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idea behind recreation of Petrie's Giza ground plan is shared by both
the Athena-engraving and
the Nazca Monkey glyph. Each work derives from a unique 13-step method
of pentagram construction. The latter two works have enough in common
to leave no doubt that they are authored by the same agency; however,
an ironclad proof that the Giza plan itself belongs with the other two,
it has to have a clear presence there.
Otherwise, it is no more than compelling but still questionable evidence, as it is theoretically possible that the entire idea could occur to the Giza planners independently. Therefore, we take the Giza ground plan and unite it with the Athena-engraving first. The original Mother-star is already there, so all we have to do is to add the Giza plan to it.
Do the two works share more than the star? The outcome is breathtaking - the plan plays a big role in the engraving.
Pyramids Over the Engraving
I admit to feeling some anxiety prior to the test. After all, I have not noticed anything resembling the Giza plan in these works before despite spending a lot of time on their geometry. The sight of the pyramids over the engraving had eased that anxiety. For one, it made a secret wish of mine come true - to see the Great Pyramid interact with Athena's head.
Looking at the mutual positions of the head and the Great Pyramid for a while, you may get an impression of an open cash register or CD player. Close the tray; hear it click, and the music begins..
Eventually, the experiment exposes the Great Pyramid as the dominant factor in Athena's head structure.
* Each pyramid has a side that coincides over some distance with an edge of an engraved line.
* The extended sides, axes, and diagonals coincide with engraved lines a lot.
For example, the right side of the Second Pyramid follows an engraved line, and when extended, engraved lines dip in and out of sight on its course. The upper and lower corners on the left side of the Second Pyramid are clearly bounded by two line ends. The Third Pyramid also seems to fit in somehow, so this position definitely justifies further inquiry.
The Geometric Miracle of Athena's Head
Some details of the initial position in the same diagram:
* The upper, the north side of the Great Pyramid is partially inserted into the head and marks the the entire edge of a straight engraved 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 head, running precisely along inside or outside edges of engraved lines.
* Both pyramid circles neatly navigate their way into the head through narrow openings, and each leans on a couple of line-ends.
|All that is impressive, but frankly, not entirely satisfactory. Surely,
it would be better if the Great Pyramid was directly over
the head's area, and if its relationship with it were still more intense.|
Indeed, there was some temptation to experiment right away. For one, the pyramid could slide into the head along the rail on its upper side.
| The Golden Column
The diagram below is a product of the "13-step" construction method of the pentagram. The Golden Column, which is instrumental to the Giza's ground plan 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 composed by 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 equal (not golden) rectangles, etc.
In the diagram below, the pyramids are omitted in the interest of clarity.
Two sets of four small circles, either yellow or purple, mark corners of two large overlapping golden rectangles on the Golden Column. 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.
The yellow tip of the Mother-star wedges into Athena's head symmetrically.
| A Snapshot
When the Golden Column is divided by axes into four equal rectangles, the two on the right provide a nice snapshot of Athena's face.
Adding an identical rectangle at the top produces a perfect fit with the top of Athena's hat (or helmet). Her head is now completely framed by the rectangles like a portrait.
The Hatbox - Moving a Rectangle to Better Fit the Head
The top two rectangles of Athena's portrait can be shifted directly west to become a nearly perfect containing rectangle for Athena's hat - the Hatbox. During moving, some things in the head area are observed to align with precision (consider the magnification) to the angles set by the (mother) star. For instance, the green line is a truly precise limit for turns in the engraved lines - the nose, above the forehead, and the white space just before exiting at the top.
Like this, the hatbox, including the green line, would be truly useful in mapping Athena's head; unfortunately, we don't really know this other location, because the hatbox arrived to it by a free-hand move. It is nice to learn later, thanks exclusively to the Great Pyramid, that there actually is an exact method to duplicate the below diagram.
Star-rays of Athena's Head
a) The two antennae emanating from Athena's hat are rays from one of the original star's (Mother-star's) tips. Look for the tip is at the center of the circle in the diagram.
The long red line is one of the star's axes. It is hard to see as it hides in the black lines.
b) Below - a better view of how 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
The blue line is at 30 degrees to the horizontal.
Some golden triangles are in sight, too.
The circle centered in the tip of the star obviously belongs, as well. I count eight instances of engraved lines holding the circle in position from both inside and outside.
Lines a,b,c,d,e,f in various mutual combinations represent components of pentagrams/pentagons.
"a" line is a combination of two types of derived lines: one type
follows edges of engraved lines, 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 points of interest on "g". Both lines are cast from the tip of the original star and hold 18 degrees between them.
