DRAWING THE “JESUS TOMB” SYMBOL, PART 16

 

The tomb symbol angle rotated 90 degrees becomes the red line.

 

I am continuing here with my series about the large symbol found on the Talpiot tomb in Israel (aka “The Lost Tomb of Jesus”).  The symbol is a stone relief sculpture of a small circle within an upside-down Y-shape.  (More on the tomb here.)  

 

I have been making designs derived from the tomb symbol.  Generally, I am going by what I observe in my drawings; I am not attempting mathematical proofs, except where I am obviously doing math as in this post.  As I go along I define whatever terms I need to, but might not repeat definitions in each post.  So this post should be read in conjunction with the previous ones.  (Index.)

 

 

Full-size image

 

Here I have drawn the tomb symbol in the context of a hexagram (six-pointed star).  The tomb symbol angle (lime green) has its apex at the midpoint of the upper horizontal line of the hexagram, and its ends at the lower lateral peripheral points of the hexagram.  The tomb symbol circle (black-green) is one-fourth the circle enclosing the hexagram, and its circumference intersects the center of the design and the midpoint of the lower vertical radius.  The red line (red) passes through the center of the tomb symbol circle and also intersects the upper lateral peripheral point of the hexagram, and a point where the interlocking equilateral triangles of the hexagram intersect.  The image above illustrates how the tomb symbol angle rotated 90 degrees, and re-anchored on the upper lateral peripheral point of the hexagram, becomes the red line.

 

In the following image, a design based on the hexagram, there are numerous equilateral triangles.  Each angle of an equilateral triangle is 60 degrees; half that is 30 degrees.  The sine of 30 degrees, very conveniently happens to be 1/2.  Thus if I say segment DJ equals 1, then side JO of equilateral triangle JOS equals 2 (sin 30 degrees = opposite / hypotenuse = DJ / JO = 1 / 2).

 

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Using the Pythagorean theorem, the height DO of triangle JOS equals the square root of 3 (written here as √3).  (1² + x² = 2²;  1 + x² = 4; x² = 3; x = √3.)

 

For tomb symbol angle CED, find the tan (opposite / adjacent). 

Tan CED =  CD / DE

Where CD = 3 x DJ = 3 x 1 = 3

Where DE = 2 x DO = 2 x √3 = 2 √3

CD / DE = 3 / 2 √3= √3 / 2

 

Show that the red line (segment FG) forms an angle EFG with the same tan ratio:

Tan angle EFG = EG / EF

Where EG = 3/4 DE = 3/4 x 2 √3 = 1.5 √3

Where EF = CD = 3

EG / EF = 1.5 √3 /3 = √3 / 2

 

Thus, the tan ratios are the same, both √3 / 2.  Hooray!

 

That the red line does indeed pass through point J and the center of the tomb symbol circle at G, is shown by tan angle DJG = DG / DJ = 1/4 DE / 1 = 1/4 x 2 √3 / 1 =  1/2 √3 / 1= √3 / 2.  Again, same ratio.  (Parallel lines create equal angles.)

 

This ratio √3 / 2, happens to also be the ratio of the height to the base in an equilateral triangle.  (For example, DO = √3 (height); JO = JS = 2 (base).)  Really neat!

 

Does the fact that the red line, alias the rotated tomb symbol angle, passes through the center of the tomb symbol circle (where I’d placed it based on my observation of the actual sculpture), mean that I’ve anchored the circle in the right place?  I don’t know.  There could be other relationships that are even more astounding.  But maybe I got it right.

 

I should mention here that some of my images are very wide and when shrunk down to fit in this column, they lose a lot of detail.  To view a full-size image in this series, click on “Full-size image” under the image, then click on the image to open or click “open.”  Then hover your cursor over the image to get a pop-up button in the lower right corner (or other feature depending on your browser – this will take a few moments), and click on that to get the actual full-size.

 

Continued here.

 

-2009-

 

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 This post was posted on May 28, 2009.

