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Part I: The Athenian Empire | Part III: Nimrod Hunting | Part IV: The Beast from the Sea
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The Land of Osiris | The Antediluvian Egyptians | The Giza Power Plant
The Giza Death Star | A Canticle for Osiris
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The Great Sphinx. At the heart of the legend of the Sphinx lies "the Riddle of the Sphinx", a legend that has been passed down to us through the Greek play Oedipus Tyrannus. In the play, the Sphinx is described as a menace, lying in wait to capture unsuspecting travelers in Egypt. Once she caught them, if they were unable to answer her riddle, she devoured them.

ur search for the ancient empire of Osiria, and the 14 lost pieces of Osiris believed by some to be scattered throughout that now largely submerged land, leads us now to the motherland of its namesake: Egypt. Actually known to its ancient inhabitants as "Khemet", since the most ancient times Egypt has been to some the mother of the world's most ancient mysteries, and to others, the mother of the world's most ancient iniquities. And the greatest symbol of the ancient mystery that is Egypt is the Great Sphinx, perhaps the most commonly known symbol of ancient Egypt on Earth. Still she lies recumbent, silently guarding the Giza necropolis, an ever-present reminder of Egypt's hidden past and the mysteries that still lie buried beneath its haunted sands. Ever desirous to divulge her secrets to a world not yet prepared, she lies chastely waiting for the one who holds the key to her heart of darkness.

	Raiders of the Lost Ark John Williams The perfect music with which to explore ancient Egypt. (Clips courtesy Amazon.com) The Raiders March Main Title: South America In The Idol's Temple Flight From Peru Journey To Nepal

Osiris, both the man and the myth, was not born until after the Great Flood had destroyed the civilization that now bears his name. As we have seen, the worship of Osiris was at one time so widespread throughout the ancient Mediterranean world that some have taken to referring to the ancient, pre-Flood Mediterranean region as "Osiria". For want of the correct name, which has been lost to history, we have opted to retain the name Osiria for this ancient civilization that once stretched from southern Europe to North Africa, from ancient Canaan to the Pillars of Hercules. Childress explains this fantastic lost civilization of the Mediterranean in his classic Lost Cities of Atlantis, Ancient Europe & the Mediterranean,

The Osirian Civilization, according to esoteric tradition, was an advanced civilization contemporary with Atlantis. In the world of about 15,000 years ago, there were a number of highly developed and sophisticated civilizations on our planet, each said to have a high degree of technology.... It is said that at the time of Atlantis and Rama, the Mediterranean was a large and fertile valley, rather than a sea as it is today.... This huge, fertile valley, along with the Sahara (then a vast fertile plain), was known in ancient times as the Osirian civilization. The Osirian civilization could also be called "Pre-Dynastic Egypt," the ancient Egypt that built the Sphinx and pre-Egyptian megaliths such as the Osirion at Abydos. In this outline of ancient history, it was the Osirian Empire that was invaded by Atlantis, and devastating wars raged throughout the world toward the end of the period of Atlantis' warlike imperial expansion.¹

As we saw in Part I, Osiria was not a true empire, but a collection of allied peoples who had once lived in the regions in and around the Mediterranean basin for many thousands of years until they had been destroyed by the Great Flood. The Great Flood, besides destroying the Osirian peoples and burying the majority of their remains, had also filled in the basin, creating what is now known as the Mediterranean Sea. The archaeological heritage left behind by these antediluvian peoples takes the form of massive, megalithic structures, the term "megalithic" referring to the incredible size of the stones that they had used to construct their temples, palaces and pyramids. It is these unique structures by which the antediluvian Osirians can be distinguished from their descendants in the region, who built on a much smaller scale with brick and stone of a size miniscule by comparison with the massive monoliths that had been used to construct the world before the Flood.

The Osirian peoples, among whom the antediluvian ancestors of the Athenian Greeks had been foremost, had been attacked shortly before the Flood by the Atlanteans, who had had designs on creating a global Atlantean Empire. Of all of the Osirian peoples, all but the Athenians had fled in terror of the Atlantean onslaught, who then stood alone against the armored fist of the massed Atlantean naval and groud forces. However, instead of fleeing in terror as had the rest of their Osirian allies, antediluvian Athens had "shone forth, in the excellence of her virtue and strength" and had defeated the Atlanteans, driving them from the Mediterranean region and freeing "all who dwelt within the pillars" from the Atlantean yoke. But then, in a single day and night, both Athens and Atlantis disappeared beneath the waves in an event that is generally believed to be the same as that described in the Bible as the Great Flood of Noah.

One of the Osirian peoples who had been allied with the antediluvian Athenians were the antediluvian Egyptians. Like ancient Athens, Egypt also had a history that preceded the Great Flood and, also like ancient Athens, it had its share of megalithic structures left over from the world before the Flood. In fact, not only does Egypt have a significant amount of anomalous megalithic structures scattered around the Nile Valley, some of these structures remain today as some of the most famous archaeological relics on Earth. All have been classified by mainstream science as the work of pharaohs during the dynastic period, despite the fact that the art and architecture of these megalithic structures is completely different from that of classical Egyptian architecture.

The first and most famous of the antediluvian artifacts of Egypt that we will examine is the Great Sphinx of Giza. Known throughout the world for its enigmatic gaze and famous in ancient literature for its mysterious riddle, the Sphinx is thought by some to be many thousands of years older than is currently believed. This is due to the fact that both the Sphinx and the walls of the Sphinx enclosure show evidence of a significant amount of water erosion, a type of water erosion that could only have been caused by substantial rainfall over a period of thousands of years.

A closeup of the rain-eroded walls of the Sphinx enclosure. Geologist Robert Schoch, among others, has determined that this sort of undulating profile could only be created by long-term exposure to heavy rains. Image from The Message of the Sphinx.

This water erosion first was discovered on both the Sphinx and on the walls of the Sphinx enclosure by the French mathematician R.A. Schwaller de Lubicz, who had spent 15 years touring Egypt during the first half of the twentieth century. de Lubicz had concluded that the erosion on the Sphinx and the walls of the Sphinx enclosure must date back to a period when Egypt received copious amounts of rainfall, and the last time that Egypt had received that much rainfall had been between 10,000-8000 b.c., around the end of the last Ice Age. de Lubicz's work, though largely ignored, has since helped to usher in a new era of archaeological debate on the true history of the Sphinx.

de Lubicz's research was followed up on during the 1980s by the maverick Egyptologist John Anthony West, who had teamed up with a professional geologist named Robert Schoch of Boston University with the express purpose of putting de Lubicz's conclusions to the test. From their research West and Schoch made an Emmy award-winning video, The Mystery of the Sphinx, which made its debut on NBC in 1993. In that video, West and Schoch proved conclusively that de Lubicz's theories regarding the true age of the Sphinx were accurate. Schoch, a professional geologist, carefully studied the erosion patterns that are especially prominent on the hindquarters of the Sphinx and on the walls of the Sphinx enclosure, and stated definitively that it must have been the result of centuries of rainfall beating down on the limestone, as that is the only way that the sort of undulating, vertical grooves and channels found there could have been created. Furthermore, the depth of the erosion could only have been created as the result of water running down over the surface of the limestone over a period of hundreds or even thousands of years. Thus, it is entirely possible that the Sphinx may be not only much older than the usual date of 2500 b.c., but it may actually predate even the Great Flood — which most likely occurred around 10,000 b.c. — by thousands of years.

