figures with their beautiful and regular curves, which could only have
been produced in these giant sizes if every piece, being part of a
circle, had a radius and a centre whose length and exact position were
carefully laid out." (Maria Reiche on Nazca)
Geometric Nature of Nazca
you want to know what the Nazca Lines are really about, pay
close attention to the Nazca-monkey speaking out in the clearest
language of all. This famous geoglyph is a powerful geometric
statement, a virtual gospel, which, in tandem with the Giza pyramids
and the Athena-engraving from the palaeolithic site of La
Marche, confirms the authorship of these sites by a
single highly advanced agency. Sounds too fantastic to be
true? I wouldn't make my claim without the backing of extensive and
The entire Nazca plain and some of the surrounding Andean foot-hills
host a world-unique, spectacular panorama of numerous lines,
trapezoids, animal and plant figures. Not surprizingly, Nazca theories
are dime a dozen, some on the borderline of reason.
Of this merry company, Daniken's astronaut theory has provoked most
relegating it to the lunatic bin. But, even the far
more serious and methodical
Maria Reiche, the rescuer of Nazca from being plowed into fields, had
her theory about
astronomical alignments subjected to analysis and dismissed. That has
cast a shadow in which Reiche's observations on the geometry within the
figures are simply overlooked.
Johan Reinhard makes an interesting observation that many trapezoids
trace the course of geological faults bearing water from
aquifers. Anthony Aveni's popular theory about the
religious-magic significance of the Nazca lines presumes that because
of the dry microclimate, water was uppermost on the collective mind of
they had made the lines for walking as a form of rain-dancing. For
support, he cites a mystical experience he had when walking the
contours of the hummingbird figure.
But the general consensus, including Aveni, attributes the animal and
plant figures to the older
pre-Nazcan people of the Paracas culture.. Clearly, explaining the
lines by the
animal figures, as Aveni does, yet denying connections between the two,
is a blatant faux-pas. And if Nazcans had indeed
adopted Paracan magic practices of decorating the desert, why
did they create an entirely new style and treat the older
as if they weren't there? Perhaps, a line crossing over a figure
doesn't make the line ages younger, and irrelevant to
Aveni says that Nazcans had traditionally associated spiders with
water, hence the giant spider glyph keeps in character with
aqueous aspect of Nazca -- I'm rather incredulous on that; my memories
of trying to rescue
spiders fallen into bathtubs; most drowning in under a minute,
associate spiders with dry places (such as Nazca). Soliciting
by walkathons within a symbol of love for dryness in a place
meant by higher powers to be rainless
seems counter-intuitive to me.
There are other ways to speculate, too: After a couple
of generations, Nazcans would learn that rain over
desert, one of the most arid places on Earth,
is a perfect non-factor. They would see the old figures unchanged over
decades, whence the yerning to add
their own drawings to an eternal gallery. Naturally, such
drawings must be heavy in symbolism, and have hermetic significance.
everything at Nazca is interconnected, the glyphs may be telling
a very long and detailed story.
I hope, the few broad brush-strokes
above sketch quickly how most theories on Nazca
indulge in pure speculation. Nazca's mystery
may endure; nevertheless, an empirical approach does produce tangible
results. Firstly, Maria
Reiche was on the right track in ascribing a degree of geometric sophistication
to the glyphs. I've encountered this sophistication
through detailed study of just one
figure, the monkey (I had no time, nor resources, nor
willingness to tackle any of the
other glyphs). Anyhow, Reiche indicates that certain facts can be
established as either true or false
by measurement and geometric analysis of a given design. My
has simply progressed a lot further along this premise. As for
applicability of what I learned about the monkey to the rest of Nazca,
again it is Reiche making a relevant observation: "This
drawing (the monkey, sic) consists of no more than two
elements. One is a wide line (or better geometric
surface, being at the beginning twice as wide as at the end) with a
stem which, almost a mile long, leads into the maze of lines at the
edge of the pampa," (my emph.)
to note that here we have a clear physical
connection between the
supposedly unconnected figures and lines. This connection means that the monkey's
hermetic depth may be intrinsic to all of the grand-design
of Nazca. Like the plentiful pure water flowing under the
sere Nazcan surface, the desert decorations have a rational
Yet, to see the monkey's global connections and
significance is more important: This article
presents proof that the monkey, a masterpiece
of Science-Art, originates from the same template as
the prehistoric Athena-engraving from France. Both
figures go through several identical stages of development
by exact geometric construction before differentiation. Moreover,
the ground plan of Giza is also involved in this plot. Evidently, if I
am right, this thing is big.
