As we can see, the angles are mostly always precise, and those that aren’t are very close and close enough for us to conclude that the artist intended the Cross to be at these specific angles.
In the Louvre Museum, Paris, there are several ink drawings on this theme:
In the drawing, “Jesus succumbing to the weight of the cross, close to St. Veronica” by Alessandro Algardi, we see two crosses – one at the angle of 51.5° and the other cross and its crossbeam both at the inverse angle of 38°.
Again, with a similar title, “Jesus succumbing to the weight of the cross”, is an ink drawing by Giacomo Cavedone, crossbeam 23° and soldier's spear at 52°. And in another ink drawing by Lodovico Carracci, The Carrying of the Cross, there are two crosses – one at 23.5°, and both crossbeams at 52°.
‘Christ Carrying the Cross’ by Hieronymus Bosch (1490) – cross between 51° and 52°.
Same title by Marco d’ Oggiono (1495-1500) – both beams 51°.
Same title by Bartolome Esteban Murillo (1617-82) – cross between 52° and 53°.
Moving to relatively modern times, there are a set of engraved reliefs by Eric Gill (1882–1940) on the ‘Station of the Cross’ now on display in St. Albans Church. In two of these, ‘He Falls the First Time’ and ‘He Meets His Mother’ – the cross is between 23° and 23.5°.
We find the same angles in a painting on this theme dating from 1925 by Krishen Khanna – Christ Carrying His Cross. Like the Hans Holbein woodcut, the cross is 23.5° and the crossbeam is 38 degrees - the inverse of 52°. (See images below).
And finally, I was most surprised to find a ‘Gouache’ sketch by the famous Spanish artist Salvador Dali, dating from 1964 to 1967 from the Biblia Sacra, published in 1969 by Rizzoli of Rome, titled, Jesus Carrying the Cross . . . the cross is at 52 degrees.
These are just a few of the hundreds of examples I have discovered over the last ten years. Again, for those who are familiar with the Great Pyramid, the angle of 52° identifies and points to it immediately, and one would be hard pressed to find some other relevance with this particular angle.
One would then try to get to the bottom of this mystery, as to why this angle which identifies the Great Pyramid of Giza, turns up almost habitually in so many of these paintings – especially those related by theme.
The obvious questions one would ask is: if these angles are alluding to the Great Pyramid, then what does the Great Pyramid have to do with the Earth’s obliquity angle of 23.5° and the Crucifixion?
And for that matter, why are these angles so frequent in the paintings featuring John the Baptist, Mary Magdalene and Jesus?
The Gospels are cleverly-conceived, allegorical stories. Initially, and before they were adopted by the Church, the Gospels were written specifically for the purpose of conveying profound esoteric, mystical and metaphysical knowledge to those who could understand them. For example, and as we will see later, there are many metaphorical and allegorical allusions to the internal, physiological and psychical processes associated with the illumination or enlightenment experience known by the Hindus as kundalinī, and which I have noted in my research.
Although it is not a subject that the majority of us will be familiar with, and its true that most researchers into ancient mysteries tend to avoid the subject, it must be said that the Kundalini phenomenon or ‘enlightenment experience’ (which is referred to in the Bible as Kardia, and in many other historical texts under different names and terms), is indeed a factual, real, and well-documented phenomenon - and although rare, has been an important part of the human experience worldwide and is said to be necessary for our own evolution.
In all accounts this phenomenon has been the ‘religious impulse’ of man throughout history and is ultimately behind everything that has ever been written or symbolised in one form or another. Therefore for those of us who are familiar with it and have even experienced it, one wouldn’t be surprised if this phenomenon was related in some way with the enigmatic monuments at Giza, based on early shamanic experience, and it must be said that some of what I have researched does indeed point to this conclusion as I will reveal in the course of these presentations. It is time this connection was acknowledged.
In any case, the spiritual aspect to all this really cannot be avoided when we consider Ancient Egyptians beliefs and the philosophies of the oldest ‘mystery schools,’ esoteric organisations and traditions – especially those associated with Masonic, Rosicrucian and Kabbalistic thought, who assigned great importance to the Giza pyramids and in particular the Great Pyramid through their mysticism.
My aim is to present an explanation, or offer my own interpretation regarding the motives of those who encoded these angles, and it is in the Masonic, Rosicrucian, Templar and Kabbalistic sources that we find the most intriguing information on the Giza monuments; information that appears to tie-in well with my research into these encoded references, and indeed they offer some answers to the mystery.