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                  The Layout of Giza's Great Pyramids - 15,000 Years Old

An entire decorated desert plain overlooking the Pacific at Nazca, Peru; fifteen hundred finely engraved Stone-Age stone tablets beneath the earthen floor of a modest rock overhang in southern France; and the Giza pyramids - it is a delicate matter to defend a theory which proves that these sites, so far scattered in space and time, are all authored by the same team as complementary parts of a single project. All the evidence is abstract, composed of deciphered geometric designs. The hallmarks of these designs are sophistication, laboratory precision of implementation, and common focus on the same subjects.   
For instance, the below configuration of a cone and a square is shared between the Stone Age Athena Engraving and the Nazca Monkey glyph. Its construction begins with a 5-pointed star, yielding first the cone, then the square. Other constructions may be derived from the core design.
I had first learned about the "Cone & Square" configuration, and in general, about intelligent geometric language encoded in art, from the Athena Engraving. Although my observations were factual, they challenged established wisdom. Regrettably, it seems as if all the academia had a thimbleful of concentrated truth to the effect that there was no Stone Age advanced science. Therefore, I was the cause of the designs. Rationalisations ranged from geometry ubiquitous in everything, which one can interpret in a myriad of ways, to my devious geometric craftiness bent upon extracting money from naive readership in the style of Erich von Dâniken. I was non-plussed by such irrelevant charges;  the process of discovery proved to be unending, it had a mind of its own, which I could only admire and follow. 
I had to conclude that the image was intended to guide and teach the explorer. I saw myself getting lessons in geometry, which I had never been interested in before. I saw and appreciated the laconic clarity of inspiring clues like lighthouses along the path of exploration. Those took me for an adventurous journey, always in anticipation of the next surprise, the next smart idea.



Next great milestone in my research was finding independent proof of the reality of the Cone & Square design. I was as happy as can be at discovering that the same complex idea was clearly, powerfully manifest in the glyph of the Nazca Monkey... The Cone idea should be fairly clearly evident to a keen-eyed reader from the graphic of the monkey below; look for the X-shaped black glyph lines merging with the color stars. For the full story read my Nazca report.

Unlike the complex Athena Engraving, the monkey does not teach the Cone & Square configuration. Yet, its Cone system has some unique similarities to the original, thus the Square should be experimentally added to the Cone, as below. A good look at the square superscribed over the reddish Square reveals strong harmony with the monkey's figure. Now, it's a glaring fact that the monkey embodies the square configuration with its posture.  


The monkey sets up a puzzle on the shortest construction of the 5-pointed star.

The green square at the top is the Square; the small green square at the bottom is one of the squares implicit in the glyph (on the feet). The rest of the diagram fills is the solution, the logical relationship between the two. The horizontal arm of the star, and the Square's horizontal diagonal share the same line. Moreover, all four corners of the Square lie on the star.
This unique configuration materializes late in the glyph's analysis; it seems to fulfill some deeper purpose, other than drafting a pretty picture. Conspicuously, one of the Square's diagonals serves as the star's arm, thus, a step is saved in the process of its construction. I had felt that the case in point was presumably the most efficient (shortest) construction of the 5-pointed star - a noble pattern justifying the puzzle selectionas highly meaningful.
The process itself was simple. At one time, I had been enclosing elements of the monkey in rectangles parallel to the Square's diagonals. The monkey's feet set a rectangle, too. I extended it into a square with a circle around it, the "Foot-square."
Thereafter, I was in position to observe that "B," the top right corner of this Foot-square, connects to the top and bottom corners of the Square by lines closely approximating angles of a 5-pointed star. I drew the signalled star, with the distance A-B as one of its arms.
Next, copying the circled Foot-square to the bottom corner of the Square reveals that the Foot-square's circle is none other but the Golden Circle of this Square! So, the Foot-square with its circle is the right thing in the right place! It is also ideally placed for getting the idea across. 
The actual placement of the Foot-square configuration is slightly imperfect, but its size is indistinguishable from the golden circle configuration.  

