The pentacle was once revered for the perfection with which the
human form fits enigmatically into a five pointed star. Today
it is a symbol that resurfaces time and again, but without the
purity that was originally intended to be its message. The ‘evolved’
and altered image shown here is all that has survived human interference
over the ages. Few if any have given any thought to its origins.
I believe that before this symbol was usurped by
all kinds of bizarre followings, it was the ultimate representation
of humankind. Humankind, whom he believes from all my research,
came from the stars so to speak! Humankind created under a supreme
Creator’s perfect mathematical design code.
So why has this symbol of perfection been so blatantly confused
with evil? Why has a unique representation of this symbol become
the object of desecration and Satanism, to be feared when it was
once so pure?
The story of the universal mathematical blueprint of the human
form seems to originate around the time of Christ.
A man by the name of Vitruvious lived during this period. We
all know how Da Vinci referred to this ancient scholar in his
rendition of ‘Vitruvian Man’. What most people don’t
realise is that Vitruvious not only delved into advance drawings
and the mechanics of machines like Da Vinci, but he had originally
represented a universal mathematical code of the human form that
was once more defined.
2000 years ago, Vitruvious had recognised the navel as the important
central axis for a circle and a square when the human form has
legs together and arms outstretched above the head. He also had
a second rendition of the human form with legs and arms apart.
But here is where something crucial seems to have been forgotten
or intentionally omitted. Vitruvious originally interpreted the
arms quite differently to Da Vinci in two distinct positions with
arms outstretched above the head and arms outstretched far apart.
(matching the exact leg positions being together and far apart).
This is exactly how I have interpreted the two arm positions
in my human codex theory in ‘The Hidden Records’.
Da Vinci thought the point where the square and the circle intercept
was a sacred arm position (see position ‘x’ in the
image below). It is also amazing that while Da Vinci published
his perhaps ‘censored’ Vitruvian man 1500 years later…
another great scholar in Germany at virtually the same moment
in time as Da Vinci published the complete Vitruvious human form
rendition. His name was Heinrich Agrippa. The churches in Germany
were so horrified by this mans occult publication that he was
arrested and subsequently burned at the stake.
Here is a combination depiction of Agrippa’s reproduction
of Vitruvious’ 2000 year old human code and his two original
sketches are shown in an overlay. Note the ‘all seeing’
eye positioned above the head like a crown. It suggests that Vitruvious
himself might be repeating an ancient Egyptian source of lost
knowledge. One must also consider the possibility that it was
not at all safe 2000 years ago for Vitruvious to show the once
sacred human icon as complete, i.e. the connection between the
human form and the stars.
Over time, the true meaning of the once sacred icon suddenly
became embroiled in witchcraft during the Renaissance era, and
was henceforth interpreted as ‘the occult’. The ‘sacred’
symbol became a target for desecration by evil groups and cult
followers. The way to show disrespect for its godliness and purity
was simple… it was unceremoniously turned upside down and
desecrated in rituals and utterances, perhaps motivated by the
intention to scare people away from the wonderful 'secret'. The
icon became something churches believed should be feared.
And fear one must, but for other reasons:
Humanity has taken our most precious icon of whom we are and where
we come from and violated it.
Once you have had the opportunity to read 'The Hidden Records',
you will notice that the symbol above has evolved from a very
sacred codex that not only makes its appearance at Stonehenge
and Giza, some of humanity’s oldest sites, but as bizarre
as it may sound, it can even be found on another planet. To get
an idea of what the author is getting at, browse through the thumbnail
images on this website, then go to the book for the all important
This is how the author believes this sacred symbol became distorted.
It would appear that over time the human genitalia were seen to
be a more appropriate focal point of the ‘star man’
than the navel (as in Da Vinci’s Vitruvian Man), which was
once the central point from where all the geometrical proportions
emanated. It is not surprising this distortion of the
original came about. In the case of the age old Cerne Giant found
at Dorset (shown lower down), it seems the genitalia form the
cosmic pointer to the area of the sky that repeats the solution
to all the star maps that have been found by the author. The same
is true for a similar painting of a man in the Lascaux caves that
dates back 17 000 years, where the human anatomy acts as a cosmic
pointer to the celestial bull. In both instances the genitalia
have mistakenly been confused with the ‘sacred geometric
centre’ of the human form… hence the distortion of
the meaning of the pentacle in later years.
The question readers most frequently ask about the sacred human
geometry that I propose in my book, 'The Hidden
"There appears to be a disparity in how the 'geometry
codex' is depicted in various ancient sites. Is this a flaw in
the theory? Or is this variation something that can be reasoned?”
The answer to the question is that there are two distinct interpretational
themes and the author has only recently been able to reason why
this is so.
The book goes predominantly into instances
where pure geometry is prevalent, with precise 45, 60 and 90 degree
angles. He verifies these angles that make up the human form with
an experiment measuring my own dimensions.
In the less detailed examples, all that is of relevance to the
author is the prevalence of the all important unique elongated
pentagon. It would seem that the way in which disparate civilisations
around the globe once depicted their embodiment of the human form
varies from one to the other. I believe the pure geometry
was either forgotten or intentionally hidden.
In the more recent case of Leonardo Da Vinci, I would like to point out
that he may strategically have hidden the easily recognisable
pure angles of 45, 60 and 90 degrees in a 'sketch' version of
what was to become known as his famous ‘Vitruvian Man’.
