Megalithic Marvels - Robert Edward Grant: Da Vinci’s Secret Trip to Egypt & His Hidden Pyramid Codes

Episode Date: February 13, 2023

Derek Olson here to reconstruct the prehistoric past with you! In this episode I feature a new interview I just did with author, inventor, explorer & host of Gaia’s Codex series - Robert Edward Grant. In this video presentation style interview, Robert shares about Leonardo Da Vinci’s secret trip To Egypt in the 1400's where he spent considerable time inside the Great Pyramid of Giza. Robert will then take us on a journey through a few of Da Vinci's most famous paintings to uncover the Great Pyramid Codes Da Vinci Hid Within his World-Famous Art.   SHOW NOTES Egypt Tour Follow Megalithic Marvels on the following platforms: Instagram - https://www.instagram.com/megalithicm... Blog - https://megalithicmarvels.com/ Youtube https://www.youtube.com/channel/UCpiP... Facebook page - https://www.facebook.com/megalithicma... TikTok - https://www.tiktok.com/@megalithicmarvels Facebook group - https://www.facebook.com/gr

Well, I'm really excited to be joined by author, inventor, entrepreneur, CEO of Crown Sterling, Explorer, host of Guyas Codex series, and really so much more. Robert, Edward Grant, Robert, thanks so much for joining me on Megalithic Marvels. Great to be here with you, Derek. Man, you are a busy guy doing so many things, and I've really enjoyed following you the past few years, especially since I started to see your trips to Egypt and this discovery. you made inside the Great Pyramid. Hugh got so much to share.

So I'm really just going to turn it over to you. And I'll ask you some questions along the way. And just really honored to have you, Robert, and take it from here. Great to be here with you and exciting. I've been a follower of your content and everything on Instagram for a few years now on megalithic marvels. And I absolutely love it. So thank you for the invitation.

Very much appreciate it. And for those that are interested in my work that might not know about it, you could find me also on Instagram at Robert Edward Grant. And then also on my website, Robert Edwardgrant.com. So the night my son was born, I was waiting because my wife had an epidural and she was trying to sleep and while she was trying to sleep and she wasn't, you know, feeling the contractions anymore, I decided, you know, I was just, I kept having this image in my head of the Vitruvian man. So I drew this sketch of it just from memory.

And when I drew this sketch from memory, I immediately had this feeling like, and whenever I draw geometry, it's like a, it feels like a channeling almost, right? It's just kind of coming through. And what was really remarkable was when I placed this without having to be able to see the Vitruvian man, when I placed this over the real Vitruvian man as an overlay, the proportions are identical. It's nuts. but basically what I realized is that the center of the square to the corner of the square would of course give you a 45 degree angle here, right? That'd be a 45 degree angle. But if you took the center of the circle to the upper right corner, it turns out to be the same as the slope angle as the Great Pyramid, 5184, which is unique because this is not even a squaring of the circle.

And it looks a little bit misshaping here because this is just a little bit mischaping here because this is just taken with my iPhone, but it's actually straight. It's just the way that my, the angle of the camera was when this photo was taken. So 5184, I knew immediately then this is the pyramid. So then if you place the pyramid inside here, it's going to give you, right, with the square, it's going to give you that 5184 as well. So then I did this, you know, took this a step further and I worked on this with Alan Green. And I immediately saw, as you could see here, I was drawing circles, right, inside the body.

as representations of chakras as well. Well, we placed the Great Pyramid over in the exact right proportion, and we found that the chambers were exactly matching the location of horizontal lines that Da Vinci placed on the Vitruvian man. You can see there's two on the knees here, which means probably there's chambers down there, deep beneath the Great Pyramid. Okay?

And you can see there's a line at the groin, which is exactly matching the subterranean chamber. The navel is matching the ground level. There is a line here on the body, just as you can see lines here on the arms. We think that each of these lines have significance. And in fact, when you read the paragraph that's above it, it says that the man must be cut into one 14th or 14 parts. You see this right here. It's in backwards mirrored text. So one over 14, right at the top of the screen.

Now, where else do we find someone being cut into 14 parts? That's the story of Osiris. Osiris was cut into 14 parts by his brother set. And then, you know, basically spread all around the land. And ISIS had the job of trying to find all the parts and put him back together. again so he could be resurrected. And they never found the last part, which is his penis. Right.

