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Evokation
  
 
Fifth Index
  

 

3
T
H
E

20
8
5
+
=
33
3+3
=
6
SIX
6

2
8
5
+
=
15
1+5
=
6
SIX
6

T
H
E

 

3
T
H
E

20
8
5
+
=
33
3+3
=
6
SIX
6

2+0

2

2
TWO
2

8
5
+
=
13
1+3
=
4
FOUR
4

2
8
5
+
=
15
1+5
=
6
SIX
6

 

12
P
H
I
L
O
S
0
P
H
E
R
S

16
8
9
12
15
19
15
16
8
5
18
19
+
=
160
1+6+0
=
7
SEVEN
7

7
8
9
3
6
1
6
7
8
5
9
1
+
=
70
7+0
=
7
SEVEN
7

 

12
P
H
I
L
O
S
0
P
H
E
R
S

16
8
9
12
15
19
15
16
8
5
18
19
+
=
160
1+6+0
=

7
SEVEN
7

1+6

1+2

1+5
1+9
1+5
1+6

1+8
1+9

7

3
6
10
6
7

9
10
+
=
58
5+8
13

1+3
4
FOUR
4

1+0

1+0

1

1

2
TWO
2

8
9

8
5

+
=
30
3+0
=

3

7
8
9
3
6
1
6
7
8
5
9
1
+
=
70
7+0
=

7
SEVEN
7

 

11
P
H
I
L
O
S
0
P
H
E
R

16
8
9
12
15
19
15
16
8
5
18
+
=
141
1+4+1
=
6

6
SIX
6

1+6

1+2

1+5
1+9
1+5
1+6

1+8

7

3
6
10
6
7

9
+
=
48
4+8
=
12

1+2
=
3
THREE
3

1+0

1

1

1

8
9

8
5

+
=
30
3+0
=
3

3
THREE
3

7
8
9
3
6
1
6
7
8
5
9
+
=
69
6+9
=
15

1+5
=
6
SIX
6

 

PHILOSOPHERS

S = 19

141 + 19

160

1 + 6

7

 

5
S
T
O
N
E

19
20
15
14
5
+
=
73
7+3
=
10
1+0
=
1
ONE
1

1
2
6
5
5
+
=
19
1+9
=
10
1+0
=
1
ONE
1

 

5
S
T
O
N
E

19
20
15
14
5
+
=
73
7+3
=
10
1+0
=
1
ONE
1

1+9
2+0
1+5
1+4

10
2
6
5

+
=
23
2+3
=
5

5
FIVE
5

1+0

1

1
ONE
1

5
+
=
5

5

5
FIVE
5

1
2
6
5
5
+
=
19
1+9
=
10
1+0
=
1
ONE
1

 

3

THE
33

15

6

12

PHILOSOPHERS
160

70

7
5

STONE
73

19

1
20

266

104

14

2+0

2+6+6

1+0+4

1+4
2

14

5

5

1+4

2

5

5

5

 

3

THE
33

15

6
12

PHILOSOPHERS
160

70

7
4

TONE
54

18

9
19

247

103

22
1+9

2+4+7

1+0+3

2+2
10

13

4

4
1+0

1+3

1

4

4

4

3

THE
33

15

6
5

STONE
73

19

1
8

106

34

7

1+6

3+4

8

7

7

7
 

 

3

THE
33

15

6
4

TONE
54

18

9
7

15

1+5

87

33

6

8+7

3+3

15

6

1+5

7

6

6

6

 

THE PHILOSOPHERS TONE

THAT

ONE THE ONE THE VERY ONE

 

10
P
Y
T
H
A
G
O
R
A
S

16
25
20
8
1
7
15
18
1
19
+
=
130
1+3+0
=
4

4
FOUR
4

7
7
2
8
1
7
6
9
1
1
+
=
49
4+9
=
13
1+3
=
4
FOUR
4

 

10
P
Y
T
H
A
G
O
R
A
S

16
25
20
8
1
7
15
18
1
19
+
=
130
1+3+0
=
4

4
FOUR
4

1+6
2+5
2+0

1+5
1+8

1+9

7
7
2

6
9

10
+
=
41
4+1
=
5

5
FIRE
5

1+0

1

1

1
ONE
1

8
1
7

1

+
=
17
1+7
=
8

8
EIGHT
8

7
7
2
8
1
7
6
9
1
1
+
=
49
4+9
=
13
1+3
=
4
FOUR
4

 

10

PYTHAGORUS
130
49
4
9

OURABORUS
130
40
4
19

260
89
8
1+9

2+6
8+9

10

8
17
8
1+0

1+7

1

8
8
8

 

9
O
U
R
A
B
O
R
U
S

15
21
18
1
2
15
18
21
19
+
=
130
1+3+0
=
4
FOUR
4

6
3
9
1
2
6
9
3
1
+
=
40
4+0
=
4
FOUR
4

O
U
R
A
B
O
R
U
S

 

9
O
U
R
A
B
O
R
U
S

15
21
18
1
2
15
18
21
19
+
=
130
1+3+0
=
4

4
FOUR
4

1+5
2+1
1+8

1+5
1+8
2+1
1+9

6
3
9

6
9
3
10
+
=
46
4+6
=
10

1+0
1
ONE
1

1+0

1

1

1
ONE
1

1
2

+
=
3

3

3
THREE
3

6
3
9
1
2
6
9
3
1
+
=
40
4+0
=
4

FOUR
4

O
U
R
A
B
O
R
U
S

 

P
Y
T
H
A
G
O
R
A
S

16
25
20
8
1
7
15
18
1
19
+
=

130

1+3
=
4

4
FOUR
4

P
Y
T
H
A
G
O
R
A
S

O
U
R
A
B
O
R
U
S

15
21
18
1
2
15
18
21
19
+
=
130
1+3
=
4

4
FOUR
4

1+5
2+1

1+8

1+5
1+8

2+1

1+0

       

