The geometry of the site of El-Giza has been revealed
In recent decades, the study of puzzles linked to ancient civilizations has experienced a remarkable development, both quantitative and qualitative. Research by talented scholars has shown that many archaeological sites, scattered all over the world, reveal their original structure only from a top view. The analysis of an aerial photo has allowed to establish that with very high probability the pyramids of Khufu, Khafre and Menkaure are arranged according to the pattern of the "belt" of the constellation of Orion (theory of the Orion correlation of Robert Bauval). The particular reconstruction that I am going to describe is based right on the map of the site of El-Gîza, the place where the three famous pyramids just mentioned are located. I had seen the plan in question countless times, but one day I noticed a detail that for me was the source of some doubts not properly defined. It was a while since I saw something anomalous in seeing the map of the great necropolis. There is a clear "dissymmetry" throughout the whole site. This anomaly is caused by the so-called ceremonial roads or sacred roads or ramps (FIGURE 1). These streets are linked to the respective pyramids. Each mausoleum is complete only if we consider the monuments that surround it, because each pyramid is actually a funerary complex made up of several elements. And the ramps are very important elements since, according to the theories, they were the route that the deceased pharaoh traveled before his burial in the grandiose monuments. The sacred roads constituted the last "bond" of the sovereign before the awakening in the kingdom of Osiris. For Egyptian theology these parts of the royal necropolis must have had considerable importance, precisely because of their symbolic and sacred nature, in other words they represented the mutation of the king in Osiris. The ramps led the sovereign to eternal rebirth in the kingdom of the god of the underworld. The orientation of ceremonial roads introduces the so-called "dissymmetry". Looking for a logic in the layout of the ramps, we can say that a sensible and coherent orientation would have been the east, the rising of the sun, symbol of the rebirth of the sovereign after death. Looking at the map of the site of El-Gîza you realize that only the ramp of the Menkaure pyramid is disposed towards the rising sun, while that of Cheops is directed to the northeast and that of Khafre to the southeast. Why all this? The enigma can be explained by looking at the site from an even greater height, that is, widening the view over the entire area. In this perspective the strange orientation seems to suggest a message, an indication. If, in fact, we extend the three ramps graphically, we will notice that they meet at precise points (FIGURE 2). The emerged graphic shows the presence of elementary geometric elements, such as diagonals and bases. Specifically we can associate the diagonals to the Khufu and Khafre ramps, while the base is Menkaure. The data may seem absurd (I can understand the wonder and the doubt) but the schematization that emerged seems unequivocal. The situation is much clearer if we look at (FIGURE 3), in which we note that the imaginary rectangle formed on the site area is perfect and centered on monuments with east-west orientation. Does this have any meaning? Is there a logic? Further developing the graphic reconstruction we arrive at (FIGURE 4), in which the perpendicular to the Micerino base is traced. Even if the graphics seem to get even more complicated, in reality a simple line was drawn at the central point of the rectangle, a center identified by the intersection of the diagonals. The traced median divides the geometric figure obtained starting from the ramps into two equal parts. Simply called the point of intersection of the diagonals is the point at which to draw the line that divides the main rectangle into two. It is clearly seen that the rectangle formed east of the perpendicular, delimits the area of the site as a fence. What is even more surprising is that this rectangle does not have random proportions, but is a rectangle with a double base with respect to the height (long side double than the short). This "randomness" is unbelievably linked to a detail present in the King's Chamber of the Khufu pyramid: the floor measurements of this chamber are 10.46x5.23 m. The plan of the mortuary has a rectangular shape, with proportions equal to the graphic reconstruction (long side double than the short one). It is clear, therefore, that the emerged geometric figure cannot be random, given that in reality it could very well emerge a rectangle with different proportions to those found. Instead we have a rectangle with double base with respect to the height, just like the proportions of the floor of the King's Chamber. If the proportions coincide, we could try to associate the graphic with Khufu's room.