In The Mystery of the Sphinx, West and Schoch also point out that the current head of the Sphinx is far too small for its body, proving that it must have been carved from a much larger head that had become so eroded as to require recarving. This image overlay proves their thesis, that the Sphinx's head must have originally been much larger, and was likely recarved at least once since its creation by kings who had long since forgotten its original meaning. Image adapted from Guardian's Egypt.

The heads of all other sphinxes found in Egypt were, in fact, carved proportionally, as seen at the Avenue of Sphinxes discovered in Luxor. Image from The Oriental Institute.

Next in importance to the geologic evidence for the great antiquity of the Sphinx is what could be referred to as the "aesthetic" evidence. We have seen that the Sphinx exhibits an extreme level of wind and water erosion on its body, the head appearing to have been affected the most. However, few seem to notice that the head is proportionally far too small for the body — so small, in fact, that it is less than half the size it should be compared to that of a lion, the model upon which all other sphinx sculptures were based. This is unlikely to have been purposeful, as all the other sphinx sculptures that that have been found in Egypt — all of them — have heads that are proportional to their bodies. Therefore, the most logical conclusion is that the head was originally much larger but, due to extreme erosion, it has been recarved at least once.

In fact, it is entirely possible that Pharaoh Khafre, the Pharoah who is typically credited for the building of both the Sphinx, the Sphinx Temple and the Great Pyramid of Khafre, rather than having created the Sphinx, had merely recarved the pre-existant Sphinx in his own graven image. The fact that the Sphinx actually looks nothing like Khafre probably means that another Pharoah may have recarved it yet again, explaining why the head has become so small. The practice of erasing the names of previous rulers and taking credit for their work was an established tradition in ancient Egypt, and having one's face on the Sphinx was likely the most coveted prize of all. Thus, not only the geologic evidence, but also the aesthetic and cultural evidence leans strongly towards the conclusion that the current head of the Sphinx has probably been recarved at least once since its original creation.

Technically, the Sphinx is not a megalithic structure, as it had originally been carved as a single sculpture from a massive rock outcropping as opposed to having been built out of large, fitted stones as is typical of megalithic architecture. However, we know for a fact that the stone that was cut out from around the Sphinx while it was being carved was later used to build what is commonly known as the "Sphinx Temple", a massive, megalithic temple complex that sits right in front of the paws of the Sphinx. As we have seen in our study of the megalithic structures of Malta, the megalithic style of architecture used in the Maltese temples was apparently typical of that used in the world before the Flood. This conclusion was based largely on the fact that those temples show strong evidence of having been literally knocked over by one or more massive tsunami, huge tidal waves that had deluged the entire Mediterranean basin at some point in the distant past in an event that we have determined was most likely part of the Great Flood of Noah. So, the megalithic style of architecture to be found in Malta, Egypt and elsewhere may well be indicative that the structures that were built using the megalithic style are in fact archaeological remnants of the world before the Flood.

In conclusion, between the water erosion to be found on and around the Sphinx, the apparent recarving of the head of the Sphinx due to extreme levels of erosion over many thousands of years, and the fact that the materials cut out from around the Sphinx were used as building materials for a temple whose architectural style greatly predates that of Egypt's dynastic period, the evidence appears to strongly suggest that the Sphinx may indeed be much older than currently believed — possibly old enough to be an archaeological remnant of the world before the Flood.

The Sphinx Temple stands immediately before the Sphinx, and is made up of the same materials as the Sphinx, the limestone blocks used to build the temple having been quarried from around the Sphinx in the process of creating the Sphinx enclosure. Unfortunately the Sphinx Temple is almost completely ruined. Once a magnificent megalithic temple built of massive limestone blocks with granite facing stones and an alabaster floor, it now lays in ruins, a jumble of blocks splayed out in front of the paws of the Sphinx like so many children's toys. In fact, the chaotic jumble of the temple's massive stones looks chillingly reminiscent of the destruction that had been wrought by the Great Flood on the Maltese temples. Could the tsunami that destroyed the capitol of Osiria have reached as far as Egypt?

If indeed the Egyptians of the dynastic period were the descendants of Canaan, the son of Ham, the son of Noah, it may be that the Canaanites that had migrated to Egypt after the Flood had found the ruins of antediluvian Egypt that had been destroyed by the Flood and, not fully understanding the true purpose of the ruined megalithic structures, created lesser, imperfect copies of them in a vain attempt to recreate the glory of the days before the Flood. As a result, the ruins of the Sphinx Temple were likely still held sacred and used for religious ceremonies, though their original purpose was likely never fully understood. Over time, additional temples and worship structures were built, all based on false assumptions about the true nature of the mysterious megalithic structures that dotted the Giza plain. However their attempts were all in vain, as the structures that they built were never quite as good as those that had been built before the Flood. Eventually, lost in darkness, Egypt went into decline and was conquered by one empire after another, her priesthoods scattered to the four winds, taking the true history of Egypt with them.

Like the Sphinx, the Sphinx Temple has been incorrectly attributed to Khafre, one of the more famous of the Old Kingdom pharaohs. However, as we have seen, the megalithic style of architecture greatly predates the Egyptian Dynastic Period. The Sphinx Temple has no carvings or paintings whatsoever, whereas the temples of Egypt's historical period were literally covered inside and out with deeply engraved, brightly colored artwork. The Sphinx Temple, like all megalithic structures, was unique in its simple construction and complete lack of ornamentation, indicative of a completely different style of construction where function clearly ruled over form.

More likely Khafre, like Thutmoses III would later do, merely renovated the Sphinx and the surrounding megalithic temples that were already very ancient even by his time. Thus the fact that there are archaeological remains from Egypt's historic period in the Sphinx Temple and its surroundings does not prove that they were built in those periods. It is most likely that these were later additions by the Egyptians who, like all peoples, tended to build on and reuse more ancient structures, not understanding their original usage. Unfortunately, closer inspection in an attempt to divine the original usage of the temple is now impossible, due to the fact that it has been placed off limits indefinitely for reasons not yet disclosed.

Just to the left of the mysterious Sphinx Temple, as one is looking towards the front of the Sphinx, is the equally mysterious Valley Temple. Like the Sphinx Temple, the Valley Temple was also built of the same huge, megalithic stones that had been quarried from the area around the Sphinx. The huge size, shape, and style of architecture matches the Sphinx Temple perfectly, meaning that the Valley Temple had been built at the same time as the Sphinx and the Sphinx Temple and, as we have seen, possibly even the megalithic structures at Malta. Like the Sphinx Temple, even a casual observer can see that there is a world of difference between these ancient megalithic temples and the relatively modern structures that vainly attempted to emulate them.

