the creation square might have been the Jewish pogroms of A.D 19 or A.D 49, however, it fell into disuse only to be revived later by Christians facing their own persecution, and who appreciated its hidden Paternoster and Alpha and Omega symbolism, but who focused on the SATOR-form (which gave a more meaningful emphasis on the "sower", which was associated with Christ). Research in 2006 by French classical scholar Nicolas Vinel drew on recent discoveries on the mathematics of ancient magic squares to propose that the square was a "Jewish cryptogram using Pythagorean arithmetic". Vinel decoded several Jewish concepts in the square, including the reason for AREPO, and was able to explain the word SAUTRAN that appears beside the square that was discovered on the palestra column in Pompeii. Vinel addressed a criticism of the Jewish origin theory – why would the Jews have then abandoned the symbol? – by noting the Greek texts that they also abandoned (e.g. the Septuagint) in favor of Hebrew versions. Other theories The amount of academic research published on the Rotas-Sator square is regarded as being considerable (and even described as "immense"); American academic Rose Mary Sheldon attempted to catalog and review the most prominent works in a 2003 paper published in Cryptologia. Amongst the more diverse but less supported theories Sheldon recorded were: Several German academics have written on the links of the square to Pythagoreanism and Stoicism, including philologist , historian , and Heinz Hoffman, amongst others. Schneider believed the square was an important link between Etruscan religion and Stoic academic philosophy. Hommel believed that in the Stoic tradition, the Ephesian word AREPO would be discarded, and the square would be read in the boustrophedon style as SATOR OPERA TENET, TENET OPERA SATOR, translating as "The Creator preserves his works". German scholar writing the Sator square's entry in The Encyclopedia of Christianity found this theory persuasive, but Miroslav Marcovich refuted the translation. Several academics link the square to Gnostic origins, such as Jean Doignon, Gustav Maresch, Adolfo Omodeo, and . English egyptogolist J. Gwyn Griffiths explains AREPO as a personal name derived from the Egyptian name "Hr-Hp", and sources the square to an Alexandrine origin where a gnostic tradition employed acrostics. Some academics link the square to Orphic cults, including Serbian historian Milan Budimir who linked the Greek form of AREPO to the name Orpheus. Italian academic Adolfo Omodeo linked the square