So then she gave him an upgrade and turned one into crystal for him, which then they ended up having their son Horace, right, which was kind of an interesting mythology story. But what we found is that each of these lines the Da Vinci basically gave us is giving us the locations of the chakra points. So then that means that where he also drew other lines here and here, there must be potentially other chambers that are yet unrevealed or unknown. You can also notice that the air shafts are also framing the arm, right, of the Vitruvian man. That's crazy. Does this mean that Da Vinci had access to a map? Now, what was he doing in Egypt in the first place? Well, he was missing from Egypt or missing

from Italy for three years, from 1482 to 1486. And, you know, nobody knows where he was during that time. And the Vitruvian man was the first piece of art that came after that period of time. So what we have, you know, then posited was this is telling us something. Divinci must have had a map. We know that he went to Egypt because he chronicled it in this letter he wrote to the Devitar lieutenant of the Sultan of Cairo, Sultan Kate Bay, and he wrote it, and that letter still remains today as Article 1336 and 1337 inside the Codex Atlantis, which is one of the compendiums of his work that was left to his assistant, Salai, and now is with us today, right? It's the most significant of his compendiums of notebook work. And so basically it ties to this

story, The iconic, the Trubian man. drawn circa 1490 by the great Leonardo da Vinci. It's probably the most famous image of all time. And yet for over five centuries, no one has noticed he encoded within it astounding knowledge of the great pyramid of Giza. Polymath Robert Grant recently observed that the angle from the navel to the top corner of the square

exactly matches the side slope angle of the pyramid. aware that his cryptologist friend allan green had discovered precision sacred geometry connections to the pyramid hidden in the cover of shakespeare's sonn's grant asked him to investigate da vinci's masterpiece with the same mathematical rigor what they found challenges our entire concept of what this enigmatic work of art is really about It's widely known that the Great Pyramid embodies the ratio of the vases of the Earth and Moon. But Green replies that by inscribing a circle within Da Vinci Square and raising that circle, so its center coincides with the center of the Retrobian Man Circle and the Naval, six perfect pyramid sections are revealed, along with an exact geometrical match of the

curve, moon, pyramid, relationship. Da Vinci states explicitly in the backwards mirrored text surrounding his image, that its proportions are exact integer ratios of the whole man. And he's cut his man in 14 places, clearly identifying those proportions. In addition, he says, decrease the height of man by 114, a second failed reference to the Horace eye in which said cuts Osiris body into 14 parts. Now, the magic. Da Vinci's lines reveal the perfect blueprint of the internal structure of the pyramid's chambers. Only the queen's chamber seems to be missing.

But is it? Queen Isis mourning the cutting of her husband's body into 14 parts, represents the 14 phases of the waning moon. Her reconstituting the cyrus body represents the 14 phases of the waxing moon. Da Vinci has precisely identified the presently known subterranean queens and kings chambers, the ground level of the pyramid,

its defining side angle, and its mathematical relationship to Perth and moon. Centuries before, these were supposedly known, which begs the question. Do his upper lines represent presently unknown chambers? Da Vinci seems to be telling us the great pyramid hides a deeper esoteric

symbolism that has ever been suspected. A blueprint of man's unfolding spiritual journey through the sacred energy centers in the spine, known as the chakras. Perhaps finding these inner chambers, in ourselves is our ultimate purpose and the great pyramid, but a metaphor for the true measure of mankind. Fascinating stuff.

So it's known that Da Vinci disappears from Italy in the 1400s. Publicly, the people who knew him, he's nowhere, and there are records that he was actually in Egypt. And it looks like... And also it's consistent because every polymath throughout history went to Egypt. Whether it's Pythagoras and Plato, Democritus, Aristosthenes, you know, Theon, you name it. Basically, all the Greek philosophers all spent significant time in Egypt. Pythagoras spent up to 30 years there.

So this was so that they could attend the Egyptian mystery schools. And so at the same time, Sultan Kate Bay during the Renaissance, reached out to several because the hermetic text had just been released. And the year before Da Vinci was born was a major shift because the hermetic texts were released from the Vatican libraries. They allowed them to go all around Europe. And that had a huge impact on the people at the time. And it spurred a renaissance of humanity. So you have people like Albrechturor who was deep into. geometry deep into hermeticism. They formed a group called Rosicrucianism, right?

