Prehistoric Science – Complex Mathematics Encoded in Art and Artifacts


There are many signs worldwide that there was once an advanced civilisation that had long ago perished in some cataclysmic disaster. Material objects big and small, such as the Great Pyramid or fragile schist vases seem impossible to make without advanced technology. The notion finds strong support in many olden stories describing the use of technology sometimes surpassing what we have today, but the origin of those stories is attributed to their tellers unbound imagination.
Apparently, there is a lack of tangible proof, such as prehistoric power tools or scientific literature; and so it is understandable that the academy overwhelmingly accepts a basically linear version of world history with no room for advanced prehistoric technology, be it Atlantis or Ancient Astronauts.
But the present paradigm would have to change if it were to account for a discovery I count myself incredibly lucky to have made. It is very difficult to sum up here in a brief introduction because there are so many ways to do it that one doesn’t know where to start.

Advanced prehistoric technology really did exist. That means that there also was some society somewhere using that technology. As if it knew that its very existence will be in doubt in the future, the decision was taken to create lasting documentation capable of dispelling such doubt. That the truth be given a chance to prevail at some unspecified but critical moment in the future was obviously deemed important. But, by the same token, a different outcome — the truth remaining hidden —  was also given a fair chance.

The actual proof I found so far comes encoded in three parts. Each part is a stand-alone module which then adds up with the other two to a much greater coherent narrative — a trilogy —  a majestic scientific enterprise constituting an unassailable proof of the existence of advanced prehistoric science.To show that this society, or agency, was in global control of the Earth, the modules were distributed among South America, Europe and Africa. To suggest its stability and longevity, it had spread the evidence over the span of at least 12,000 years, if we are to trust our current dating of these artifacts. If so, this would imply that this once prehistoric agency was immune to any intervening catastrophes and may still exist parallely with our society.

Part 1 - Athena Engraving - the World's Most Important Picture

The discovery began with this Stone-Age engraving shown below. Despite appearances, it is not a free-hand drawing.. It is a direct standalone proof of profound knowledge of Mathematics, brilliantly encoded into Art more than 14,000 years ago. It is by far most formidable among the three components of the trilogy due to its complexity. Constructed from exact ideas with stunning accuracy, its complexity is so great that AI (artificial intelligence) is not out of question. It's either that or a super-intellect at work. 

The engraving's naive appearance camouflages a masterpiece of cryptographic Science-Art with heavy presence of Phi, the Golden Section, also known as the Divine Proportion. And so the young lady from the engraving fully deserves to be the namesake of goddess Athena. The engraving then is the Athena Engraving.
Just moments after I had first seen the image, I felt something in it whispering mysteriously at the thresholds of my perception. The art was so ancient, yet sophisticated; a portal into an adventure in a whole new world.
Eventually, my philosophical approach to art analysis had struck the vein of advanced prehistoric mathematics. Familiarity with the engraving's basic geometry, had positioned my efforts for an unexpected windfall _ the solution to "Nazca Monkey", the giant glyph of a monkey from the Nazca Lines, Peru. It became a low-hanging fruit, since it openly showcases  the same (basic) geometry.
Indeed, both Science-Art works stem from the same exact construction _ a shared template,  I dubbed poetically the Seal of Atlantis. The odds against such replication by accident are cosmic; therefore, Athena and the monkey must both be authored by one and the same agency
(onwards - the Agency). Moreover, it is most likely that the conclusion extrapolates to the La Marche engravings and Nazca Lines in their entirety.

At that stage, my research results had acquired a unique status. They transcended being just more evidence and became an actual proof of advanced prehistoric science. With any 'mere' evidence, no matter how strong, there is always a chance that a different interpretation of it may yet be found. Proof is proof because it eliminates any possibility of finding another rational explanation for the evidence on hand.

This is the only case I know of in which we are able to methodically abstract bona fide coherent voluminous scientific thought
from prehistoric media - encoded time capsules.

The discovery took on a new dimension when it turned out that the ground plan of the three great pyramids of
Giza is incorporated in the Athena Engraving, where it plays a prominent role . Clearly, this development brings far reaching implications.