Let's get down to business: A
careful analysis will show that the monkey has two pronounced
postures at once. One relates to a 5-pointed
star, and one is oriented to the cardinal directions. Unfortunately,
there are almost no clues to help one retrace the original process of
deriving the latter from the
former. The easily
discovered cardinal alignment of the figure appears
to be self-explanatory, and unfortunately, such an illusion is
a misdirection to a dead-end. As far as I know, the only solid
clue to the secret of how to activate the easily discoverable
5-pointed star is in the so called Foot-circle. If one
must reinvent the entire concept, basing on just this
the monkey glyph by itself is practically an unsolvable puzzle.
How to Solve an Unsolvable
was easy; long ago, I had solved a different
edition of the same puzzle.. The monkey
is clad in impenetrable mystery, but
not to those already familiar with the Cone & Square concept!
terms of sheer complexity, Nazca Monkey does not begin to compare
Athena engraving, but it is no less captivating. The
per se culminates in a virtual lesson on the one
regular 5-pointed star in only thirteen steps - the fastest
construction there is. It's not rocket-science, but it does
attain the ultimate level in its category and therefore is
sophisticated. A whiff of rocket-fuel hangs about,
however, after we see this same idea clearly - and with
extreme accuracy - mirrored in the
I wasn't able to
identify this idea in the engraving until
checking back to it from the monkey with the idea already in
A helping hand from the monkey afforded me the
certain very special ideas repeat between Nazca in South America
and La Marche in Europe!
Years later, I learned that the
method of pentagram construction is essential to the exact
recreation from a clean slate (all parameters within a
fraction of one millimeter) of
the layout of the great Giza pyramids (as surveyed by Petrie). Although
tried for over a century, having prerequisite
knowledge (again!) was a great advantage; and so my reconstruction was the first
to fully succeed.
What mysterious force looms behind this
phenomenon of ancient sites mirroring each
other's ideas? A name like "Agency" seems adequately vague. We don't
know what it is, but over the span of 12,000 years or
Agency had left its inimitable signature at La Marche, Nazca,
Giza - advertizing its power and quite
posssibly offering an explanation to other historical enigmas like the
Terrace, vimanas, Atlantis, nephilim, Giza pyramids, Abydos
Having evidence pass tests in
the abstract realm of geometry leaves no doubt about
Geometry in the evidence. All
that remains is verification of its existence
by objective and authoritative
third parties. None have been in sight, however. For almost two
for "Nazca monkey," had shown my study in the top-three results,
and although it has currently dropped to 26th place (July
2016), it 's in no way
veiled by obscurity. It's
also stored by the "Biblioteca Pleyades" and linked to by a
few sites, so pundits have
no excuse for pretending it does not exist.
On the whole, the opposition subscribes to a logically
deficient doctrine holding that significant
mathematical order can be found practically everywhere, in any random
collections of lines and points, ancient art, cloud
and so on. To see how misleading, and
degrading, this doctrine can be, one has to look at its
effects _ any rational abstract order ever found in
ancient artifacts shall be presumed to be devoid of intent.
order in the monkey figure.
This study uses a copy of the Nazca
monkey originally published by Maria Reiche, Nazca's
scholarly guardian angel. She had learned about the giant
figure on the pampa from commercial pilots in 1952,
some years after her arrival to Nazca. It became her favorite
figure, and she ascribed it special significance, therefore,
of it should be especially meticulous:
monkey and surroundings would be an appropriate subject for a special
study, as it is a complete unit and
the pursuit of each line to its origin does not, as at the border of
the pampa, lead unendingly from one thing to another."
Unfortunately, Reiche never did carry out that
cursory inspection of the monkey glyph reveals evidence that these are no random
scribbles, but a measured effort. In the diagram
above, two long straight
lines form a
big X-shape; one of the two red lines is the vertical
axis of symmetry of this
Anyway, it looks like my present copy is sufficiently
accurate in preserving major aspects of the design. Still,
I'd love to
have a highly accurate plan of the monkey, one which would
map even line-edges, and moreover, be a part of an accurate survey
of the entire Nazca.