Da Vinci was, if you go on the website of Amork, which is the, you know, Rosicrucian website, they claim that Da Vinci was one of their original founders during the Renaissance period. And what does Rosicrucian mean? It's a reference to Ross Tao. Ross Tao is the Rose Cross. And it was the original name of the Giza Plateau. So this was knowledge that I think was kept and hidden for a long time. And hidden so that it could be found at the right time when the world was ready for it and when it was supposed to be. So I think that's why Da Vinci went to Egypt. He was recruited to go there along with several other.

I mean, Sultan Cape Bay was famous for building Tuscan style architecture all around Cairo. And in fact, they still stand today. If you look at the citadel, the citadel in Cairo that is called Babylon, right? It's actually the name Babylon. That citadel looks just like a Tuscan castle. So he brought architects and polymaths from Europe because he had trade routes with Venice. And both with the Sforza family in Milan, as well as the Medici's in Florence, who Da Vinci ended up working for both those families.

So it is definitely conceivable, right? And also the record in the letter that he wrote states very clearly that he went to Egypt. That's just incredible to consider that he's probably living in that pyramid for who knows how long mapping it and measuring it. Considering all of these secrets that you're going to tell us also he encoded in the Last Supper, which I'm excited about. Yeah, absolutely. So let me go ahead and go back to this then. So Leonardo today is perhaps the world's most famous cryptographer in addition to being the world's most famous artist. I mean, there's all kinds of stuff that you kind of can't not notice here. Number one, you look at the Mona Lisa and the first thing that sticks out to me is what is this thing, this chain hanging out over here? What is this? And it's shaped like the omega on the rim of the sarcophagus. Can you see this? Yeah. It's a just like some sort of shackle or something. And then there's a hook behind her back as well of the same color. Can you see this? Have you ever noticed that before? No. Yeah. Well, you'll be shocked to know that if we have time, I'll show you this, but the Vitruvian man, when you place his

fingertips proportionally to the end of each of these sides of the painting, and then place the top of the circle of the Vitruvian man at her head and his feet at this base right here, his hand, wrist, fits perfectly into this shackle. What? Yeah, I know. It's pretty crazy. So another thing is you might want to recognize this face because this face shows up in others of his work that we'll get to in a moment.

So this is on Wikipedia. This is the reference to the letter to the Devetar lieutenant of, the sultan of Cairo, Babylon. Now, Babylon was the name that was given to a section of Cairo by Alexander the Great, and that's where this Sultan, Kate Bay's citadel is, actually. And it's right in between modern-day Cairo and the Giza Plateau. It was right, like an island right on the Nile. And so this is, this is in the letters, the personal records, right? Letters that went to, you know, this lettered to the Devaddar of Syria. So Syria had control at that time of Egypt. This was during the Ottoman Empire. And Syria had this group or class of people known as the Mamluk Sultans. The Mamluk is a word

that means bodyguard. So the bodyguards. They were sort of tough and robust people. And they had been cousins of the Ottomans, but they didn't really get along well with the Ottomans. So this was this letter that you can find reference to, again, here's number 1336, note five, in the Codex Atlantis. Now, art historians believe that that letter is like a fictional account, even though Da Vinci never wrote fiction. And in the letter, it says, at last we reached Babylon, but this is not that Babylon which stood on the further shore of the river Chobar, but that which is called the Egyptian Babylon. It is close to Cairo, and the twain are but one and not two towns. So he also goes on to further speak in the letter about the great Mount Taurus.

The peaks of the Great Mount Taurus, these peaks are of such a height that they seem to touch the sky. And in all the world, there's no part of the earth higher than its summit. And the rays of the sun always fall upon its east side for four hours before day. And being of the whitest stone, the Taurus mountains consist in large part of limestone. Well, you know that the pyramids were covered in Tura limestone. It shines resplendently and fulfills the function to these. and Mount Taurus is often believed to be a mountain range in Turkey, but the Syrians couldn't have gone into Turkey

because they were at odds with the, they were very much at odds with the Ottoman Empire, which had control of both Turkey and Armenia at the time. So there's no way that Da Vinci would have been let into there, right? And he even was at odds with, even DaVinci himself was at odds with the Ottoman Empire, because they were looking at having a bridge built and they didn't like him so much that they ended up going with Michelangelo to build some bridge and design some bridge that they wanted to build. And so basically when you look at the ancient name as well of the Great Pyramid,

it is an Apis Bull with two chevrons. Here are the two chevrons. And these represent mountain. So Bull Mountain or Torres Mountain. Of course, Rostow is the original name of the Giza Plateau. And Ross Tao is just Tao Rosed backwards. Then he says, among the gloomy rocks, I came to the entrance of this great cavern, in front of which I stood some time, astonished and unaware of such a thing, bending my back into an arch. I rested my left hand of my knee and held my right hand over my downcast and contracted eye, often bending one way and then to the other.

