such believers, perhaps because
> the letters can be rearranged thus:
>

>
>
> The excess A's and O's stand for alpha and
> omega, as in "I am the Alpha and the Omega."

[ras]

Similarly, in the third thread, Barbara Mann:
> There is an explanation of this square or acrostic on the very first page
> of a book by Robert Milburn entitled Early Christian Art and
> Architecture, Univ. of California Press, 1988. Milburn explains that it
> is basically a secret code because it can be rearranged into the form of
> a cross, with the opening words of the Lord's prayer, A Paternoster O,
> going both vertically and horizontally, intersecting at the letter N



Milburn gives a list of references in his footnotes, including one to an
> article by D. Fishwick, "On the origin of the Rotas-Sator square" in
> Harvard Theological Review, 57 (1964) no pagination.

[ras]

Andrew Fear recalled:
> As can be seen there's a lot of debate (I suspect to little purpose) about
> this square. I think it also features in the pseudo-magic book The Sacred
> magic of Abrahmelin (sp?) which was important in the Golden Dawn cult.

Bob Ingria:
> The full title is: _The Book of The Sacred Magic of Abra-Melin The
> Mage_, translated by S. L. Macgregor-Mathers, who is supposed to have
> found it in the arsenal library in Paris. S. L. Macgregor-Mathers
> was the head, or, as the G*D:. members would have put it, ``the outer
> head'' of the order. (The inner head was a disembodied spirit.)
>
> The G*D:. were also big on the ``Enochian'' language transcribed by
> Dr. Dee from his experiments in skrying with Edward Kelly. Some of
> the Enochian ``texts'' were also arranged in squares, of much larger
> size than the Rotas-Sator magic square.

David J. MacDonald:
> That damn word square shows up all over the Roman Empire, or at least all
> over the West and decent portion of the East as I remember. There have
> been a dozen different interpretations over the years, as I remember. I
> remember one work argued it was Mithraic. It has been a long time since I
> read anything about it, but it seems to me as best I remember than no one
> interpretation had gained univeral credence.

Bruce Macbain:
> Nobody really knows what the darned thing means. The connection with
> Christianity is not accepted by all. 'Arepo' is unknown as a word or
> a proper name. "Arepo holds the wheels with effort (by work, etc.) is
> more or less nonsense, although some have strained to see a reference
> to the prophet Ezekiel's wheel. And yet, the inscriptions are found
> as far apart as Italy and Britain...must mean something!

David Sider:
> Miroslav Marcovich wrote on this cryptic message in ZPE, and now
> reprinted in one of his collected articles volumes published by ICS.


ZPE = Zeitschrift für Papyrologie und Epigraphik.

George Pesely:
> >From the ICS 1993 Marcovich Festschrift, page 12, item 205:
>
> Sator Arepo = Georgos Harpon, Harpocrates
> ZPE 50 ( 1983 ) 155-171
>
> Reprinted in
> Studies in Graeco-Roman Religions and Gnosticism

Fred Jenkins:
> Miro's article is reprinted in his Studies in Greco-Roman Religions and
> Gnosticism (Brill, 1988 ). The original appearance was in ZPE 50 ( 1983 ) 155-
> 171. For those who want to pursue the subject, there is also a substantial
> article, "Satorquadrat," in RE Supplementband XV, cols. 477-565.

Laval Hunsucker:
> I think that you will find what you need in the book by Ulrich Ernst
> entitled _Carmen figuratum : Geschichte des Figurengedichts von
> den antiken Ursprüngen bis zum Ausgang des Mittelalters_. - Koeln [etc.]
> : Boehlau, 1991. - (_Pictura et poesis_ ; Bd.1). His tenth chapter (p.
> 429-459, with numerous illustrations) is entitled "Das Sator-Quadrat in
> Antike und Mittelalter" (1.: "Zum Stand der Forschungsdiskussion"; 2.:
> "Neue Deutungsperspektiven").

Eugene N. Lane:
> A brief discussion of the Rotas-Sator square is to be found in John
> Ferguson, The Religions of the Roman Empire, Ithaca, Cornell University
> Press, first published 1970, p. 168 and Pl. 70. Hope this is useful.