Monkey's Orientation _ Standing Tall
The other red line I drew from the basis of the tail to be
perpendicular to the vertical axis. This line then shows, as well, an impressive horizontal
alignment with the basis of the
hands, and the tops
of the sixteen lines forming a zig-zag on the right. In another detail,
the vertical axis passes
right between the monkey's feet.
Evidently, this is one compellingly
reasonable orientation for the
I believe that Maria
Reiche would have noted
this particular alignment.After all we are working with her copy of the
desert glyph; this alignment stands out
strongly, and she had taught mathematics in Germany.
Nevertheless, there is another, and just as strong, alignment
_ to the cardinal points. The
postures of the monkey in these two alignments look somehow
imposing and dignified; later , we learn that the monkey is actually
performing a highly intelligent geometrical pantomime. The current
paradigm which has the monkey tumbling on all fours is totally
For the most part, the two lines forming the big X
hold the angle of visually perfect 36°; it could be two
opposed tips of 5-pointed stars touching. Hence the big X will fit into a circle ten times even. Any line of any X will fall on the neighbouring X's line. This idea results in the below remarkable chain of ten monkeys.
spirals around the head,
grip torsos with
much feeling for the position; the effect bespeaks
genuine artistry. It's clear that I'm not the author of
this amazing scene; I'm just the lucky finder.
|The big X shows
two tips of 5-pointed stars in a tip-to-tip alignment. The question is:
what size are those stars?
The pentagram below the X-point
The second longest line of the glyph - c - cuts across the extended line "a".
Let this cut set the size of the experimental star below the X-point. The stars above
the X-point result from mirroring the first star (below). The star inside the big star is remarkable in how
well it's centered over the monkey.
the big 5-pointed
star above the
We base a second experimental star on the
length of line 'a' above the point-X, but 'a' ends in a
curve, leaving two basic choices for its length:
The first choice is set by a circle from the X-point touching the end
of line a; the second one is unfolding the curve in which 'a'
Two Methods _ Identical
correct choice must be the one that corroborates the size of
star set by the previous method (by line-c). It's unfurling
the (purple) 5-pointed star based on that unfolded length has
an inner star which is identical
to the corresponding stars
derived by the other method (line c cutting off
If we set the size of the big pentagram from 'a'
without straightening the curve, in which 'a' ends, and
superpose the result over the previous one, it looks like the diagram
above. The Φ relationship holds in this position, as well, but there is
some tiny separation at the top.
While the top of 'a' is ambiguous, the cut of line 'a' by line
'c' is straightforward. So, let it
set the star's size. It will be the standard for the
remainder of this study.
There are two basic stars which fit
set size; one points up, the other one down. The other star is shown in
purple color below; it has a cone
whose sides run parallel to the original cone here.
Whereas the yellow star's tips are away from the monkey's body, four of
the purple star's tips are much closer and actually point to the
monkey's head, the hands, the feet, and the tail.
the 60° Grill - the Other X-tree
|The sixteen roughly parallel lines,
forming a grill-like pattern on the bottom right of the glyph, average
out to 60° with the long line crossing
the grill near its midle. Of those sixteen lines, fully a
half comes very close to the perfect 60° with the
crossing them. If completed into a system of equilateral
triangles as in the diagram below, an extensive geometric harmony is
established between that system and the system of 5-pointed stars. This
harmony really catches the eye because of how good it looks at this
magnification, leaving no doubt about being planned; unfortunately,
when you zoom in, it becomes sort of rough.
That makes it tough to figure out geometrically
primary star, like I did with other elements of the monkey.
the solution is there for us to find, and one day, I, or someone else,
will find it.
Another visual proof that the angle
of the Big X is 36°
Let's array the upper part of the Big X, (including
the monkey) five times around the center of the Monkey-star.
Supposing we didn't know what the angle was, the result would seem
strange - Five times two lines (of the Big-X) equals ten
lines, but we only see five lines (one 5-pointed star). That
means lines overlap two
at a time, so the angle of the
cone must be 36°.
Judging by the way the five monkeys entwine, the centre of the
Monkey Staris the right
pivotal point, indeed. So, the
idea repeats - we get another chain of monkeys. But quite in
contrast to the other chain which has
rather comical overtones, this rendition
The hands, the feet, and the heads all
meet in one spot. For instance, at the top right of the image, the
green feet press the light brown tail against the purple head, which is
held by the blue hands, one of which is pushed into the head by the
dark brown tail.