The Valley Temple at Giza, traditionally attributed to the Pharaoh Khafre, is an absolute wonder of engineering, and its distinctive architectural style identifies it as being among the oldest stone buildings in Egypt, if not the world. The only other known parallels in Egypt are the Sphinx Temple right next to it, and the mysterious Osirion at Abydos, in Upper Egypt. What makes the Valley Temple so remarkable is the sheer size of the stones used in its construction, and the incredible number of them used. The temple itself is roughly square, measuring 147 feet on each side, and it is built into the slope of the plateau with the height of its exterior walls rising from just over 20 feet on the west side, to over 40 feet on the east side. Its core structure is built entirely of huge limestone blocks, hundreds of them, regularly exceeding 200 tons each in weight, the equivalent of nearly 300 family-sized cars!

The huge trilithons of the Valley Temple are simply two massive blocks surmounted by a third massive block — literally, the simplest possible method of construction. At hundreds of tons each, however, the question remains as to how they were lifted into place, as it would be difficult or impossible to perform the same feat today. Image from The Oriental Institute.

Not content with using hundreds of 200-ton blocks of limestone, the builders of the Valley Temple had also managed to lift these huge stones to heights of over 40 feet! To give some kind of perspective, the largest sarsen stones at the famous Stonehenge in Southern England weigh a mere 50 tons, and they were not lifted to anywhere near these heights. The engineering logistics are simply incredible.²

Once again, like the Sphinx and the Sphinx Temple, the Valley Temple stands as mute testament to a world far older than the one currently recognized by orthodox Egyptology. At 200+ tons, these stones could not have possibly been raised up to 40 feet in the air by any technology known to be available to the dynastic Egyptians, and even today we would be sorely pressed to lift just one of them. The clean, simple, unadorned style of the Valley Temple's megalithic architecture is also distinctly different from that of Egypt's historic period, which was always sophisticated and ornate. Yet, orthodox Egyptology continues to attribute this temple to Khafre based solely on the fact that a statue of Khafre had been found in the temple buried upside down in a pit. Yet, pharaohs placing statues of themselves in temples that were built well before their time was a common practice in Egypt, usually accompanied by a renovation or expansion of the temple complex. So, the discovery of Khafre's statue could well indicate that he merely renovated the existing temple, rather than building it.

The Osirion is probably the most mysterious of all of the megalithic temples of ancient Egypt, as it is not only made up of massive square blocks comparable in size, shape and weight to those used in Malta and Giza, but it was also found buried some 50 feet into the ground lower than the Seti temple that was supposedly built at the same time, by the same person. Image from Tour Egypt.

The Osirion, located in Abydos, is perhaps the most famous of Egypt's megalithic temples. Attached to Seti I's "Temple of Osiris", the Osirion is generally referred to as the "Tomb of Osiris", though its exact function has never been determined definitively. Mainstream Egyptologists claim that it was built by Seti I, some even going as far as to claim that it was made purposely "old looking" in order to make it appear to be from the Old Kingdom period as supposedly the Sphinx Temple and Valley Temple were. Despite the fact that this idea is patently absurd, there were some inscriptions from Seti found on the site which do lend some credence to their claim that the temple complex — if that is indeed what it was — was built by Seti. However, for many reasons, it is much more likely that the Osirion is yet another antediluvian megalithic temple that had been repurposed for use by the post-Flood inhabitants of Egypt. As Fletcher explains,

The only original inscription to be found in the Osirion was this mandala-like motif popularly known as "the Flower of Life". Above: Original inscription Below: Popular reconstruction Images from Flower of Life Research

In the mid-1920s, archaeologists digging in the scorching climate of Abydos discovered the walls of a temple that for thousands of years had been completely buried by silt and sand. Well, at least they thought it was a temple. When the structure was completely uncovered, swept out, and polished, these Egyptologists realized that what they had stumbled upon might not have been a temple after all, but something completely unique to their craft. Analogous granite walls and columns had not been previously discovered anywhere else in Egypt. It appeared certain that this discovery could turn Egyptology upside down and severely challenge the accepted academic position regarding Egypt’s past. One of the first theories introduced about the Osireion was that it was the tomb of the famous antediluvian King Osiris, whose existence had been previously dismissed as mere fantasy. This seemed to make logical sense since the Osireion had been discovered in Abydos, which for thousands of years had been worshipped as the location of the tomb of Osiris, even though no definitive tomb of the legendary pharaoh had ever been found there. Thus, the first plausible explanation was that the archaeologists had stumbled upon the tomb of the legendary Osiris, the greatest pharaoh in history.³

Whereas the architectural style of Seti's temple is distinctly New Kingdom, the Osirion's megalithic architecture is completely different. Also, whereas the walls of Seti's temple are covered inside and out with hieroglyphs and painted scenes depicting the king's life, the walls of the Osirion are completely bare save those few intrusive etchings that Seti had imposed upon them, and a single enigmatic symbol, known as the "Flower of Life", that was probably the only original inscription. In fact the Osirion is nothing like the temple of Seti, a New Kingdom temple structure which is clearly yet another late addition by the post-Flood Egyptians to the antediluvian structures they came across when they repopulated the land. Repurposing these ancient structures to fit their strange, superstitious religion, the ancient descendants of Ham had little or no idea of what the structures were really used for. And until recently, neither did we.

Christopher Dunn in his seminal The Giza Power Plant argues very convincingly that the Great Pyramid of Giza was originally used not as a tomb, but as a method of generating energy, in effect, making the Giza necropolis the shattered remnants of an ancient "power plant". Image from The Giza Power Plant

As we have seen, the antediluvian world was a world that was extraordinarily wicked. It was a world at war with itself, a world that was utterly bent on its own destruction. Many ancient traditions including even the Bible describe the antediluvian world as a place that was populated largely by technologically sophisticated giants who lived only to make war, a world so irretrievably wicked that it had to be totally destroyed by the Great Flood.

We are told that all of the wicked world from before the Flood was destroyed. Unfortunately, that appears to not be the case — much of the antediluvian world appears to have escaped the cleansing destruction that was inflicted upon it. The megalithic architecture to be found around the world is almost certainly from the world before the Flood, from a time when the technology to lift massive objects with relative ease was apparently widely available. Some also believe that radio, television, electricity and similarly high technologies were also available, and were linked to some of these megalithic structures. And of all these structures, the Great Pyramid appears to have been the greatest — and most dangerous — megalithic remnant of the antediluvian world.

Some believe that the Great Pyramid lay at the heart of the civilization of the antediluvian Egyptians not as an object of worship and veneration, but as the central piece of a gigantic power plant — the "Giza Power Plant" — that generated electricity and other forms of power that were used not only for communications and power generation for peaceful use, but also as a weapon of terrible destruction. As such, the antediluvian Egyptians were in possession of a technology that, until the twentieth century, far exceeded our own.

