The Stone-Age engraving pictured here is not a free-hand drawing. It was constructed to exact specifications with revealing accuracy. If so, then this image would be the most important one in humanity's possession. It contains abundant proof that more than 14,000 years ago someone had profound knowledge of Mathematics, and a method of encoding exact ideas into Art.




The work comes across as constructionist, and modern once we get past its pseudo-naive facade, and past our own presumptions. Art can express ideas, and even exact ideas like this image, which has a hermetic level fully impregnated with mathematical meaning. As such it is cryptographic Science-Art with emphasis on the 'cryptographic' and 'science'.
This engraving dramatically changed my perspective of prehistory. The young lady's portrait is so impressive in its science, it may be the portrait of an all-knowing goddess, hence the name Athena engraving. Unprecedented, it is precedent to many topics, some encountered throughout ages, and some modern. Once my research hit the vein of prehistoric mathematics in Magdalenian art, it became uniquely suited to recognition of the same vein elsewhere, in the layout of the Giza pyramids in Egypt, the adjoined temples there, engraved glyphics at the Abydos temple of Seti I, and Ramses II, or the giant glyph of a monkey from the Nazca Lines in Peru.
This report covers a lot of ground and a long timeline. My suggestion is to start reading it from the most recent chapter -  "Laying out the Great Giza Pyramids from a Line Segment."  This chapter presents the clearest cut case in the report, conferring transparency onto essentials of the subject and the method. This case is also my offering to folks, who require academic credentials, or peer-reviewed publications before they pay attention -  a bona-fide academic accomplishment, whose virtues may be objectively measured against the rest of the field. Whereas in previous cases my research was and still is a one-horse race, this last case is about a successful solution to a challenging problem, which has been worked on since 1883 by significant numbers of researchers from all over the world. Leading such a distinguished field to a convincing solution implies that despite fantastic circumstances my other research may be similarly valid.
 

Laying Out the Great Giza Pyramids from a Line Segment

Since Sir William Flinders Petriehad provided reliable measurements from his geodetic survey of Giza in 1883, more than a century of public scrutiny has revealed great many apparent geometric and numeric relationships, but no one has been able to devise the layout with perfect accuracy from pure ideas. Some authors mention builder errors to explain why pyramid corners and edges are not where they say they ought to be.. Of course, theories often contradict one another, and the academy, in general, scoffs at the whole idea. With so much smoke around, this is the burning question: Were the three great Giza pyramids laid out as parts of one grand plan?
A die-hard skeptic will opinionate that even if Giza could be cleanly translated into a systematic geometric design, it would mean nothing without the discovery of original blueprints, or a statement from the architect. Indeed, there is a speck of truth in every big lie, and in this case, there must be a number of procedures to recreate Petrie's Giza layout.
But, for a procedure to survive more than a glance, accuracy, and swiftness are mandatory. If the layout is random to begin with, even the most efficient procedure, the geometrical how-to of its recreation, will perforce be dragged out, and soulless. As well, the closer a reconstruction wants to get to the original, the more its complexity grows. Other than in rare special cases, there is no way to accurately describe a random position by a few simple geometric operations.
By the same token, if an elegant method of developing the Giza layout in almost exact agreement with Petrie's blueprint does exist, then it is, in all likelihood, the original method rediscovered. It is my pleasure to present that method here.
Do I sound overconfident? A little arrogant, perhaps? Frankly, no, true arrogance would be to think that it was me, who had imbued the layout of Giza with so much spirit, and science. Please, read on, and see for yourself, how magnificiently the method works. The sheer existence of such a method,  because of its exactly defined mathematical nature, automatically denies the possibility of success to any other would-be competitive method.






Giza Pyramid Temples & the Golden Section

The pyramid temples are conspicuous by the inordinate quantity of golden rectangles in their layout.


The Abydos Helicopter & the Golden Section





©Bruce Rawles background photographed in November1992 

If this were modern art, we would have no doubt that it clearly shows a helicopter next to a stacked formation of three harder to identify advanced craft. Disavowal stems strictly from the fact that this art is over 3,000 years old, and we know that there was no advanced technology and science in our misty past - don't we? 
The scene had caused some sensation in the nineties, but soon Egyptologists claimed to have identified at least two sets of overlapping hieroglyphics in this picture. This proffered a simple scientific explanation: What we see is a palimpsest, i.e., an accidental illusion. First there were some original glyphs, which were later hidden by plaster, and replaced by a set of different glyphs, engraved partially in stone and partially in plaster. Eventually, the plaster fell out, and the overlapping hieroglyphs began looking like images of modern craft.. With this simple explanation science seemed to have prevailed once again over sensationalism.
The present scientific consensus depends on the assumption of Chaos as the ruling creative force behind the Abydos Helicopter scene. To thwart the consensus, one would have to prove that the fundamental nature of the glyphs is not subject to chaotic forces, but instead to rational order. 
Further testing then leads to one conclusion : The Abydos Helicopter scene is not a palimpsest, it is a design.