That's exactly the experience that you have when you're going into the King's Chamber as you crouch down. I could, I was, you know, to see whether I could discover anything inside. And this being forbidden by the deep darkness within. And after having remained there for some time, two contrary emotions arose in me, fear and desire, fear of the threatening dark cavern and desire to see whether there were any marvelous thing within it. And that's exactly how I felt the first time I went into the King's Chamber. Now, other paintings by Da Vinci after 1486 all included references in some way, shape, or form. to hidden cryptographic messages to Egyptology. Here's another example of one.

And this was actually believed to be Anne Boleyn, who lived in the same house with him at the end of his life. Anne Boleyn, the mother of Queen Elizabeth I, who lost her head after King Henry VIII grew tired of her, being married to her. But in this particular case, she was very young, and she lived in the house of the French court, so King Francis. And Da Vinci spent three years there from 1516 until 1519. And those three years overlapped with Anne Boleyn. Now, art historians today are starting to believe that this was actually Anne Boleyn. Because it looks a lot like the other portraits of Anne Boleyn that show up later in her life when she was in the English court. So you can also see what looks like an eye shape around her head.

Can you see this? Yep, I see that. Okay. even her eye, the eye of this eye, so let's say the iris of the eye, is actually lit up by the light around her hair, forming a pupil from the center of her hair, and it looks like a cat's eye, right, because of the part. And the part is an upside down T as well. So can you see this iris shape here in her hair? So you can also see there's some squiggly over here, just like on an Egyptian eye of horse. Horus, where you've got like the Abdullah Oblongata, Modula Ablangata coming over here, right? But actually, this extends beyond just this eye of Horace that's around her head. And you can see the face of what looks like a lion. So this is the left eye of the lion.

Here's the nose. Here's one nostril. Here's the other nostril. Here are the cheek pads and even the whiskers. And then you can see a tongue sticking out of the lion as well. Do you see this? I see it now. So have you ever noticed this before?

No. Yeah. So these were hidden encryption by Da Vinci telling us about the eye of Horace, right? Obviously, a very prominent Egyptian story and also tied directly to this Osiris story, man being cut into 14 parts. Now, if we overexposed this a little bit, you can see it even more clearly, right? You can see the face of this lion. And in fact, we can also see that on the Last Supper, the distance, you know, this is famously put into the story about the Da Vinci Code by Dan Brown.

You can see that this particular shape in between Jesus and Mary Magdalene, right, is a particular angle. Well, that angle is not an equilateral triangle. An equilateral triangle would look very different than this. It would have a gap on each side about this large, where my cursor is, versus this being the great pyramid that fits in between. And we also noticed that the exact shape of this is matching the crack on the sarcophagus also. So look, look at this.

Just another strange coincidence. Wow. Right? So why would he make it exactly the way that he did? And that also happens to match the Great Pyramid angle as well, which is kind of just super bizarre. So we found several of the paintings having matching references like this. And then what is this thing on the Last Supper? Why do we have this strange thing that's covering the feet of Jesus?

Surely you want to paint the feet of Jesus because Jesus, you know, famously had the ceremony of the washing of the feet. Why would they not paint the feet of Jesus? Well, the story that our historians tell us is that a door was built later and cut into the wall after Da Vinci painted this. Well, I don't think so. First of all, Da Vinci was famous even in his own lifetime. They would not have screwed up his painting, and the door doesn't go anywhere close to this.