One of the classic reliefs from the Temple of Hathor that clearly show various forms of what is now known as the Crookes tube, a form of light bulb, being used to shed illumination. Some believe that this is how the ancient Egyptians were able to paint the tombs deep underground without the use of torches, which would have left telltale residue. The number and variety of the lightbulb images is more suggestive of a research facility, making the Temple of Hathor possibly more of what we would consider to be a laboratory than a house of worship. Image from Conscious Evolution

Increasing evidence is coming to light suggesting that the ancient Egyptians did indeed have advanced technology. As David Hatcher Childress explains in his fascinating Technology of the Gods: The Incredible Sciences of the Ancients,

In my searches for lost cities and mysteries of the past, I have often found clues to the technology of the ancients. These clues can be in the form of depictions of ancient devices in rock paintings or carvings (such as the electric devices at the Temple of Hathor in Egypt) or as small models of devices (such as the miniature gold airplanes at the Bogota Gold Museum) or in the stories from ancient texts (such as the Ramayana or even the Bible).... In the ancient world high technology was largely denied the masses. In fact, it was often used in temples and ceremonies to gain power over people by amazing or terrifying them; this was part of worship and mystery.⁴

Unfortunately unlike today, where most technology is freely available to the public, the Egyptian priesthoods kept the technological knowledge to themselves in order to keep the peasants docile and easily controlled. And in order to maintain their power over the peasantry, the priests no doubt occasionally arranged spectacular lightshows to make sure that the peasantry knew of their superior power, that "the gods" were on their side. Now of course, we have and understand electricity and the many conveniences that it provides. However, to the Egyptians, these "technologies of the gods" were part of the mysteries of the gods. These mysteries included what we now know as electricity, radio, television and, possibly, even nuclear power. Moreover, as we shall see, some believe that the antediluvian Egyptians may have also been in possession of a technology that may have made even nuclear weapons obsolete. However, let us look at some of the better known "mysteries of the gods" first:

The very first (modern) Van de Graaf generator, created by Dr. Robert J. Van de Graaff, an MIT professor. It was used originally as a research tool in atom-smashing and high energy X-ray research. Used by the Egyptian priesthoods in their rituals, its psychological effect must have been awesome indeed. Image from Museum of Science

Image of an Egyptian Van de Graaff generator. Isis and Nephthys at the bottom sit on the sign for gold, nebu, which is a superior power conductor. The djed column means stability, acting as a stable base for the generator, the term possibly also meaning "insulator" in this context. The ankh means the power of life, or electrical power. The round symbol is the solar disk, or a source of light, as the case may be. The current understanding of the ankh and solar disk as merely symbolic of life is the result of a degeneration of ancient Egyptian thought, where superstition had taken the place of science. Image courtesy KennyZen

  E L E C T R I C I T Y
The most illuminating evidence of Egyptian knowledge of electricity comes from the Temple of Hathor in Denderah, Egypt in the form of a mysterious relief that appears to depict what could only be a massive lightbulb (above). Electrical engineers have studied the design and determined that the carvings on the temple walls actually represent a type of lightbulb called a Crookes tube. Chris Dunn explains in his seminal work, The Giza Power Plant,

When the [Crookes] tube is in operation, the ray originates where the cathode electrical wire enters the tube to the opposite end. In the temple picture, the electron beam is represented as an outstretched serpent. The tail of the serpent begins where a cable from the energy box enters the tube, and the serpent's head touches the opposite end. In Egyptian art, the serpent was the symbol of divine energy.... The Temple picture shows one tube, on the extreme left of the picture, to be operating under normal conditions. But with the second tube, situated closest to the energy box to the right, an interesting experiment has been portrayed. Michael R. Freeman, an electric and electromagnetic engineer, believes that the solar disc on Horus' head is a Van de Graaf generator, an apparatus which collects static electricity. A baboon is portrayed holding a metal knife between the Van de Graaf-solar disc and the second tube. Under actual conditions, the static charge built up on the knife from the generator would cause the electron beam inside the Crookes tube to be diverted from the normal path, because the negative knife and negative beam would repel each other. In the temple picture, the serpent's head in the second tube is turned away from the end of the tube, repulsed by the knife in the baboon's hand.⁵

According to Dunn, all aspects of the Denderah reliefs correspond exactly to modern electrical specifications. The bulb size and shape, the position of the elements relative to each other, and even the wiring patterns and insulators all match their modern counterparts. The arrangement and variations in the examples of how to manipulate the electrical energy of the bulb is also strongly reminiscent of modern scientific diagrams, the only major difference being the use of symbolic imagery, such as gods and animals, to communicate certain concepts.

  R A D I O
Another technology that some believe the antediluvian Egyptians possessed was radio. Stephen Mehler believes that the Great Pyramid may have been, among other things, a gigantic communications tower that no doubt was used to unite mankind. As Mehler explains,

One of the uses of the Great Pyramid was to serve as a giant radio station to send messages all over the earth. Kinnaman claimed that there was a passageway off of the secret entrance they found in the south-east corner of the Great Pyramid that led to a spiral staircase that took them down over 1,000 feet into the limestone bedrock. There, in a large room lying on a stone table, was a giant quartz crystal ground convex that was 30 feet in every direction (long, high, thick, etc.). This giant crystal with thousands of prisms inserted in it was the source of the radio transmission.⁶

Interestingly, early radio sets used crystal radio technology, before vacuum tubes, solid-state transistors and other methods were developed during a long history of development. If the antediluvian Egyptians had discovered radio, it stands to reason that television was not far behind.

  T E L E V I S I O N
Of all of the visionaries and seers who claim to have seen visions of the world before the Flood, Edgar Cayce, famous seer and mystic, stands head and shoulders above all. Cayce claimed to see through the eyes of his subjects into their past lives, many of whom apparently had had past lives in Atlantis. And in many of these visions, Cayce described television as one of the technologies that was a part of the antediluvian world:

In city of Peos in Atlantis — among people who gained understanding of application of nightside of life or negative influences in the Earth's spheres, of those who gave much understanding to the manner of sound, voice and picture and such to peoples of that period.... In Poseidia the entity dwelt among those that had charge of the storage of the motivative forces from the great crystals that so condensed the lights, the forms of the activities, as to guide the ships in the sea and in the air and in conveniences of the body as television and recording voice.⁷

So not only did the antediluvian Egyptians (and Atlanteans) have radio, they also had television. Moreover, according to Cayce, they were able to transmit both radio, television and even power to various craft through the airwaves. Apparently it had to do with the same crystal technology that was used for radio transmission. So, in effect, the Great Pyramid was not only a huge power plant, but it was also a gigantic radio/TV broadcast tower.

  N U C L E A R   P O W E R

Libyan Desert glass, or "LDG", can be found covering hundreds of square miles of the Libyan Desert in southwestern Egypt. LDG was used to fashion a glass scarab that was found on the breast of Tutankhamen (below). The glass is extremely pure, and could only be formed by a blast of extreme heat, which could only generated by either a meteorite that exploded just above the desert, or a nuclear weapon, though the evidence appears to clearly point to the latter. Childress also suggests that the glass might also be the result of an even more powerful energy weapon, currently unknown, but possessed by the antediluvian Egyptians. Images from Egyptologists' Electronic Forum

Though evidence of nuclear power — specifically, nuclear weapons — is not directly evidenced in Egyptian myths and artifacts, evidence of ancient nuclear war does exist in southwestern Egypt, in the form of a vast desert of fused glass. Childress explains,