Years go by and the proof of prehistoric science I have made available is staying under the radar (summer 85 to June 23). Though facing exposure throughout that time to all kinds of gaslighting, and outright disapproval -- my confidence in the discovery's genuineness has only grown every time it added depth and scope. After all, I'm the one most familiar with it;  I know that I stuck with a methodical, rigorous approach; I was there for those magical 'heureka' moments, when the unexpected turned out real. So, yeah, I know..
Of course, I must accept some portion of blame for not breaking through, but I also see some external factors standing in the way -- cognitive dissonance in preconditioned, socially managed public, plus the expectable resistance by interests threatened by the proof.  For instance, my website had been blacklisted by Google's Safe Browsing Directory over a week ago. It was singled out from all those websites devoted to ancient mysteries, etc; so I take it as a sign that, at least in the eyes of some, my work is special, and suppression-worthy.

June 6. 2023    Several days ago.  Google's Safe Browsing Advisory. which everything on the Internet seems to heed, began openly suppressing this website [i] Imagine my surprise when going to one of my pages on my favorite browser, up came an all red screen saying  Deceptive site ahead  Firefox blocked this page because it may trick you into doing something dangerous like installing software or revealing personal information like passwords or credit cards.

Of course, the accusation is totally false! Shame on you Google..

On the other hand, this act by Google may turn out to be blessing in disguise. People will wonder why Google all of a sudden does something so unprecedented as attacking a site entirely devoted to analysis of ancient art and artifacts for presence of mathematical design, After all, there are great many other sites devoted to the same subject: and no one ever tries to suppress them. What's going on? Who is afraid of what I discovered? Google's  sinister AI brain? That would be ridiculous!
Sure, my site may trick the reader into
"doing something dangerous" like believing in the existence of advanced prehistoric science & technology. Google should act more responsibly; it should check out all accusations before acting on them. In this particular case, Google will eventually have to admit its wrongdoing.
June 21st, 2023: Just like that, Google stopped its blacklisting of my site. A letter of apology and an explanation would be appreciated, as well. What the hell was it all about?

About the third part of the trilogy, the Giza ground plan solution, I would have never dared to tackle the problem since I knew that many great minds have been occupied with the Giza pyramids for centuries, and so I'd just be wasting time trying to contribute something new. But, my interest was sparked by a couple of successful (IMHO) forays into related problems, I had made.

First, the internet controversy over the so called Abydos Helicopter from the Abydos temple of Seti I and Ramses II caught my attention, and I thought that a geometric analysis was in order. It then indicated that these glyphs do not constitute a so called palimpsest, but instead, they are constructs of an exact nature at whose birth had stood the Golden Section. That gives credit to the idea the anomalous glyphs had been engraved essentially as we see them today, contrary to orthodox Egyptology.
The "Abydos Helicopter & the Golden Section" study provides compelling reasons why the official archaeological explanation _ the Palimpsest theory_ is plain wrong. For years it used to garner the attention of a steady stream of readers, on a couple of blue moons peaking in thousands of hits per day, until Google changed its algorithms. Instead of being in the top several search results, it is now pages and pages back, most likely labeled as pseudoscience.


©Bruce Rawles background photographed in November1992 

If this were modern art, we'd have no doubt that it clearly shows a helicopter next to a stacked formation of three harder to identify advanced craft (a boat, a hovercraft, a tank, an aerodynamic plane or a zeppelin, etc). Disavowal stems strictly from the fact that this art is over 3,000 years old, and we know that there was no advanced technology and science in our misty past - don't we? 
The scene had caused some sensation in the nineties, but soon
Egyptologists claimed to have identified at least two sets of overlapping hieroglyphics in it. This proffered a simple scientific explanation: What we see is a palimpsest, i.e., an accidental illusion. First there had been some original glyphs, which were later hidden by plaster, and replaced by a set of different glyphs engraved partially in stone and partially in the plaster. Eventually, the plaster had crumbled out, and the overlapping hieroglyphs began looking like images of modern craft.. With this simple explanation, science had prevailed over sensationalism, it would seem.
The present scientific consensus depends on the assumption of Chaos as the creative force behind the Abydos Helicopter scene. To thwart the consensus, and to disprove the Chaotic explanation, it must be shown that the glyphs obey a clear rational order. Simple testing does indeed lead to such a conclusion : The Abydos Helicopter scene is not a palimpsest, it is a design.

