A Textile Workers’ Calendric

Dr. Enzmann and Jay R. Snyder

April 13, 2007

Buxu cave in Asturias, Spain, boasts a beautiful, large-rock inscription of what clearly at first glance appears as a horse. An investigation of the lead lines (lines that connect symbols and images) across and through the etching, shows that contingencies translate as calendrics. These are marked within the cardinal lines of a horse to show when things happened and where; they also tell what was done and how.

Almagro Basch researched this Spanish cave and reported his findings at the Altamira Symposium in 1980. Robert Duncan-Enzmann, a ballistic missile engineer and cryptologist, has worked for decades translating over a thousand Magdalenian (12,500 BCE) inscriptions. His unpublished work, on loan to me, is a source of my thesis material.

This so-called called cave ‘art’ includes numerous hand-sized inscriptions on ivory, bone, and stone. By gifted intuition and mega-giga sorting on supercomputers of images, symbols, signs, link-lines, lead-lines, and linguistic components, Duncan-Enzmann translated these inscriptions into Magdalenian narratives. Depictions of solar-lunar calendrics link-lined to symbols, lead-lined through signs, narrate when different parts of the horse (such as hair) are gathered and corded for spinning and weaving on an upright loom. The Buxu horse calendrics tell how wool and hair are pounded into felts, how fur is used for clothing, how hides are used for shoes and shelter, how hooves are used for glue, and how bones are used for tools and fat.