One of the strangest mysteries of ancient Egypt is that of the great glass sheets that were only discovered in 1932. In December of that year, P. Clayton, a surveyor for the Egyptian Geological Survey, was driving among the dunes of the Great Sand Sea near the Saad Plateau in the virtually uninhabited area just north of the southwestern corner of Egypt, when he heard his tires crunch on something that wasn't sand. It turned out to be large pieces of marvelously clear yellow-green glass. In fact, this wasn't just any ordinary glass, but ultra-pure glass that was an astonishing 98% silica. Clayton wasn't the first person to come across this field of glass, as various "prehistoric" hunters and nomads had obviously also found the now-famous Libyan Desert Glass or LDG. The glass had been used in the past to make knives and other sharp-edged tools as well as other objects. A carved scarab of LDG was even found in Tut-Ankh-Amen's tomb, indicating that the glass was sometimes used for jewelry. An article in the British science magazine New Scientist (July 10, 1999) by Giles Wright entitled, "The Riddle of the Sands," says that LDG is the purest natural silica glass ever found. Over a thousand tons of it are strewn across hundreds of kilometers of bleak desert. Some of the chunks weigh 26 kilograms, but most LDG exists in smaller, angular pieces looking like shards left when a giant green bottle was smashed by colossal forces.⁸

There can only be two possibilities for the green glass desert in southwestern Egypt: one, a meteorite exploded over the desert in a Tunguska-like event or, two, there was a nuclear explosion in the desert, either as the result of an attack, or because the desert was used as a testing range like our Alamagordo Desert in New Mexico, the result of which was also sand being fused into green glass. Ancient nuclear war has been considered as the answer to some of the more puzzling anomalies to be found around the globe, including references in the Mahabharata to a mighty weapon that sounds exactly like a nuclear missile:

If the radiance of a thousand suns Were to burst at once into the sky That would be like the splendor of the Mighty one... I am become Death, The destroyer of worlds. — from the Bhagavad-Gita

Gurkha, flying a swift and powerful vimana hurled a single projectile charged with the power of the Universe. An incandescent column of smoke and flame, as bright as ten thousand suns, rose with all its splendor. It was an unknown weapon, an iron thunderbolt, a gigantic messenger of death, which reduced to ashes the entire race of the Vrishnis and the Andhakas. The corpses were so burned as to be unrecognizable. Hair and nails fell out; Pottery broke without apparent cause, and the birds turned white. ...After a few hours all foodstuffs were infected... ...to escape from this fire the soldiers threw themselves in streams to wash themselves and their equipment.⁹

Interestingly, there are persistent reports of an ancient city in India that is covered in a layer of radioactive ash that shows evidence of an atomic blast that occurred somewhere between 10,000-6000 b.c., which fits into the timeline that we have determined for the last world war of the antediluvian world, and of the Flood that wiped them out for good.¹⁰

A third possibility has been suggested by Childress that the fused green glass was as a result of a previously unknown energy weapon of which the antediluvian Egyptians had the mastery.

There has always been something about the Great Pyramid of Giza that has excited the imagination of men more than any other pyramid in the world. Though this so-called "Pyramid of Khufu" is nearly identical in size to its twin, the so-called "Pyramid of Khafre", it has excited the imagination so much more because deep within its dark interior lies a mysterious series of rooms and passageways whose true purpose has long remained a mystery. Moreover, these passageways exhibit such a high level of precision in their manufacture that even today we would be sorely pressed to reproduce them. Though mainstream Egyptologists are adamant that the Great Pyramid was meant to serve as a tomb for Pharaoh Khufu, like all the other antediluvian megalithic ruins we have discussed, the Great Pyramid has absolutely no inscriptions inside or outside, funereal or otherwise. This is wholly different from every other Egyptian tomb ever found, which invariably have practically every square inch of wall, and even ceiling, covered in beautiful inscriptions and paintings. Moreover, not a single artifact, relic, sarcophagus or treasure of any kind has ever been found inside the Great Pyramid, even by the Egyptian Caliph Al-Mamoun, who was the first to enter the interior workings of the Great Pyramid since it was sealed ages ago.

Howard Vyse's disputed cartouche of Pharaoh Khufu found in the upper relieving chambers of the King's Chamber. Questions remain as to its authenticity, and to why the only reference to a dynastic pharaoh is to be found in an inaccessible area of a pyramid in which no other inscriptions have ever been found. Image from Guardian's Egypt

Yet, despite the complete lack of evidence for the Great Pyramid being a tomb, temple or memorial of any kind, Egyptologists continue to insist that the Great Pyramid was indeed the tomb of Pharaoh Khufu. This is based on a single, highly dubious bit of graffiti that had been found in the formerly sealed "relieving chambers" above the so-called "King's Chamber" in 1837. This graffiti was found by one Howard Vyse, the 19th century Egyptologist, who claimed that the hieroglyphics, that were crudely daubed in red paint, spelled out the name of Khufu and were therefore proof that Khufu had built the Great Pyramid. Beyond the obvious question as to why this tiny, insignificant mark in an area sealed off from human contact was the only identifying mark in the entire pyramid, is the questions about the provenance of the graffiti. Following up on the problem, noted authors Graham Hancock and Robert Bauval nicely did away with Vyse's scurrilous attempt to rewrite history by pointing out that not only were the hieroglyphs of dubious lineage, they were also misspelled! Furthermore, the manner in which Khufu's name was misspelled matched exactly a typo that appeared in the book on Egyptian hieroglyphics that Vyse had used for translation work.¹¹ This dubious mark is hardly enough to determine absolutely the builder of perhaps the greatest artifact of the antediluvian world left on Earth. Nor will it dissuade us from discovering the Great Pyramid's true purpose.

Now that it is safe to dismiss academic Egyptology's assessment of the age of the Great Pyramid, the door is open to other theories. And there have been numerous theories, to the pyramid as part of a treasure map to the pyramid as a water pump. And though the treasure map theory is excellent, perhaps the best Great Pyramid-specific theory so far is Christopher Dunn's "power plant" theory. This theory, combined with the complementary research of Joseph Farrell and my own deductions, is as follows: the Great Pyramid of Giza utilized a combination of hydrogen, tectonic "earth" energy, solar energy, lunar energy and quartz crystal in various forms to synergize an immense amount of energy that was essentially the central "power plant" of antediluvian Egypt.

A: The "King's Chamber": Hydrogen, sound energy, and solar/lunar energy was collected here and amplified by crystals.      A1 & A2: Solar energy & lunar energy (reflected solar, microwave and other types of energy from space) collected through these shafts. The northern and southern faces were originally shaped like satellite dishes, with collectors to collect and transmit the energy into the King's Chamber via the shafts. B: The "Queen's Chamber": Hydrogen produced here by mixing zinc chloride and hydrochloric acid      B1: Hydrated zinc chloride is piped in from the outside through the shaft into the Queen's Chamber      B2: Hydrochloric acid is piped in from the outside through the shaft into the Queen's Chamber      B3 & B4: It is possible that the zinc chloride and hydrochloric acid was piped in from the outside, but no external opening has been found. A subterranean chamber in or beneath the pyramid may eventually be found that supplied these or other chemicals for the reaction. C: The "Subterranean Chamber": A lesser resonating chamber that produces the bass and sub-bass notes D: The "Grand Gallery": The primary resonating chamber, produces the midrange and high notes that, along with the bass from the Subterranean Chamber, creates an F-Sharp chord that is channeled into the King's Chamber E: The "Ascending Passage": Contains granite "plugs" (E1) that serve as sonic dampers to prevent runaway vibration F: The "Well Shaft": Bass notes from Subterranean Chamber travel through here to Grand Gallery G: The "Descending Passage": Access tunnel to the mechanism For further explanation, read on.