6
3
9

6
9
3
1

37
3+7
=
10

1
ONE
1

O
U
R
A
B
O
R
U
S

O
R
U
S

15
18
21
19
+
=
73

7+3
=
10
1+0
=
1
ONE
1

1+5

1+8

2+1

1+9
+
=
28

2+8
=
10

1+0
=
1
ONE
1

15
18
21
19
+
=
73

7+3
=
10
1+0
=
1
ONE
1

O
R
U
S

A

P
Y
T
H
A
G
O
R
A
S

8

6

10
+
=
16
1+6
=
7

7
SEVEN
7

1+5

1+9

8

15

19
+
=
42
4+2
=
6

6
SIX
6

P
Y
T
H
A
G
O
R
A
S

P
Y
T
H
O
N

P
Y
R
A
M
I
D

ADD

E
G
Y
P
T

TO

E
G
P
Y
T

REDUCE

P
Y
T
H
A
G
O
R
A
S

16
25
20
8
1
7
15
18
1
19
+
=
130
1+3
=
4

4

1+6
2+5
2+0

1+5
1+8

1+9

7
7
2

6
9

10
+
=
41
4+1

5

5
FIVE
5

1+0

1

1

8
1
7

1

+
=
17
1+7
=
8

8
EIGHT
8

7
7
2
8
1
7
6
9
1
1
+
=
49
4+9
=

13
1+3
=
4
FOUR
4

P
Y
T
H
A
G
O
R
A
S

P
Y
R
A
M
I
D
R
A
M
I
D

P
Y

   

1+6

2+5

7
7

+
=
14
1+4
5

5

5
FIVE
5

1+6
2+5

P
Y

7
7

7
9

P
i

1+6

7
9

+
=
16
1+6
7

7

7
SEVEN
7

1+6

P
i

P
Y
T
H
A
G
O
R
U
S

P
Y
R
A
M
I
D

18
1
13

32
3+2
5

5

5
FIVE
5

1+8

9

9

9

9
NINE
9

1+8

18

 

18
1+8
9

9

9
NINE
9

7
P
Y
R
A
M
I
D

16
25
18
1
13
9
4

86

8+6
14

1+4
=
5

5
FIVE
5

7
7
9
1
4
9
4
+
=

4+1

7
P
H
A
R
A
O
H

16
8
1
18
1
15
8
+
=
67
6+7
13
1+3
=
4

4
FOUR
4

7
8
1
9
1
6
8
+
=

14
T
O
T
A
L

153

27

9

9
NINE
9

1+5+3

2+7

NINE

9

9

9
NINE
9

 

 

HURRAH FOR RA FOR RA HURRAH 

 

6
E
U
R
E
K
A

5
21
18
5
11
1
+
=
61
6+1
=
7

5
3
9
5
2
1
+
=
25
2+5
=
7
SEVEN
7
 

 

5 x 3 x 9 x 5 x 2 x 1

1350

 

6
E
U
R
E
K
A

ADD

5
21
18
5
11
1
+
=
61
6+1
=
7
TO

2+1
1+8

1+1

 

REDUCE

3
9

2

+
=
14
1+4
=
5

5

5

1
+
=
11
1+1
=
2

5
3
9
5
2
1
+
=
25
2+5
=
7
SEVEN
7

 

Reight you are angel, said Zed Aliz , time to cast a light over the Pi angle.

Blessed be that humble pie? writ the scribe.

 

 

THE NEW VIEW OVER ATLANTIS

John Michell 1983

Page 144

"The problem is to establish the ideas and intentions of the builders. Stecchini has suggested that the apex was designed to be slightly off-centre with each base side of slightly different length, and with different angles of slope, thus providing four base-height relationships, each exhibiting a particular mathematical formula. By this means the functions of both..." Pi and the ratio of the 'golden section' "...could be demonstrated together in the one structure.

In addition, there was another device by which the Egyptians were able to incorporate different mathematical expressions within a unified nework. That device was the pyramidion, a miniature form of the Pyramid itself, which provided its apex. Other pyramids and obelisks Egypt are known to have been topped by a pyramidion, made of gold or some other metal, which glowed in the sun. Tompkins and Stechini quote a reference by a second-century BC Greek writer, Agatharchides of Cnidus, to a pyramidion at the apex of the Great Pyramid, which could be included in calculations or omitted, thus providing a variety of mathematical demonstrations."

Page 149

"...If, as its legend states, the Pyramid was designed to moonumentalize the entire code of ancient scientific knowledge, its nakers would have needed to grade the pyramidion by scoring it with horizontal lines to represent different versions of the height or even by separating it into detachable sections. The image here is of an inscribed marble capstone, its tip formed of another, miniature pyramid, perhap made of some other material. This, and perhaps other sections of the upper part of the pyramidion, could be removed or put in place as required.

But why should such a thing ever in practice be required, and why should such trouble be taken over capstone, pyramidions and minute variations of length? These are questions which need to be discussed in relation to the Pyramid's practical function.

The Golden Tip

As the literature of the Pyramid measurers shows, many large volumes can be filled with estimates of the Pyramid's external and internal iimensions and speculations about their geodetic, astronomical and prophetic symbolism. The study is so obsessively fascinating that researchers are inclined to lose sight of the most important question of why the whole vast edifice was built. There is no doubt that within the Pyramid's fabric are encoded many scientific laws and formulas, but the preservation of such knowledge can scarcely have been the only motive of its builders. Its numerical properties must surely have had some practical purpose in relation to the form of science which the Pyramid was designed to serve.

There has been much talk in recent years of 'pyramid power' and the possible function of the Great Pyramid as an accumulator and trans-former of cosmic energies. The idea certainly accords with the :raditional use of the Pyramid in connection with initiation, magic and nysticism, and it is supported by the occurrence of symbolic or 'magical' number series in its dimensions. The use of symbolic numbers in ancient temples was to procure the invocation of the god or aspect of cosmic energy which those numbers symbolized. Pyramid investigators ire confronted with an instrument designed for a type of science which today is no longer recognized. It is not, however, beyond recovery, for its records are preserved in the language of number, built into the Pyramid's dimensions, and these provide certain clues to the nature of the Pyramid's original function.

