Testing the Nazca Monkey's head for connections to the Great Pyramid This is the latest of tests exposing one geometrical system uniting three ancient designs, each from a different continent. Some arcane prehistoric agency (onwards "Agency") has had global reach over our planet and created art and architecture as mathematical puzzles for the future generations: a) the monkey from the world renowned Nazca Lines, Peru b) a 14,000 years old engraving from the not so well-known grotto of La Marche, France c) the three great Giza pyramids The elements in common to the three designs have differing visibility; some leap up, others  patiently await discovery by the roundabout method. For instance, there was much about the topography of the head of "Athena", the human figure in the engraving from La Marche, that I missed until getting back to it with the Giza layout. The Great Pyramid became closely associated with Athena's head ever since then. Facing the result, one symbolic meaning comes across clearly - the Great Pyramid was in the mind of a Stone-Age human. By extrapolation, the young woman from the engraving had played a major role in the design stage of the three big pyramids. Her role in the implementation stage, however, remains an open question, as does the true age of the three monuments. Otherwise, the pyramids would have to be at least 14,000 years old... A star brings us together The ground plan of the three Giza pyramids sprawls almost one kilometer from North to South; the monkey from Nazca spans nigh a hundred meters, while the engraving from La Marche tangles its lines over a portable, A-4 sized stone tablet. Each of the three works (the engraving, the pyramids, the monkey) had gone through being a 5-pointed star in its embryonic stage; so it's nice to know that the three can easily be scaled 1 : 1 : 1 and thusly laid over each other for comparison. Hence we scale the works, laid over each other, until their original stars become identical.     That was the case in the preceding chapter between Giza's ground-plan and the engraving. If looping back to the engraving with Giza was so productive, is it not possible that the same experiment will also yield tangible results between the plan and the monkey? The ideal result would show rational relationships between the same elements, i.e. the Great Pyramid and the monkey's head. Let's check that daring hypothesis out.    First, all three works are shown overlapped in the image below. The original star is divided into left and right halves by a central axis. Athena's head and the Great Pyramid are to the left of that axis; the monkey's head is to the right, and is away from the pyramid. Do we see any reasons for continued experimentantion?           There is some duality on display here: The heads are at approximately the same elevation; moreover, they see eye-to-eye for Athena's right eye lies on the horizontal line with the place where the monkey's right eye ought to be located. A star's tip reaches into each head, as well.  If these attributes are reflected across the stars vertical axis, why don't we mirror the entire monkey across this axis to see what happens? See the stunning result below: Athena's face is almost one-hundred percent inside the monkey's face, and her right eye now doubles as the monkey's right eye!   The discovery of such harmony prompts another experiment; without any rotation whatsoever, we move the monkey head over head with Athena to find the best mutual fit: We could not have hoped for a better result - the fit is perfect! It looks like the Agency had built in  confirmation of our scaling procedure.     Readers may be noticing the difference in orientation of the above image. It is oriented to the second most important element in the geometric system of each the monkey and Athena - the so called Square.  My name for the system is "Cone & Square".   In the illustration below, the Square is shown as a diamond. The lens inside the diamond is constructed from circles which originate in the top and bottom corners of the Square. You can also see the form of a pyramid within the lens;  I've seen it there since the beginning, along with some other things. I've reoriented the image to the Square to show the pyramid  at the proper angle.   Also of note: a) the monkey's head is inserted right over the pyramid's apex                     b) the monkey's hands, especially the left one, mesh remarkably with Athena   The illustration  is also suitable to pointing out the conceptual difference between Athena and the monkey in how they express the Square.. While both are seen to have a considerable degree of harmony with the Square, only Athena puts it into plain sight and allows accurate derivation of its size, orientation, and position. The monkey conveys only the general directions of its diagonals. The square in the monkey results from a loop-back to Athena - copying in Athena & pasting in the monkey. Only then we see how well it fits.         Are any readers wondering at Athena's prone position? Shouldn't she be standing up just like the monkey? I"ve always regarded the Athena engraving as a mandala, and in this alternative orientation Athena can indeed be seen in an upright stance. She is looking skywards, holding out the lens with the pyramid inside. In my rendition, she is wearing a  long, tight fittting, yellow skirt, and a blue jacket. The scene's symbolism is in agreement with the entire analysis. I'm not so sure what to make of the fact that Athena also seems to be carrying the monky on her back...                      Mirroring the pyramids Mirroring of the monkey across the star's central axis brought us truly interesting results. Why don't we try the same with the reconstruction of the Giza plan? The process of reconstruction starts to the left of the star's axis, but it can also start to the right of the axis. The end result will then be a mirror image, as seen below.. At this resolution, both the second pyramid's mirror-image and its original are indistinguishable from each other.  The third pyramid, when reflected, is off on the periphery, but one of the original's corners is just five centimeters short (on the Giza-scale) of one of the monkey's star lines (the long straight line running across the monkey's arms). Since lines at Nazca are several inches wide, this pyramid corner is right on that line.   Of course, our main interest is in what happens between the Great Pyramid's mirror image and the monkey's head.  It is encouraging to see right away that: This pyramid is also partially positioned over the head of its subject. The pyramid's axes run near the top and the right side of the head. A diagonal of the pyramid divides the head into approximate halves. The other diagonal, facing the pyramid, is clearly nigh as wide as the head at this angle, as shown by parallel lines from the ends of the diagonal.

