Roma-Amor palindrome written beside the 1954 discovery of a square on a tile at Aquincum, was incorrectly translated (if anything it supported the square as a charm). Fishwick, and others, consider the key failing of the Roman puzzle theory of origin is the lack of any explanation as to why the square would later become so strongly associated with Christianity, and with being a medieval charm. Some argue that this can be bridged if considered as a Pythagorean-Stoic puzzle creation. In 2018, Megan O'Donnell argued that the square is less of a pure word puzzle but more a piece of Latin Roman graffito that should be read figuratively as a wheel (i.e. the ROTAS), and that the textual-visual interplay had parallels with other forms of graffito found in Pompeii, some of which later became adopted as charms. Jewish symbol Some prominent academics, including British-Canadian ancient Roman scholar Duncan Fishwick, American ancient legal historian David Daube, and British ancient historian Mary Beard, consider the square as being likely of Jewish origin. Fishwick notes that the failings of the Paternoster theory (above) are resolved when looked at from a Jewish perspective. Large numbers of Latin-speaking Jews had been settled in Pompeii, and their affinity for cryptic and mystical word symbols was well known. The Alpha and Omega concept appears much earlier in Judaism (Ex. 3.14; Is. 41.4, and 44.6), and the letters "aleph" and "tau" are used in the Talmud as symbols of totality. The Ts of TENET may be explained not as Christian crosses, but as a Latin form of the Jewish "tau" salvation symbol (from Ezekiel), and its archaic form (+ or X) appears regularly on ossuaries of both Hellenistic and early Roman times. Fishwick highlights the central position of the letter N, as Jews attached significance to the utterance of the "Name" (or nomen). In addition, Fishwick believes a Jewish origin provides a satisfactory explanation for the Paternoster cross (or X) as the configuration is an archaic Jewish "tau" (+ or X). The Paternoster word is not unique to Christianity, and also has roots in Judaism where several prayers refer to "Our Father". Fishwick concludes that the translations of the words ROTAS OPERA TENET AREPO SATOR are irrelevant, except to the extent that they make some sense and thereby hide a Jewish cryptic charm, and to require them to mean more is "to expect the impossible". The motivation for