All Pyramid measurers, and all who study its dimensions, purpose or any of its other aspects, find themselves inexorably drawn to the matter of its apex. Many of the clues within the Pyramid's geometry / Page 150 / and numbers point towards it, and several investigators have expressed the feeling that these clues were deliberately contrived, as if the builders were concerned to leave a record of their scientific code in monumental form, to be interpreted and put to use again by some future generation. Peter Lemesurier, the latest and most convincing of the interpreters of Pyramid chronologies and. prophecy, gives detailed reasons in his Great Pyramid Decoded for claiming that the historical outline of the six thousand years following its building in 2623 BC is recorded in the dimensions of the Pyramid's interior spaces. They are said to foretell the collapse of the present civilization in about the year AD 2004, followed some thirty years later by the Messianic return and the birth of a new order. That, according to other readers of Pyramid prophecy, is the time when the 'stone that the builders rejected', the missing capstone on the Pyramid, will be restored to the apex, reactivating the entire structure in accordance with its original purpose..."

" 2623 BC "

2 x 6 x 2 x 3 = 72

Good brother John continued

Page 150

"Were it not for the common but inappropriate use of metric units in publishing details of antique weights, that feature would be more generally recognized."

 

"A series of clues to the composition of the final pyramidion at the very apex of the Pyramid begins with an observation in A.E. Berriman's Historical Metrology on the antiquity of the British or Imperial inch. There are a number of old Egyptian weights in the British Museum, and others from Greece and Babylon, whose standard of reference has proved to be the cubic inch of gold. Were it not for the common but inappropriate use of metric units in publishing details of antique weights, that feature would be more generally recognized. Five is the number chiefly associated with the pyramid form; which has five faces and five corners, and if 5 cubic inches of solid gold are modelled into the shape of a miniature Great Pyramid, the height of that model proves to be the very interesting measure of 0.152064 ft., which is a tenth part of the Greek cubit (1.52064 ft.), the unit in terms of which /

Diagram omitted.

. 152 ft

A cubic inch of gold, actual size, in pyramid form. Height = one tenthof a Greek cubit.

Page 151 / the area of the Pyramid's side measures 100,000 square cubits. That this small gold pyramidion was an integral part of the Pyramid's design is evident from the figures. Without it the dimensions are not quite complete, for if it were removed, the area of the Pyramid's side would be 99999.99 square cubits only. With the 5 cubic inches of gold pyramidion in place, the figure of 100,000 square cubits represents the total area..."

 

"That this small gold pyramidion was an integral part of the Pyramid's design is evident from the figures.

Without it the dimensions are not quite complete, for if it were removed,

the area of the Pyramid's side would be

99999.99

square cubits only."

"Without it the dimensions are not quite complete, for if it were removed,

the area of the Pyramid's side would be

99999.99

square cubits only."

"for if it were removed, the area of the Pyramid's side would be

99999.99

square cubits only."

"the Pyramid's side would be

99999.99"

9999999

 

ADD TO REDUCE REDUCE TO DEDUCE

 
J
U
P
I
T
E
R

 

9

9
NINE

J
U
P
I
T
E
R

10
21
16
9
20
5
18
+
=
99

9+9
18

1+8
=
9
NINE
9
1+0
2+1

1+6
9

2+0
5
1+8

 

1
3
7
9
2
5
9
+
=
36
3+6
=

9
NINE
9

 

NUMERICAL ROOT VALUE NOTATION

OF THE LETTERS OF

NAMES OF PLANETS

TRANSCRIBED

VIA

THE

MAGIKALALPHABET

 

 
S
U
N

add to reduce

19
21
14

+
=

54

5+4
9
NINE

1
3
5
+
=
9

9
NINE
9

 

6

SATURN
93

21

3
6

URANUS
94

22

4
7

NEPTUNE
95

32

5

 

S
A
T
U
R
N

add to reduce

19
1
20
21
18
14
+
=
93
9 + 3

12
1+2
3
THREE

1
1
2
3
9
5
+
=
21

2+1
3
  
3
THREE
3

 

U
R
A
N
U
S

add to deduce

21
18
1
14
21
19
+
94
9 + 4
13

1+3
4
FOUR
4
3
9
1
5
3
1
+
22
2+2
4

4
FOUR
4

 

N
E
P
T
U
N
E

add to reduce

14
5
16
20
21
14
5
+
=
95
9+5

14
5
FIVE

5
5
7
2
3
5
5
+
=
32
3 + 2
5
5
FIVE
5

 

 The SUN, EARTH and MOON, leading each others merry dance.

The Scribe with a capital S, takes a time out from out the turning circle

SUN + EARTH + MOON = 12 . . . 1 + 2 = 3

SUN x EARTH x MOON = 60 . . . 6 x 0 = 6

 

S
U
N

E
A
R
T
H

M
O
O
N
1
2
3

1
2
3
4
5

1
2
3
4
S
U
N

E
A
R
T
H

M
O
O
N
19
21
14

+
+
+

+
+
+
+
+

+
+
+
+
=
=
=

=

=

1
3
5

+
+
+

9

7

3

WE WILL BE REPEATING THIS UNTIL WE ARE BLUE IN THE FACE

THOUGHT

THE SCRIBE IN CAPITAL LETTERS

 

THAT

A MAZE IN

MAGIKAL

ALPHABET

3

SUN
54
5+4
=
9
9 NINE 9
A

7

MERCURY

103
1+3
=
4

CROSS

5

VENUS
81
8+1
=
9

TO

5

EARTH
52
5+2
=
7
7 SEVEN 7
ADD

4

MOON
57
5+7
=
3
3 THREE 3
DILUTE

4

MARS
51
5+1
=
6

TO

7

JUPITER
99
9+9
=
9

TASTE

6

SATURN
93
9+3
=
3

3 THREE 3

6

URANUS
94
9+4
=
4

4 FOUR 4

7

NEPTUNE
95
9+5
=
5

5 FIVE 5

5

PLUTO
84
8+4
=
3

+

+
+
+

=

=
=
=

863

62
19
12

+

=

17

62
19
12

1+7

6+2
1+9
1+2

8

8
1
3

 

1
8
3
6

MINUS
8
6
3

EQUALS

973

3
6
8

6
3
8
1

 

THE

9
7
3
CROSS
8
6
3

+

EQUALS

1
8
=
3
6

1+8+3+6

18

1+8

NINE

9

 

JUST SIX NUMBERS

THE DEEP FORCES THAT SHAPE THE UNIVERSE

Martin Rees

1

999

 Page

9

Diag - Ram 1.1 omitted

"The ouraborus. There are links between the microworld of particles, nuclei and atoms (left) and the cosmos (right)."