                           Looping Back to Athena for Proof

Since my analysis of the monkey glyph seems to culminate in the Foot-square idea, and if the monkey glyph is directly related to the Athena Engraving, a possibility looms that the idea of the Foot-square might be recorded in the Athena. I may have missed it.
The hypothesis is easily tested by adding the Foot-square idea to Athena's blueprints. An  exceptionally positive result to this backchecking then translates into ironclad proof of direct connections between the two sites. You can see it below; it comes with a bonus - the Foot-square copied over the head fits with optometrist's precision...  The bonus is a definite plus to the case.


Let's look at this new position under greater magnification below. It is a creative interpretation of the same subject from the monkey glyph. Here, the Foot-square fits the right foot like a shoe, instead of encompassing both feet. In a show of keeping true with the idea, however, Athena's left foot appears to have its own Foot-square!

Here are some reasons why I find the experiment successful: the entire lower right leg is centered within the circle around the Foot-square; the square's bottom side fits under the foot with better than hairline precision, if you don't count the loose shoelace; Athena sits on the line through the top side of the square, hence the height of the square is perfectly reflected in the picture, top and bottom; the right side of the square limits a part of the foot. 
Or, was it the artist's wim to incorporate a view of both feet crossed, as well? The strange looking right foot, or boot, disassembles into two quite naturally looking feet (boots). The right boot rests on the left one.  If so, then the lower half of the Foot-square is a perfect containing rectangle for Athena's left foot, and both feet are comfortably centered in the square's circumcircle
The square inscribed into the Foot-square is supported by the image, too. Given correctly angled lines, we can fit one such line to the heel with visually perfect precision, and repeat the same at the points marked by arrows. The diagonal of the Foot-square which is rising to the north-east can be precisely rested against a point near the top, and the same applies to both the vertical and horizontal axes of the square. Obviously, anyone remembering these supports in the image can make a visually perfect replica of the Foot-square, and its axes and diagonals.
The diagram below: The line of centers of the two Foot-squares has just two chances at significant passage through the image, at the spots marked by arrows, and makes the best of both of them.
Another line (a) cast at 45 degrees from the midpoint of the second square is most remarkable in how it connects and limits both feet.


It was a surprise that the same Foot-square fits Athena's head and does so with amazing accuracy at that, as seen in the below image; the lifesize diameter of the circle within the square is only two centimeters.
It's also interesting to see how the head's main proportions in this orientation correspond to the Golden Section. If the entire colored-in rectangle is 2 units wide, then its height is 2.6180..., or, Phi squared.  We see two golden rectangles below the square; adding the small squares above gives two vertical golden rectangles.


where to with the central axis of the head ft-square

Diagram below:
Above is a view of a pentagram inscribed into a Square's golden circle centered in one of the Square's corners. The harmony between this geometry and Athena's face is something to behold.
It is artificial, self-evidently, being in plain sight. 
Behold the face from the star's tip on your right:
*The cone of vision of the face from your vantage point belongs to this star _ pentagon at the top,  pentagram at the bottom.
*Two more lines from the tip are also seen as strategic to the mapping of the face _  the yellow line comes from the inscribed square and is a boundary for the nose; it. The horizontal line sets the direction and location of the lips.

Look down from the star's upper tip:
You are precisely at the upper edge of an engraved line at the top of Athena's forehead. In all, three engraved lines fan out from here in unison with three lines of the star. As in the former case, this involves two pentagram arms and an additional pentagon side.

Already the third pentagon side in a row, counter-clockwise, coincides with a vertical engraved line of the hat and exits through an engraved point.

The low boundary line for the head:
Go to the intersection of the vertical pentagram arm with a side of the Square (right at the top of an engraved line, too); draw a horizontal line from there, and you have the low boundary line for the head, specifically, the helmet and Athena's neck.

*Other effects are left the reader to discover.

                      Phi circle's pentagram dictates limits of Athena's helmet and head

I believe, I've shown extensive evidence that the engraving, just like the Nazca Monkey, had been designed with the idea of the Foot-square in mind.

