It seems impossible, but the key geometric ideas of the
Monkey" are identical to key ideas from the 14,000 years
La Marche, France.
We can show this duplication, starting
with the basic design of the
Cinderella Engraving, and how it came to light.
Next, we can show, how the same design dominates the Nasca Monkey.
The Canada Council had seen this design back in 1987, along with my story of
how it had been inspired by the Athena Engraving. Consequently, there is no
doubting of the design's objective existence at that time, long before the
Nasca Monkey's image was brought to my attention.
The Seal of Atlantis
What matters is that I had first extracted this design out of another
picture back in 1987. It is as unique, as a coat of arms. So, after seeing
it again at Nasca, I called it the "Seal of Atlantis". Naturally, it would
have been more accurate to call it the "Seal of an Unknown Advanced
Prehistoric Civilization of Earthly or Alien Origin", but even so, my work
goes a long way toward proving that Plato's tantalizing account of advanced
Atlantean civilization is based upon true facts.
The Seal of Atlantis
establishes a surprising (pre)-historical link:
La Marche -
Nasca! Europe - (Atlantis?) - America..
By the same token, such identity of design may throw some doubt on the
belief that the Nasca figures are no older than a couple of millennia.
How do we go on from here?
Maria Reiche - the patron scientist of
Nasca. may have faced this dilemma.
We know that the nine-fingered monkey was Reiche's favorite Nasca figure.
That's good news, we may surmise that Reiche had measured it with extra
care, and devoted much thought to its geometrical regularities. She must
have noticed that the Monkey poses in a 36-degree X-shape (tree).
Being a mathematician - she would have known then that the entire design
might be an etude on the Golden Mean. She may have even recreated the daisy
chain of ten monkeys. It's no wonder to me that the Monkey should have been
her favorite design.
Perhaps, Reiche kept her findings back. The few examples of
geometrical skills, which she had published, were not well received. She had
a taste of hostility in the dumb and malevolent criticism from the bobbing
ranks of scholars ever-ready to pounce on the latest "victim" of
Mania with their mental DDT. But, Maria herself was opposed to the fanciful
notions of Ancient Astronauts, and
Atlantis. Perhaps, that was the reason
for her reluctance to publish more.
It may have been apparent to Reiche that the Golden Mean was important to
the ancient Nascans, but a continuation on the idea was proving to be
In contrast, we know an interesting Magdalenian concept - the "Cone &
Square" from the Athena Engraving. There are parallels, too. The Big X is a
cone (or two inverse cones), and what is one of the prominent "Triplets"
circles at La Marche is prominent in the monkey's design, as well. This sets
our course - we have to test the Cone & Square design on the monkey!