"And there appeared in the cherubims the form of a man's hand under their wings. And when i looked behold the four wheels by the cherubims, one wheel by one cherub, and another wheel by another cherub: and the appearance of the wheels was as the colour of a beryl stone. And as for their appearances, they four had one likeness, as if a wheel had been in the midst of a wheel." (Ezekiel Chapter 10 Verse 8~10 )

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The first thing to establish is the square grid which must have been considered in the original design, it can be seen how an inner square is established through setting three demarcations per side, and thus forming a design of sixteen sub-squares. Also note how the 'cross' arms tally in with the 4:1 diagonals, especially across the centre.

The curvaceous aspects of the inner lozenge shapes are part of a greater considered design and also reinforce the argument for the squared grid as the eight inner circles take their centre points from the corners and central demarcation of the grid pattern, this is a simple diagram drawn from directly using the points of the image rather than overlaying a theoretical model.

The four larger circles take their centres from the outer edges of the four inner circles at the cardinal points, even though circles are only shown describing the outer edges, there would also be the inner curves of the lozenges to consider, involving much more complexity in the original design. The eight inner circles would fit within a second square overlay

Crucial to note is how the chevron markings on the edge of the bowl indicate lines based on 3:1 square ratio, also describing the angles of the curved 'cross', these lines when joined produce an octagon, or eight pointed star.

Going back to the notion of the geometric proportions of the artifact being a proto-type as it were for much geometric esoterica that was to follow, then it's worth looking at how this works. Firstly the square temple of the Hebrews was of three demarcations per side, one gate placed for each of the twelve tribes, this i studied in the 'Israel Schemata' were begining with the twelve tribes being placed around a rectangle during their wanderings in the wilderness, to the visionary square temple of Ezekiel, to the final twelve gated temple of Heaven coming down to Earth in the Book of Revelations. There is also the more complex Temple Scroll document from the Dead Sea sect which outlines a plan for three concentric squares. I also showed how the basic proportions and sub-divisions of these square formulae could be overlaid upon the circular sacred designs such as that of Stonehenge and would essentialy fit, as there were common denominators in the geometric proportionalism.

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Here the overall site plan of Stonehenge is overlaid with the square geometry of Israel including the motif of the 'Seal of Solomon' which is in direct relationship to such a schemata, notice how the lines marking the extremeties of Sunrise and Sunset during summer and winter pinnion the angles of the inner six-pointed star, how the points of the inner star indicate the inner circle, how the inside of this star is described by another inner circle.

The Hacilar bowl design fits perfectly over the site as a whole, the strata of the design even seeming to pick out individual stones, the inner lozenge design equating with the inner cicle, the outer chevrons of the bowl describing the incline of the outer mound. The various circles are indicated by the chevrons of the lozenge design, the points also relating to the midsummer and winter extremeties of the suns rising and settings, as well as the four cardinal points.

The above image then provides a remarkable insight into cross cultural synthesis of theoretical geometry, dating back to 6,000 Bc, it also of course very much resembles a Celtic cross, with the mound describing the circle often associated with these elaborate geometric workings. The Bush Barrow lozenge objects found near to Stonehenge does though provide direct evidence that these ancient ideas had been taken up in Britain thousands of years after the culture of Hacilar had seemingly vanished, as these artifacts bear very close comarison with the earlier designs, the artifact considered a belt buckle sharing the curved indentations of the lozenges, as these are gold it is not possible to know how old they were when buried.

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An artistic rendering of the design that looks more like an example of late Byzantine Christian iconography rather than the first known example of complex geometric design, a remarkably timeless piece of design that has passed down through the millenia influencing many religions and cultures, such as the Mycenaen palace of King Nestor, and the iconography of those such as the Templars with their Maltese Cross, or the eight sided churches of the Byzantines again, for example.

As far as the provenance of the design goes, the ancient cultures of the Near East are very much associated with mystery of course, the legends of the watchers or fallen Angels, who said to have descended and taught man advanced knowledge of the Heavens and Mathamatics and design, so perhaps the piece gives something of an insight into the mind of Angels...?...the relationship to such pattern is looked at in Section Three of Sacred Geometry

"And i saw as the colour of amber, as the appearance of fire round about within it, from the appearance of his loins even upward, and from the appearance of his loins even downward, i saw as it were the appearance of fire, and it had brightness round about. This was the appearance of the likeness of the Glory of the Lord" (Ezekiel Chapter 1 Verse 27~28 )