The other foray resulted in Are the World's Biggest Building Blocks Prehistoric?”
The article cites multiple reasons why the famous Baalbek Trilithon wasn't built by Romans but rather much earlier, in prehistory. Even today, Rome is generally credited with moving the Trilithon blocks from the quarry some 900 meters distant to the site of Baalbek's Jupiter’s temple. I was able to dig up historical facts indicating that Romans could transport only stone blocks weighing no more than about 325 tons. So, the Trilithon blocks had to be moved in much earlier times and by technology superior to that of Rome. Forget putting the Trilithon blocks on wooden sledges and moving them over uneven and unpaved terrain _ despite the availability of capstan technology.

The modus operandi of the so called skeptics now maintains that there is no need for advanced technology to move blocks exceeding 1,000 metric tons in weight since the Russians had moved the 1,500 ton stone block named the “Thunder Stone” (Grom Kamen) to St Petersburg from a remote location without the use of modern technology. I checked the story out and found it deceptive.

The Thunder Stone - From 1,500 tons down to 400

No way does this pedestal weigh 1,000 tons

Unlike Russians in the second half of the 18th century, Romans and their predecessors supposedly had no ball-bearings (cannon balls), steel rails, and metal sledges. Those things are all benefits of technology. One has to admire Falconet's engineering achievement; what he had proven was that technology of  the late 18th century was capable of transporting large megaliths.
Given the right conditions, this technology could probably move even much larger and heavier objects. Just scale everything up; use more steel tracks to distribute the weight, and put colossal objects on very large steel platforms riding on a great number of very large steel wheels. Hook it up to a system of capstans and pulleys for mechanical advantage, and then, using just our human power "alone", a small mob, or a herd of elephants, could definitely move the whole thing along. After all, it's documented that a single strongman can pull a Boeing 747, under the right conditions...  


Eventually I confronted another controversy regarding ancient Egypt - Was there a common ground plan for the three great Giza pyramids? To my surprise, I was able to document that the ground plan, as surveyed by Petrie, can be derived from a specific version of constructing the regular five-pointed star. It was an astonishing development; the same method is heavily featured in the Athena Engraving, and it is the high point of the Nazca Monkey design!

 Exact Reconstruction of the Layout of the Great Giza Pyramids can be objectively weighed against the rest of the field. In other cases my research ran a one-horse race; here, it ventured into a problem, which has been worked on by many ever since 1883. I believe that my solution is a front runner. For one, it cannot be outdone in accuracy. What's more, it passes with flying colors the rigorous test of being projected onto the Athena Engraving to see if there is significant harmony between the two.  The test is possible because both works originate from the same construction of the five-pointed star. They are united by making their stars selfsame.

The rock shelter of La Marche near Lussac-les-Chateaux, southern France - a Stone-Age Academy?


The Frame is
the outer boundary of the Athena image, the doorway to the realm within. It is a good place to start reading.

Image boundaries - A Game of Semantics

Boundary lines form the simplest aspect of the image - the
"Frame.  The distances between adjacent points of the Frame translate into a set of thirteen whole numbers. It is a Smart Set; it invokes Pi and Phi over and over to make sure there is no doubt that it is meant to do that. It shows advanced knowledge of properties of numbers, Pi, Phi, Equinoctial Precession, as well as ability to produce brilliant logical puzzles.. 
Sadly, in this case, analyzing a set of numbers for rational meaning will elicit charges of indulgence in Numerology. Yet, the Frame is a perfect illustration of what is not numerology. The Frame is most remarkable for the prodigious amount of thematic rational meaning we find compressed into such a small group of numbers. It is absolutely perfect from the viewpoint of functionality, of being suited for its purpose. There is no way to improve it, because any change means a loss of function. It is patently artificial.

Some of the quotations given by the Frame are very impressive: 

Pi  = 3.1415926535897932384626433832  
The progression up to the first eighteen decimals is very clear cut.

Phi = 1.6180339887..                   Ten decimals

The following classic approximation of Pi appears seven times!

       355 / 113 =  3.141592..