                  Abydos Helicopter

Still later, I found another possible connection of the Athena Engraving to a far-flung place and time - the Abydos Helicopter. This is a famous controversy; some carvings at the temple of Seti the First at Abydos, Egypt look like modern craft, but Egyptologists defuse the uncanny impression by claiming that it is due to the carvings being a palimpsest. Caveat emptor, palimpsests are by nature chaotic, but simple testing had shown that this particular "palimpsest" is not chaotic at all, hence it is not a palimpsest... 
There are some striking similarities in the Abydos Helicopter to my previous studies, as the carving seems to result from the construction of a 5-pointed star, and there is a profusion of golden rectangles. Since it also symbolizes modern technology, I see this carving as being from the Agency, but possibly indirectly, via the Egyptian Temple.
              Exact Reconstruction of Petrie's Layout of the Giza Pyramids  

Abydos Helicopter had sparked my interest in ancient Egypt. Eventually, I did an exact reconstruction from a clean slate of the Giza layout from the authoritative survey by Petrie  That study is a remarkable achievement, because no one else equalled it, although many had tried and are trying still by various methods. It is important that my reconstruction begins from the  "13-steps" construction of the 5-pointed star, which is involved in the designs of Athena and the monkey. 
Like the monkey, could the Giza groundplan be evident in the engraving? Have I missed out on it there?
The hypothesis is easily checked out; just add the Giza groundplan to the corresponding star in the engraving and see what happens. This test has beauty in that the star's position in the engraving has been set in stone long ago ( Seal of Atlantis), and that precludes any tricks on my part.   
As always, the Agency's authors produce imaginative variations on the topic at hand. In the engraving, the Great Pyramid actually moves!

                                      The Main Value of the present Study:

* Reinforcement of the notion of the Agency's existence
*  Provision of convincing evidence that my method mirrors the method the Giza planners themselves had used. If the Giza Giza groundplan is almost fifteen-thousand years old, if not older, a distinct possibility arises that the actual pyramids are as old. 
*  Progress in understanding and mapping of the engraving due to finding a number of additional procedures, by which the engraving had been made.

                    The Pyramids Over the Engraving
Since the great Giza pyramids are supposedly ten-thousand years younger than the Athena Engraving, their design may have been developed during the intervening period. But, my results clearly show complete integration of the Giza plan into the engraving. The Great Pyramid is actually the dominant factor in the drawing of Athena's head!  
At first, however, the result as given below seems less conclusive, although strong. Yet, the complete solution  is a low-hanging fruit; we have to take a hint that the Great Pyramid moves along a predetermined path to an orderly position over the head
Initial observation:
* One side of each pyramid coincides for some distance with an edge of an engraved line.
* The extended sides, axes, and diagonals obviously function as important power-lines (leylines) in the engraving.
A prominent example  is given by the right side of the Second Pyramid, as the upper and lower corners on the left side of the Second Pyramid are clearly bounded by two lines, which end there. The contact between the constructed and the engraved lines in the upper corner is microscopically perfect. The Third Pyramid also is a part of significant order, and this is dealt with later on in the article. But, to begin, let's concentrate on Athena's head.

                                 The Geometric Miracle of Athena's Head
The diagram below is sufficiently magnified to show really well the details of the initial position:
* The upper, north side of the Great Pyramid is inserted into the head to follow the edge of an engraved horizontal line.
* The diagonal lines, one from the middle of the eastern side, and one through the pyramid's center, both serve as perfect boundaries on the face, running precisely along edges of engraved lines.  
* Both pyramid circles neatly navigate their way into the head through narrow openings; their passage then is supported by some line ends.

All that is impressive, but frankly, not entirely satisfactory. Surely, it would be better if the Great Pyramid confguration were directly over the head's area, and if its relationship with it were more intense. Of course, hope springs eternal; indeed, there was some temptation to experiment right away. The rail link of the pyramid's upper side with the head, along which the pyramid could slide into the head, was the main sign.
There were other signs, as well. To be systematic, let's cover those first. I guarantee the reader a great show!

  The Horizontal Column

The evidence in this study is graphic; the accuracy of the engraving is a must see, so, unusually large diagrams are used, several times the lifesize. The diagram below is a product of the "13-step" construction method of the pentagram. The Horizontal Column, which is instrumental to the Giza's groundplan reconstruction, is highlighted in color. It's a configuration of two golden rectangles, a smaller upright one (green and blue), and a larger horizontal one (yellow); the green and blue rectangle is further divided into a blue square and a green golden rectangle. The column can also be divided into two upright golden rectangles with a square in between them, or simply, into four smaller (not golden) rectangles . 