The Monkey's Head, Hands, and
Feet Standardize on the Monkey-star's Inner-circle
They fit very
accurately within the X-star's inner-circle. However, the head
does so in its own way. Instead of fitting the circle, it fits the
pentagon inscribed into the inner-circle (see below). Remarkably, in my
CAD drawing of the monkey, the inner-circle fits both the hands and the
feet to within three millimeters on each side, fluke or not. We
can reconstruct these circles, too. The method is given in the
see here is
exactly the same as what we saw in the Athena-engraving from
Marche _ the design uses standard circles set by a
star. It's one of
several elements shared between Nazca and La Marche,
sophisticated geometry dominating seemingly naive art, using
a cone to indicate presence of a 5-pointed star, and now
using the same standard circles for major construction. The
inner-circle is one of the standard circles (Triplets) of the
For reconstruction of
the circles go down to the addendum.
of stunning parallels between the monkey and the
from the very outset was very thought-provoking. Were the two works
directly related? That would be really fantastic, but was so far
unproven. It is possible, although highly unlikely to arrive
the same specific concept of the 5-pointed star _
and reduced to a cone with clues to the parent star _ use it
in art. After
all, the concept itself is based in reality, easily observable,
interesting to a mathematician, and esthetic to an artist.
To establish beyond doubt a direct connection between these works, so
remote from each other in time and space, the monkey's concept would
have to be enriched by the other half of the geometrical basis of the
Athena-engraving - the Square. The "Cone & Square"
sufficiently unique to make accidental duplication practically
And so I addded the Square to the Cone. See
the two diagrams of the experiment below. In the first one, the peach colored diamond is the
Square, as set by the blue Cone. In the second one, the
Square is yellow.
Square's diagonals are oriented to the cardinal points!
The Square and its diagonals in, it is plainly seen that the monkey is
also oriented to the Square. It even signals a square with its
arms! That square's sides are parallel to the Square's diagonals.
four corners of the Square are meaningfully placed with respect to the
monkey's body. The lower three corners are anchored in the monkey's
spine,a knee, and a finger. The top corner appears to be on
horizontal line, which limits the tops of the
head, the left ear, and left elbow. The Square's y-axis tunnels
down the upper right arm while the vertical line from the left corner
Square tunnels down the spine. The horizontal line from its bottom
corner tunnels through one of the monkey's thighs. This layout
is orderly and therefore looks fully deliberate
I was encouraged by these initial results
even without any knowledge of the Square's orientation to the
cardinal points. That was one of the pleasant surprises still to come,
but the time to mention it is now.
To see the
monkey’s layout with respect to the cardinal points, we simply
enclose it by East-West oriented lines, as in the above image.
This gives us the Monkey-frame. Its sides are parallel with the
x,y-axes of the Square. To this frame, we add central axes. With the
axes in, we can see that:
monkey’s vertical spine divides the monkey in half neatly along the
• the lower right forearm divides the frame
into southern and northern halves
axes are two ‘great divides’ which clearly govern the
monkey’s layout .
the tip of the tail is at the
height level of the
Monkey-frame, and one-fourth
the height away from the left side of the Monkey-frame.
If we pay attention to the monkey's body-language,
we see that its arms signal a square (Arms-square). Indeed, a
vertical line through the outside of the upper right
arm completes a perfect square (the Arms-square) in
combination with two sides of the Monkey Frame, and its
of the arms (East-West) = half
the monkey's height
of the feet (East-West) = half
the width of the arms = one-fourth of the monkey's
of the left foot (East-West)
the width of the feet =
of the monkey's height
horizontal line at one-fourth height of the Monkey-frame marks
out a square with the vertical lines bounding the
feet, and with the bottom line of the Monkey-frame. This is
Other squares fit the monkey as well. The big blue square
the arms, hands, and left ear from three directions.
The line of the southern-most points of the left ear
and the left elbow runs East-West perfectly. The
south-east corner of the blue square is then anchored on the line of
the head. Also, the line of the head followed counter
reaches the eastern side of this square and turns back eastwards.
More order in
the orientation of the monkey to the cardinal directions
Measured by my CAD program, the width of the four fingers on the left
hand equals, for practical purposes, the height of the right hand.
of the right hand
width of the
left hand = 10.02699519
radius of the Monkey-star's
inner circle = 10.04057079
of the right hand differs from the radius
of the inner-circle by less than 2 millimeters! Both hands offer
powerful hints that the inner-circle of the Monkey-star belongs here.