Equinoctial Precession  - Osiris Numbers

The Frame encodes the rate of equinoctial precession at par to  today's state-of-the-art measurements. This fact suggests that the rate has not changed much at all since, a valuable tidbit of information. It took modern instruments in the hands of scientists to arrive at this value. What did it take in prehistory?

 Frame's Geometry

a: The Hex-Machine – a family of three hexagons

b: Two systematically related 5-pointed stars

Athena Engraving  - Born of Euclidean Geometry


Early on, I had translated some elements of the drawing into the above configuration, in which a cone and a square are found superimposed over each other. The possibility of a logical explanation of the configuration wouldn't let me rest until I found it about a couple of months later.  
The solution is a classic, yet, some people have the chutzpah to insist that I had conjured it out of thin air. However, sequencing of the events precludes manipulation, or outright fraud on my part:

* For one, the identification of primitive geometric elements in the engraving comes first. For better or for worse, these become permanently fixed in position.

* Then comes the big test _  is there a higher level, on which the elements connect logically?

The odds were heavily stacked in favor of Chaos over Intelligent Design because that was the rule for prehistoric art. The experiment was in no way under my control, had it failed as expected, I would have written the whole thing off as educational fun.

The consensus among skeptics holds that in any sufficiently complex drawing some order will be discovered which could be construed as intelligent despite being unintentional! They equate accidental natural order to artificial intelligent order, as if there were no difference. The great theoretical depth of the Athena Engraving, however, makes that difference and certifies it as artificial and deliberate.
Finding the solution to the Cone & Square configuration was the critical breakthrough to a real discovery. At the time, I had no idea that it would emerge dead center of
topics like the Golden Section in Antiquity, Advanced Mathematics in Ancient Egypt, Lost Science, Lost Advanced Civilisations, and Alien Visitations. Magdalenian science-art is where the mystery begins, but where it ends, nobody knows. 


The geometric creations within Athena's torso belong to the Square, the second part of the basic Cone & Square configuration. Here we see the “Pyrostar” configuration.  

                          Ancient Egypt

Construction of the Ground Plan of the Great Giza Pyramids from a Clean Slate

Since 1883, the year Sir William Flinders Petrie published his geodetic survey of the three great Giza Pyramids, the data has been analyzed for geometric, and numeric significance. To show that the three pyramids are parts of the same plan, there have been attempts to generate the layout of the three from pure ideas. By and large, Giza abounds with inspiring relationships. But, to safely pin ideas on the designers, those have to be built in with compelling accuracy. There are many examples showcasing the knack of Giza builders for accuracy, setting high standards for us.  
This study presents a method of replicating the site plan of the three pyramids exact
ly to Petrie's specifications after the results, like those of Petrie, are rounded to the nearest tenth of an inch (2.54 millimeters). On average, my reconstruction differs from Petrie by just a little over a quarter millimeter, so there is plenty of room to spare and still be on the mark. 
Usage of Sacred Geometry would seem most appropriate for the sacred grounds of Giza. This study complies beautifully, the elegant Golden Section is the leading leitmotif . How glad will the skeptically leaning academy be to hear of this? Not very, I suspect.


There are several versions of the above columns of the widths W-Z and A-B. Their substitution for one another is instrumental in establishing the exact position of the Great Pyramid, and the center of the Second Pyramid.
Proof that Giza's Groundplan is 15,000  years  old

If the ground plan of Giza is 15,000 years old, how old are the pyramids themselves?

Giza Pyramid temples & the Golden Section

The pyramid temples are conspicuous by the inordinate quantity of golden rectangles in their layout. This article is content to establish the fact, and goes no deeper.

Hesire's engraving & the Golden Section


This case is really simple. The rods, which Hesire holds in his hands are key to the solution of the layout. The Golden Section is definitely involved.