Page 24

A COMMON CULTURE WITH ALIENS

"A manifestly artificial signal- even if it were as boring as lists of prime numbers, or the digits of 'pi' - would imply that 'intelli- gence' wasn't unique to the Earth and had evolved elsewhere. The nearest potential 'Sites are so far away that signals would take many years in transit. For this reason alone, transmission would be primarily one-way. There would be time to send a measured response, but no scope for quick repartee!

Any remote beings who could communicate with us would have some concepts of mathematics and logic that paralleled our own. And they would also share a knowledge of the basic particles and forces that govern our universe. Their habitat may be very different (and the biosphere even more different) from ours here on Earth; but they, and their planet, would be made of atoms just like those on Earth. For them, as for us, the most important particles would be protons and electrons: one electron orbiting a proton makes a hydrogen atom, and electric currents and radio transmitters involve streams of electrons. A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' able and motivated to transmit radio signals. All the basic forces and natural laws would be the same. Indeed, this uniformity - without which our universe would be a far more baffling place - seems to extend to the remotest galaxies that astronomers can study. (Later chapters in this book will, however, speculate about other 'universes', forever beyond range of our telescopes, where different laws may prevail.)"

 

 

P
I

9

9

9
NINE
9
P
I

16
9
+
=
25
2+5
=
7
SEVEN
7
1+6

7
9
+
=
16

1+6
=
7
SEVEN
7

 

973

I AM THAT I AM

 

ZAZAZAZAZAZAZAZAZA

 

THE NEW VIEW OVER ATLANTIS

John Michell 1983

Page 151

"As the dimensions of the Great Pyramid are multiplied by the ratios of the ancient number canon they expand to frame the dimensions of this earth, and it is possible that they could have been taken further to represent the dimensions of the grand orb (the circle described by the earth's path round the sun), planetary intervals and the measurements of time. Going the other way, into the microcosm; these same Pyramid measures contract proportionally through a series of pyramidions at the apex, shrinking from miles to inches, to mere specks and finally into the world of the atom. The symbolism is of a seed, planted at the apex of the Pyramid, programmed with all the numbers and ratios for its potential growth. It is like that smallest of all seeds, spoken of in the New Testament, the 'grain of mustard', which grows up into the Tree of Life encompassing the whole universe.

The numerical patterns in the Pyramid's dimensions imply that the capstone consisted of a succession of diminishing pyramidions, each forming the tip of the one below it, with the small gold pyramid, 5 cubic inches in volume, at the apex. Yet if the gold model is to represent the whole structure in miniature, it must itself have a separate tip. This tiny object, set in gold, could only have been some form of crystal. Esoteric traditions about the use of crystals in the ancient world for attracting and transmitting cosmic energies are echoed by modern seers, such as the well-known 'Sleeping Prophet' of America, Edgar Cayce, who described visions of the Atlantean crystal technology which empowered the last world civilization and finally, by its abuse, brought about the cataclysm.

An illustration of how the small, golden, crystal-topped pyramidion could have been held in place, together with the other layers making up the capstone, is given by a strange hieroglyph which shows a truncated pyramid topped by a staff or gnomon. Moses Cotsworth, the author of an interesting book on ancient devices for measuring time, The Rational Almanac, who went to Egypt in 1900 to observe the shadows cast by the Pyramid at certain seasons (and was hindered by the British authorities from approaching it because he was a Jew), identified it as an apparatus for refining the shadow from a pyramid's peak, allowing precise measurements to be made of the length of the year. A metal rod / Page 152 / of that description, set into the upper surface of the truncated Pyramid, would also serve to retam the parts of the capstone, pegging them into place through holes drilled down their centres. A diamond point on that rod, appearing at the apex of the golden tip, would cast the finest' possible shadow and might also serve, like the 'cat's whisker' on a crystal set,'to concentrate energies for the Pyramid's main function."

 

 IN SEARCH OF SCHRODINGER'S CAT

 John Gribbin 1984

QUANTUM PHYSICS AND REALITY

 

MATHEMATICS and

the IMAGINATION

Edward Kasner and James Newman 1940

Page 357

"Cheshire-Puss," she began rather timidly. . .

" Would you tell me please, which way I ought to go from

here? "

" That depends a good deal on where you want to get to, "

said the Cat.

.- "I dont much care where-" said Alice.

" Then it doesn't matter which way you go," said the

Cat. "  

 

THE FULCANELLI PHENOMENON

Kenneth Rayner Johnson 1980

Page 259 "... Although most Western expositions of Tantra are wanting..." "...on the subject of the Tantric mysteries, ..." ",..One of the best and most detailed analyses of the system is contained in Kenneth Grants quartet of book;s, ..." "...In these books Grant unfolds some of the arcana..."

"... The bodily centres, or chakras, are also often referred to in Tantrik texts as padma, or lotuses, the mystical sacred flower of the Orient which in some senses corresponds to the mystic rose of European mYsticism. In a manner reminiscent of Fulcanelli's /

Page 260 / 'phonetic' cabala' Grant interprets the lotus as the 'flow-er, the flowing one that gathers together all the mystical essences, "stars", or Kalas of the human body, and conveys them via the pudendum to the sacred leaf ready to receive them' The symbolism of these kalas, or sacred emanations, should already be obvious. ..." "... One of these kalas, or secretions, known as the sadhakya kala, which Grant says is the most secret of all, is the essence where time stands still; where time is NOT (My italics.)"

 

Page 261

"...Grant concedes that 'the mysterious science of Alchemy approximates closely to the Tantric doctrine

of the Kalas,'..."