They justify my earlier decision ti draw the Hand-circle
The Big Clue
top right corner of the Foot-square connects to the top and bottom
corners of the Square by lines closely approximating angles found on a
regular 5-pointed star. I took it as a clear indication that a star
should be drawn here.
So I extended the line through B and C to where it met the Square's
horizontal diagonal. Then I mirrored the lines A _ B, and B _
across the Square's vertical axis. The result was a really great
looking facsimile of a 5-pointed star. This was the first star you see
And then I drew the second star you see below in the same place. This
latter star is exact, however. It's also drawn from the top of the
Square, and the horizontal diagonal of the Square serves as one of
the star's arms.
|The two stars are so
being identical that they pass for a single star when seen like this.
Don't they? I bet you weren't thinking two stars when first seeing this
While drawing the regular star, I saw that the instrumental
'golden-circle', centered in the bottom corner of the Square,
seemed as big as the circle drawn around the
Foot-square. On the right of the diagram, the two circles are
drawn from the same point, and they do look like a single circle. Their radii
differ by mere 2 centimeters in my CAD.dwg of the
monkey - virtually nothing on the scale shown.
Why did the ancients set up
the above diagram? What is so special about the
(Just a reminder: in the actual construction we deal with a
circle instead of a square; the square was inscribed into the
I surmised, correctly, as it turned out, that it was probably
the most efficient, the quickest construction of
a regular 5-pointed star by straight-edge and
compasses in this Universe _ the
d’ętre for the
Foot-square - to clue us in. What
was my reason for such thinking? _ In
the actual construction, the very first step taken is drawing
horizontal line, but that line also becomes the horizontal arm of the
star under construction _ a step is saved.
of the regular 5-pointed star (pentagram) in 13 steps
diagram above shows the first six steps. Step-1 is a horizontal line,
and already an arm of the sought after star. Next, we center
circle-2 anywhere on this horizontal. Circle-3 is centered at the
intersection of circle-2 with the line. Steps 4 & 5 are help
circles, which give us the vertical line as step-6. The
circle-3 now has been given both horizontal and vertical axes.
of the 36-degree angle
a line between points C and 2.
a circle centered in 'C' through the intersection of circle-2 with the
Draw lines from the top of
circle-3 through points P1 and P2, which are the intersections
of circle 'C' (cyan) with circle-3 (green).
These lines are tangents to circle 'C', and the angle
betwen them is exactly 36 degrees.
They form two more arms of our 5-pointed star.
of the regular 5-pointed star _ steps 11,12,13:
The points 1 and 2 are there from the
previous diagram. Now it can
be seen that a circle from the point C, through 1 and 2, shall
equidistant to the points 3 and 4.
In the last two steps, draw lines from 3 and 4 through C to
the horizontal line from step 1, and the pentagram is
for steps 11,12,13:
the horizontal line will serve as one arm of the star, the
point 'Q' circled in green will be equidistant to points numbered 1, 2,
3, needed to complete the star (Q could be on the
other side as well).
Trans-Atlantic Connection & the Foot-square
Foot-square theme, which brings up the idea of the fastest
pentagram construction, seems to be the culmination
geometry. Not forgetting that the evident success of my
depended on acccepting that the monkey's geometry was
a plagiary of the Athena-engraving's basic geometric system, I
wonder if the plagiary extends to the Foot-circle.
analysis of the engraving simply miss it? If so, it
would constitute more compelling evidence of the direct
connection between the two.
transatlantic connection continue? Is the theme of the Foot-square
clearly present in the engraving?
The Athena-engraving already has its Square; we just
13-Step star & the Foot-square elements to
template From the four orientations available on the Square,
choose the one towards Athena's lower body. By the way, unlike
barefoot Nazca-monkey, Athena wears
See the result image below.
The circle around the Foot-square (the Square's own Golden-circle)
clearly looks like a custom-designed frame for Athena's entire
right leg below the
knee. The Foot-square and the smaller squares inscribed within it also
seem custom-designed as each line we see provides some important
about location and extent of engraved lines. For
instance, the bottom line of the square does exactly the same
thing as in the monkey glyph - it
limits the feet from below with extreme accuracy.