The door is like six feet underneath where this is. So why did they need to cut into this beautiful painting? I believe that this portal was always there. And it was giving us another reference to something altogether different. You'll also notice that Da Vinci was following the golden ratio proportions, right? So you've got the Jesus, which is taking conspicuously the shape of the letter A. And then if you look closely, you can even see what looks like an omega symbol on the shawl of Mary Magdalene. a small omega right here, and then the shape of the letter A in Jesus,

and the proportion is the golden ratio proportion. Now, you can see this easier this way, so you can see this fold in her garment. Of course, you have to think about this painting's been obviously aged quite a lot. But can you see that omega shape? Yeah. Right here. Okay, so you got Alpha Chi Omega. Interesting.

But then I noticed that the room's proportion seemed to also match the King's Chamber. So what if we overlay the King's Chamber on top of the Last Supper, matching the back wall, right up to here, and seeing where the floor would then land? And it ends up being right at the same place as the feet of, you know, all of the apostles. And inside this portal, if the sarcophagus, which was originally six inches over, from its position to the left, it fits precisely inside of this portal pediment. And the location on the sarcophagus of the alpha and omega is exactly where Jesus and Mary Magdalene are sitting on the backside.

What? So there's this alpha omega. It just be turned around because the alpha is right here. If you're looking at it from this direction, right? Just like this. So right where Jesus and Mary Magdal are sitting is where the Alpha Omega are. Now, what about above Jesus? What does this look like?

Could this be an eye, this pediment? Can you see, again, what looks like a cat's eye? Yep. A thin slit for a pupil. And you could even see eyelashes painted on this, can't you? Yeah. Can you see them? Is this an eye of raw?

And why is Thomas pointing up? What's Thomas pointing to? Thomas's finger is pointing up. Why? So if we place where Thomas's finger is pointing up and we match it with the eye of Horace that's on LeBelle-Fronierre, which is a dark background related to the moon, the eye of Horace and the eye of Ra. And you've got two nostrils.

Can you see this where he's pointed up to? Yeah. It's a lion's nostril. So a lion's right eye and a lion's left eye. So are all these paintings somehow connected like a mosaic? Of course, the eye of Ra and the eye of Thoth, also the Eye of Horace. It was Horace who had both eyes. Of course, the reason why it's also referred to sometimes the eye of Thoth is because he fixed it with magic after Set plucked it out

when Horace tried to avenge the death of his father by Set, who murdered him, who was his brother. But the eye of Thoth represents the moon, the feminine yin energy. That's why it would be painted directly on top of La Belle Fronier. Now, what if we look at the King's Chamber? Is there something in the King's Chamber that would match where this Eye of Raw is? If we match the ceiling lines together, right here, this is the ceiling line right here? Is there the remnants of something that might be similar to an Eye of Raw? Well, look at this.

Here's a line right here. Goes across two stones. Here's the cut between the stones. this line continues, and it's looking a lot like an eye of raw. It even has this little bulbous thing here for the tearduct that you can see. And then here's the iris, and it looks like there's a squiggly line in there, almost like a yin-yang. And here would be the iris.

Can you see that, Derek? Yeah, I see it. Here's a larger form of it. You can cross this line right here. You can even see it comes down like this. Now, these walls were probably scrubbed. There are many sites around Egypt that you probably saw in Karnak, Luxor, where they actually destroyed the, you know, they defaced the monuments, the original monuments, because, you know,

it didn't jive with their story of history or whatever. And I believe that there was, you know, a lot of abrasive, you know, sort of cleaning done on the walls of the King's Chamber as well. but you can still make out the faint outlines here of what was originally there. And it's in the exact same spot as in The Last Supper. Now, what about Alpha Omega? Well, it turns out in the Last Supper, when you look at a high-res scan of it, you can actually notice that there is a letter A in like a Renaissance-style script

right above Thomas's head here, the apostle, not Thomas. I think his name is Bartholomew. And there's a script letter A right here, a Q, and then a W. Can you see that? Oh, yeah. Okay, so Alpha QW, that's Alpha Kai Omega. The W is a lowercase omega. So in the right wall.

Well, what else is there? Well, while we were there as well, and we saw in the Last Supper painting, that there is hidden a cow in the wall. in the wall. You can see the horns right here. Can you see this? Here's a blow-up version of it. Here are the horns. Here's the head.

Here's the eyes. Here's the nose. Of course, it's intended to be encrypted. The ridge of the back comes right here. And then the Alpha QW is right on the backside of the cow. Can you see that? Yeah. Underneath it down here as well, there's also what looks like another cow.