Page 263

"It will be as well to recall here what Fulcanelli's reply was when Bergier asked him what the real nature

of alchemy consisted in. He said:

'The secret of alchemy is that there exists a means of manipulating matter and energy so as to create what modern science calls a force-field' This force field acts upon the observer and puts him in a privileged position in relation to the universe. From this privileged position he has access to realities that space and time matter and energy, normally conceal from us. This is what we call the Great Work.' "

 
P
H
Y

S
I
C
S

8

9

8

19
9

19

+
=
55
5+5
=
10
1+0
=
1

7
P
H
Y
S
I
C
S

16
8
25
19
9
3
19

+
=
99
9+9
=
18
1+8
=
9

1+6

2+5
1+9

1+9

7

7
10

10

1+0

1+0

1

1

8

9
3

+
=
20
2+0
=
2

7
8
7
1
9
3
1

+
=
36
3+6
=
9

NINE
9

7
P
H
Y
S
I
C
S

16
8
25
19
9
3
19

+
=
99
9+9
=
18
1+8
=
9

7
8
7
1
9
3
1

+
=
36
3+6
=
9

NINE
9
 

 

FINGERPRINTS OF THE GODS

Graham Hancock 1995

Page 338

"... What was this meticulous interest in the angle of 26°, and was it a coincidence that it amounted to half of the angle of inclination of the pyramid's sides - 52°.10

The reader may recall the significance of this angle. It was a key ingredient of the sophisticated and advanced formula by which the design of the Great Pyramid had been made to correspond precisely to the dynamics of spherical geometry. Thus the original height of the monument (481.3949 feet), and the perimeter of its base (3023.16 feet), stood in the same ratio to each other as did the radius of a sphere to its circumference. This ratio was 2pi (2 x 3.14) and to express it the builders had been obliged to specify the tricky and idiosyncratic angle of 52° for the pyramid's sides (since any greater or lesser slope would have meant a different height-to-perimeter ratio).

In Chapter Twenty-three we saw that the so-called Pyramid of the Sun at Teotihuacan in Mexico also expressed a knowledge and deliberate use of the transcendental number pi; in its case the height (233.5 feet) stood in a relationship of 4pi to the perimeter of its base (2932.76 feet).11

The crux, therefore, was that the most remarkable monument of Ancient Egypt and the most remarkable monument of Ancient Mexico both incorporated pi relationships long before and far away from the official 'discovery' of this transcendental number by the Greeks.12 Moreover, the evidence invited the conclusion that something was being signalled by the use of pi - almost certainly the same thing in both cases.

Not for the first time, and not for the last, I was overwhelmed by a sense of contact with an ancient intelligence, not necessarily Egyptian or Mexican, which had found a way to reach out across the ages and draw people towards it like a beacon. Some might look for treasure; others, captivated by the deceptively simple manner in which the builders had used pi to demonstrate their mastery of the secrets of transcendental numbers, might be inspired to search for further mathematical epiphanies.

Bent almost double, my back brushing against the polished limestone ceiling, it was with such thoughts in my mind that I began to scramble up the 26° slope of the ascending. corridor, w:hich seemed to penetrate the vast bulk of the six million ton buildmg like a ' / Page 339 / trigonometrical device. After I had banged my head on-its ceiling a couple of times, however, I began to wonder why the ingenious people who'd designed it hadn't made it two or three feet higher. If they could erect a monument like this in the first place (which they obviously could) and equip it with corridors, surely it would not have been beyond their capabilities to make those corridors roomy enough to stand up in? Once again I was tempted to conclude that it was the result of a deliberate decision by the pyramid builders: they had made the ascending corridor this way because they had wanted it this way (rather than because such a design had been forced upon them.)

Was there motive in the apparent madness of these archaic mind games?

 Page number 346 (omitted)

Chapter 38

Interactive Three-Dimensional Game

Reaching the top of the Grand Gallery, I clambered over a chunky granite step about three feet high. I remembered that it lay, like the roof of the Queen's Chamber, exactly along the east-west axis of the Great Pyramid, And therefore marked the point of transition between the northern and southern halves of the monument.' Somewhat like an altar in appearance, the step also provided a solid horizontal platform immediately in front of the low square tunnel that served as the entrance to the King's Chamber.

Pausing for a moment, I looked back down the Gallery, taking in once again its lack of decoration, its lack of religious iconography, and its absolute lack of any of the recognizable symbolism normally associated with the archaic belief system of the Ancient Egyptians. All that registered upon the eye, along the entire 153-foot length of this magnificent geometrical cavity, was its disinterested regularity and its stark machinelike simplicity.

Looking up, I could just make out the opening of a dark aperture, chiselled into the top of the eastern wall above my head. Nobody knew when or by whom this foreboding hole had been cut, or how deep it had originally penetrated. It led to the first of the five relieving chambers above the King's Chamber and had been extended in 1837 when Howard Vyse had used it to break through to the remaining four. Looking down again, I could just make out the point at the bottom of the Gallery's western wall where the near-vertical well-Page / 347 / shaft began its precipitous 160 foot descent through the core of the pyramid to join the descending corridor far below ground-level.

Why would such a complicated apparatus of pipes and passageways have been required? At first sight it didn't make sense. But then nothing about the Great Pyramid did make much sense, unless you were prepared to devote a great deal of attention to it. In unpredictable ways, when you did that, it would from time to time reward you.

If you were sufficiently numerate, for example, as we have seen, it would respond to your basic inquiries into its height and base perimeter by 'printing out' the value of pi. And if you were prepared to investigate further, as we shall see, it would download other useful mathematical tit-bits, each a little more complex and abstruse that its predecessor.

There was a programmed feel about this whole process, as though it had been carefully prearranged. Not for the first time, I found myself willing to consider the possibility that the pyramid might have been designed as a gigantic challenge or learning machine - or, better still, as an interactive three-dimensional puzzle set down in the desert for humanity to solve.

Antechamber

Just over 3 feet 6 inches high, the entry passage to the King's Chamber required all humans of normal stature to stoop. About four feet farther on, however, I reached the 'Antechamber', where the roof level rose suddenly to 12 feet above the floor. The east and west walls of the Antechamber were composed of red granite, into which were cut four opposing pairs of wide parallel slots, assumed by Egyptolo- gists to have held thick portcullis slabs: Three of these pairs of slots extended all the way to the floor, and were empty. The fourth (the northernmost) had been cut down only as far as the roof level of the entry passage (that is, 3 feet 6 inches above floor level) and still contained a hulking sheet of granite, perhaps nine inches thick and six feet high. There was a horizontal space of only 21 inches between this suspended stone portcullis and the northern end of the entry passage from which I had just emerged. There was also a gap of a little over 2 feet deep between the top of the portcullis and the ceiling. Whatever / Page 348 / function it was designed to serve it was hard to agree with the Egyptologists that this peculiar structure could have been intended to deny access to tomb robbers.