The diagram below encompasses the entire engraving. The pyramiss themselves are omitted for now, in the interest of clarity. I used yellow to note that one of the star's tips is centrally located within Athena's head. 
The four small circles of each color mark corners of two large overlapping golden rectangle. The overlap is a square  On each side of this square is a smaller upright golden rectangle. The blue circle marks the center of the column.

   A Snapshot of Athena's Face

When the Horizontal Column is divided by axes into four equal rectangles, the two on the right provide a nice snapshot of Athena's face.

Athena's Portrait

Adding an identical rectangle at the top produces a perfect fit with the top of Athena's hat (or helmet).  Her head is completely framed by the rectangles. The impression is that of a portrait.


   Hatbox - The First Example of Moving a Rectangle to a Better Fit With the Head
The top two rectangles of Athena's portrait may be moved directly west to become a nearly perfect containing rectangle for Athena's hat - the Hatbox. During moving, some things in the head area are oberved to align with incredible precision (consider the magnification!) to the angles set by the (mother) star.  For instance, the green line is a perfect limit for two turns in the engraved lines, one on the nose, and one just above the forehead.  Later, we learn how to duplicate the below diagram within the geometric system. 



                             Star-rays of Athena's Head
Repositioning the Great Pyramid over Athena's head will also explain the following remarkable phenomena.
a) The antennae above Athena's hat are rays emanating from one of the tips of the original star (the "Mother-star"). The tip is at the center of the circle. The tip is also the fulcrum for the long red line, whose passage through the image seems admirable to me. It is actually one of the star's lines, which has been nudged over the fulcrum so that it rests on points, as it exits the picture on one side, and near its exit on the other side. I think of this type of lines with a significant passage as "power-lines", equivalent to ley-lines in geographic descriptions.


b) The below enlargement gives an even better view of how the directions set by the mother-star dominate the head area. Except for the magenta line and one of the blue lines, all the others are in star directions. The blue line, however, is at the always significant 30 degrees. We see some golden triangles, too. The circle centered on the tip of the star obviously belongs, as well. Its transcendental presence mesmerizes me. I count eight perfect instances of the circle's harmonious integration with the image.
Lines a,b,c,d,e,f  in various mutual combinations represent accurate components of pentagrams/pentagons. For those readers who still consider this order accidental, if not chaotic, may I recommend a little game? While measuring angles by eye, draw regular pentagrams; you may use a ruler to make your lines straight. The resulting angles will be utterly inaccurate in comparison to the engraving; that statement, as most will realize, is not a hypothesis. 
I like the "a" line the most in this diagram, because it is a combination of two types of derived lines: one type follows an edge of an engraved line, the second type sets the ends of engraved lines, or limits turns in those lines. Line "g" next to "a" is a good example of the second type.  Four red arrows mark the points of  interest on "g".
Both lines are cast from the tip of the original star and hold 18 degrees between them, enough data for reconstruction in a CAD drawing. But what about the other lines like b, c, d, e? Where do they come from? Is there a geometrical  "raison d'etre" for those lines?
Indeed, the answer is a "Yes," but it would be a "No" without the Giza plan, namely, the configuration of the Great Pyramid...


        More Harmony Between the Star and the Head
Diagram below: Altogether five parallel lines at 18 degrees to the horizontal are seen to stratify Athena's face. Three of these originate from the star and one from the center of the Horizontal Column (marked by a blue circle). The first, second, and fourth lines are impressive in that even up close they remain tangents to the engraved lines' edges. The origin of the top parallel, which passes through the top of Athena's forehead, is unknown for now, though it is a part of the system, obviously. That spot on her forehead must be extremely important, because it is a focus for various lines. Some are shown here later. Athena's chin, the outside edge of the engraved line there, is a magnet for a number of lines, too. For an example, I left the blue line fragment there (it comes from the 45-degree diagonal from the NE corner of the Horizontal Column). It also is a perfect tangent to the outside of the engraved line.
Another thing to see in this diagram - the two engraved lines meeting at the center of the star follow the star directions! One continues to be totally accurate as the southern limit of Athena's nose; the passage of the other line through the head is also significantly descriptive of the engraved elements.  



So I dragged the pyramid assembly along the track into the head area. Suddenly, there came a point when everything seemed to click into place, shown below. Somewhat later, I saw that the southwest bound diagonal of the pyramid had come microscopically close to the star's tip; so I nudged the pyramid to a new, and exact, position. Thus, the definition of the move for reconstruction purposes is simple: Slide the pyramid west until the SW bound diagonal finds the star's tip.