 

 

DRAWING THE “JESUS TOMB” SYMBOL, PART 15

 

The focus of this post is the nine-point star and I eventually get around to the tomb symbol at the end.

 

I am continuing here with my series about the large symbol found on the Talpiot tomb in Israel (aka “The Lost Tomb of Jesus”).  The symbol is a stone relief sculpture of a small circle within an upside-down Y-shape.  (More on the tomb here.)  

 

I have been making designs derived from the tomb symbol.  Generally, I am going by what I observe in my drawings; I am not attempting mathematical proofs.  As I go along I define whatever terms I need to, but might not repeat definitions in each post.  So this post should be read in conjunction with the previous ones.  (Index.)

 

In the following image are two nine-point stars.  One is made by having the horizontal line link the topmost left and right points (pink star) and rotating in increments of 40 degrees (9 times 40 equals 360 degrees).  A more pointy nine-point star (yellow) is made by having the horizontal line link the next lower left and right points.  Two additional nine-point stars are formed within the yellow star, and these are shown in turquoise and gold.

 

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In the following image a nine-sided polygon is drawn around the combined nine-point stars.  This forms nine equilateral triangles (red) within the arms of the pointy star.  Also, there are three equilateral triangles (shown in three shades of green) at the center of the star design. 

 

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The following image shows that there are various triangles in the combined nine-point star design that are triangles of 40-100-40 degrees.  Just wonderful to see this pattern repeating throughout the design.  Each turquoise triangle of 40-100-40 degrees is composed of two pink triangles that are also 40-100-40, plus a center triangle made from a bit of the pointy star (where each tip is 20 degrees).  Other 40-100-40 triangles are shown in gold and purple.  The lavender inward-pointing corners are 100 degrees.

 

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In the following image I attempt a bit of high school math to define the various angles in the combined nine-point star design.  All those angles I have examined so far are multiples of 10!  Incredible – multiples of 10!!! 

 

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I should mention here that some of my images are very wide and when shrunk down to fit in this column, they lose a lot of detail.  To view a full-size image in this series, click on “Full-size image” under the image, then click on the image to open or click “open.”  Then hover your cursor over the image to get a pop-up button in the lower right corner (or other feature depending on your browser – this will take a few moments), and click on that to get the actual full-size.

 

I’ll add here the mathematical explanation of the angles shown in the image above:

 

Angle ACB = 360° ÷ 9 = 40°.

Angle ACD = angle ACB ÷ 2 = 20°.

Angle CAD = 70° (sum of angles in right triangle ADC = 180°).

Angle CQR = 70° (sum of angles in right triangle CRQ = 180°).

Angle DQP = angle CQR = 70° (symmetrical intersecting lines).

Angle PQR = 40° (sum of angles on one side of a line = 180°; (180 – (70 + 70) = 40)).

Angle QPR = 50° (sum of angles in right triangle PRQ = 180°).

Angle APS = angle QPR = 50° (symmetrical intersecting lines).

Angle QPS = 80° (sum of angles on one side of a line = 180°; (180 – (50 + 50) = 80)).

Angle PSQ = 30° (sum of angles in triangle SPQ = 180°).

Angle ASD = angle PSQ = 30° (symmetrical intersecting lines).

Therefore, triangle ASB is an equilateral triangle.

Angle DAS = 60° (sum of angles in right triangle ADS = 180°).

Angle ASP = 120° (sum of angles on one side of a line = 180°; (180 – (30 + 30) = 120)).

Angle PAS = angle CAD – angle DAS = 70° – 60° = 10° (also, sum of angles in triangle ASP = 180°).

Angle TAU = 50° (line crossing parallel lines makes some equal angles; vertical CU crosses parallel lines AT and BP).

Angle CAY = angle TAU = 50° (symmetrical intersecting lines).

Angle SAY = angle CAY – angle CAS = 50° – 10° = 40°.

Angle DAY = angle CAD – angle CAY = 70° – 50° = 20°.

Angle AYD = 70° (sum of angles in right triangle ADY = 180°).