Edgar Krentz:
> The best discussion of this mystery square known to me is the following:
>
> Hildebrecht Hommel, "Die Satorformel und ihr Ursprung," pp. 84-130 in
> _Sebasmata. Studien zur antiken Religionsgeschichte und zum frühen
> Christentum_ I. Wissenschaftliche Untersuchungen zum Neuen Testament 31.
> Tübingen: J. C. B. Mohr (Paul Siebeck), 1983.
>
> The work was originally published in _Theologia Viatorum. Jahrbuch der
> Kirchl. Hochschule Berlin_ 4 (1952) 133-180, and first reprinted in H.
> Hommel. _Schöpfer und Erhalter. Studien zum Problem Christentum und
> Antike_. Berlin: Lettner Verlag, 1956, pp. 32-79 with additions on pp.
> 141-146.
>
> Hommel offers a number of different suggestions for decoding the square and
> includes comprehensive references to earlier bibliography in his notes.

Gerhard Koeppel:
> There is quite a bit on this "magic square". I can give you one reference:
> Friedrich Focke, "Sator Arepo. Abenteuer eines magischen Quadrates"
> Würzburger Jahrbuch 3 ( 1948 ) 367-401.

[ras]

The Sator-Rotas Square has been discovered in many countries and from many periods of history. The example here was found in 1925 on the bathroom wall of Paquius Proculus. It appeared to have been scratched there in 79 a.d. The Square was carried by the Roman Legions and was used throughout the Roman Empire.

The Square has been discovered in remote and ancient Britain. It was also found in Egypt dating from the fourth or fifth century where it was written on papyri or parchment and carried as an amulet. Later, in the ninth century it was used in cave paintings in Cappadocia

[ras]

The God Mithras... Was an ancient Perisan God depicted usually with a lion's head and wings. He was the defender of light and truth



and the opponent of darkness and evil. Mithras was worshipped in ancient Pompeii and the tradition was to slaughter a bull to his power and bath in the blood.

Mithras was often referred to "Our Father" and as the God of Light was also considered to encompass the beginning and the end, just as Christ was known over 2,000 years later. This leads to both deities using the same Palindrome of the Sator-Rotas Square with the embedded anagram of Pater Noster, and the added letters Alpha and Omega.

[ras]

magic square



The Sator-Rotas Square is an ancient charm of great power and mystery. The earliest example was discovered scratched on a wall in the buried city of Pompeii and dated back to the first century AD.
Although used by early Christian Mystics as a magical charm the square has surfaced in cultures and religions all over the world. Because of the hidden anagram, Pater Noster. The square was originally thought to be of Christian design, but there is now strong evidence that it predates Christianity by a considerable margin and refers to the ancient God, Mithras.
The Sator-Rotas Square has numerous magical properties and is a powerful charm to protect the bearer from evil spirits. Each time you access this site you banish evil from your home and bring strong blessings to your life. Carried with you the charm will protect you from disease and misfortune as well as bringing you strength and power. Where this charm hangs on the wall, no evil can enter.

[ras]

In the beginning was the word.

In ancient times, Words were magic. All things were created through combinations of letters. The Greek letters A and O were the first and last of the alphabet. They were known as the Alpha and the Omega and between them encompassed the beginning and the end of all existence. Nothing falls outside their boundaries.



to

[ras]

The Abracadabra spell is one of great magic. Although used by the ignorant as a reference to stage magic, it is actually thought to be the name of an ancient Sumerian God. The repetition and reduction of the magical name of power also reduces and cures fever and disease. There is also a strong possibility that it is connected to the ancient Judaic charm for curing fevers.
Ab Abr Abra Abrak Abraka
Abrakal Abrakala Abrakal
Abraka Abrak Abra Ab
And the people called unto Moses and Moses
prayed to God and the fire abated. [Numbers 11:2]
May healing come from heaven from all kinds of
fever and consumption-heat to N. son/daughter of N.
Amen Amen Amen. Selah Selah Selah.
The Judaic charm was meant to build a fever up to the breaking point and then gradually diminish it. The Abracadabra spell was used to banish evil spirits and cure disease. It was first noted in 208 in Britain by the Doctor Quintus Serenus. For effective protection the charm should be printed out and worn around the neck, or hung on the wall.

A B R A C A D A B R A
.B R A C A D A B R A
..R A C A D A B R A
...A C A D A B R A
....C A D A B R A
.....A D A B R A
......D A B R A
.......A B R A
........B R A
.........R A
..........A