The below digram gives an even better view of the extraordinary precision with which the engraving correlates to the given geometry. Let's begin with the copy of the pyramid circle moved up exactly 1/4 of the vertical axis of the pyramid. The yellow arc of this circle is seen to, run within the engraved line of the entire top of Athena's head for about a third of the circle's circumference ; it tests both engraved edges perilously just microns from breaking through to the other side. Admirably, it never does.  And an arc on the lower right of the same circle also nests on an engraved line.

Accuracy is also in effect in a number of other places in the digram. I've marked it by red arrows in some places, but there are other such places left unmarked here and in other diagrams, so readers should view the diagrams pro-actively.
Similarly, the inner pyramid circle is hemmed into place by lines on four sides, and it has some other points of accurate contact. 


Moving the pyramid into its new location brings explanations to some of the mysteries. Tthe pyramid's inner circle was given an inscribed pentagram. Thereupon, it is seen that the south-west bound diagonal of the Hat-box passes through the mid-point of the star's horizontal arm, which means that the Hat-box move now stands defined. 
Pushing the Hat-box's eastern side westwards until the Hat-box becomes square (magenta lines in the diagram below) ends in a major surprise. The eastern side ("a") becomes one with a previously observed perfect vertical alignment of points on Athena's head. Expanding the Hat-box into a larger square is also feasible (line "b").
Also worth noting is that two lines, one of the star and one of the associated pentagon, run from the top of the forehead (third-eye?) down to the tip of Athena's nose, all the while remaining entirely inside the engraved lines. Importance of the top of the forehead as a major hub, extrapolated from the frequency with which various geometric lines seek it out, was already mentioned here.


Freezing this particular frame from the Great Pyramid's passage through Athena's head comes up roses; suddenly, it is seen why some significantly oriented engraved lines are where they are, and where they should appear in our geometric model.  They are in sync with the pyramid and its secondary elements, such as the inscribed and circumscribed circles or pentagrams. The accuracy with which the ideas are implemented here is siimply impecable. See the image below:

Line "a", we remember, originates from the tip of our "mother-star"; line "c" comes from a pentagram inscribed in the pyramid's circumcircle. Line "a"  runs along the left edge of an engraved line. Line "c" runs parallel to it on the other side of the same engraved line. The two lines work in tandem.
On the image's left, "b" is a tangent to the outer circle of the pyramid. It coincides for some distance with the right edge of the helmet line.
The northern side of the pyramid is represented  by "d".
On the image's right,  "g" is a line of the pentagram inscribed here into the pyramid's outer circle. Intersection of "g" with the pyramid's inner circle creates a point on line "e", which gives us that line.  Line "f" is a tangent to the inner circle of the pyramid. Like "a" and "c", "e" and "f" also work in tandem to give us both edges of the same engraved line. 


Below: Line "a" and two lines of the red pentagon form a golden triangle (a star's tip).  Also in this diagram, the line "a" was experimentally mirrored over the vertical axis of the pyramid. The result revealed a strong symmetry of "a" with what is on the other side. This is more evidence for the existence of the pyramidal configuration in Athena's head.


Below: The two inscribed stars, especially, the  golden star, are quite spectacular  as their lines help us pin-point various locations on the head. The small red arrow points to one example of such behaviour - a line of the goldenstar is a perfect tangent to the tip of the forehead. The golden arrow marks another such perfect tangent to the gap in Athena's hat. If one looks closely, there are other such instances here, as well. 



Below:  Arrows mark places which are of interest due to their extraordinary accuracy in describing exact design. Some are strategic; for instance, the pentagon at the junction of  "j" and "k" lines describes the end of an engraved line. Line "k" then describes the engraved line's angle.   
*  The top two arrows draw attention to pentagon lines which limit the farthest expansion of the white space in that direction.
*  The next arrow points downwards to where two star lines meet at the edge of an engraved line, thus giving us another piece of exact data for the engraving's description.
*  The next two arrows point in opposite horizontal directions to where the star lines limit the reach of the white space.
*  The next arrow down points to where the line "g" follows for some distance the edge of an engraved line.
*  To the left of the last mentioned arrow, the letter "m" marks a junction of two engraved  lines, perfectly described by two star lines, of which "g" is one.    
*  The bottom arrow points to where the line "h" limits the white space of the tip of Athena's nose.