I hear the objection that at Nazca this square covered both feet
entirely? This seems to be a valid objection taken into account by the
original designers themselves, for they expand the Nazcan idea into a
system of two Foot-squares, one on each foot. For good
measure, this square also fits Athena's head (see below).
one line of a smaller square goes on to set
an accurate limit downwards for an end-point on the
toe of Athena's
left boot. This is a
harbinger of the things to come.
Elements of the 13-Step star also fit the engraving nicely. Athena
actually seems to sit in the rectagle whose sides and bottom are set by
this star. The rectangle's height above the Square is equal to one half
of the Square's diagonal, and it sets the exact upper limit for the
white space in Athena's helmet. The midpoint of the rectagle's at the
top is also as accurately as can be at the very outer edge of the
engraved line there; so the Square with its products visibly
controls the engraving's layout in this orientation.
Below, we have a close-up of the situation at the top of Athena's
helmet. For example, the (green) top line of the
frame is microscopically accurate as the top limit for white
space in Athena's head. The end of the blue line, one-half the height
of the square's diagonal above the
Square, is also positioned on
very edge of the engraved line, again with microscopical
accuracy, but this time on the outside of the line. And, the
midpoint of the Foot-square fitted over Athena's
head is also at the very edge of the engraved line. This is
microscopically accurate. This type of exact fit reoccurs throughout
our analysis; it showcases the engraving's quality.
I also tried
moving the Foot-square over Athena's
other foot just by eye, to see how it fits there, if at all.
result, seen below, was encouraging: The total width of the
boot, including what looks like a stirrup, is equalled by the width of
the Foot-square! The line through the left side of this square fits
with the engraved lines in the area especially well. And the
extended right lower side of the inscribed square is a perfect
boundary to all three toes of Athena's right
toes? Well, yes, just like the Nazca monkey! As a rule, neither
monkeys nor humans are three-toed; this further coincidence is a
welcome correlation, which strengthens the case. Since I had found
three major correlations for
the Foot-square: one on each foot, and one on the head; along with the
previously discovered material, it was enough confirmation for the
hypothesis, I had thought. The experiment was an undisputable
Following the script
It took me two decades to return to these Foot-square
Athena to look for a way to duplicate them by construction. What was
next in the Ancients' script? Well, the Foot-square is insribed in a
circle, whose primary function is construction of a 5-pointed star; so
it's only natural to inscribe the circle with such a star as well. We
can choose from the four orientations of the Square.
Lines of the engraving concurrent with lines a & c create a
column. Lines a & b, and b & c create cones. In the
case of b
& c, it's actually two 36-degree cones oriented tip to tip on
same long axis. This is a deja vu of the Nazca-monkey's X-Tree!
Therefore, I call it Monkey-tree. All three lines,
are well supported by the engraved picture; the arrows point
such places. The picture below zooms in onto the
Monkey-tree fits tips of two 5-pointed stars. Like with the
of the Nazca-monky, we have to find the correct size for these stars.
When we inscribe a pentagon into the circle around the Foot-square, one
of its sides coincides with the Monkey-tree.
the stars have sides equal in length to the sides of this pentagon.
Now there is an entire system of lines which help in the
projection of more stars onto the area. As we see, these projections
help us to map the engraving. Lines a,b,c,d,f all express the flow of
lines and points in the engraving. I find the harmony among all these
elements very obvious, and I hope that so does a telling majority of
|For example, the small yellow
star in the
graphic above is part of the star occupying the lower
Monkey-tree. Vertical lines y & z drawn down
on this star are absolutely precise limits
horizontally for the engraved line at the front of Athena's
boot. The line x is just as perfect a boundary set by the
star; it limits the white space on the lower foot in this direction.
And finally, the distance between lines w & z equals a
the square inscribed into the Foot-square. An arrow points to where
this line acts as a boundary for an engraved element.
These boundaries can be called exact because the error is so small that
measuring it becomes impossible while working with a paper copy rather
than the original. The "tif" file, serving as the background
CAD drawing, has a grey band of uncertainty at line edges
the highest resolution. The thickness of this band is roughly
or two hundredths of a millimeter, or ten to twenty microns.
|Above: The small green circle
star lines associated with the Monkey-tree system intersect at the edge
of an engraved line. It seems to coincide closely with
the insertion point for the other
Foot-square from one of the images above. And indeed, just like before,
a line drawn down at 45-degrees
from this point then serves as the
boundary to the three toes of Athena's right boot.
|Therefore we insert the
this point, and the result is above. The system
lines in the image tell us a lot about
the positioning of engraved elements.