In doing so we are in the presence of two burial chambers, one real inside the pyramid and one reproduced on the plain through the non-random proportions. Even if the reconstruction appears incredible but real, a question arises: is there a sarcophagus in the schematization? If in the King's Chambers there is the sarcophagus (somewhat enigmatic) probably also the graphic reconstruction has inside a "sarcophagus". The answer always comes from the mausoleum of Cheops. The granite case kept in the Great Pyramid and considered the burial of the powerful sovereign, has a strange and unique characteristic: the external volume of 2332.8 liters is exactly twice the internal volume which is 1166,4 liters. This surprising fact refers us to the schematization. The concept of dividing, of considering half is evident. The rectangle obtained from the ceremonial roads induced us to trace the median from which the rectangle with characteristic proportions emerged. It makes sense to continue with the same principles. The reasoning leads us to (FIGURE 5) where the second median is plotted. This line is given by the synthesis of the concepts presented and the data that emerged. The ancient Egyptians have shown us the path through the enigmatic measures of the King's Chamber of the pyramid of Cheops. Combining the logic of the strange orientation of the ramps and the logic of the strange measures contained in the imposing mausoleum, the drawing that inspired the general layout of the site of El-Gîza appears. The builders indicate the way to follow through two structural elements of the necropolis that contain the concept of half: - the ramps, or the diagonals that indicate the point at which to trace the median; - the characteristic volume of the sarcophagus, which indicates the division into two equal parts of the surface. The second line, drawn on the basis of the concepts presented, falls on the Sphinx, the true beginning of the necropolis, of the sarcophagus, that is the three great pyramids. This is why the imposing Leonine monument is in that position: in reality it watches over the eternal rest of the gods (the pharaohs) right at the beginning of the sarcophagus. The geometry confirms the reconstruction in that the division (generated by the median dictated by the particular volume of the sarcophagus) of the rectangle chamber of the king originates two squares. These best summarize the concept of half and equality, moreover, that to the west of this division perfectly delimits the three grandiose divine abodes. As is evident, the royal necropolis of El-Gîza was built on the basis of an overall general design. The enigmatic architectural elements are linked by a precise and rigorous geometric sequence, proof of the unitary origin of the immense funerary complex. The one just described is the intuition that allowed me to highlight and then demonstrate that the necropolis of El-Gîza was erected following a sophisticated and planned general project. It is not true that the three pyramids were built separately by three distinct pharaohs only to point out their divine greatness, as is now claimed in the official sphere. The outline shown clearly demonstrates the non-casualness of the layout of the monuments that make up the grandiose complex, including the precise location of the Sphinx. This, as can be seen in fig.5, was carved in coincidence with the second median, the line dividing the rectangle into two squares and, as for the first division, the reference is the King's Chamber of Cheops pyramid , precisely his sarcophagus. A sarcophagus that is almost embarrassing to call it that, since it has nothing to do with "real coffin". The only noteworthy elements in the granite case are the particular construction technique and the amazing measures linked to the double and the half. These particular proportions are the genesis, the source of inspiration for the designers of El-Gîza. But be careful: even if applied with geometric and numerical concepts, the principle is religious. We are in the presence of a necropolis, so we are in the presence of Ka, the spiritual double. The same pyramids, arranged according to the design of the constellation of Orion (Bauval theory), are the Ka of Osiris, because in the theological conception of the Egyptians Orion was twice the size of Osiris. It is not strange, therefore, to find the concept of double (and half) on the entire site of El-Gîza, because the whole complex is based on this logic. The skilled Egyptian architects have built the "tombs" of the gods, materially applying the spiritual concept of double, through geometry and numbers. This is not at all strange; Christian churches also apply this rule. That is, they unite a purely spiritual concept with the material through the creation of churches which, viewed in plan, reproduce the design of the cross, the supreme symbol of Christianity.
For the Egyptians, especially for the pharaohs of the Old Kingdom, the greatest earthly gods, becoming an osiris after death was natural, as supreme divinity. Thus the arrangement of the pyramids according to Orion-Osiris is logical (just as the cross-shaped layout of the Christian churches is logical) because Osiris was the greatest god in the hereafter, Horus in life. All the monuments of the plain of El-Gîza therefore have a precise logic closely linked to the religion of the underworld. And one of the elements on which the Egyptian cult was based was precisely the ka. The architects of El-Gîza have "covered" or rather veiled, almost masking the real presence, the monuments with the double, the spirit. The ramps concealed this immaterial conception just as the spirit in a man is present but imperceptible. This reflects the Egyptian nature. It is part of the religion of the afterlife of that ancient people. The great thing is that the designers have concealed the ka in the orientation of the ramps because they want to show us the way. Only by identifying the double, hidden in the ceremonial streets, do the doors of the afterlife open. In reality the graphic described is the first step, the access key to the Duat. I affirm without a shadow of a doubt that the plain of El-Gîza is the Duat, the eternal abode of the gods. Already many researchers have suggested that El-Gîza or a specific place in the necropolis should be identified with the Egyptian underworld. Now, I really think that light has been made. In my book Osiris revealed the graphic develops further up to the most important place of the Duat: the fifth division. Everything is done without forcing because, once the access key is identified in the afterlife, the way to go is forced. We thus discover that the "house of Sokar", or the presumed burial of Osiris, has a precise location in the necropolis. The schematization contains, with a rigorous sequence, the elements of the religion of the dead, namely: the god Anubis, the Ka, the scales of Maat, the Ankh and the Djed pillar. The monuments of El-Gîza are arranged according to a logic that reflects step by step what the book of Amduat mentions. The necropolis is the Duat, the eternal home of the gods, the Osiris, the pharaohs reborn in the firmament (the Orion belt). It is physically impossible to describe all the reconstruction made here, but from the studies I have made it is clear that everything on the site , has been meticulously planned by exceptional minds. Even the names of Khufu, Khafre and Menkaure seem to have a precise logic in the context; they are not at all random. All this is minutely explained in revealed Osiris, even though many unknowns remain open and numerous because they await an answer.