The star configuration below is defined by the lines "a", "b", "s", and "e".  The first three lines belong to one of the pentagons superscribing the outer circle of the pyramid. The line "e" is made from the point at which a star line of the same pentagon crosses the inner circle of the pyramid. Worth noting is how the little star on top of Athena's head furthers the mapping of the engraved antenna line.

Below, we have the star configuration from the preceding diagram expanded over the whole engraving. Among other things, the configuration's vertical axis of symmetry seems to find a strong echo in the image.  

Another interesting configuration.  It is defined by the lines "a", "b", and "d". The line "d" is the line of the top (north) side of the pyramid.  

Athena's Head, the Pyramid's Base and Golden Rectangles

The square of the pyramid in Athena's head can be transformed into corresponding golden rectangles, larger and smaller. The diagram below is an example of that. A golden rectangle, whose longer side equals the pyramid's side, has been attached to the west and south of the pyramid, and the whole was completed into the large square. The square of the pyramid has also been divided into golden proportions,; the resulting formation is what I call a "Golden Cross."  Extension of some of the lines then creates a golden cross for the entire big square, as well. 
The benefits are as usual; we learn more about how to locate engraved lines with utmost accuracy by exact geometric procedures. For instance, the western side of the big square courses as one with the outer edge of the head's westernmost vertical line. This is also just a hair off the Hat-box's western side (reviewd earlier). There are other instances of order here, and I'll leave it up to the reader to find them in the diagram.     

Thanks to the pyramid move, all in all, we have gathered a whole lot of information on the head's plan, by now. I think the reader will agree. Add  what we learned about the head from other sources, however, and we have a veritable trasure-trove of data.
Next, a look at what these other sources bring to the reconstruction of Athena's head, and how these came to light. Then observations and conclusions which may seem implausible to you on their own, become plausible in the broader context, where they are reinforced through repetition.      

                                     Bread & Butter

To me, the below geometric configuration is the "Seal of Atlantis" because it is the basis of both Athena and the Nazca Monkey. I discovered it while studying the Athena Engraving. It has been real to me ever since; after all, I was the one involved in the process of discovery, the direct experience of which is invaluable to a better judgement, and in which others could not partake. The voices of authority, of course, are perennially skeptical, I'm sorry to say; however, the evidence continues to mount. The first to proffer support for my theory was "Nazca Monkey." You can imagine my jubilation on discovering that the Monkey is based upon the same template as Athena - the "Cone & Square."  The "Cone" represents the original star, of course, the Mother-star in this article. As for the Square, it is the background against which the monkey teaches the "13-step" method of constructing a regular pentagram. 


              Preliminary Conclusions

Moving the Great Pyramid configuration from its original location to the area of Athena's head proves to be tremendously instructive with regard to the head's structure and design ideas. Without this move, an accurate and detailed reconstruction of the head would be an insurmountable task. The astonishing productivilty of the pyramid move proves the objective existence of this part of the Giza groundplan to also be part of the Athena Engraving.
In contrast to the dynamic role of the Great Pyramid  in the engraving, the Second Pyramid's presence appears rather sterile, at least so far. That pyramid merely claims its place by fitting into the engraving harmoniously, nevertheless, with great simplicity.  
What about the Third (Menkaure) Pyramid as part of the engraving? Does it appear random, or does it have an orderly role?                                                                                         
             The Third Pyramid