But what about the other lines like b, c, d, e, f? Where do they come from? Is there a geometrical "raison d'etre" for those lines?
The answer is "Yes," but it would be "No" without the Giza plan, namely, the Great Pyramid...
More Harmony Between the Star and the Head
Five parallel lines at 18 degrees to the horizontal stratify Athena's face. Three of these originate from the star and one from the center of the Golden Column (marked by a blue circle). Counting from below, the first, second, and fourth lines remain in touch with the edges of engraved lines even up close, impressively.
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 of supreme importance, because virtually every geometric figure we encounter in our overall analysis finds it in some way. Keep a tab on this spot, and you will witness this phenomemenon again and again.
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 Golden Column). It also is a perfect tangent to the outside of the engraved line.
Another thing to see in this diagram - the engraved line passing through the Mother Star's center changes its direction there - from one star direction to another..
The extension of one of these star lines is totally accurate as the lower limit of Athena's nose; the passage of the other line through the head is also significantly positioned to the engraved elements.
northern edge of the Great Pyramid is hooked into a straight track in
the upper part of Athena's head. It lets the pyramid slide into the
head. In doing so, there is a moment when everything seems to click
place (see below).
That's when I saw that the southwest bound diagonal of the pyramid had inserted itself into the upper tip of the mother-star's tip with microscopic precision. The diagonal became one of the number of lines radiating through that tip. Next, I made the fine adjustment to make the position exact.
The definition of this move is simple: Move the pyramid westwards until the SW bound diagonal passes through 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 just microns
from breaking through to the other side. Admirably, it never does.
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. The 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.
For more testing, let's use the traditional method of enclosing objects in rectangles.
Here, we start with lines 'a' 'b' 'c' and complete these into a square. Add axes and diagonals.
Now we see that symmetry-wise, 'closing the CD tray' was an ideally precise move:
the vertical diagonal of the enclosing square is one with the vertical axis of the square of the Great Pyramid.
Of course, when magnifying this already magnified position, there is separation between these lines, but this kind of accuracy in transfering designs onto quartz or limestone medium is achievable only by using advanced technology.
Considering that there was another stage of copying the original engraving and then copying the copy until its appearance on these pages, obviously, there was very little distortion from the thoroughly space-age accuracy of the original.
Above: in a variation on the same type of experiment we get the same result.
X is a diagonal in one square and a central axis in the other square! In this case, we can see some thickening where the two lines lay side by side; however, taking the magnification into account, the precision is still very good.
|With the Great Pyramid inside Athena's
head, suddenly, it is seen why some significantly
oriented engraved lines are where they are. They are in sync with the
pyramid and its secondary elements, such as the inscribed and
circumscribed circles or pentagrams. Again, the accuracy of it all is simply impeccable; see the image
|1) Line 'a', we remember, originates from the
tip of our 'mother-star'; It runs along the left edge of
an engraved line.
2) Line 'b' is a tangent to the outer circle of the pyramid. It coincides for some distance with the right edge of the helmet line.
3) Line 'c' comes from a pentagram inside a pentagon circumscribing the pyramid's circumcircle. It runs parallel to 'a' on the other side of the same engraved line.
4) Line 'd' runs along the northern side of the pyramid.
5) 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.
6) Line 'g' belongs to the aforementioned pentagram. Intersection of 'g' with the pyramid's inner circle creates a point on line 'e' and gives us that line.
Below: Line 'a' and two lines of the red pentagon form a golden triangle on the star.
Also in this diagram, the line 'a' was mirrored across the vertical axis of the pyramid. The result revealed a strong symmetry of 'a' with engraved lines across the axis.
Below: The two inscribed stars, especially, the golden one, are spectacular as they help us pin-point various
locations on the head. The small red arrow points to one example
of it - a line of the golden star 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
instances here, as well.
above diagram shows the basic idea of the star configuration below -
the top of the star is at the top of the pyramid's outer circle - the
bottom tips rest on the bottom side of the pyramid. |
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
The first three lines belong to one of the pentagons superscribing the outer circle of the pyramid.
Line 'e' originates from the point at which a star line of the same pentagon crosses the inner circle of the pyramid.
The star crowning Athena's head is most helpful in describing the position of one of the two antenna-like lines above her helmet.
Below, the star configuration from the preceding diagram
is expanded over the whole engraving. I see a slew of harmonious correlations between the two.
|Below: Another interesting configuration. It is defined by the lines
'a', 'b', and 'd'. The line 'd' runs through the 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.
| 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 impossible. The astonishing productivity of moving the pyramid proves the objective existence of this part of the Giza groundplan to also be part of Athena.