Right? And you can see it takes on this. shape right here, but it's got horns, right? And they're smaller. It's like a baby cow or something. And it's hidden within this. So you've got two cows on the right wall. The smaller cow is harder to see, but it's, you know, you can definitely make it out if you really put some focus on it and concentrate on it. But basically two cows hidden with Alpha QW on the wall. Okay. So then that leads us to ask, well, is there something similar in the King's Chamber? And remember, the name of the pyramid is Bull Mountain. And this is the North Wall, which is the north entrance, which is where

the Chevrons are. Remember, the Apis Bull? So this is actually what we found. And here you could see a bull with horns, smaller one, goes all the way over here, its legs coming over here, looks like it has a diamond-shaped heart right here, straight lines, and this is etched into the wall. And then there's a mother cow around it. And here's the horns. Here's the eye coming right along like this. So it's like this baby bull is inside this mother cow. You could even see the neck of the cow and the front quarter of the leg, kind of very muscular even. You could see make out that detail. Can you see this, Derek? Yeah, I'm seeing it. And this is what it looks like from the side. It's like etched into the wall. We don't know how it was etched, but here's the cow and then here's the bull. And here is this shape of a diamond shape. And it looks like there's another diamond shape coming down that's darker coming down like this, right, that meets in the center of it. And there's something written in the center of that diamond as well. So this is my wife who discovered it.

Well, we just found something else here in the King's Chamber. And this is before we figured out that there was a larger cow on the outside of it too. Wow. I'm blown away. I'm totally blown away. Well done, Susie. How clearly can you see that, Derek? No, I feel like I see it pretty clearly. Yeah, the larger bowl with this little one inside of it, which striking looks very similar to the Da Vinci Last Supper. Yeah, Kyle's on the right side of the wall. And you can see the diamond shape with this straight line right here,

another straight line right here and some writing on it right here. And it looks like another straight line coming down like this. You see this? Yeah. And another one coming down like this, which kind of freaked me out because that was matching my logo, which is like I had done that before I ever had my logo. You know, I had my logo before I ever saw this. This was discovered in 2020 right the week before COVID lockdowns.

Wow. You can see the horns right here. Yeah. You can even see the nostrils. I mean, I can only imagine what this looked like thousands of years ago. I'm glad you said that because, yeah, like you said, there's probably been, who knows how many thousands of years. years of weathering on this. I mean, we're talking, this could possibly 12,000 years or older. These walls have been scrubbed. So yeah, this is severely eroded, severely weathered at least.

So what did this look like in its original state? Well, and it looks like there's something else above these bulls, too. It's like some sort of writing or something. And I noticed that and discovered that on my last trip and hopefully we'll have some time to get into it, but I'm going to have to bring this to a close in a little bit. So the meaning of alpha omega, alpha means bull. The word alpha is alif. So alif bet means bull house. So alpha bet means bull's house, house of the bull and alpha bet. And the omega symbol, right, is the symbol for hathor. So you've got the hathor, and the apis. That's the story where the apis has to give up his individuality to merge back into his mother,

the Hathor. That is the entire story. And the apis is representative of Osiris. And it represents the sacrifice, death, and resurrection of mankind. The Hathor symbol is the shape of the omega. Her hair takes on the exact shape of the omega, which is the same, also matching the this would be the W in lowercase, right, upside down. This is the omega symbol, and it's also matching the Rams head,

which was the sign in the zodiac, right, of Ares as well. So Aleph literally means ox, and omega literally is a reference to the end or of the return to Hathor. Now, when you combine these two symbols together, taking the Taurus symbol and the Venus symbol of the feminine, you have Thoth. Mercury. The ancient name of the Giza Plateau is Ross Tao, Taurose, Bull Mountain. On the north wall matching.

And of course, matching, of course, the Last Supper painting. Osiris was known as the Great Bull of the West. The Great Bull of the West was the provider of fertility, as was the Apis. So now we have four paintings that are showing us the Great Pyramid Slope. this is the aris edge. So this would be the corner edge that you climb up.

But the width of this embroidery on the Salvatermendi, if you take it from here, this line right here, make that the base of the pyramid, and then take it to the bottom of the point down here. That's exactly 51.84 degrees also. And this is the King's Chamber. Takes the exact same shape as the King's Chamber, right?

