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Page 2.

History, To Start

When the Western Roman Empire came to an end, many of its tantalizing mysteries were buried in the sands of time.

Whatever its meaning in the Classical age may have been (and I'll endeavor to reveal that in this article), in the Dark Ages the Sator Square became a plaything of mystics, a toy of alchemists, a riddle of witches and heretics as well as orthodox churchmen, a mysterious code of Christianity, and—as I will show—a cornerstone of neo-Platonic philosophy and theology.

Countless scholars have devoted significant time to studying the Sator Square, and have published many papers or books about it. Since at least 1881, there has been an incessant stream of interest from a number of academic disciplines.

The Austrian composer Anton Webern, who wrote palindromous, atonal pieces, ultimately celebrated the sublime mystery of the Sator Square in symphonic form in his Quartet for violin, clarinet, tenor saxophone and piano, Opus 22 (1930).

He had no idea what it meant, but he sensed (as most people do) its oddly powerful if hidden message. To the ancient Romans, in Latin, it was clear as day. When Western Roman civilization faded away, so did much that was obvious in a great civilization now forever lost.

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