Athena's head & the Foot-square
Below: I was also able to derive the exact
position of the Foot-square
fitting over Athena's helmeted head.
The circled point is at the intersection of a side of the
star with another line. This other line only becomes available when we
feed Petrie's ground plan of the three big pyramids (their sides are
averaged) of Giza into what I see as its predetermined position in the
Athena-engraving; it's the line through the Great Pyramid's western
side. This circled point is on the central axis
of the Foot-square.
I already knew the square's elevation from before _ its
side passes through two points of the small star (which is a part of a
larger star whose height is one half the square's diagonal).
vertical distance from the bottom of the chin to the top of the head is
about 4.5 centimeters. It probably is a lot more than that on
screen, I hope, for the sake of having a good view of the
square expanded into a golden rectangle
|The bottom line of
the golden rectangle nestles perfectly atop an engraved area
The top of the
head to the face
1 / Φ = 0.618..
The whole rectangle equals two squared
shoulder to shoulder vertical golden rectangles
is as the face is to the entire head Φ / (Φ+1) = 0.618..
the height of the head is Phi + 1 ( 2.618..), and its width
is 1 + 1.
|The top corner of
the Square (diamond)
is situated on Athena's face. Therefore I wanted to see what
golden circle (of the
Square) would do when centered in this corner and inscribed
with a pentagram, and a Foot-square.
I looked at four pentagrams, each oriented to a different
point of the
axial cross. The star shown below was the one most interesting
|Line "a" is the
vertical side of this
pentagram rotated 90 degrees
around the circle's center. It's included because it's a perfect
boundary from below for Athena's helmet (or whatever else it may be).
An arrow points to the lowest point on the helmet. The other arrows do
the same thing. They bring our attention to more such
points. For instance, line "x" is a horizontal line through
corner of the star and sets a perfect boundary for the face from below.
You can see just how perfect it is in the close-up below. Keep in mind
that in lifesize, the engraved line is just 1.2
|The upper tip of the
star is at the top
of Athena's forehead, which,
in lifesize, only protrudes through the star's outer circle by 0.02 mm.
That's three to four times thinner than average
a human hair. The star lines fan out from this point in accord with the
flow of the engraved lines there. The aesthetic effect is quite
startling. The small circle centered in the same tip proves the
existence of yet more exact order in this location. See the arrows in
the diagram below.
|The arrows point to more
boundaries; three white areas reach exactly to the circle. It would be
naive to assume that such microscopic precision is accidental.
The Seal of Atlantis
The Peruvian "Nazca Monkey" is identical
to the 14,000 years old "Athena" engraving from La Marche,
France in that both images are instances of the same geometric engine,
the Cone & Square. Using this engine, we have just
successfully completed a round trip from the Athena-engraving to the
Nazca-monkey and back.
Nazca-monkey accentuates the Cone element, and so it was easy to see at
a glance. But the impulse to look for it came from La Marche, where it
was really hard to discover. The monkey gives practically no clue to
the Square. The impulse to check out the the monkey for the
came from the engraving, as well. However, once we add it into
position, its becomes
perfectly evident that the Square already was there in spirit. I saw
the monkey as heaven sent
help in proving the presence of the Cone &
Square on both sites.
As long as there
was just the engraving, the Cone &
Square system was unanimously
credited to my (vivid) imagination . The
Nazca Monkey's intervention decides this issue of authorship in
favor of the ancient agency. The monkey
also taught me
something new - the "13-step" method of
pentagram construction from the episode of the Foot-square. I
had not noticed it in the engraving, but I saw it as the
my analysis of the monkey glyph.
Since there was a flow of ideas from La Marche, France to
Peru, an experiment was in order to test the flow going the other way,
too. The monkey suggests experimenting with the Foot-square idea in
the engraving. Performing the experiment then rewards us with
in-depth treatment of the theme in Athena. You have just witnessed the
fact. The experiment was successful; the hypothesis was borne out.
my bewilderment at discovering, many years later, that the
"13-step" method of pentagram construction makes possible an
reconstruction of the ground plan of
the three great pyramids of Giza, as surveyed by Petrie! In
that fact called for testing both Athena and the monkey for
presence of the ground plan of Giza. And again, this backchecking
brought highly positive results, as you will see.
of the Circles around the Head, Hands, and
of the Monkey Frame
of the Head, Hands, and Feet Circles
Despite fitting the original
Head-Hand-Foot circles to the image by eye, at first
- their positioning with regard to thhe Monkey-star turned out
easy to define in simple geometrical terms resulting in a neat
blueprint - another key to the monkey's reconstruction.