And you've got a crystal right in the center of it. And then there's one up at the close to the apex as well. Fascinating. Yeah. Just seeing one thing I would say is having been in the King's Chamber recently, the most obvious connection to this painting that I see is just like you said, it's the dimensions of this room in this painting are identical to what you see in that King's Chamber, the way the ceiling aligns with the walls.

It's identical. Cool. Yep. So this is the Eye of Raw on the back wall. This was Susie laying in the sarcophagus. Every time I take a photograph of someone laying in the sarcophagus, you get this light arc on top of them just like this. It's me pointing it out. And I'm going to skip through some of these because I want to show you, there's obviously a flower of life on the backside as well of the sarcophagus. You could see the ring of this matching. Here's the center of it. Here's each pedal coming off of this, just like this. on the side. You see the pedal here as well, another pedal here, another pedal here, and it's hexagonal, and there's a letter T here as well, Tao, alif Tav as well. So basically, without going into this, this, I'll show this last. This was a discovery made by my assistant, Eden, and when we were on on the trip in 2021, and above the bull and the cow, we noted a phoenix. right here. She saw this, pointed it out. There's a wing of a bird that comes all the way out here. Here's the tail of the bird. Here's the eye. And then here's the other wing.

But I noted that there's a white bird next to it with a long bill and a plume of feathers off of its head that match what a Benu bird looks like. It's a white Benu bird, which is representation of the Phoenix. And it has a larger wing that comes all the way out here. and another one all the way over here, outside of it. You can see the line of the wing going all the way like this. And I just noticed there might be something else here, too. Looks like another bird. But, you know, I have not done a lot of research on that, but I just saw that just now. Yeah, I do.

I see another bird right there with an eye right here. So here's a bird right here. Here's another black bird. Do you see the eye of it right here? Just put your focus on the eye and then trace the wind. You see that, Derek? Yeah, the bird, the black bird I see very clear of the Phoenix. Yep.

Yep, here's another view of it. Incredible. And it's very large. It's like 13 feet wide. Here's the white bird. Here's the beak. And they're both pointed towards the west. Here's the bull and the cow.

So it's immediately above it. You see it now? Yeah. So with King Chamber, I had a bull and a cow on the wall. so does The Last Supper, is there possibly a bird or two hidden above the bull and the cow in the Last Supper? So you look at this, and the first thing I noticed is what looks like a beak right here,

here's an eye, here's the back of the bird, and then looks like there's even another smaller bird right here facing the opposite direction with its eye right here. Look at that. So you've got two birds hidden inside of the Last Supper in the exact same spot as they are on the wall in the King's Chamber. Now, this is obviously a story that's continuing to be revealed. That's what the focus of my television show on Gaia is called Codex. We've discovered petroglyphs all over all four walls of the King's Chamber now. I won't have time to go through it now because I have another meeting I have to go to.

but it's remarkable. And I think this is revealing something about the nature of the life, death, Earl and Resurrection of Osiris and Orion, who was actually the same representation as Osiris. And it's telling us something about our world today. And I think it's revealing itself to us. And it's literally happening every day. As I just saw another bird right up here.

I've never seen before with an eye right here. Can you see this? Yeah. So that's bizarre and a very prominent eye too. So as we look closer and closer, and maybe it's because it's not that the walls are changing, it's that our consciousness is lifting and we can start to see more. And that's what higher dimensional perception actually is all about. That was fascinating.

Thank you so much for taking us through that. And in closing, I know you got to go. I know you've got your Egypt tour coming up. Tell people about this virtual tour pass. The virtual pass. The virtual pass is available on my website, Robert Edwarddwardgrant.com. Join us.

I mean, you're literally going to feel like you're on the adventure with us. We have 80 people with us. Last time we went, we discovered more than 200 new things, new petroglyphs on this hunt for the Alpha Chi Omega all over and remembering who we are. And this is a really, really exciting time.

And I'm thrilled to be a part of it and to help be a catalyst for, I think, the change that's happening in the world right now. Yeah. And so you're going next month in February, right? Yep. So it starts February 25th goes to March 8th. Okay. I think I might have to get my own pass there. And follow Robert on Instagram at Robert Edward Edward Grant.

Go to his website. Watch his Codex series on Guy. It's incredible. Robert, thanks so much for your time. Thank you so much. All right. All right.