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  Previous -  Exact Reconstruction of Giza's Site Plan
       The Nazca Monkey Report
  In the Beginning
Testing the Nazca  Monkey for Connections to the Great Pyramid

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

In 1883, Sir W.F. Petrie published his geodetic survey of the Giza pyramids. It stands unsurpassed till this day and is the standard reference for anybody interested in Giza. Theorists believing that the mutual positioning of the Giza pyramids is not random but due to a site plan have ever since made attempts to prove their belief by reverse-engineering Petrie's map from various ideas. However, none of the reconstructions have gained general acceptance, mostly because they're not accurate enough, but also because there are great many competing theories - which is the right one?
A closer look at Petrie's data indicates that Giza builders were capable of carrying out the original plans with simply astounding accuracy. Therefore, our reconstruction should be really close to duplicating Petrie's specs - the closer, the better. Somewhat miraculously, my personal attempt at the reconstruction happens to duplicate Petrie's data perfectly - after the distances are rounded, like Petrie's, to the nearest tenth of an inch.

A skeptic will object that it still remains but a theory, and the actual dimensions and distances could be different. The only valid proof would be in seeing either the original plans, or detailed references to those.

Such requirements are actually addressed by the present study, as comprehensive detailed references are in fact provided.

My original inspiration came from two prehistoric works - the Athena-engraving and the Nazca Monkey glyph.  The two masterpieces practically take turns in telling one and the same story. They are not free-hand art but rather elegant designs evolved from a single 5-pointed star - the 'Mother Star'.
particular method of drawing 5-pointed stars is given special attention in both. This was the method I had chosen to be the experimental platform for the Giza reconstruction, and it worked.

Cross Referencing

Simultaneous exposure
to the engraving and the monkey has greatly advanced my progress in the study of each. Some ideas they have in common are more apparent in one than in the other; and so without cross-referencing they could be lost to me.
Is Giza directly tied to La Marche and Nazca just because my Giza reconstruction was inspired by the two prehistoric works? Well, no. For a conclusive proof that the Giza plan forms a trilogy with Athena and the monkey, it has to do what they do - have a clear presence in the other works and be of assistance in understanding them.
As the subject of the monkey & Giza plan was treated in
Testing the Nazca Monkey for Connections to the Great Pyramid , in this article we focus on the relationship between Athena and the Giza plan.

Testing Method

Our method remains the same as before: The works are merged into one.
This is done by first superposing them so that their mother-stars have the same point of origin and direction.
Then they are scaled until the stars become a single star.


Here, the star is shown with some golden rectangles derived from it (marked by small circles), and a corresponding square. The explanation for the star's position is given in the first chapter.                   

the Mother-star of the three great pyramids of Giza

Here, the same star is shown with the three pyramids derived from it.

                5-pointed star associated to the Great Pyramid

Nazca-monkey's Mother-star

The purple star is the monkey's mother-star.

the purple Monkey-star is the one which the
              square isderived from
      Pyramids Over the Engraving


Prior to this test, I wasn't too optimistic about its outcome. After all, I have not noticed anything resembling the Giza plan in these works before. However, at the first sight of the pyramids over the engraving it is apparent that something special is going on. Above all, the Great Pyramid establishes obvious relations to Athena's head. In fact, t
he Great Pyramid will turn out to be the most influential factor in Athena's head structure.
        The pyramid near
              Athena's head gives an impression of an open cash register
              or a CD player. Close the tray until you hear a click, and
              the music will start playing.

Encouraging Observations:

* Each pyramid has a side that coincides over some distance with an edge of an engraved line.
* Extended sides, axes, and diagonals coincide with engraved lines.

* 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.
* Its diagonals clearly relate to the ends of engraved lines in both left corners of the pyramid.

If we move the Third Pyramid (G3) straight down a little, it will dock in a well fitting pocket.

A question pops up: Is it really on its way in or out of the pocket? 

                                 Athena's Head & Geometry
Some important details of the diagram:

* The north side of the Great Pyramid forms a single line with the lower edge of a long and straight engraved line near the top of the head. This is a very notable "coincidence".

* Two extended diagonals, one from the middle of the eastern side, and one through the pyramid's center, serve as accurate boundaries for the head.

* Both pyramid circles (inscribed, circumscribed) neatly navigate their way into the head through narrow openings, and each leans on a couple of line-ends.