Angle CYZ = angle AYD = 70° (symmetrical intersecting lines; also, sum of angles in right triangle CZY = 180°).

Angle AYZ = 40° (sum of angles on one side of a line = 180°; (180 – (70 + 70) = 40)).

Angle AEY = 100° (sum of angles in triangle AEY = 180°).

Therefore, triangle AEY is an isosceles triangle of 40-100-40 degrees.

Angle CAH = angle CAD = 70° (symmetrical intersecting lines).

Angle HAJ = 40° (sum of angles on one side of a line = 180°; (180 – (70 + 70) = 40)).

Angle DAK = angle HAJ = 40° (symmetrical intersecting lines).

Therefore, triangle AKB is an isosceles triangle of 40-100-40 degrees.

 

I’d like to pause for a moment to reflect on the angles present in the nine-point star (multiples of 10), the angles in the 6-point and 12-point stars (multiples of ten, such as angles of 30, 60, 120 and 150 degrees), and the five-point star (all integers), at least that is the case for all those angles I’ve examined so far.  Why are there 360 degrees in a circle?  I don’t recall reading anything on this, but I suspect it has something to do with these stars.  Perhaps the circle was divided into increments of 360 so that the internal angles and external angles of these stars could all be multiples of 10 or integers.  It seems to work out if you use a decimal number system (base 10).  Let’s assume that the decimal number system is favored by humankind because we have ten fingers and ten toes.  Then consider the awesome convergence of biology, number systems, and the fixed angles in stars.  Consider the possibility of intelligent design.

 

What I’ve done in the following drawing is manipulate the combined nine-point star design to give it 36 points (first copy, invert, paste, then copy, rotate 90 degrees, paste).  The tomb symbol angle in its original position (see Part 1) intersects its enclosing circle at arcs of 120 degrees (arcs centered on the center of the enclosing circle).  The nine-point star has tips that fall out at 120 degrees of arc.  With this in mind, I rotated the tomb symbol angle (red) in increments of 10 degrees so that the tips of tomb symbol angles meet the tips of the rotated stars – a pretty design. Then I noticed something unexpected:  the crisscrossing lines of rotated stars (indigo) seem to intersect right at the rotated apices of tomb symbol angles.  To emphasize this, I added the tomb symbol in pale green under the drawing, showing the outline of the tomb symbol angle in its original position, to highlight how its apex seems to meet star lines. 

 

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I feel like my mind is going places it has never gone before.  No reruns here.  Continued here.

 

-2008-

 

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This post was posted on October 16, 2008.

 

 

DRAWING THE “JESUS TOMB” SYMBOL, PART 14

 

Q:  The diameter of the royal blue circle seems to be one-third the diameter of the standard circle – is it?

 

I am continuing here with my series about the large symbol found on the Talpiot tomb in Israel (aka “The Lost Tomb of Jesus”).  The symbol is a stone relief sculpture of a small circle within an upside-down Y-shape.  (More on the tomb here.)  I have been making designs derived from the tomb symbol.  This post should be read in conjunction with the previous ones.  (Index.)

 

The royal blue line (royal blue in the following image) is by my definition a line through the bottommost point (A) of my standard circle (pink), and tangential to the tomb symbol circle (black-green and one-fourth the diameter of the standard circle), when the tomb symbol circle is in its original position with its center on the lower vertical radius of the standard circle and intersecting its center.  The royal blue circle (deep wedgewood) is centered on the center of the standard circle and is tangential to the royal blue line. 

 

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The radius of each circle is perpendicular to the tangential royal blue line at the point where it intersects the circle.  I drew these perpendiculars for each circle creating right angles.  In the royal blue circle there is radius CF, from center C to point of tangentiality F.  In the tomb symbol circle there is radius ED, from center E to point of tangentiality D.  I then have two right triangles (both “similar”) with point A their common corner.

 

In the following set of calculations I show that the sine of angle EAD equals the sine of angle CAF, when I assume that the radius of the royal blue circle is one-sixth the diameter of the standard circle. 