If we draw a line between the two points where these lines meet extended sides of the pyramid, we get a square whose sides are equal in length to the pyramid diagonals. The line then catches some points very nicely. The main thing, however, is that this last line is a perfect division line of the monkey's neck & head from the rest of the body!  Aside from that, the diagrams also show several other harmonies, but I'll leave it up the reader to look them up, and skip to the next experiment. We only have to slide the square below the diagonal a little to show how well the diagonal matches the head's width at this angle. If this experiment happened at Nazca, given the monkey's line-thickness, the match should be right on the money.   Next, we try the circle through the four corners of the pyramid for fit around the head. It is very close! Next, we try the pyramid's inscribed circle. It is a close fit again although not as good as the above one. Later, we come across yet another circle which fits the head like a brain would. Next,  I mirrored the new square from the monkey onto Athena's side. The same effect happens there! This time the square forms a border for the head under the jaw.  Athena's head is more complex so I made the square is a little more detailed, as well. We see a line which forms a perfect limit for Athena's head near her mouth.      The image above also includes the Hand-circle from the Nazca monkey chapter. It is the outer of the three circles around the monkey's hands. Would the reader agree that the two inside circles also fit nicely? One passes through the middle point of each thumb, one along the inner edge of each thumb. Both the latter circles can be seen elsewhere in the image; one is the outer circle of the Great Pyramid, and the other is the first circle drawn during construction of the original star... The impression is that of the monkey holding three stacked plates; since the thumbs are outward, the hands are palms up. Note that  the center of the circles connects to the center of the original star by a line which marks one side of the cone of vision through the hands. Later, we'll see some other significant lines passing through the Hand-circle's center. As seen below, that center is located at a fingertip of the right hand; if the plates were spinning, they still wouldn't fall..       The lines a, b, c, d in the image below emanate from the Great Pyramid system on the monkey's head. They all follow the direction of the  horizontal diagonal of the Square.  The distances between a-b and c-d are equal. This is important because these distances are found on discrete sections of the feet. The line "a" is especially impressive in its passage through the Athena engraving.              In the chapter on the monkey, enclosing of the monkey and its parts among lines in the Square's directions proved most conducive to understanding the design. Why not try the same here just to see what happens? Both heads enclosed in container-squares express the same geometrical facts. It is true for the superimposed squares on both sides that: One diagonal of one square is the same as one central axis in the other square! The same is true for the configuration below. A part of it is the Great Pyramid in a secondary, but extremely significant position. The pyramid's horizontal axis is the other square's diagonal. This is one of the facts I missed in the preceding chapter on Athena's head and the Great Pyramid, and it is spectacular. We can see that a parallel to one of the star's arms drawn from the Hand-circle's centert passes through Athena in an interesting manner, and exits as a tangent to Athena's helmet. It then passes close to the center of the Pytramid. This parallel also creates a golden triangle with one of the star's tips; so I completed it into a full star and saw one of its arms merge with a line in the torso. This is meaningful because seven of the other lines within the torso were already lettered, in the first illustration from the top of the linked arcticle,as parts of a star system integrated with the Square. The center of this star is on a straight engraved line which serves as a line of centers for three circles; each circle has the radius of the new star's circumcircle. One of these circles is now the best fitting circle possible for the circular top of the monkey's head.       You can see the same in greater detail below. This brings the entire experiment to the end, for now. I think that I produced enough evidence to support the hypothesis that the monkey is connected to the Giza ground plan.                 WBelow is a couple more examples on the geometric arrangements of  Athena's head from earlier chapters.

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Gizaplan - exact reconstruction of the Giza layout from a 5-pointed star

First observations of a geometric code in a Stone-age engraving

Nazca Monkey

Frame's Geometry - a) The HexMachine

©  Jiri Mruzek      myname at yahoo.com