The Third pyramid shines not on its own, but rather as part of a larger order which emanates from it eastwards and southwards - a big golden rectangle. The diagram below shows the western half of that rectangle. The ground square of the Third Pyramid is at the top left, its corners marked by blue circles.  Initially, looking at just the square, I had mixed feelings. The square falls into Athena's "pocket", which is an interesting, densely engraved area of the image, and the right side of the pyramid square ("a") runs for a short distance along the edge of an engraved line, but not much else to get enthusiastic about.  Soon, though, I was one happy hunter as a modicum of effort had paid off handsomely.
* Extend the square's vertical axis ("b") and it runs along the edge of an engraved line for a distance, just like "a". 
* The vertical lines ("c", "d") marking out golden rectagles in the square, one on each side, then run along with engraved line edges!
The pocket's vertical height is very close to being twice the square's height, so a twin square is added experimentally below the pyramid square.
* The line ("e"), which expands the two squares into a vertical golden rectangle, runs along with an engraved line's edge for quite a long distance!
* The line ('f"), which extends each of the squares into a horizontal golden rectangle, runs through an engraved line; it touches its edge once on each side without leaving the line.  
Both styles of running with an engraved line, or lines, in order to delineate a geometric straight line, are valid methods. I've seen these methods at work countless times.  Another valid method uses two or more points, ends of engraved lines, to delineate straight lines. We see this method at work on confirming the golden diagonal from the bottom right corner of the second square.  Of the two chances to hit such points, this golden diagonal is on target twice, and with great accuracy!  I suppose that it is a sign of consistency that the square's diagonal, which rises from the same origin, also contacts with a line end, making it two such points beside each other.
There is also a little green circle in this diagram, marked by the letter "g".  A turn in the engraved line corresponds with it most admirably, and I find the fact fascinating. A green line on the left of the circle follows a very straight edge of an engraved line. It has the exact angle of a golden diagonal!  This green line has an intersection with the pyramid square's top side. A vertical line from that point then marks the western limit of the pocket. This effect is admirably accurate, as well, considering the magnification - just the pocket itself approaches the whole image's lifesize.

The complete golden rectangle maintains the spirit from above. Top and bottom, its right side corners both have edges of engraved lines passing through at an angle indistinguishable from the angle of the golden diagonal (the green and yellow lines). The passage of the third forward leaning diagonal in this half of the rectangle is also ostensibly reflected by the image. The top right corner also has the diagonal of a horizontal golden rectangle passing through, directed there by the image, of course.  The engraved verticals also have corresponding system lines.

Below is a magnified part of the above diagram.


Diagram below: In addition to what we have already, other lines adhere to pentagram angles set by the Mother-star. These angles are as usually set by edges of engraved lines. Thus, majority of the engraved contents of the golden rectangle set by the Third Pyramid clearly correspond to the system (Giza layout and the Mother-star). 

                                      Athena's Star-spangled Head

The Great Pyramid is the key to unlocking secrets of Athena's head! The pyramid dominates her head/mind; the fact is clearly evident. In the beginning, we find the pyramid configuration partially inserted, perfectly positioned for a simple mechanical move directly west into Athena's head. Once inserted, a complete harmony ensues between the two, and we learn a lot about the head's design. Also involved is a surprising number of five-pointed stars (pentagrams), which are like crowns upon the head. The Great Pyramid's occupation of the upper half of the head is symbolic - the pyramid in union with Mind and Spirit. Athena's head is home to so many systematic relationships, it is clearly peerless in the world of science-art. Of course, vast majority of the fifteen-hundred engravings from La Marche has never been made available to the public; who knows, some of those may rival Athena.


Grafting the layout of the pyramids of Giza onto the geometric system of the Athena Engraving pays off big; it leads to understanding a good deal more of  the engraving's geometric structure. The Great Pyramid is the main key to the geometry of Athena's head; the Third Pyramid controls a large golden rectangle in the area above Athena's knees. In contrast, the Second Pyramid doesn't trigger further geometric action; still, it does fit the engraving. Overall, the main purpose of this study stands answered: The Giza siteplan is clearly incorporated in the almost 15,000 years old Athena engraving. The powerful bond between the two cannot be broken. Thus, the Giza siteplan is as old as the Athena Engraving, if not older.
It follows that the Giza pyramids were in all likelihood built under the supervision of the "Agency", the one behind the Athena Engraving and the Nazca Monkey. The Agency must be the tip of an iceberg - a highly advanced prehistoric civilisation.
New questions arise:  
Could the Giza pyramids be much older than we think, as old as their plans?
Is the Agency still active? Does it intervene in humanity's matters? In what way?
Who is Athena? What is the relationship between her and the Agency?
Finally, some of the many ancient mysteries, myths and legends are probably real echoes of  the Agency. But which ones? The old stories feature Aliens and supernatural beings. Are those truly fictional?
©   Jiří Mrůzek
      Vancouver, B.C.
       August 30, 2013                    

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