* The pyramid is far enough into the head to include the frontal lobe.

The pyramid near
      Athena's head gives an impression of an open cash register or a CD
      player. Close the tray until you hear a click, and the music will
      start playing.

All that is impressive, but frankly, not entirely satisfactory. Wouldn't it be better if the Great Pyramid were directly over the head's area?
There was some temptation to experiment right away; the long straight edge of an engraved line is like a rail along which the pyramid could shift into the head..

  The Golden Column

The diagram below shows one of the many possible continuations from the "13-step" method of  pentagram construction. The Golden Column, so instrumental to the ground plan's reconstruction, is highlighted in color. Basically, it's a configuration of two golden rectangles _  an upright one (divided into a green golden-rectangle and a blue square), and a  horizontal one (yellow). 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.

The square of the Great Pyramid's base appears automatically during construction at the top left of the diagram. From here, it is projected to the top right corner of the Golden Column.
Along the way, it passes through Athena's head, when the designs are merged.
the G1
              protopyramid appears during the star's construction

In the diagram below, the pyramids are omitted in the interest of clarity.
Two sets of four small circles, yellow and purple, mark corners of two large overlapping golden rectangles of 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, a distinct point on the helmet .
The yellow tip of the Mother-star reaches deep inside Athena's head; the head evenly balanced on the tip looks like a chess piece .

 The Snapshot

The right half of the Golden Column covers the whole of Athena's face

   The Portrait

Extending the same rectangle upwards by
exactly half its height produces a perfect fit at the top of Athena's hat (helmet). The whole is now reminiscent of a portrait.


The Hatbox
The top two thirds of the 'portrait' can be shifted directly west to become a nearly perfect containing rectangle for Athena's hat/helmet - the Hatbox. All of the white space inside Athena's helmet is inside the hatbox.


Sliding the hatbox westward also reveals the following precise alignment of the head to the Mother Star's vertical angle - the green line is a truly precise limit for turns in the engraved lines -  the nose, the check-mark above the forehead, and the white space just before exiting at the top. Then we notice
that this line also reduces the moved hatbox to a perfect square.

If we knew how to place the hatbox and the green line into the new position by construction, it would be of great help in mapping Athena's head.                       

         Star-rays from a Magical Point in Athena's Head

a) The two antennae rising from Athena's hat are rays from a tip of the Mother-star.

I noticed that expansion of a circle from that tip will be brought to a stop where it is seen in the diagram below. A number of engraved lines engages the brakes simultaneously.

The long red line is the star axis leading to this tip. It is hard to see as it hides in engraved lines.
The blue line holds 30 degrees with the horizontal. It is also obscured by engraved lines.


b) Below - a closer view of how directions set by the Mother-star dominate the head area.

Except for two lines centered in the circle, magenta and blue, all the others form star angles. The diagram doesn't even show all such alignments on the head; those are seen in other diagrams.

Some golden triangles are in sight, as well.

I count at least eight instances of engraved lines holding the circle
centered in the tip of the star in position.

Line combinations of a,b,c,d,e,f  represent components of pentagrams/pentagons. 


The "a" line combines two styles of line derivation: one type follows edges of engraved lines; the second type sets ends of (cuts off) engraved lines or limits turns in those lines. Formidably, 'a' does that a lot.

Line "g" to the left of "a" is a good example of the second type;
three red arrows point to where it sets line endpoints.

The two lines hold the angle of 18 degrees between them, 72 and 54 degrees to the horizon.

Now, what about the other lines like b, c, d, e, f?  Is there a geometrical  "raison d'être" for those lines?

 More Harmony

Diagram below:

Five parallel lines, at 18 degrees to the horizontal, mark layers in Athena's face.

Three of these originate from the star and one from the center of the Golden Column (marked by a blue circle).

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 major geometric figure encountered connects to it. Keep a tab on this spot, and  witness this phenomenon again and again.

As well, Athena's chin is a magnet for a number of other lines yet to be shown.

Also seen in this diagram - the engraved line passing through the Mother Star's center changes direction there - from one star direction to another.



                                             Like an Open CD Tray


The northern edge of the pyramid is hooked onto 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 into place (see below).

The definition of this move is simple: Move the pyramid westwards until its SW bound diagonal passes exactly
through the star's tip and joins the collection of lines passing through there.