 

The diameter of the standard circle is 1.  The radius of the standard circle is therefore 1/2.  Radius ED is 1/8.  Radius CF is assumed to be 1/6.

 

sin EAD = opposite / hypotenuse = ED / EA = (1/8) / (3/8) = 1/3

 

sin CAF = opposite / hypotenuse = CF / CA = (1/6) / (1/2) = 1/3

 

It works!  The royal blue circle is tangential to the royal blue line AND its diameter is indeed one-third the diameter of the standard circle!  Hooray!  (Chortle.)

 

At first it didn’t work out exactly when I used decimals and an electronic calculator (and got repeating decimals that didn’t quite match) so I am grateful someone suggested I use fractions instead.  Continued here.

 

-2008-

 

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This post was posted on September 30, 2008.

 

 

ROYAL BLUE LINES AND THE SYMBOL

 

I had some drawings that I had made earlier with royal blue lines and decided to continue that train of thought for a while.  I got some inspiration from viewing the Buddhist Dharma Wheel, but I actually don’t have a clue as to its geometry.

 

I am continuing here with my series about the large symbol found on the Talpiot tomb in Israel (aka “The Lost Tomb of Jesus”).  The symbol is a stone relief sculpture of a small circle within an upside-down Y-shape.  (More on the tomb here.)  

 

I have been making designs derived from the tomb symbol.  I am going by what I observe in my drawings; I am not attempting mathematical proofs.  As I go along I define whatever terms I need to, but might not repeat definitions in each post.  So this post should be read in conjunction with the previous ones.  (Index.)

 

The following image is further development of the last drawing shown in Part 4.  I’ve added royal blue lines radiating from the center, mirrored pairs rotated in increments of 45 degrees.  The royal blue lines are colored red, so they will be more visible.  A royal blue line is by my definition a line through the bottommost point of the standard circle and tangential to the tomb symbol circle in its original position intersecting both the center of the standard circle and the mid-point of the circle’s lower vertical radius.  In this drawing, the royal blue line has been moved so it radiates from the center instead.  Of course, the tomb symbol circle (pink-filled) hanging from the topmost point of the standard circle (regular blue) is tangential to the royal blue lines radiating from its center, because the tomb symbol circle is still the same distance from the angle apex as before.  It was nice to learn that the half tomb symbol circle (pale green-filled) is also tangential to the royal blue lines when end to end with the topmost tomb symbol circle and below it, although this can be ascertained intuitively, once you think about it.

 

Full-size image

 

I should mention here that some of my images are very wide and when shrunk down to fit in this column, they lose a lot of detail.  To view a full-size image in this series, click on “Full-size image” under the image, then click on the image to open or click “open.”  Then hover your cursor over the image to get a pop-up button in the lower right corner (or other feature depending on your browser – this will take a few moments), and click on that to get the actual full-size.

 

In the following image, several forms are rotated in increments of 45 degrees:  a 12-point star (navy) inscribed within the standard circle (regular blue), a half green circle (pale green and half the diameter of the standard circle) hanging from the topmost point of the standard circle, a mirrored pair of royal blue lines (red) radiating from the center of the standard circle, and a tomb symbol angle (dark green) anchored in its original position with apex at the midpoint of a hexagram’s upper horizontal line (also within the 12-point star).  I was pleased to see the rotated half green circles intersect other rotated half green circles at points where the horizontal and vertical lines of the 12-point star meet (see pair of red arrows marking this).  Red arrows also show where rotated royal blue lines pass through the intersections of rotated tomb symbol angle lines and rotated lines of 12-point stars.  Red arrows also show where rotated royal blue lines pass through the intersections of rotated tomb symbol angle lines and rotated half green circles.  Tomb symbol angle lines also pass through intersections of vertical/horizontal star lines and other star lines (16 points unmarked).