Genuinely puzzled, I ducked under it and then stood up again in the southern portion of the Antechamber, which was some 10 feet long and maintained the same roof height of 12 feet. Though much worn, the grooves for the three further 'portcullis' slabs were still visible in the eastern and western walls. There was no sign of the slabs themselves and, indeed, it was difficult to see how such cumbersone pieces of stone could have been installed in so severely constricted a working space.

I remembered that Flinders Petrie, who had systematically surveyed the entire Giza necropolis in the late nineteenth century, had commented on a similar puzzle in the Second Pyramid: 'The granite portcullis in the lower passage shows great skill in moving masses, as it would need 40 or 60 men to lift it; yet it has been moved, / Page 349 / and raised into place, in a narrow passage, where only a few men could possibly reach it.,3 Exactly the same observations applied to the portcullis slabs of the Great Pyramid. If they were portcullis slabs - gateways capable of being raised and lowered.

The problem was that the physics of raising and lowering them required they be shorter than the full height of the Antechamber, so that they could be drawn into the roof space to allow the entry and exit of legitimate individuals prior to the closure of the tomb. This meant, of course, that when the bottom edges of the slabs were lowered to the floor to block the Antechamber at that level, an equal and opposite space would have opened up between the top edges of the slabs and the ceiling, through which any enterprising tomb-robber would certainly have been able to climb.

The Antechamber clearly qualified as another of the pyramid's many thought-provoking paradoxes, in which complexity of struc- ture was combined with apparent pointlessness of function.

An exit tunnel, the same height and width as the entrance tunnel and lined with solid red granite, led off from the Antechamber's southern wall (also made of granite but incorporating a 12-inch thick limestone layer at its very top). After about a further 9 feet the tunnel debouched into the King's Chamber, a massive sombre red room made entirely of granite, which radiated an atmosphere of prodigious energy and power.

Stone enigmas

I moved into the centre of the King's Chamber, the long axis of which was perfectly oriented east to west while the short axis was equally perfectly oriented north to south. The room was exactly 19 feet 1 inch in height and formed a precise two-by-one rectangle measuring 34 feet 4 inches long by 17 feet 2 inches wide. With a floor consisting of 15 massive granite paving stones, and walls composed of 100 gigantic granite blocks, each weighing 70 tons or more and laid in five courses, and with a ceiling spanned by nine further granite blocks each weighing aproximately 50 tons,4 the effect was of intense and overwhelming compression.

At the Chamber's western end was the object which, if the / Page 350 / Egyptologists were to be believed, the entire Great Pyramid, had been built to house. That object, carved out of one piece of dark chocolate-coloured granite containing peculiarly hard granules of feldspar, quartz and mica, was the lidless coffer presumed to have been the sarcophagus of Khufu.s Its interior measurements were 6 feet 6.6 inches in length, 2 feet 10.42 inches in depth, and 2 feet 2.81 inches in width. Its exterior measurements were 7 feet 5.62 inches in length, 3 feet 5.31 inches in depth, and 3 feet 2.5 inches in width6 an inch too wide, incidentally, for it to have been carried up through the lower (and now plugged) entrance to the ascending corridor.'

Some routine mathematical games were built into the dimensions of the sarcophagus. For example, it had an internal volume of 1 166.4 litres and an external volume of exactly twice that 2332.8 litres.8 Such a precise coincidence could not have been arrived at accidentally: the walls of the coffer had been cut to machine-age tolerances by craftsmen of enormous skill and experience. It seemed, moreover, as Flinders Petrie admitted with some puzzlement after completing his painstaking survey of the Great Pyramid, that these craftsmen had access to tools 'such as we ourselves have only now reinvented. . .'9

Petrie examined the sarcophagus particularly closely and reported that it must have been cut out of its surrounding granite block with straight saws '8 feet or more in length'. Since the granite was extremely hard, he could only assume that these saws must have had bronze blades (the hardest metal then supposedly available) inset with 'cutting points' made of even harder jewels: 'The character of the work would certainly seem to point to diamond as being the cutting jewel; and only the considerations of its rarity in general, and its absence from Egypt, interfere with this conclusion. . .'10

An even bigger mystery surrounded the hollowing out of the sarcophagus, obviously a far more difficult enterprise than separating it from a block of bedrock. Here Petrie concluded that the Egyptians must have:

adapted their sawing principle into a circular instead of a rectilinear form, curving the blade round into a tube, which drilled out a circular groove by its rotation; thus by breaking away the cores left in such grooves, they were able to hollow out large holes with a minimum of / Page 351 / labour. These tubular drills varied from 1/4 inch to 5 inches diameter, and from 1/30 to 1/5 inch thick.. .11

Of course, as Petrie admitted, no actual jewelled drills or saws had ever been found by Egyptologists. 12 The visible evidence of the kinds of drilling and sawing that had been done, however, compelled him to infer that such instruments must have existed. He became especially interested in this and extended his study to include not only the King's Chamber sarcophagus but many other granite artefacts and granite 'drill cores' which he collected at Giza. The deeper his research, however, the more puzzling the stone-cutting technology of the Ancient Egyptians became:

The amount of pressure, shown by the rapidity with which the drills and saws pierced through the hard stones, is very surprising; probably a load of at least a ton or two was placed on the 4-inch drills cutting in granite. On the granite core No 7 the spiral of the cut sinks 1 inch in the circumference of 6 inches, a rate of ploughing out which is astonishing. . . These rapid spiral grooves cannot be ascribed to anything but the descent of the drill into the granite under enormous pressure. . .13

Wasn't it peculiar that at the supposed dawn of human civilization, more than 4500 years ago, the Ancient Egyptians had acquired what sounded like industrial-age drills packing a ton or more of punch and capable of slicing through hard stones like hot knives through butter?