The below diagram gives an even better view of the extraordinary precision with which the engraving correlates to the pyramid in its new location. Let's begin with the copy of the pyramid circle moved up to exactly the 3/4 height of the pyramid's vertical axis. 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, just like its twin inscribed into the pyramid.

Accuracy is also in effect in a number of other places in the diagram. 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.

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 also leads to the definition of how to move the Hatbox by construction:
The pyramid's inner circle is given an inscribed pentagram. Thereupon, it is seen that the south-west bound diagonal of the hand-moved Hatbox passes through the mid-point of the star's horizontal arm. The Hatbox move stands defined. 

Next, reduce the Hat-box westward so it becomes a square (magenta lines in the diagram above). Simultaneously, the eastern side ("a") of the square becomes one with the previously observed perfect vertical alignment of points at the front of Athena's head.

This two-move combination is elegant in its simplicity and helps to justify the analysis.

expanding the Hatbox into a yet larger square also creates a discernible level on the figure (line "b").

Two star lines (yellow) run the engraved lines, one through the top of the forehead (third-eye?) to the nasal root, and one from there to the tip of Athena's nose, all the while remaining entirely inside engraved lines. Importance of the top of the forehead as a major hub was already mentioned here.

            Perfectly Balanced

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, because the vertical axis of the square of the Great Pyramid is now one  with the vertical diagonal of the enclosing square.

This kind of accuracy in transferring exact designs onto quartz or limestone medium demands the use of 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 what's likely to be 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 secondary elements of the pyramid, such as the inscribed and circumscribed circles, or pentagrams. The accuracy of these ideas stands out; it is simply impeccable.


1) Line 'a', we remember, originates from the tip of our 'mother-star'; It runs along the left edge of an engraved line, the antenna.

The pyramid's outer circle is itself the inner circle of a pentagon:

2) Line 'b' is a side of this pentagon. It coincides for some distance with the right edge of a helmet line.

3) Line 'c'
is then a side of the star inscribed into this pentagon. It runs parallel to 'a' on the other side of the same engraved line.

4) Line 'd' is the pyramid's northern side
5) Line 'g' is of the aforementioned pentagram. Intersection of 'g' with the pyramid's inner circle then creates a point on line 'e' which we make parallel to 'a'.

6) Line 'f' is also parallel to 'a' and a tangent to the inner circle of the pyramid.

Like 'a' and 'c', lines 'e' and 'f' also work in tandem to give us both edges of an engraved line.

Line 'a' and a line of the red pentagon meet nearly at the end of the engraved 'antenna' line. The pentagon line then passes right through this end, an important bit of information for the objective of reconstructing the thirteen points of the 'Frame'.

Also in this diagram, the line 'a' was mirrored across the vertical axis of the pyramid. The result shows the symmetry of 'a' with engraved lines across the axis.

The two stars inscribed in pentagons, especially the  golden one, help us pin-point various locations on the head. The level arrow points to one example of it - a line of the golden star is a perfect tangent to the tip of the forehead. The upright arrow marks another such perfect tangent to the gap in Athena's helmet/hat. Other instances of order here were left unmarked, and can be found upon a closer inspection. 



The 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 showing with what extraordinary accuracy the engraving forms a union with the geometry.

* The pentagon at the junction of  "j" and "k" lines describes the end of an engraved line. Line "k" then describes the engraved line itself.   
* The top two arrows draw attention to pentagon lines limiting the reach 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 _  another bit of accurate data for mapping the image.
*  Next down are two arrows point to star lines limiting the reach of the white space.
* The next arrow down points to where the line "g" accurately follows the edge of an engraved line
for some distance.
* The junction of  lines "g" and 'm' marks a junction of two engraved  lines.    * The arrow
at the tip of Athena's nose points to where the line "h" forms a super-accurate limit for the reach of white space in that direction.
* The last arrow down on the left shows yet another perfect limit.

Blueprint for the exact width of Athena's helmet at 36 degrees

* Between them, the
parallel lines ''g' and 'w' give us the exact width of Athena's helmet at the angle of 36 degrees to the horizon.

ith regards to the head, this diagram seems particularly instructive, although not all of the order therein is shown.