 

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There are no royal blue lines in the following drawing, but in setting up a design for the next two drawings after that, I decided to tarry a bit and experiment some more with the orange grid I developed in Part 7.  In the following drawing, the standard circle is pink-rimmed and pale blue-filled as is the 200 percent circle.  An equilateral triangle is inscribed in the standard circle, inscribed in the 200 percent circle, and inscribed in what would be (if shown) a 400 percent circle, all three concentric. 

 

I extended the orange grid (lines 45 degrees off the vertical forming a pattern of diamond shaped squares) so that it would fit the larger size image I am working with here.  Then I did a copy/invert/paste.  (In this case as in most of my drawings, the center of the design is the exact center of the image and so when I pasted in this instance, the center stayed at the center.)  I pasted this “original-orange-grid-with-invert” on the three triangle design, center on center.  I pasted it on again, not on the center this time, but with orange lines intersections (those above the smaller interval of orange lines) anchored on the topmost point of the standard circle, the same position the orange lines hold in “circle 2” in Part 7.  This created yet a smaller interval of orange lines.  Using that smaller distance as a benchmark, I pasted the “original-orange-grid-with-invert” both above and below existing intersections.  Again, the orange line intersections above the smaller interval of orange lines are what I anchored at the benchmarked distance. 

 

So what did I get?  In this new pattern of orange lines, each corner of each of the three triangles now bears the intersection of orange lines!  I don’t know if this could have been anticipated – I certainly didn’t know it would happen, and after just a few manipulations.  Wow!

 

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This next drawing is a bit more fun to look at and is derived from my musings about the Buddhist Dharma Wheel, yet maybe totally unrelated to it for all I know. 

 

Again, I have a mirrored pair of royal blue lines (this time in royal blue), rotated at intervals of 45 degrees to make 8 pairs.  The center of the design is not at the center of the image any more, but centered in the standard circle (regular blue and pink-filled). 

 

All the circles here are ones I have used before. In their order of ascent from the center, tangentially held within the royal blue lines (opening upward and partly chocolate brown-filled), these circles are:  

 

>>half tomb symbol circle (deep pink and one-eighth the diameter of the standard circle),

>>half royal blue circle (deep wedgewood and one-sixth the diameter of the standard circle),

>>tomb symbol circle (black-green and one-fourth the diameter of the standard circle),

>>royal blue circle (indigo and one-third the diameter of the standard circle),

>>half green circle (dark green and one-half the diameter of the standard circle),

>>yellow circle (gold and three-fourths the diameter of the standard circle), and

>>green circle (regular green and same diameter as the standard circle). 

 

As noted above for the first drawing in this post, the half tomb symbol circle and the tomb symbol circle fit end to end, both tangential to the royal blue lines.  It is just intuitive that other circles fit end to end likewise, those circles which are in succession each a factor of 2 larger than the previous, thus the progression: half tomb symbol circle – tomb symbol circle – half green circle – green circle.  The royal blue circle and its half also fit end to end.  The royal blue circle was developed using the royal blue lines in a previous post and it is just marvelous that this circle is also one-third the diameter of the standard circle.  It is positioned here (centered on the topmost point of the standard circle) at a distance from the apex of royal blue lines same as in its development, so its tangentiality at that point is anticipated.

 

The drawing also shows a variety of these circles tangential within the peaks of the three equilateral triangles (partly marked with red fill).

 

All the circles are linked one to another somehow, passing through a top, bottom, or center point of another, as best I can recall, and so there are repeating intervals within the column, for instance, that of the tomb symbol circle.  Two circles in this design are tangential to different sets of royal blue lines, those rotated by 45 degrees.

 

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The next drawing takes a segment of the previous and builds on it, adding more circles.  The royal circles (regular blue-filled) fit tangentially among the half green circles (lavender-filled) and the green circle (partly deep pink-filled).  This relationship is not new as it can be seen in my second drawing in Part 5, but has greater emphasis here.  It pleases me somehow.  And this is not the first time I’ve drawn five half royal circles in a row (yellow-filled) with centers on what would be the horizontal line of a hexagram (if shown).  Something interesting in this drawing is that each end half royal blue circle is tangential to three other circles:  the green circle, a half green circle, and a royal blue circle. 