Hand-circle's Exact Coordinates
Its center is on the
vertical line b1, which emanates from the Monkey-star's tip just above
(it is a major line in the star's grid).
Pentagon No. 2 in
these diagrams is a direct projection
of the inner pentagon of the Monkey Star. Its rotation about the star's
center describes a circle, which is tangential to the Hand-circle
(magnified view below). This solves the second coordinate for
At this point, we
can reconstruct the Hand-circle, and the line-1, which is the
laser-like line of sight from the center of the Monkey Star through a
pointlike aperture between the hands. We can also reconstruct line 3.
coordinate of the Foot Circle:
This idea is
straightforward. Line-3 originates at the same point, at
which Line-1 exits the Hand-circle. It is a tangent
to the top of the Foot-circle, giving us its elevation.
coordinate of the Foot-circle:
The pentagon we see
inscribed into the Foot-circle is a direct projection of
Pentagon No. 2 downwards and parallel to line
Two coordinates give us the Foot circle. The star lines we see
within it then give a number of important parameters on the feet. For
instance, we see the extent of the small toe on the left foot
given in the diagram. The left foot is indicated by its high arching
instep, an adaptation for upright posture and
involved measure 17.9999..
X-Star meters - almost a perfectly round value: These are the distances
of the centers of both the Foot-circle and the Monkey Star to the
nearest corner of the other circle's pentagon.
Head-circle's exact coordinates
coordinate of the Head Circle
A line from the
Head Circle's center perpendicular to Line-1 is a tangent to the inner
Monkey Star circle. And the line drawn from the center of the Monkey
Star as a tangent to the Head Circle will be perpendicular to
coordinate of the Head-circle
It is given by the
Square, not seen in the diagram above. It involves a major
line of the Square's grid (through the 1/4 point of its y-diagonal.
The distance between the centers of the Head-circle and the Cone's
Key-circle ( see the "seat1.htm" for
details on the Cone) is also very
of the Monkey Frame
triangle inscribed into the rectangle in the diagram above is
pretty good facsimile of the Golden Triangle. The angle at its tip is
35.8 degrees, i.e., it is very close to being like any of the five
yellow triangles on the inscribed pentagram in the above image.
scale model of this situation is very reproducible from memory This
is the second such scale model we have for the monkey.
idea seems to be that the Monkey Frame's intended height should equal the
perimeter. (4x one side of the
square inscribed into the Golden Circle)
idea is easy to reproduce (see above), because we know the position
of the Foot Square. We get the southern and northern lines of the
Monkey Frame, plus the horizontal axis.
Next, we need to determine the East-West
position of the Monkey Frame:
It seems that the lower line of the triangle
pointing west passes through an inside corner of the Monkey Star.
That point is marked by a small yellow circle in the diagram above.
So, we try this idea. See the reconstructed Monkey Frame
where the inscribed triangle is exactly 36 degrees at the
The Monkey Frame turns out slightly higher, and
slightly narrower. We can just see daylight
between the Foot-square's base and the lowest point of the
foot. The Monkey Frame fits especially well on the
western (right) side, to within a couple centimeters.
Everything else in the reconstruction below, like the
Foot-square's width, the axes, and the Arms-Square, turns
out very exact. Note, how the straight horizontal line of the
right forearm is completely blotted out by the Frame's horizontal axis.
The same line on the upper arm is similarly blotted out in its straight
part by one side of the Arms Square
Another view of how well the geometrical template fits over the monkey
figure. Note, how the Big-X lines almost disappear
without trace under the star lines.
is doing reconstructions of Nazca figures, as well:
Joe Nickell, chose primitive methods to emulate the ancient Nazcans. He
does not think Nazcans could measure angles!
appears to be no evidence that the Nazcas had such a capability"
If you'd like to
contact me, or weigh in with an opinion, I am
at Yahoo.com. Just use my name without the space on the left