  E A R T H   E N E R G Y
The first and most important part of the process is the tapping of earth's limitless supply of seismic energy, which creates the majority of the power plant's power. The Great Pyramid, as many researchers have discovered, was built with a degree of architectural precision that is unmatched even today. The perfectly squared base, oriented perfectly towards the four cardinal directions, is the aspect of the building that is perhaps the most commented-upon feature of the pyramid. What is less well known is the fact that the pyramid is not perfectly flat on the bottom, as one might expect. Instead, it is built upon an outcropping of limestone, the first few courses of stone built around the mound and later covering over it. This is important, as we shall see.

Dunn believes that the Great Pyramid was designed to be what is called a "coupled oscillator" with the Earth. A coupled oscillator is a device that is designed to allow the vibratory energy of one vibrating object to be picked up by a connected object so as to transfer the vibratory energy from the first object to the second object — in this case, from the Earth to the Great Pyramid. This is why the pyramid was not built upon a flat surface, but incorporates part of the Earth into its superstructure — the earth is effectively "coupled" with the Great Pyramid, allowing Earth's natural tectonic vibrations to easily pass into the pyramid. As Dunn explains, "Covering a large land area, the Great Pyramid is, in fact, in harmonic resonance with the vibration of the Earth — a structure that could act as an acoustical horn for collecting, channeling, and/or focusing terrestrial vibration."¹² And there are other aspects of the pyramid's construction that help make it an extremely efficient coupled oscillator. For one, the Great Pyramid integrates into its design the concept of pi, where the height of the pyramid is the same as the ratio between the radius of a circle and its circumference. Just as 2 x pi x the radius of a circle = its circumference, so too 2 x pi x the height of the pyramid = its circumference. As such, like the Earth, (and all spheres) the Great Pyramid integrates into its structure the concept of pi, which helps it resonate with Earth's energy. Other aspects include the relative placement of the pyramid in the approximate center of Earth's land masses, its placement at precisely at 30 degrees north latitude, and many other interesting facts and figures that lend great weight to Dunn's theory too numerous to get into here.

The process of powering up the Giza Power Plant begins in the Subterranean Chamber (C), which was dug deep in the limestone bedrock beneath the pyramid. When the Subterranean Chamber was first discovered, the Egyptologists, caught in their "burial chamber" mindset, assumed that the rough-hewn, seemingly "unfinished" chamber had been abandoned by the Egyptians who decided instead to bury Pharaoh Khufu in a chamber higher up in the superstructure of the pyramid. However, if we look at the Subterranean Chamber as part of a larger resonating chamber intended to convert seismic energy into acoustic energy, its meaning and usage becomes clear.

The Subterranean chamber is a fairly small chamber that has two interesting features: "the Pit", and "The Dead-End Passage". The Pit is a twelve-foot deep pit (dug into deeper in 1837 by Howard Vyse, who was searching for a hidden chamber beneath it) that is just inside the entryway to the Subterranean Chamber, and the Dead-End Passage, a 2.5-foot square, 53-foot-long horizontal passage hewn into the living rock in the south side of the Subterranean Chamber. Outside of the "resonating chamber" paradigm the existence of these chambers makes no sense. However, if one looks at these chambers from the scientific perspective, with the idea that they had been created for a specific purpose, it becomes clear that these chambers had been created as a means of converting seismic energy to sound.

The Subterranean Chamber (C) was originally built as a method of converting transverse and longitudinal seismic waves into sound energy of a very low frequency — in effect, it was a subterranean "subwoofer". "The Pit" (C2) was actually one part of this subwoofer that converted transverse waves into sub-bass sounds (the dotted area indicates Vyse's ill-fated attempt to find hidden treasure), and the Dead-End Passage (C1) was originally designed to convert longitudinal waves into subbass, or possibly slightly higher frequency bass sounds than the pit. The size and configuration of the pit and the passage would actually determine the type of sound that would be created, meaning that each had been effectively "tuned" to generate a certain sound whenever they were hit with seismic energy, effectively making the Subterranean Chamber a massive subwoofer. The small alcove (C3) outside of the main chamber may have been intended to help regulate the amplitude of the sound, acting as a "limiter" to keep it from getting too loud before it was piped up the descending passage and and "Well-Shaft" (F) to the Grand Gallery.

Seismic energy takes the form of two basic waveforms while underground: transverse waves, and longitudinal waves. Transverse waves, also known as primary or compressional "P" waves, cause particles to oscillate parallel to the direction that the wave is traveling. Longitudinal waves, however, cause particles to oscillate perpendicular to the direction that the wave is traveling. So, in order to capture the energy from both types of waves, you would need to create two resonance chambers that are specially configured to capture and convert these two different types of energies — one vertically oriented, and one horizontally oriented — which is exactly how the sub-chambers that are found in the Subterranean Chamber complex are configured.

The Pit (C2) would be used to convert transverse waves, which would transfer their horizontal energy into its vertical sides, causing it to resonate like a subwoofer in a stereo system. The Dead-End passage (C1), conversely, would pick up and convert longitudinal waves, which would transfer their vertical energy into its horizontal walls, floor and ceiling, also causing it to resonate like a subwoofer. The reason for the rough condition of the Subterreanean chamber and its sub-chambers may be that the antediluvian Egyptians had actually manually "tuned" the chamber by digging out various parts of the floors. The very rough Pit may be the bass speaker or even the subwoofer, as very low frequencies are non-directional and do not require fine-tuning. The carefully carved Dead-End Passage, with its exact height and width of 2.5 feet, may have been effectively "tuned" to act more of a higher-frequency, "bass" speaker, slightly higher in frequency than the Pit subwoofer. If true, this implies that the entire pyramid is essentially a gigantic speaker system, where the Subterranean Chamber complex acts as the subwoofer as well as the bass speaker. Dunn believes that the frequency of the pyramid is actually 6 hertz, however, which would mean that the Subterranean subwoofer might actually be a subsonic subwoofer, producing sound that is below the threshold of human hearing. However, Dunn believes that it may still be detectable by the human body as physical vibration, which accounts for the strange feeling of "pyramid power" that people feel when entering the Great Pyramid.¹³

Thus the Subterranean Chamber would more accurately called the "Subterranean Subwoofer". But why did the antediluvian Egyptians have a need for such a huge subwoofer? And if it was indeed intended to be a gigantic speaker system, how were the midrange and high notes produced? By examining the acoustics of the inner chambers of the Great Pyramid, we can follow where the sound would go, and hypothesize on how it would behave. The heavy bass sound, which is non-directional, would flood through absolutely every opening, and even through the superstructure of the pyramid, like water. It would first travel up the "Well Shaft" (F), and then into the descending passage, up towards the entrance, causing every part of the pyramid to vibrate.