Petrie could come up with no explanation for this conundrum. Nor was he able to explain the kind of instrument used to cut hieroglyphs into a number of diorite bowls with Fourth Dynasty inscriptions which he found at Giza: 'The hieroglyphs are incised with a very free- cutting point; they are not scraped or ground out, but are ploughed through the diorite, with rough edges to the line. . .'14

This bothered the logical Petrie because he knew that diorite was one of the hardest stones on earth, far harder even than iron.ls Yet here it was in Ancient Egypt being cut with incredible power and precision by some as yet unidentified graving tool:

As the lines are only 1/150 inch wide it is evident that the cutting point rmust have been much harder than quartz; and tough enough not to splinter when so fine an edge was being employed, probably only 1/200 / Page 352 / inch wide. Parallel lines are graved only 1/30 inch apart from centre to centre. 16

In other words, he was envisaging an instrument with a needle-sharp point of exceptional, unprecedented hardness capable of penetrating and furrowing diorite with ease, and capable also of withstanding the enormous pressures required throughout the operation. What sort of instrument was that? By what means would the pressure have been applied? How could sufficient accuracy have been maintained to scour parallel lines at intervals of just 1/30-inch?

At least it was possible to conjure a mental picture of the circular drills with jewelled teeth which Petrie supposed must have been used to hollow out the King's Chamber sarcophagus. I found, however, that it was not so easy to do the same for the unknown instrument capable of incising hieroglyphs into diorite at 2500 BC, at any rate not without assuming the existence of a far higher level of technology than Egyptologists were prepared to consider.

Nor was it just a few hieroglyphs or a few diorite bowls. During my travels in Egypt I had examined many stone vessels - dating back in some cases to pre-dynastic times - that had been mysteriously hollowed out of a range of materials such as diorite, basalt, quartz crystal and metamorphic schist.17

For example, more than 30,000 such vessels had been found in the chambers beneath the Third Dynasty Step Pyramid of Zoser at Saqqara.18 That meant that they were at least as old as Zoser himself (i.e. around 2650 BC I9). Theoretically, they could have been even older than that, because identical vessels had been found in pre-dynastic strata dated to 4000 BC and earlier,20 and because the practice of handing down treasured heirlooms from generation to generation had been deeply ingrained in Egypt since time immemorial.

Whether they were made in 2500 BC or in 4000 BC or even earlier, the stone vessels from the Step Pyramid were remarkable for their workmanship, which once again seemed to have been accomplished by some as yet unimagined (and, indeed, almost unimaginable) tool.

Why unimaginable? Because many of the vessels were tall vases with long, thin, elegant necks and widely flared interiors, often incorporating fully hollowed-out shoulders. No instrument yet invented was capable of carving vases into shapes like these, because / Page 353 / such an instrument would have had to have been narrow enough to have passed through the necks and strong enough (and of the right shape) to have scoured out the shoulders and the rounded interiors. And how could sufficient upward and outward pressure have been generated and applied within the vases to achieve these effects?

The tall vases were by no means the only enigmatic vessels unearthed from the Pyramid of Zoser, and from a number of other archaic sites. There were monolithic urns with delicate ornamental handles left attached to their exteriors by the carvers. There were bowls, again with extremely narrow necks like the vases, and with widely flared, pot-bellied interiors. There were also open bowls, and almost microscopic vials, and occasional strange wheel-shaped objects cut out of metamorphic schist with inwardly curled edges planed down so fine that they were almost translucent.21 In all cases what was really perplexing was the precision with which the interiors and exteriors of these vessels had been made to correspond - curve matching curve - over absolutely smooth, polished surfaces with no tool marks visible.

There was no technology known to have been available to the Ancient Egyptians capable of achieving such results. Nor, for that matter, would any stone-carver today be able to match them, even if he were working with the best tungsten-carbide tools. The implica-tion, therefore, is that an unknown or secret technology had been put to use in Ancient Egypt.

Ceremony of the sarcophagus

Standing in the King's Chamber, facing west - the direction of death amongst both the Ancient Egyptians and the Maya - I rested my hands lightly on the gnarled granite edge of the sarcophagus which Egyptologists insist had been built to house the body of Khufu. I gazed into its murky depths where the dim electric lighting of the chamber seemed hardly to penetrate and saw specks of dust swirling in a golden cloud.

It was just a trick of light and shadow, of course, but the King's Chamber was full of such illusions. I remembered that Napoleon Bonaparte had paused to spend a night alone here during his conquest / Page 354 / of Egypt in the late eighteenth century. The next morning he had emerged pale and shaken, having experienced something which had profoundly disturbed him but about which he never afterwards spoke.22

Had he tried to sleep in the sarcophagus?

Acting on impulse, I climbed into the granite coffer and lay down, face upwards, my feet pointed towards the south and my head to the north.

Napoleon was a little guy, so he must have fitted comfortably. There was plenty of room for me too. But had Khufu been here as well?

I relaxed and tried not to worry about the possibility of one of the pyramid guards coming in and finding me in this embarrassing and probably illegal position. Hoping that I would remain undisturbed for a few minutes, I folded my hands across my chest and gave voice to a sustained low-pitched tone - something I had tried out several times before at other points in the King's Chamber. On those occasions, in the centre of the floor, I had noticed that the walls and ceiling seemed to collect the sound, to gather and to amplify it and project it back at me so that I could sense the returning vibrations through my feet and scalp and skin.

Now in the sarcophagus I was aware of very much the same effect, although seemingly amplified and concentrated many times over. It was like being in the sound-box of some giant, resonant musical instrument designed to emit for ever just one reverberating note. The sound was intense and quite disturbing. I imagined it rising out of the coffer and bouncing off the red granite walls and ceiling of the King's Chamber, shooting up through the northern and southern 'ventila-tion' shafts and spreading across the Giza plateau like a sonic mushroom cloud.

With this ambitious vision in my mind, and with the sound of my low-pitched note echoing in my ears and causing the sarcophagus to vibrate around me, I closed my eyes. When I opened them a few minutes later it was to behold a distressing sight: six Japanese tourists of mixed ages and sexes had congregated around the sarcophagus - two of them standing to the east, two to the west and one each to the north and south."

Well knock me down with a feather said Zed Aliz, lookee hear, its wah brother Graham, can you believe it and still here. Whereupon released from his state of thrall, the good brother magiked, an absence of sorts.  

Page 355

"... Gathering as much dignity as I could muster, I stood upright smiling and dusting myself off. The Japanese stepped back and I climbed out of the sarcophagus. "

The Alizzed drew the counting scribes attention to the following quote. Whereupon yon scribe aware of the routine of the route in.Set to work In the first instance counting the number of letters in each, of the do not darken my door words.Then quick az you like calculated, from within that magikalalphabet every witch word's essence of number

 "...two of them standing to the east, two to the west and one each to the north and south."

