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The
idea behind exact recreation of Petrie's Giza ground plan is the same
as the idea behind the constructions of the Athenaengraving and
the Nazca Monkey glyph. The latter two works complement ech other
to the degree where it is proven beyond any doubt that they are both
parts of the same project, and therefore, one and the same agency. For an ironclad proof that the Giza plan belongs with the other two, it has to do the same; it has to have a clear presence in them. Otherwise, it is no more than compelling but still questionable evidence. Although unlikely, it is theoretically possible that the idea to construct the plan beginning with the unique 13step method of pentagram construction could occur to the Giza planners independently. The great Giza pyramids are said to be tenthousand years younger than the Athena Engraving; their design may have been developed during the intervening period. So, the logical next step in our quest for truth is introduction of the Giza ground plan into first the Athenaengraving and then the monkey. It is done easily; each work has its origin in a 5pointed star. If we unite these stars into one, we also unite the rest and see what happens, if they share more than the star. It's as simple as that. The Pyramids Over the Engraving I admit to feeling some anxiety prior to the test. After all, I have not noticed any signs of the Giza plan in these works before. Seeing the pyramids over the engraving for the first time had dispelled that anxiety substantially. For one, it fulfilled a secret wish I had  to see the Great Pyramid involved with Athena's head. Looking at this position, you may get 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.. Eventually, the experiment documents a complete integration of the Giza plan into the engraving, and the Great Pyramid as the dominant factor in the shaping of Athena's head. Initial observations: * 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, it is seen that the engraved disappears and reappears on the same 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 is a part of significant order and 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 Some details of the initial position in the same diagram: * The upper, the 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. It's a great show! 
The Golden Column The diagram below is a product of the "13step" 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 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 equal (not golden) rectangles . 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 Motherstar is centrally located in Athena's head. 
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. 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 now completely framed by the rectangles like 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 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 perfect limit for turns in the engraved lines  the nose, above the forehead, and the white space just before exiting at the top. Later on, we duplicate the below diagram from the system. 
Starrays 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 the tip of the original star in the head. The tip is at the center of the circle. The long red line is one of the star's lines. I think of this type of lines with a significant passage as "powerlines", equivalent to leylines in geographic descriptions. 
b) The below enlargement gives an even better view of how the
directions set by the motherstar 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. 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. 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. 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? 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 Diagram below: 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 is obviously 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 45degree 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. 
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 proactively. 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 southwest bound diagonal of the
Hatbox passes through the midpoint of the star's horizontal arm,
which means that the Hatbox move now stands defined. Pushing the Hatbox's eastern side westwards until the Hatbox 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 Hatbox 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 (thirdeye?) 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. 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 symmetrywise, '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 spaceage accuracy of the original. _____________________________________________________________________ Above: in a variation on the same type of experiment we get the same result. 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's central in 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
below: 
1) Line 'a', we remember, originates from the
tip of our 'motherstar'; 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 inscribed in the pyramid's circumcircle. It runs parallel to 'a' on the other side of the same engraved line. The two lines work in tandem. 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' is a line of the pentagram inscribed into the pyramid's outer circle. 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 pinpoint 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
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 Hatbox'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 trasuretrove 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 Motherstar in this article. As for the Square, it is the background against which the monkey teaches the "13step" 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 Motherstar. 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 Motherstar). 
Athena's Starspangled 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 fivepointed 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 scienceart. Of course, vast majority of the fifteenhundred engravings from La Marche has never been made available to the public; who knows, some of those may rival Athena. Conclusion 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 Last edited Dec 31, 2020 
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