The so-called "Grand Gallery" of the Great Pyramid, as viewed from the top. The Grand Gallery was actually a massive acoustical resonating chamber that was filled with 27 vertical rows of Helmholtz resonators, that converted seismic energy into sound. Note the corbelled walls that narrow as they approach the ceiling, each of which corresponded to a note in the scale. Also, if you look carefully, you can see the slots along the side ramps that the resonator trees were installed into. The acoustical signature of the Grand Gallery or, more accurately, the "Grand Resonator", was designed so that all of the sound created in the Grand Resonator — or anywhere in the pyramid, such as the Subterranean Subwoofer — was directed into the "King's Chamber". Image from Guardian's Egypt

At the top of the Well Shaft is the "Grand Gallery" (D) a long, high-ceilinged passageway that has been carved in a manner that has not been duplicated anywhere else in ancient Egypt. The walls are "corbelled", which means that they have been cut in such a way that the gallery becomes increasingly narrower in steps as one approaches the ceiling, which is covered with tiles that are angled towards the "Kings Chamber" (A). Moreover, historical reports of Al-Mamoun's failed attempt to plunder the pyramid describe similar tiles on the floor that were also angled towards the King's Chamber, which Al-Mamoun had discarded and had thrown down the well-shaft. The tiles were removed because they were actually obstructing their progress up the Grand Gallery. But if the Gallery was intended to be part of some great funereal procession, why was it arranged in such a way so as to be difficult for humans to navigate?

Motivated by the theory that the Grand Gallery had been built with an acoustical use in mind, Dunn set about testing its acoustical properties. Predictably, acoustic experiments undertaken by Dunn and his colleagues showed that Grand Gallery was indeed an acoustical resonating chamber that was specifically designed to reflect all sound that was emitted anywhere in the Great Pyramid — including the Subterranean Subwoofer — into the King's Chamber. The tiles on the ceiling, as well as the missing tiles on the floor, all acted to bounce sound back towards the King's Chamber.

Dunn also theorized that the Grand Gallery, like the Subterranean Chamber, had been designed as a massive sound generator. Analysis of the Grand Gallery revealed ramps running along where the walls met the floor on both sides which had matching pairs of slots on either side, spaced at regular intervals, 27 in all. To explain how the Grand Gallery might also might have been used to generate sound, Dunn hypothesized that there had been 27 vertical racks, which he called "resonator assemblies", that stretched all the way to the ceiling. Each of these racks held 7 rows of what are now called Helmholtz resonators, which are basically hollowed-out spheres that, when vibrated, emit sound of certain frequency that varies depending upon their size and shape. Dunn explains,

A "Helmholtz Resonator" (top right) is basically any hollowed-out object with a thin neck protruding from one side out of which sound can travel. Sound is produced when the resonator is vibrated, either directly or sympathetically with a nearby resonator of the same resonant frequency. The resonator can be tuned based upon the size of the object, the width and length of the neck, and so forth. Dunn believes that the Grand Gallery, henceforth referred to as the "Grand Resonator" (D), was once filled with 27 racks of these types of resonators, 7 rows per rack, each row tuned to emit one note on a 7-note scale. All together, with the Grand Resonator providing the high and midrange notes, and the Subterranean Subwoofer providing the the bass and sub-bass notes, the pyramid was one giant speaker that "sang" one massive chord in F-minor. This chord was then directed into the King's Chamber where it was converted in piezoelectric energy. Images adapted from The Giza Power Plant and SciScape.org

To extrapolate further we could say that each resonator assembly that was installed in the Grand Gallery was equipped with several Helmholtz-type resonators that were tuned to different harmonic frequencies. In a series of harmonic steps, each resonator in the series responded at a higher frequency than the previous one. In a manner similar to the King's Chamber's response to energy inputs — its creation of an F-Sharp chord — these resonators raised the frequency of the vibrations coming from the Earth. To increase the resonators' frequency, the ancient scientists would have made the dimensions smaller, and correspondingly reduced the distance between the two walls adjacent to each resonator. In fact, the walls of the Grand Gallery actually step upward seven times in their height and most probably the resonators' supports reached almost to the ceiling. At their base, the resonators were anchored in the ramp slots. Not surprisingly, there is additional evidence in the Grand Gallery to support this premise, especially in a design feature of the gallery that is seldom given much thought. This is a groove, or slot, cut along the length of the second layer of the corbelled wall. This groove suggests the resonators were held in place inside the Grand Gallery and positioned, or keyed, into the structure by first being installed into the ramp slots and then held in a vertical position with "shot" pins in the groove. Once the resonator assemblies were positioned and locked into place, the angle of the slot effectively prevented them from moving.¹⁴

According to Dunn's theory, each of these racks, 27 in all, held 7 rows of Helmholtz Resonators, each of which emitted a tone equivalent to one step in the Egyptian musical scale. Though no one knows for sure what the Egyptian scale was, Dunn believes that the sound generated by the Subterranean Subwoofer and the Grand Resonator combined together played what we would now call an F-Sharp chord. Dunn arrived at this conclusion based on the fact that sound experiments proved that the King's Chamber — and indeed the entire Great Pyramid — is tuned to the F-Sharp chord. Dunn elaborates,

Subsequent experiments conducted by Tom Danley in the King's Chamber of the Great Pyramid and in the chambers above the King's Chamber suggest that the pyramid was constructed with a sonic purpose. Danley identifies four resonant frequencies, or notes, that are enhanced by the structure of the pyramid, and by the materials used in its construction. The notes from an F Sharp chord, which according to ancient Egyptian texts [are] the harmonic of our planet. Moreover, Danley's tests show these frequencies are present in the King's Chamber even when no sounds are produced. They are there in frequencies that range from 16 Hertz down to 1/2 Hertz, well below the range of human hearing. According to Danley, these vibrations are caused by the wind blowing across the ends of the so-called shafts — in the same way as sounds are created when one blows across the top of a bottle. Included in the program is a meeting with a Native American maker of sacred flutes from Oregon. His flutes which are made to serenade Mother Earth, are tuned to the key of F Sharp!¹⁵

Based upon Dunn's research, then, it appears that the "earth power" that was used to power the Giza Power Plant came in the form of seismic energy that was converted to sound through highly sophisticated architectural and musical means. This sound was carefully tuned so as to generate an F-Sharp chord, which, acoustically concentrated in the King's Chamber, caused the granite walls, floor, ceiling and sarcophagus in the King's Chamber to resonate. The quartz crystals that make up 50% of the structure of granite resonate at certain frequencies, and when they resonate they generate a form of electricity called piezoelectricity, so when the pyramid was in full swing, the entire King's Chamber must have contained a tremendous amount of electrical energy, ready to be put to use.

  H Y D R O G E N
The second element that Dunn proposes was necessary for the Giza Power Plant was hydrogen. He believes that the two shafts (B1 & B2) that lead to the so-called "Queen's Chamber" (B) were once used to feed hydrated zinc chloride and hydrochloric acid into the Queen's Chamber in order to provoke a chemical reaction that would result in the creation of pure hydrogen. He came to this conclusion due to the fact that the entire Queen's Chamber — walls, ceiling and floor, as well as the passageway that led to it — had been and still is covered in 1/2 inch of a salty material that is a combination of calcium carbonate (limestone), sodium chlorite (salt) and calcium sulfate (gypsum).