Athena's Star-spangled Head _ the Star Crown

The star configuration below is defined by the lines 'b', 'c', 's', and 'e',
where the intersection of 'b' and 'c' is the origin point for lines '1' and 's'.
Line 'e' is parallel to 'c' and originates from the point at which line '1' crosses the inner circle of the pyramid.
The star-crown on Athena's head also helps to locate the end-point of the left antenna-like line above the helmet.

Below, the star configuration from the preceding diagram is expanded over the whole engraving. A slew of harmonious correlations between the two is on display here.  

Another interesting configuration.  It is defined by the already known lines pointed to by arrows.  


 the Pyramid's Base
and Golden Rectangles

 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  a "Golden Cross."  A golden cross for the large square is also shown. 
This provides additional information on the location of engraved lines in the geometric system. For instance, the western side of the big square locates the outer edge of the head's westernmost vertical line. This is also just a hair off the Hat-box's western side (reviewed earlier). There are other instances of order here, and I'll leave it up to the reader to find them in the diagram.     

Moving the Great Pyramid configuration from its original location into Athena's head proves to be instructive with regard to the head's structure and design ideas. The astonishing productivity of this move showcases the direct connection between Giza and the engraving of Athena from the 15,000 years old site of La Marche.

                                           the Second Pyramid

If the Second Pyramid conforms to the head similarly to how the Great Pyramid does it _ then the validity of the insinuation therein will grow exponentially - Athena's head/mind controls both; it controls the Giza plan.

Of course, the Second Pyramid's basic position is as it is in Petrie's Giza plan. In the diagram below, the yellow square of this pyramid forms the center of a Golden-cross. The main vertical lines of this cross - the vertical axis, the two pyramid sides, the sides of the small upright golden rectangles next to these, or the two lower sides of the square doubling the square given by the Golden-cross - all have a significant passage through the image. Arrows in the diagram point to several out of a number of cases of such orderly fit.


g2 exxpanded to a
      golden cross in a square

Details in the diagram below also include some golden diagonals based in the pyramid. One of these diagonals passes directly through the tip of Athena's forehead, a place that comes to our attention repeatedly. At the lower left line-edge of this tip two grid lines meet this diagonal. This spot is also a corner of a small golden rectangle with all four corners anchored in the engraving.

Expanding the Second
      Giza Pyramid into a Golden grid square

. Surprise

The width of Athena's face equals the width of the Second Pyramid! This relation is extremely accurate.

The head's height approximates two times the pyramid side.     

A Sphinx Symbol?

The three additional
squares below also fit the image fairly well. Somehow, the area of the image they delineate evokes the Sphinx. At Giza, the Sphinx is associated with the Second Pyramid, as well.


Optically Exact

Enclose Athena's face by a bounding box open at the top and then make it into a square.

The result is an optically exact square base of the Second Pyramid!

Khafre's the
        Second Pyramid has the same width as Athena's face


Fit two upright golden rectangles over the pyramid's top. The upper sides of these rectangles cling to the  top edge of the same engraved line whose lower edge hosts the north side of the Great Pyramid.

Expand the Second Pyramid's base westward to become a golden rectangle. Its western side then locates the exact western reach of the white space in Athena's hat/helmet.

Other lines in this grid also seem to provide information on the exact location of a number of the picture's elements, once we learn how exactly to position the pyramid base itself.

The diagram below is a reminder of how we located the line 'a' in a previous experiment described near the top of this chapter. We use this method in the placement of the Second Pyramid across Athena's face.


Slide the rectangle based upon the Golden Column horizontally until the 45 degree line drawn from its top right corner passes through the point, circled green, on the star inscribed into the Great Pyramid's inner circle. That's where we position the Second Pyramid so that it spans the exact width of the face.

To place the south side of the pyramid, we have to combine information from more than one source; and we'll get to that later.

Order seems to follow extension of this particular Golden-cross grid to the area shown below.

Lines 'a' and 'x' impress by how faithfully they follow edges of engraved lines; then travel over white space; then find the edge of another line. Moreover, line 'a' also reproduces the exact perpendicular angle of the Mother-star system.

Unlike the other lines, 'x' is not part of the grid by its orientation; however, it is a perfect example of perfection unattainable without the use of at least a straightedge. Imagine yourself trying to emulate such workmanship using an engraving tool made out of flint.  Mission impossible.