 

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It is enormously difficult to write the text for these drawing posts, far more difficult than making the actual drawings, but if it helps my readers who take delight in drawing as I do, then it is worth it.  Continued here.

 

-2008-

 

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This post was posted on September 4, 2008.

 

 

THE SECRET OF THE GOLDEN PLATES

 

Where are the golden plates now?

 

I’ll guess I am one of the few outsiders who have ever read The Book of Mormon; Another Testament of Jesus Christ from cover to cover.  Why did I read it?  I read it because I was looking for clues as to where Joseph Smith had hidden the golden plates. 

 

Joseph Smith “translated” The Book of Mormon early in the 19th century, from a set of ancient-looking, golden-colored plates with strange inscriptions he found buried in a hillside.  Or so he said.  Were there really golden-colored plates with inscriptions?  I think it is likely.  After all, there are the testimonies of 11 people saying they witnessed the golden plates in the introduction to the printed version of The Book of Mormon that I have. 

 

Eight of the witnesses say the plates “have the appearance of gold; and as many of the leaves as the said Smith has translated we did handle with our hands; and we also saw the engravings thereon, all of which has the appearance of ancient work, and of curious workmanship.  And this we bear record with words of soberness, that the said Smith has shown unto us, for we have seen and hefted, and know of a surety that the said Smith has got the plates of which we have spoken.”  That’s fairly convincing.  Three others say, “And we declare with words of soberness, that an angel of God came down from heaven, and he brought and laid before our eyes, that we beheld and saw the plates, and the engravings thereon.” (An angel???).

 

Could there have been ancient civilizations in the Americas that no one had ever heard of before, whose prophets testified about Jesus Christ, as Joseph Smith claimed?  Could he have translated the plates by using their accompanying “sacred stones” as he claimed?  Well, I’m trying to keep an open mind. 

 

From reading the book, I’d have to say that I see a man on a journey, a man who fell in love with the artifact he found, and yes, I’d have to say the plates were something he found.  One does not fall in love with a fraud one creates.  And I’d have to say he fell in love with the story that came to him, that came to his mind, a story about his beloved artifact.  And I’d have to say he fell in love with the journey, his journey of discovering the story.

 

The Book of Mormon is a masterpiece and monumental.  Why?  Because it is an account of a journey – one man’s spiritual journey, Joseph Smith’s very own journey.  A journey he was wedded to for more than 500 printed pages. 

 

Perhaps he questioned the story and the journey at some level:  “O then, is not this real?  I say unto you, Yea, because it is light; and whatsoever is light, is good, because it is discernible,  . . . .  ye have only exercised your faith to plant the seed that ye might try the experiment to know if the seed was good.” (Words of a character in The Book of Mormon (Alma, chapter 32)). 

 

A concept of abiding beauty and goodness

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I think he saw some enormous benefit coming from his journey:  “This is my glory, that perhaps I may be an instrument in the hands of God to bring some soul to repentance; and this is my joy.” (Words of a character in The Book of Mormon (Alma, chapter 29). 

 

Whenever someone takes such a journey, whether as artist, poet, writer, singer, parent or caregiver, patient or victim, lover or hater, there are many paths but the journey is always the same process.  I do believe that the creative journey is available to each and every one of us, although the person who is abnormal in some way (not the norm) will be able to make a more unusual contribution.

 

To be a “seer,” one who sees, one who hears, one who envisions, like a Van Gogh, a Mary Magdalene, or a Mozart; to see or hear what others cannot and to make it visible or audible to them, to be caught up in mystery, in magic, in-spirited by inspiration, to hear the music of the spheres and bring it into the domain of the everyday – that is the creative process.

 

As a seer, Joseph Smith opened a new world to millions of believers who became his followers.  You can get a taste of his vision of beauty and drama at the annual Mormon pageant at Palmyra, New York, with a costumed cast of over 650 people.