Some have speculated that this salty substance was a leftover from the Great Flood, which would have indeed flooded the Great Pyramid for a time if the tsunami had reached that far. However, they forget that the rest of the pyramid is salt-free, which negates that possibility. In fact, the only possible way that the walls, ceiling and floor of the Queen's Chamber could have been covered was if the salt had been deposited as a result of hot hydrogen reacting with the limestone walls. There is no other possible way, as the salty residue on the limestone walls could only have occurred as a result of a unique chemical reaction that can only be caused by hot hydrogen gas reacting with limestone. But by what means were the zinc chloride and hydrochloric acid piped into the Queen's Chamber and mixed? The answer is in fact very simple: the mysterious shafts that were found by the stonemason Wayneman Dixon in 1872. Dixon, when searching the walls of the Queen's Chamber for clues leading to other secret tunnels or chambers, chanced upon a couple of thin slits in the northern and southern walls of the Queen's Chamber. He set at the slits with hammer and chisel, and found that they were slits in a thin covering for two long shafts that were approximately 7" square and went far into the body of the pyramid.

The "Queen's Chamber", which Christopher Dunn has demonstrated was more likely a chemical reaction chamber wherein hydrated zinc chloride and hydrochloric acid were combined to create hydrogen. Evidence for such a reaction exists all over the walls, and ceiling of the chamber, in the form of sodium chlorite, which would only have formed as a result of a chemical reaction between hot hydrogen gas and the limestone walls of the chamber. Thus, a more likely name for it should be "the Hydrogen Reactor". The hydrated zinc chloride and hydrochloric acid were piped in through the northern and southern shafts, (B1 & B2) their flow controlled by various regulators (B3) discussed at length by Dunn in The Giza Power Plant. Another possibility discussed by Mehler in The Land of Osiris is that the Egyptians had mastered the technique of mixing hot and cold water (B1 & B2) in such a way as to convert the water into hydrogen and oxygen in what he calls an "implosion reaction", the process perhaps initiated by some sort of apparatus that was once located in the niche in the Queen's Chamber (B3).

Over a century would pass until 1991, when a German engineer by the name of Rudolf Gantenbrink teamed up with the German Archaeological Institute to investigate the largely unexplored shafts in the King's and Queen's Chambers. The King's Chamber shafts (A1 & A2) had been found to lead to the outside of the pyramid, but they could not find the Queen's Chamber shafts' openings on the outside. As part of an agreement with the Egyptian authorities, Gantenbrink had agreed to clean out the King's Chamber's shafts of all the debris that had accumulated there, and to install a ventilation system to decrease the temperature and humidity within the pyramid that had been greatly elevated by the huge number of tourists within the pyramid. Having completed this part of his task, Gantenbrink built a robot specially designed to measure and videotape the interior of both the King's Chamber and Queen's Chamber shafts. And in 1993, Gantenbrink successfully used a robot named "Upuaut II" to succesfully navigate the Queen's Chamber shafts, discovering in the process a mysterious door that terminated the shaft almost 200 feet into the body of the pyramid. Unfortunately, after the discovery of the door, there was a sudden deterioration in the relationship between Gantenbrink and the Egyptian authorities, and as a result, Gantenbrink became disheartened and abandoned the project.

Another decade slipped away until on September 17, 2002, the Gantenbrink Door was finally opened. Unfortunately, nothing was found but a small space, after which another block of stone again blocked the passageway. Dunn had expected to see the passageway go downward into the body of the pyramid, where he believed there were pumps which would feed the zinc chloride and hydrochloric acid into the respective shafts, but no shafts or holes were immediately visible (though later analysis of the video by Christopher Dunn shows what may be a small hole in the terminus of the shaft). Unfortunately, we may not find the answer for another decade or more, or possibly much longer, due to the extreme restrictions that have been placed on archaeological excavation of the pyramid in recent years.

At any rate, Dunn's theory sounds plausible. We have seen that the Great Pyramid is essentially a gigantic speaker system tuned to generate an F Sharp chord, which in turn was directed into the all-granite King's Chamber. This resonating granite, which is made up of roughly 1/2 quartz crystals, then generated a great deal of piezoelectricity, a tremendous amount of potential energy just waiting to be released through some sort of medium. But what medium? Dunn believes that the hydrogen that was created in the Queen's Chamber, or "Hydrogen Reactor", filled the entire inside of the pyramid, particularly the King's Chamber, where it was propelled by the force of the sound waves. Dunn elaborates,

After transducing mechanical energy into electrical energy, there has to be a medium through which the electricity can flow and be utilized. In a modern power plant, steam passes across turbine blades causing rotation of a generator that stimulates electron flow through copper wires. In this power plant the vibrations from the Earth cause oscillations of the granite within the King's Chamber, and this vibrating mass of igneous, quartz-bearing rock influences the gaseous medium contained within the chamber. Currently this gaseous medium is air, but when this power plant operated, it was most likely hydrogen gas that filled the inner chambers of the Great Pyramid.¹⁶

But sound and hydrogen were only part of the equation. Dunn believes that an additional force was brought in in order to generate what modern science calls a MASER — Microwave Amplification through Stimulated Emission of Radiation. MASERs — a form of laser that utilizes microwaves as its power source, and hydrogen as its medium — can be produced by modern science with relative ease. But how on Earth, assuming the technological level of the antediluvian Egyptians was adequate to the task, could the Great Pyramid have been designed so as to capture or generate microwave energy?

  S O L A R   &   L U N A R   E N E R G Y

"The Two Waters" relief at Kom Ombo, in the Temple of Sobek-Horus. Here a pharaoh is depicted being anointed by two different kinds of liquid — one from the solar principle, Horus (right), and one from the lunar principle, Thoth (left). Could this have been a dim remembrance of times past when the power of the sun and the moon — and of water — were once harnessed to generate powerful forces to serve the Pharaoh? Image from The Land of Osiris

Another anomaly of the Great Pyramid that rarely gets any attention is the fact that the outer faces are slightly concave — not easily noticeable, but definitely a distinct architectural feature that must have been intentional. Many have speculated on the reason, but none had come up with a logical answer — until now.

Dunn, in the process of theorizing what possible use a resonating granite chamber full of hydrogen might be good for came to the conclusion that it is useless unless there is some sort of method of drawing that energy outside of the pyramid so it could be put to use in some sort of application. Eventually he did come up with answer, an answer that solved the mystery of the King's Chamber, as well as a couple of other related mysteries that have baffled Egyptologists for over a century.

In order to create a MASER, one would have to create an environment of stimulated hydrogen, and then pass a directed beam of microwave energy through that medium, the result being a powerful beam of light with a great deal of energy. We have already determined that there was an environment of stimulated hydrogen in the King's Chamber, but how does the microwave radiation become introduced? Are there shafts in the King's Chamber like those in the Hydrogen Reactor, that could have been used to introduce radiation into the King's Chamber? In fact, like the Hydrogen Reactor, the King's Chamber — which we shall henceforth refer to as the "Power Center" — also has two shafts in its northern and southern walls. However, unlike the Hydrogen Reactor's shafts, which had been narrowed to slits purposely to help meter the amount of liquid that came through them, the Power Center's shafts were wide open. Also unlike the Hydrogen Reactor's shafts, the Power Center's shafts reached all the way to the outside of the pyramid. And therein lies our answer.

Another often overlooked fact about al