KEYS OF ANTIQUITY
AND THE ANCIENT CIPHER
The ancient Greek and Roman societies were riven by traditions and varied schools of thought. The main academic subjects were based around the works of such great philosophers and thinkers as Plato, Pythagoras, Aristotle, Euclid and Diogenes. Arithmetic, geometry, astronomy, philosophy, music, logic and theology were among the main subjects studied. Even in the first century A.D. the arts flourished in Pompeii under Greek and Roman influence. Some of the wonderful frescos that adorn the main hall of the Villa of Mysteries and the house of the Vetii resemble the style of this fresco painting from Pompeii. It complies with some of the basic geometry of the Dionysian cipher, as also known as the Quadrivium as used by the Priest, Berenger Sauniere in passing on his secrets to now.
The feasibility of this system has proved so effective that this painting from the era before 74 AD (by an artist I have named Julio Trento in his honour) is geometrically accurate as is the Quadrivium cipher coding present in the works of Nicholas Poussin executed in the mid seventeenth century. The treasures of the Visigoths are safe in the hands of such craftsman. There is much of great archaeological significance and excitement and much which is poised ready.
These few simple additions to the fresco are by no means what is the whole story. By sliding manipulations of the overlay geometry the design features become clearer. The layout of the fresco based on this geometry is demonstrated and the positioning of the various elements in the painting are not random. But it yet also needs a dexter’ as well as a ‘sinister’.
“Hercules strangling snakes”
From the House of the Vettii, Pompeii.
Part of the underlying geometry, by Bill Kersey.
This particular example of the cipher clearly demonstrates the sliding potential of the geometry. The hub of the cipher is clearly replicated by the round feature at the head of the pillar. There is also the potential for rotation to match the geometry at different points within the picture. Though the Pompeii artworks are from an early period in the known history of the cipher architectural examples of its application should be available from what Bill Kersey refers to as the Dionysian Cipher period which is the same as the Quadrivium in structure but evidence is now limited to architectural features. The aspect of great interest is the constant nature in the construction , wether in the art or the landscape over time. One strong exponent of the cipher element in the Languedoc landscape is Henri Boudet in his book, ‘La vraie langue Celtique et le cromleck de Rennes-les-Bains’. This book is, of course, packed with cipher.