 

Do I recommend you read The Book of Mormon?  No – not unless you are a history major, or thinking of joining The Church of Jesus Christ of Latter-day Saints, the Mormon Church that was founded by Joseph Smith.  I must say, I didn’t find much spiritually uplifting in the book.  I found it tedious.  Obviously, it’s not for everyone.  And of course, some of the views on race, women, etc. in the book are not commendable.

 

In my imagination, I see myself finding the golden plates in a newly opened sinkhole in my backyard .  I notice that there are many plates, thousands in fact, as fine as sheets of paper, still in mint condition despite their antiquity, covered with a delicate lettering.  Could it be something from another planet?   Could it be the cure for AIDS?  Could it be the cure for aging – the secret of eternal youth?  And here are the translator stones.  They are shiny, like cell phones.  As I touch one, I hear a voice saying in English, “What is your command?”  OK enough of that.

 

I wish that Joseph Smith or at least some of his closest associates had made greater efforts to document the inscriptions on the plates, make accurate drawings of them, and correspond with language experts in the universities or museums in America or Europe at that time who might have been interested in reviewing and commenting on the inscriptions.  Then maybe we would have a substantial record today.  Now it is all lost – except for a few lines of characters (the “Anthon transcript”) and Joseph Smith’s envisioning.

 

A passage in the book’s introduction makes it clear Joseph Smith feared that the plates would be stolen.  “No sooner was it known that I had them, than the most strenuous exertions were used to get them from me.   Every stratagem that could be invented was resorted to for that purpose.  The persecution became more bitter and severe than before, and multitudes were on the alert continually to get them from me if possible.”  History makes it clear that his “translation” was not well received (except by his followers); in fact, he was murdered by a mob because of his work, and because of the growing political strength of his movement.  So he was right to feel unsafe, to fear for the safety of the plates.

 

Did Joseph Smith destroy the golden plates?  I don’t think so.  I think he was too filled with awe.  I think he loved those plates. 

 

So where did he hide them (or “deliver them to the messenger”)?  I have to believe he hid them where he knew he could find them again, and where others could find them in the fullness of time.  “Then shalt thou seal up the book again, and hide it up unto me, that I may preserve the words which thou hast not read, until I shall see fit in mine own wisdom to reveal all things unto the children of men.”  (God speaks in The Book of Mormon (Nephi, chapter 27)). 

 

I’ll guess Joseph Smith left clues in his book as to where the plates are.  It’s interesting that he writes in a sort of rambling, stream-of-consciousness way.  He dictated his work, and apparently, there is little or no attempt to wordcraft.  Once he finds a word he likes, he uses it over and over, much to the annoyance of the reader I must say.  Thus his rambling lays out fairly clearly for the reader, the landscape of his mind.

 

What I looked for were passages that dealt with that landscape – especially the geographical and geological features of that landscape:  mountains, mounts, hills, cavities (caves), rocks, stones, rivers, waters, seas, islands, and place names, and words like hide, hid, hidden.  And the book overflows with such references.   And references to sealing up and burying records. 

 

Do I know where he hid the golden plates?  I’ll guess either in a cave, in a pouch under water, in a well, or deep in a mountainside.  No, I don’t know.  But I’m thinking now, perhaps there is some sort of code or anagram woven into the book that could reveal the location.  Somewhere in 500 plus pages.

 

I think I’ll take another look at it. 

 

Just forget what you know about the inner landscape of my mind.

 

Slide show and music on my main page.

 

-2008-

 

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A day of unsurpassed beauty.

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SAN SEBASTIAN

 

In San Sebastian by the sea

 

The rain came down as hard can be

 

It made great puddles in the street

 

And everything looked far from neat

 

The houses all looked damp and dark

 

The rain fell faster, quick and sharp

 

Dark foggy figures ran down the street

 

With dripping hair and soggy feet

 

The water splattered in the gutter

 

And pattered softly on the shutter

 

What a splashy watery day!

 

-1964-

 

Slide show and music on my main page.

 

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