Again speaking of squares, these are used in puzzles as game schemes; some of them develop on particular combinations according to real geometric rules.
The mechanism is that on which the crosswords are based; in that case, however, the insertion of the black boxes facilitates the construction of various orders of intersections and allows to reach relevant dimensions (What is perhaps the largest crossword puzzle in the world, is placed in the atrium of the Cultural Center of Annecy, in Haute-Savoie: it measures 12 and a half meters per side, contains 14.520 squares and is divided into 120 columns and 4.245 words are required to complete it).
The limited number of words in Italian ending with a consonant does not allow you to easily exceed six letters. The examples of 7 or 8 letters per side are few and even somewhat strained, since the use of truncated words or verbal voices is inevitable. That's the way it is for this 7 × 7 example
Beyond the very interesting interpretative disquisitions on the square of Pompeii or on the one in the Quichua language, there are interesting squares of letters or syllables that constitute the scheme-pretext for enigmatic games, such as this, very coincident, of Marin Faliero:
WHEN YOU WERE IN LOVE
Great risk was one day this crush!
in which all the four words making up the square are hidden: 'mais' ('gran'), 'alea' ('risk'), 'yesterday' ('one day it was') and 'saio' ('codesta cotta') .
The "syllabic squares" are less difficult and certainly easier to construct. With them it is also possible to create whole sentences, even in a continuous sense, as in this example de The Gagliardo:
where the same sentence, a desire that subsides, it can be read both vertically and horizontally. The combination becomes a game to be solved when an “exposed” is given for it (for the case cited it is GREAT SATISFIED) and a consequential resolutive sentence is requested, indicating the numerical diagram (2,9,3,2,5). In the same way Donut proposed a syllabic square with PARIS exposed, which had to be solved:
In the same way, the statement AVERNO gives rise to the afterlife of Latin people.
Understanding the mechanism, it may be easy to explain these other examples (they are, two by two, of Marmi and Ecam):
BEIJING GYNECOLOGISTS (6,2,5,6)
MASSAIA VERY ACTIVE (5,8,2,4)
Here too we are dealing with simple definitions organized according to the obligatory geometric scheme.
In other cases the complaint is formulated in such a way as to hide a pitfall: proposing, for example, ON TOP OF COCONUT PALMS, Muscletone he wanted to think about
without any reference to the tree, but to the "palms" of the hands of a child ("coconut"); and also the The Troviero he understood the same with the exposed COCONUT PALMS which gives rise to this other square:
* The four examples proposed are more solved with sentences:
- splen by da / di mo ra / d'a ra bi
- me of us / of don n / us
- gu I'm sa / I'm riel the / knows the ce
- don na di / na mi ca / di ca sa
The square of Pompeii