On the nature of engraved lines

Stéphane Lwoff and his team took extreme care in producing a copy of this engraving. Thanks to it, we see faithful reproductions of the engraved lines. The sight of them under magnification is then truly puzzling. The tip of Athena's nose is a good example. On the inside, the line is beautifully smooth and nicely curved - the nose is as pretty as can be. On the outside, it appears much rougher; its sculpting is angular. The tip is sliced off by a straight line.

The line edges represent two entirely different lines. It would be a mission impossible to make them by a single motion of the engraving tool.

Ergo, each line-edge was engraved separately. For what mysterious reason? Does this fact fit the conventional theory? 

Hypothetically, the lines are not only two-dimensional, but three-dimensional. There is a possibility that using the latest scanning technology the lines may yield further information. 


The reader may recall the diagram below from the preceding chapter. The golden-cross/square derived from the Second Pyramid is nearly the same size-wise as the golden-cross within the containing square of the Giza pyramids. This fascinating fact, seen when the two are made concentric, was one of several indicating the Golden Section as possibly seminal to the Giza ground plan.

  ...................... Giza containing square with the Golden-cross

There was no direct use for it in the Giza Plan reconstruction, but the Golden Cross idea shines upon being merged into the engraving (diagram below).

The order between the marked lines and the image is extensive and would require a lengthy description. Luckily, it is so clear that using arrows does the job, too.
How about that line 'a' though, marking out two side-by-side golden rectangles in the yellow center of the cross - the image echoes it so strongly.

The Second Pyramid
      has the exact width of Athena's face


  a view of line 'e' threaded through the eye of a needle

A magnification of
      threading-a-needle passage as a show of planned exactitude


 Stars at Work

The star inscribed into the Great Pyramid's inner circle (above) is the key to placing the Second Pyramid over the face. The method was described earlier in this chapter. This star is one of the stars of the whole show, no pun intended.

To place the south side of the Second Pyramid at the lowest point of the face, we have to combine:

a) the Square's golden circle inscribed with a star and centered in the Square's corner inside Athena's face (readers remember the Square)

One arm of this star is a very accurate limit to Athena's chin from below (diagram).

This star's custom fitting to the head really is really quite a sight:
Two more major lines radiating from the same western tip of the star also form such accurate limits to Athena's nose and forehead.

The horizontal line setting the bottom limit for the head (helmet) comes from the meeting point between a line of the star and a line of the Square. The line under the chin nears the lower western star-tip along the edge of a straight engraved line running at the same angle. A perpendicular line from that point also limits a long section of the helmet from the west.

One tip of the above star is shockingly well positioned on Athena's forehead. The harmony between the head and the star in this position is simply indisputable. Yet, as is, the star lines fanning out from the tip of the forehead do not quite share the angles of engraved lines there.

But, the same star lines reoriented to the Mother-star do fit in and share those angles.  



b)  The Second Pyramid (magenta) centered in the center of the Pyramid Square is the other element needed to locate the bottom of Athena's chin. The Mother-star's yellow inner star is also a contributor.

A horizontal line placed into the intersection of the lines 'd' and 'c' now serves as
a perfectly accurate limit from below for Athena's chin.

The green-colored line 'b' is the extension of one of the yellow star's sides;
The line 'd' originates from 'D', the intersection of two major lines of the Second Pyramid (one golden diagonal and one the pyramid's diagonal from NE), and runs parallel above line 'b' at 18 degrees to the horizontal; It comes as close to the chin's edge as can be. Therefore, it is the line selected to combine with line 'c' to give the insertion point for the horizontal limit to the chin.

a Micron

Line 'a' passes 0.00006799 unit above the startip 'S'. In the engraving's lifesize, it translates to 1.36 microns  _  thousandths of a millimeter.

The magnification above shows that no matter which line combination we chose, the end result - the two blue lines - is practically the same; and it's hard to decide which of the two is closer to the true limit.

There is a fundamental difference between a simple observation as to how well each pyramid fits over some part of the engraving, and knowing how it got into that position by an exact method. Now, finally, the Second Pyramid's impressively well fitted position over Athena's face stands explained rationally, as well.
The Second Pyramid has at once five significant positions in the engraving's context.  Each position is an exact construct. The origins of three of those are traced all the way back to the Mother-star. Two are recent observations, and I'll need to find some time to trace them back. Each position is significant, because it provides additional descriptive information about the engraving itself.


The notion of moving pyramids is utter nonsense; the Giza pyramids are ginormous immovable objects!

but I have been noticing from the very beginning of my analysis that the engraving represents a dynamic design.