The Nazca Monkey Report - The Seal of Atlantis


14,000 – 2,000 years ago – Nazca Lines, Peru - Someone had profound knowledge of Mathematics, and a method of encoding exact ideas into Art

The mystery deepens, when we observe how the giant ground drawing of a monkey from Nazca, Peru is identical to the Athena Engraving in that it uses the same starting configuration, and encoding system. What emanates from our seemingly primitive subjects of study is abstract and elaborate scientific thought - enough evidence in fact, to force the conclusion that the creators of La Marche, and Nazca were part of the same agency. It appears that they worked on the same project - to provide legacy spanning the Old and the New Worlds across the gulf of millenia.
A stone tablet from Stone-Age France, and a prehistoric glyph from a sun-baked desert in Peru share one original template. This is a unique geometrical figure, which seals the issue of existence of an advanced prehistoric agency. For want of a better candidate civilization from prehistory, I dubbed it "the Seal of Atlantis". Honestly, trying to present a hypothesis on the identity of this Agency would be mere speculation, although one thing is obvious, the longevity, and omnipresence of the Agency from at least 14,000 BP until at least 2,500 BP (pyramids), or even later, should Nazca Lines date into the first millenium AD. Considering the potential influence of the Agency bearing upon the modern times, perhaps, it might be a good idea to learn how to read the ancient code. Its importance may be of cosmic proportions..


This configuration, the Cone & Square seems to be terribly important at Nazca, as well as La Marche. Note that there is some resemblance to the masonic Square & Compasses...

Interesting art - an eye of a monkey, a sol spinning off balls of fire... Did I author it? Absolutely not! Whoever did the Nazca monkey, must have had this on the drawing board once, as well.


      Nazca - Giza connection

The glyph of the monkey is much simpler than the Athena engraving. One of its major functions is to induce the abstraction in the mind of a qualified observer of the one method out of many of constructing the regular 5-pointed star which also forms the foundation of the ground plan of the Giza pyramids.

Baalbek, Bekaa Valley, Lebanon

If the image seems too big for this page, look again. It is not nearly big enough. The panoramic view does not even span the Trilithon, the three blocks of stone in a row on the west-side of the Baalbek Terrace. They are in a class of their own, by far the heaviest stones ever transported on this Earth - Super-cyclopean, Hyper-colossal, Über-duper, or a term of your own, take a pick. The block on the right steadies the Jupiter's temple. The temple looks Roman, the platform looms alien. We fffxzknow that Romans built the temple, but archaeological opinion also credits the blocks to Roman achievements. Yet, there are some hefty reasons, and some very small, but telling details, which put the orthodox academic platform on shaky ground. The blocks must be thousands of years older. Is the technology of the prehistoric agency which left us La Marche engravings, and Nazca Lines behind their anomalous existence?

The biggest stone ever moved?  _ the Thunder Stone - From 1,500 tons down to 400

No way does this pedestal weigh 1,000 tons

Unlike Russians in the second half of the 18th century, Romans and their predecessors supposedly did not use ball-bearings, steel rails, and metal sledges. Those things are all benefits of technology.

The Headless Venuses

Another La Marche engraving. It is known as one of strange La Marche engravings of headless obese females. Of course, the strangeness is due to the perception being utterly wrong. There are so many other things to look at. The obese woman without a head is an illusion.

Below: A couple of impressions from another La Marche engraving.


       The Oldest Image of a Horseman?



A cut-out from an image on a wall at Les Trois Fréres, France, 
also dating back to the Magdalenian period of the Old Stone Age.

        World's Oldest Image of a Gunfighter?


Stéphane Lwoff was under the impression that this guy was dancing. I took the liberty of re-orienting his drawing,

and suddenly, the stance looked natural, what with the figure's feet firmly planted on the ground.

The well known authority, Manu Seyfzadeh MD, PhD attacks my theory

Interesting discussion on Graham Hancock's Mysteries boardManu has it all wrong

The Face on Mars & the Golden Section

The overall shape of the famous 'Face on Mars' in terms of geometry is a stack of three Golden Rectangles.


I stand by this result, whether it is an accident of nature, or not, the formal coincidence is there.. It's not complex enough, however, to warrant a jump to conclusions about its artificiality.


For reader's amusement, and mine as well, another face on Mars appears to facsimilate my high-school grad picture. This is quite a grand illusion, as 'pareidolia' goes. Strangely, the timing of my findings had coincided with the nearest approach of Mars to Earth in decades ☺


Abydoská helikoptéra & Zlatý řez  ( Czech version of the above article)

 Fostering love of mathematics is a calculated risk..
Jiří Mrůzek - Vancouver, BC, Canada 

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