With the Flower of Life, the face takes on a more three-dimensional appearance, which is necessary in order for us to appreciate fully what was accomplished. The geometry is more complicated, but not as complicated as what is necessary to create two identical, mirrored, three-dimensional surfaces in granite. The intricate web of correspondences among the face, the harmonic sequence, the flower, and the grid seems to establish a physical manifestation and integrated expression of art, mathematics, music, and engineering.
In chapter 1, we saw the perfection of the Hedjet and the Pschent. They presented us with a hint of techniques in ancient Egypt that have been unknown until now—techniques whose application required workers with both the knowledge of absolute accuracy in manufacturing and the tools to accomplish it. We are leaving Ramses’ face with a greater understanding of the difficulty involved in manufacturing the head. Though we have worked thus far with only a two-dimensional view, our results have yielded enormous implications. In the next chapter, we will examine the third dimension of Ramses’ head: a 90-degree view of its profile from both left and right. We will then examine other Ramses figures to compare their geometry to the one we have been studying and examine some ideas as to how these mammoth objects could be created today.
World History