Each pyramid has one side attached to a long straight engraved line, which, in my opinion, represents a vector, something like a monorail. Indeed, moving the Great Pyramid along its shown vector led to extremely valuable insights. It will also be seen that such a move along a monorail of
its own tucks the Third Pyramid into a well fitting pocket a short distance away. The Second Pyramid is attached to a vector line of its own on its eastern side. The vector stands out strongly as it covers a long distance.

                exxpanded to a golden cross in a square

The Second Pyramid is extended eastward into a golden rectangle. Then the line of its eastern side when projected downwards seems like an accurate limit to Athena's left foot (arrow). Is it a clue?

Recently (Aug.2022),
as seen in the diagram below, I had experimented with the attachment of the square of the Second Pyramid to Athena's feet. The result is yet another classic.

The width of the left boot is obviously meant to be exactly 1.5 times the pyramid. The boot is approximately 0.002 unit wider than the pyramid (the construction unit of the Athena-engraving equals approximately 2 centimeters in life-size, so 0.002 unit is approximately 1/25 of a millimeter,  or 1/635 of an inch).

A straight edge of an engraved line coincides with the line 'a' marking the exact center of the whole rectangle.

A straight edge of an engraved line coincides with the line 'c' marking the exact length of the Second Pyramid's side, when measured from the west, or half-side when measured from the east. 

A straight edge of an engraved line coincides with the line 'b' in the exact angle of a golden diagonal.

Even under this magnification (the rectangle is just 3cm, 1.18' inches long), the engraving displays exquisite accuracy in expressing exact geometric ideas.

the Second Pyramid
      fits beautifully over the feet of Athena to a touch over 0.002 of
      an inch

The square base of G2 is attached from the bottom left to the three-toed boot on the left of the diagram, but only 5/8 of it are shown (the other 3/8 seem irrelevant). Even so, the boot directly corresponds with both the diagonals and central axes of the square base of the pyramid. For instance, lines 2 and 3 are perfect limits to line ends (arrows). The line 1 follows the edge of a long straight line on the left boot.

clearly engiineered

In the diagram above, we see five numbered golden diagonal lines; 1 and 5 coincide with engraved line edges; 2,3 and 4 are perfect engraved line limits .

The image below shows the right boot in more detail.

perfect fit of the G2
      over the4 left boot of Athena

exact reproduction
      along the east-west axis

             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, thus matching the other two pyramids in that aspect. 


The "pocket" could be custom-tailored to carry the pyramid, because shifting the pyramid just a little shows that it fits there closely.

The two red arrows pointing to the pyramid show that when the bottom side of the pyramid limits the reach 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 with each other (18, 36, 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 either 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 interconnections 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 belongs to the 7-pointed star.

The green lines represent three of the four possible golden diagonal orientations in this pyramid's angle system.


The top of the colored-in stars is anchored in the same intersection of engraved lines as yet another corner of the Square (S3).

Aptly, the center of our Mother-star is a little higher left on the same line, approximately where this line turns. We know from before that both directions express Mother-star angles.

The star pattern in the image conforms to the same angles.

We see engraved lines conform to the star pattern!

Thus, there are two corners of the Square where the engraved lines express Mother-star angles. And just to make sure there is no mistaking the intent on the designer side, there is also a corner expressing angles of the square (S1).

These two corners were the ones I had noticed first (in 1985), due to the by now justified speculation that the engraved Xs are there to mark  centers of circles whose arcs then form the rough lens of Athena's torso.

    .............................Two of the Square's corners
              hold angles set by the Mother-star and only one complies
              to the Square

Below: All in all, we are dealing with a whole lot of system-oriented lines, here.

When extended, some of the lines enclose an interesting shape.

Because the area of the Third Pyramid abounds in golden diagonals, this pyramid is expanded into a golden rectangle experimentally.

I'll refer to this rectangle as the G3-original golden rectangle, the origin of more golden rectangles in this position. This rectangle helps to clarify the positions of vertical engraved lines (c,d,e,f) below it; when a copy of the first golden rectangle is added there (below).

The three arrows inside the added rectangle point to three instances in-a-row where the golden diagonal  '1', rising from the lower left corner of the added rectangle, forms perfect limits for the engraving.


