I realize that you can't use my ideas in backing up the authenticity of the Westford engraving but you may be interested in a bit of the geometry apparent in it. There is a great deal of it but I will only mention the sword and then only a few notes. My idea is that the symbolism in the whole Knight schematic is highly specific to the Templars of the period. The academics would obviously trash the idea as not proof of anything so this is just a "by-the-way" metaphysical kind of observation.
I recently reviewed and analyzed the illustration of the Templar Grail/Sword stone shown on page 298 of Gardner's BLOODLINE OF THE HOLY GRAIL. Its primary geometric theme is the Great Pyramid (GP) geometry where in its case the whole design is involved. It was easy to find because I'd already found the GP in the Westford sword ...knew what to look for... but the Westford sword has only part of the device involved. I agree with the quote below, that the "...sword carving is one of the most important things... etc." This is the quote:
Professor Lethbridge (Cambridge University, England) the author of "The
Painted Man" and Keeper of the Anglo-Saxon Antiquities in the University Museum of Archaeology and Ethnology, wrote in regard to the Westford Knight:
"This sword carved on a rock face can hardly be anything but a medieval
sword. The whole hilt looks about A.D. 1200-1300. The significance of
this is considerable. I do not see how this particular form of sword could
be anything but European and pre-Columbian. It might even be earlier
than I have suggested although that is very unlikely.
"I think the sword carving is one of the most important things ever to have
been discovered in America".
My premise is that the carving is a schematic, among other things, for a large earth grid but I will only make one reference to this grid idea relating to the GP connection. To understand the full import of the sword as a Templar energetic system one must look at, and understand, Heb. 4:11-13 (comments on request by direct communication).
"Control" of the sword (as a system) is through the hilt and that is where we find the GP geometry in both the Westford and Page 298 swords. Note that the break in the sword appears to use the GP angle of 51 degrees. If we use the sword's main (energy) axis as our base line we first note the very important situation where the break is at the golden ratio point between the tip and base of the pommel. In symbolic terms to "heal the break" or restore the sword we would use the golden ratio format in some manner. Given 3 hours I could explain how the GP does this and also be able to connect it with the geometry involving Edinburgh and Rosslyn. I'll simply say that the GP organization solves the golden ratio input.
The short version is this: extend the break-line to where it intersects a mid axis line projected to the left from the quillon (hilt's cross piece). This is the altitude of the GP (horizontal on your page). The other slope of the GP drops down (upper right on the page) to the point at the base of the pommel. This same format, without the break, is found in the Page 298 sword with a few modifications but the same idea. The GP format is only one subsystem of half a dozen but it is the easiest to find and it is central to the golden ratio system.
I had decoded the Westford Knights' grid symbols and located the schematic on the Land but a mystery still remained wherein there is a 2 degree offset line from the quillon point at the hilt to the outer extremity of the double-wheel pommel. This slightly "cants" the hilt off the main axis. A friend pointed out a very important correlation: that at the line's upper extremity there are 3 Virginia sized mountains in a GP triangle duplicating the same thing in the sword. The man who had previously found this site and recognized it as a sacred place calls it "Trinity Point" near Churchville (a good name, eh?). In the much larger grid system this point appears to transition the whole sword's action into the Land: a double "fruit" (pomme-El or "fruit of God").
There are many coded subsystems in the carefully crafted schematic connected with this central geometric GP format found in the sword. (I will discuss these on request but on a personal basis.) My theories do not refute any others but in my opinion they add to them. I know that this geometric system, a very complex one, was known to the Sinclair Templars and was not known in more recent times, even to the Masons who had some of it as late as the 18th century CE. Regarding earlier usage, we know that St. Columba understood and used the system in Scotland as of the time of writing the Lindisfarne Gospels, about 640 CE. The Sinclair Templars built over his grid in the Edinburgh part of it.
What's all this in aid of? There are large implications in being able to "Heal the Break" and restore the Sword's energetic system however my intention here is not to go into all that. I am only trying to suggest, and illustrate, that there is a very subtle spiritual science found in the Knight's geometric carving. We can be assured that the symbolic codes and subtle geometry, known in the 15th century CE and most likely a secret at that time had been lost until they recently resurfaced. Discussion with two former Masons indicates that the inner subtle formats and grid knowledge have been lost to them also. I very much doubt that the Knight could have been carved much later than Henry's era.