 

E
A
S
T

4

W
E
S
T

4

N
O
R
T
H
5

S
O
U
T
H

5

9
9
NINE
9

 

E
A
S
T

4

W
E
S
T

4

N
O
R
T
H
5

S
O
U
T
H
5

18
1+8
=
9
NINE
9

 

4+4
E
A
S
T

+
W
E
S
T

=

8
EIGHT
8

5+5
N
O
R
T
H
+
S
O
U
T
H
=
10

1+0
1
ONE
1

ADD TO REDUCE REDUCE TO DEDUCE

 

4
E
A
S
T

5
1
19
20

+
=
45

4+5
=
9

5
1
1
2

+
=

9

=

9

+
+

4
W
E
S
T

23
5
19
20

+
=
67

6+7
=
13

5
5
1
2

+
=

13

1+3
=

4

+
+

5
N
O
R
T
H

14
15
18
20
8
+
=
75

7+5
=
12

5
6
9
2
8
+
=

30

3+0

3

+
+

5
S
O
U
T
H

19
15
21
20
8
+
=
83

8+3
=
11

1
6
3
2
8
+
=

20

2+0

2

18
T
O
T
A
L

270
72

45
18

1+8

2+7

7+2

4+5
1+8

9

9
9

9
9

4
E
A
S
T

5
1
19
20

+
=
45

4+5
=
9

1+9

2+0

=

12

5
1
1
2

+
=

9

=

9

+
+
+

4
W
E
S
T

23
5
19
20

+
=
67

6+7
=
13

2+3

1+9
2+0

=

17

5
5
1
2

+
=

13

1+3
=

4

+
+
+

5
N
O
R
T
H

14
15
18
20
8
+
=
75

7+5
=
12

1+4

1+5

1+8

2+0

=

22

5
6
9
2
8
+
=

30

3+0

3

+
+
+

5
S
O
U
T
H

19
15
21
20
8
+
=
83

8+3
=
11

1+9

1+5

2+1

2+0

=

21

1
6
3
2
8
+
=

20

2+0

2

18
T
O
T
A
L

270
27
72
72
54

45
18

1+8

2+7
2+7

7+2

7+2

4+5
1+8

9

9
9
9
9

9
9

 

4
E
A
S
T

5
1
19
20

+
=
45

4+5
=
9

1+9

2+0

=

12

5
1

+
=

6

5
1
1
2

+
=

9

=

9

+
+
+

4
W
E
S
T

23
5
19
20

+
=
67

6+7
=
13

2+3

1+9
2+0

=

17

5

=

5

5
5
1
2

+
=

13

1+3
=

4

+
+
+

5
N
O
R
T
H

14
15
18
20
8
+
=
75

7+5
=
12

1+4

1+5

1+8

2+0

=

22

8

8

5
6
9
2
8
+
=

30

3+0

3

+
+
+

5
S
O
U
T
H

19
15
21
20
8
+
=
83

8+3
=
11

1+9

1+5

2+1

2+0

=

21

8

=

8

1
6
3
2
8
+
=

20

2+0

2

18
T
O
T
A
L

270
27
72
72

45
18

2+7
2+7

7+2

4+5
1+8

9
9
9

9
9

 

1

=

=

1

1+9

=

10

4
E
A
S
T

5
1
19
20

+
=
45

4+5
=
9

1+9

2+0

=

12

5
1

+
=

6

5
1
1
2

+
=

9

=

9

+
+
+

1

=

=

1

1+9

10

1+0
=

4
W
E
S
T

23
5
19
20

+
=
67

6+7
=
13

2+3

1+9
2+0

=

17

5

=

5

5
5
1
2

+
=

13

1+3
=

4

+
+
+

8

=

8

5
6

8
+
=

19

1+9
=

1

1+4
1+5

=

11

5
N
O
R
T
H

14
15
18
20
8
+
=
75

7+5
=
12

1+4

1+5

1+8

2+0

=

22

8

8

5
6
9
2
8
+
=

30

3+0

3

+
+
+

8

=

8

1
6

8
+
=

15

1+5
=

6

1+9

1+5

=

16

5
S
O
U
T
H

19
15
21
20
8
+
=
83

8+3
=
11

1+9

1+5

2+1

2+0

=

21

8

=

8

1
6
3
2
8
+
=

20

2+0

2

18
T
O
T
A
L

270
27
72
72

16

45
18
9

1+8

2+7
2+7

7+2

7+2

1+6

4+5
1+8

9

9
9
9
9

7

9
9
9

 

So that be east. writ the scribe.

Leave well alone now Joseph, said the powers that be

AZAZAZAZAZAZAZAZAZ

 

FINGERPRINTS OF THE GODS

Graham Hancock 1995

Page 346 (number omitted) "All that registered upon the eye, along the entire 153- foot length of this magnificent geometrical cavity, was its disinterested reglarity and its stark machinelike simplicity.

 Page 349 "...if the / Page 350 / Egyptologists were to be believed, the entire Great Pyramid, had been built to house. That object, carved out of one piece of dark chocolate-- coloured granite containing peculiarly hard granules of feldspar, quartz and mica, was the lidless coffer presumed to have been the sarcophagus of Khufu.s Its interior measurements were 6 feet 6.6 inches in length, 2 feet 10.42 inches in depth, and 2 feet 2.81 inches in width. Its exterior measurements were 7 feet 5.62 inches in length, 3 feet 5.31 inches in depth, and 3 feet 2.5 inches in width6 an inch too wide, incidentally, for it to have been carried up through the lower (and now plugged) entrance to the ascending corridor.'

Some routine mathematical games were built into the dimensions of the sarcophagus. For example, it had an internal volume of 1 166.4 litres and an external volume of exactly twice that 2332.8 litres.8 Such a precise coincidence could not have been arrived at accidentally: the walls of the coffer had been cut to machine-age tolerances by craftsmen of enormous skill and experience. It seemed, moreover, as Flinders Petrie admitted with some puzzlement after completing his painstaking survey of the Great Pyramid, that these craftsmen had access to tools 'such as we ourselves have only now reinvented. . .'9"

 
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