Such points are like control posts, or check-points, showing that lines are on their intended course.
The line rising from the same corner at 45 degrees also has such a check-point; the line is a limit to an engraved line.

..................................Blueprint Quality

The two stacked golden rectangles represent half of a larger golden rectangle, so we expand their shape into that rectangle - the large golden rectangle in the diagram below - the G3-original golden rectangle quadrupled.

It was a pleasant surprise to see two of the previously identified golden diagonals pass directly, with consummate precision, through the right side corners of the large golden rectangle.
With the exception of but a couple lines, all the other system-lines showing in the right half of the larger rectangle correspond to the image in one way or another.



Double the large rectangle as shown below, and the same visual effect carries over into the right upper corner of the new shape.

Although the engraved line under 'c' is curved, 'c' remains entirely inside the curve. It's as if 'c' was the hard core of a wire whose outer jacket was deformed by heat, and a piece broke off but is still holding onto the wire. This quaint notion is somewhat upheld by two lines to the right side, bearing accurately at the golden angle once again.

The golden line 'f' is a major system line in the quadrupled G3-golden rectangle, because it originates from the point where 'x' intersects the golden line '2'. Line 'x' divides that rectangle into a square and a smaller golden rectangle.

The way 'f' coincides with the straight section of the left edge of the engraved line is attention-worthy by i
ts utter perfection. It joins the already impressive array of the other golden lines in the area, which are all part of the Third Pyramid's golden rectangle system. 

Extend the quadrupled G3-golden rectangle by two more such rectangles to the right.  This step explains the position of some of the lines we have noticed before.

For instance, the vertical line 'h' rises from the intersection of two golden diagonals ('f' and 'g') of the middle rectangle and runs along the edge of engraved line, where we find one of the Square's corners.

Lines 'a' and 'b' give 'c'. 
'c' and 'd' give an insertion point for 'e'. 
'e' and 'a' give an insertion point for the vertical magenta line to the left of 'h'. That line runs on top of  an engraved line and also marks out a little magenta colored square.

All four corners of the middle rectangle are in the black.

The last rectangle on the right doesn't contain many engraved lines; nevertheless, close observation of these lines shows high degree of their compliance with the rectangle.


    Even Units

Two major lines derived from the G3-golden rectangle, 'j' and 'k', meet at a checkpoint in the engraving.
From there it is 0.33387356 unit to line-2, the bottom of a golden rectangle, less than a thousandth.

A long engraved line bounces between lines '1' and '2'; and creates two horizontal levels.
Another third of a unit up, the engraving has a line concurrent with line '3' over its entire modest meandering.
And again, another third of a unit up, the engraing sheathes line-4.

Four times, the engraving matches the geometry to show its unit.

a nested unit circle

A unit circle was drawn from the center of the rectangle on ther right.
It is visibly nesting in the engraving, I can see at least eight locations supporting the idea.

Judging from the evidence seen this far, the Third Pyramid wields a large influence over the lower region of the engraving.


There has to be a threshold past which the quantity of accumulated evidence metamorphoses into hard proof. I believe that to be the case in the present chapter. It is a given that the Giza site plan is incorporated in the Athena engraving. Therefore, the successful reconstruction of the Giza site plan using guidance from the Athena-engraving is most likely also correct.

Giza's site plan is at least as old as the Athena Engraving - about one hundred and fifty centuries. Could the Giza pyramids themselves be as old?

It is self-evident 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 itself must be just the tip of an iceberg - a highly advanced prehistoric civilisation - of this planet or not.

Is the Agency still active? If so, exactly how does it intervene in humanity's affairs?
©   Jiří Mrůzek
      Vancouver, B.C.
      August 30, 2013                                           Last edited September 1st, 2022            

The Great Pyramid is the key to unlocking design secrets of Athena's head, with the Second Pyramid looming close behind. Both have the same Mother-star. Another chapter of this study shows the Square also impose its ideas upon Athena's head. 

How about those five-pointed stars within and above Athena's head? 

It's hardly wrong to presume that in all the world's languages saying that something is in somebody's head is synonymous to saying that the same is on someone's mind. In that sense,
Athena's mind is clearly focused on advanced geometry.
Stars are like
magic temples of the divine Golden Section within and like crowns upon her head. The Great Pyramid is another such temple occupying the spaces of her mind. She is the Mistress of the Pyramids - she is Giza's chief architect.

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