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.
The Third Pyramid
The square pyramid base falls into what Lwoff and others see as a pocket, a part of Athena's attire. It is an interesting densely engraved area of the image. The right side of the pyramid runs for some distance along the edge of an engraved line.
The "pocket" could be custom-tailored to carry the pyramid . Shifting the pyramid just a little shows that it fits the pocket closely.
The two red arrows pointing to the pyramid show that when the bottom side of the pyramid limits the extent of the white space in the small pocket where the arrow is located, then the top side does the same - see the arrow there.
A sign of what's in store? - The double red line on the left has the exact angle of a golden diagonal, and it fits the image perfectly: On the inside, it fits a line edge; on the outside, the higher arrow points to where it limits the black line, while the lower arrow points to where the line limits the white space.
A whole lot goes on in the diagram below:
1) There is just one position where all four corners of the pyramid are in the black, while its sides still keep to the engraved lines.
2) All the color lines here have non-random angles:
the green lines have golden diagonal angles
the yellow lines hold pentagonal angles between each other (36, 18, 72, 90 degrees)
the longest yellow line is twice a perfect limit at the top
the steeper red line is actually one of the Square's diagonals
the center of the small circle marks one of the Square's corners
the triple red lines hold 90 degrees to the Square's diagonal
Arrows point to seven instances where the red lines of the inscribed pentagram/pentagons of the circle inscribed in the pyramid base form totally accurate limits for the black lines or white spaces.
The part of the cyan line 'd' inside the circle is one of the sides of an inscribed hexagon.
Below: a wider view, and a whole lot of lines that are non-random with respect to the pyramid orientation.
S1 and S2 are two adjacent corners of the Square; the red line between them is a side of the Square.
Line 'c' holds the same angle with the horizontal as that side of the Square. Given one of these lines on a sphere, rotating the sphere 180 degrees around its polar axis would make this line appear like the other line from our point of view, i.e. it would rise to the left.
An interesting twist: lines meeting at S1 are oriented to the Square, but those meeting at S2 are oriented to the Mother-star. This phenomenon emphasises the interconnectedness between the Mother-star and the Square systems.
All the lines marked 'a' are oriented 18 degrees to the horizontal.
All the yellow lines hold one of the following non-random angles:18, 45, 63, 72, 90, 108 degrees.
The two lines 'd' share the same angle which is belongs to the 7-pointed star.
The green lines represent three of the four possible golden diagonal orientations in this pyramid's angle system.
|Diagram below: |
Because the area of the Third Pyramid abounds in golden diagonals, this pyramid is expanded into a golden rectangle experimentally.
The results of this step also clarify the positions of vertical engraved lines (c,d,e,f) below the new rectangle significantly; therefore, a copy of the first golden rectangle is added directly below it.
The three arrows point to three instances in-a-row where the golden diagonal marked '1', rising from the lower left corner of the added rectangle, forms perfect limits for the engraving.
The other line rising from the same corner is a 45 degree diagonal of the lower copy of the pyramid. It too is a perfect limit to the engraved line there.
that we have the shape of two stacked golden rectangles, it is only
natural to again expand it into the golden rectangle. That sets the
large golden rectangle in the diagram below - the original golden
rectangle of the Third Pyramid quadrupled.
It was a pleasant surprise to see two of the previously identified golden diagonals pass directly through the right side corners of the quadrupled rectangle.
Check that every line in the right half of the rectangle corresponds to the image in one way or another.
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 there, a complete harmony ensues between the two, and we learn a lot about the head's design.
A surprising number of five-pointed stars (pentagrams) is involved. Some are like crowns upon Athena's head.
The Great Pyramid's occupation of the upper half of the head is symbolic - the pyramid in union with the Mind and the Spirit. Athena's head is the abode of so much science that it is clearly in a category of its own in the world of science-art.
However, vast majority of the fifteen-hundred engravings from La Marche has never been made available to the public, or researchers like myself; so who knows, some of those works 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 indeed incorporated in the almost 15,000 years old Athena engraving. The powerful bond between the two cannot be broken. Thus, the Giza siteplan is at least as old as the Athena Engraving. Could the Giza pyramids be much older than we think, as old as their plans?
It follows that the Giza pyramids were in all likelihood built under the supervision of the "Agency", the agency behind the Athena Engraving and the Nazca Monkey. The Agency must be just the tip of an iceberg - a highly advanced prehistoric civilisation - on this planet or some other. Is the Agency still active? If so, exactly how does it intervene in humanity's affairs?
© Jiří Mrůzek
August 30, 2013 Last edited Feb 13, 2021
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