 
                   Hesire's engraving & the Golden Section


                         

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

The mystery deepens, when we observe how the giant ground drawing of a monkey from Nazca, Peru is identical to the Athena Engraving in that it uses the same template, the same starting configuration, and encoding system. What emanates from our seemingly primitive subjects of study is abstract and elaborate scientific thought - enough evidence in fact, to force the conclusion that the creators of La Marche, and Nazca were part of the same agency. It appears that they worked on the same project, too. To span the Old and the New Worlds across the gulf of millenia is as astonishing as any natural miracle. 
A stone tablet from Stone-Age France, and a prehistoric glyph from a sun-baked desert in Peru combine to prove the existence of prehistoric science. The template, the unique geometrical figure, which the two sites share is the key to sealing the issue. For want of a better candidate civilization from prehistory, I dubbed it "the Seal of Atlantis". Honestly, the situation has potential, learning how to understand the ancient code may have importance of cosmic proportions..


                                               
This configuration seems to be terribly important at Nazca, as well as La Marche.



                                               

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


                         

     
           Nazca - Giza connection

The glyph of the monkey is much simpler than the Athena engraving. Its structure seems to focus on recording the fastest method of how to construct the regular 5-pointed star, the very same method which is at the start of laying out the Giza pyramids. The least number of construction steps is thirteen. In mathematics, this number of steps is called “simplicity”. However, if you ask a professor of mathematics about it, in all likelihood, he's not going to know this solution offhand. All the same, I presume that someone somewhere must have already made this contribution to Geometry. However, my search for a record of it is so far fruitless.

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


Geometric basis of the Athena Engraving



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Early on, I had translated some elements of the drawing into the above configuration. There is a cone and there is a square. These are found superimposed over each other, and some harmony between the two is visible right away.
I was left wondering, the arrangement didn't seem accidental. The chaos just wasn't there. Still, I had no idea that the design was a classic. Eventually, after a couple of months, or so, I found a complete solution to the configuration.
I ask the reader to verify the sequencing of those events: At first, I had identified primitive geometrical elements in the engraving. This fixed these elements positionally while the position was still a big unknown. Trying to make sense out of it came afterwards. In this sense, it was a blind search on my part. Therefore, the experiment was not under my control. This can be documented from the work, step-by-step.
There is no other way around this issue. It was a blind one-in-a-million-millions shot, which was not likely to amount to anything worthwhile. In such case, I would have just written the whole thing off as educational fun. Understanding this, and then verifying the theoretical depth of the engraving, the reader might glimpse the truth. So far, it is a wounded truth. I have myself experienced incredulity at the thought that engravings like these should hide high level geometric code from an agency of some advanced prehistoric civilisation. If all I ever had to go on would be just the Athena engraving, I'd probably not believe my own analysis. That's how fantastic this issue is. But, my own incredulity cannot get past the cold, hard facts brought out by further research, which serve as utter confirmation.
As I was discovering the Cone and Square configuration, I had no idea that it was priming my path right into the center of a great controversy with topics like the Golden Section & Ancient Egypt, Lost Science, and Lost Advanced Civilisation. Once I understood what I had gotten into, I also realized that this Magdalenian science-art was the precursor of all the controversy, and should be decisive to its resolution.

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


Image boundary lines – the Frame

Boundary lines form the simplest aspect of the image - the Frame. At the first glance, the thirteen whole numbers expressing distances between points of the Frame in millimeters - are random. Yet, if our goal were to show off advanced knowledge of Pi, Phi,and Equinoctial Precession, through just a set of a few numbers - then these numbers would be ideal choices, in ideal order. The Frame encodes the rate of equinoctial precession at par to our modern value. This fact suggests that this rate has not changed much at all since, quite contrary to the prevalent current opinion, all in all, a pretty valuable tidbit of information. It took modern instruments in the hands of scientists to arrive at this value. What did it take in prehistory?

Equinoctial Precession - the Osiris Numbers - number 432


                   


The Frame's Geometry

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

b: Two systematically related 5-pointed stars

Baalbek, Bekaa Valley, Lebanon

If the image seems too big for this page, look again. It is relatively very small. The panoramic view does not even encompass the Trilithon, the three cyclopean blocks of stone in a row on the west-side of the Baalbek Terrace. The one on the right steadies the Jupiter's temple. The temple looks Roman, the platform looms alien. We know that Romans built the temple, but archaeological opinion also ascribes the giant blocks to the to Roman achievements. Yet, there are some hefty reasons, and some very small, but important details, which make me disbelieve this official platform. The blocks must be thousands of years older.  Did the technology of this achievement come from the civilisation, which left us La Marche engravings, and Nazca Lines?

The Headless Venuses

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

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

                         




              The Face on Mars & the Golden Section

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

                         

I stand by this result, whether it is an accident of nature, or not, the formal coincidence is there.. It is not complex enough, however, for me to be convinced of its artificiality

                           

For reader's amusement, another face on Mars happens to be strongly reminiscent of my high school grad picture. This is quite an illusion. Strangely, the timing of my findings had coincided with the nearest approach of Mars to Earth in decades. ☺

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An image cut-out from the site of Les Trois Fréres, France, which also dates to the Magdalenian period of the Old Stone Age.

 
                                  

I took the liberty of reorienting Lwoff's impression so the figure's feet are firmly planted on the ground. The stance seems natural this way.

Fostering love of mathematics is a calculated risk..
 

© Jiri Mruzek  -  Vancouver, BC, Canada  -  Send me a few words. :  mynameatyahoodotcom                                   Discussion Forum