I believe this could have been to avoid repercussions from
the church for being so outspoken. On the other hand, the dimensions
may have been quite variable. In reality all human beings display
variations on the dimensions of the human form. This being the
case, the dimensions will generally come close to the pure angle
hypothesis, but not necessarily emulate it exactly. Many have
also suggested the face of Vitruvian Man is Leornado Da Vinci
The geometry explored in my book comes in two
- Firstly, in what I define as ‘pure’
form. What comes to mind here, are megalithic architectural
layouts, depicting precise geometry, made up of three equilateral
triangles from the navel, as well as two right angled triangles
with 45 degree angles. The author confirms the accuracy thereof
in an experiment using the measurements of my own ‘human
codex’, coincidently turns out to be identical to the
codex found in the Cydonia area on Mars.
- Secondly, in what he loosely defines as a ‘general’
portrayal. Here, the human form is depicted inside a rough sketched
or simple elongated pentagon that has no clear ‘pure’
angle geometrical make-up. An example of this can be seen in
the landscape renditions below and in the famous sketch of Leonardo
Da Vinci’s 'incomplete' Vitruvian Man.
Both variations – the one with its exacting angles,
the other with its ‘simplistic elongated pentagon’
– are important in deciphering the validity of the author’s
hypothesis and it would be absurd to argue over the variances.
I believe that in all likelihood Da Vinci would have put
his life at stake had he dared to portray his Vitruvian Man in
‘pure’ geometric form with the arms depicted in the
overhead position (as seen on this website). This would have been
synonymous with a star in a circle. Exposing such ‘sacred’
knowledge, which Da Vinci inadvertently seems to have had access
to, could well have cost him his life.
Five sided pentacles inside circles, and similar renditions,
were taboo in the Renaissance era. The author believes that the
church of the day was aware of the threat that this revived ancient
knowledge might pose. The holy books did not seem to mention it,
so perhaps many deduced that it therefore had to be untrue. Could
this human codex once have been part of the original texts of
our holy books before the Renaissance era? Knowledge that ties
humanity with ancestors that came from another star system! Knowledge
that would suddenly be incriminating to the church! This begs
the question: Was it deliberately omitted? Or did they know about
the validity of these teachings, but realising it was a threat
to religion, decided it had to be relegated to a secret. It would
have been an almost impossible task to reincorporate this lost
knowledge in the holy books at a later stage. The church of the
time would no doubt have feared the loss of its credibility if
critical changes were suddenly made to its holy books.
The only way to prevent scholars researching such controversial
material was to declare it taboo!
In conclusion, since every human being is unique and may have
slightly different proportions when compared to another, it stands
to reason that:
- Depictions without ‘pure’ angles are far
more prevalent, their relevance being ascribed to the uniquely
elongated pentagonal shape in which the human form is ‘contained’.
- This elongated pentagonal shape in its simplicity is still
quite unique in nature. There is nothing else that fits the
shape so aptly other than the human form when it is mimicking
a five pointed star.
As insignificant as the above ‘sketch’ of a naked
man on a hillside in Dorset (south of Stonehenge) may seem, it
was exactly this phenomenon that inspired much of my
theory on this complete ‘geometrical man’ and its subsequent
implications in a much bigger picture. He wondered if this five-sided
representation of the human form could fit into the shape of the
five trilithons that make up the circle at Stonehenge. The mythology
and folklore associated with Stonehenge has always suggested that
this mysterious stone circle holds a secret about humankind itself.
So finding a theme to do with the human form not too far from
it, suggested to me that Stonehenge and the so called ‘Dorset
giant’ could somehow be linked.
The image above is the latest associating breakthrough that really
makes the Dorset man fit. Recently, New Age researchers have suggested
over the internet that this ancient deity appears to be a representation
of Orion! I believe this finding goes hand in
hand with my greater star map theory, and the cosmic 'pointer',
which is so integral to my findings.
Not only does the Cerne Giant of Dorset contain the breakthrough
elongated pentagon, but it further corroborates some of the author's
other research. Namely, that Orion is the 'cosmic pointer' to
locate the position of the sacred star, around which my book
It may not necessarily be Orion’s 'belt' that is pointing
the way to something important in the heavens, but another part
of the man's anatomy! Ancient scholars passing this information
on from one to another would surely not have forgotten such a
unique teaching mechanism. Proof supporting this bizarre interpretation
can be found on page 165 of ‘The Hidden Records’.
On the border between Arizona and California, three independent
human form geoglyphs have been etched into the landscape next
to the Colorado river. They are very ancient and were without
doubt inscribed by the earlier American Indian people that once
To locate the geoglyphs go to google earth (they are visible):
N33 48 00.0 - W114 32 00.0
Or if you are fortunate to live near this area: drive about
20 miles north of Blythe in California along the Colorado River.
Follow the water North to a point where homes dot the riverside.
You'll see State signs marking the road to the sites. From
there, go west a short distance to a group of small hills by dirt
They have been named ‘The Intaglios’ and have been
created by the identical technique used in the Nasca geoglyphs
in Peru. In the two images below, an idea of the size of these
landmarks can be indicated by the size of the fence built around
the now protected geoglyphs.
What extraordinary set of circumstances would inspire the ancient
people to create the images of three naked human depictions with
outstretched arms in this way?
What is worth reasoning now is: Firstly, whether the human form
with arms outstretched inside an elongated pentagon, appearing
in four very large landscape renditions (three in California,
one in Dorset) is purely coincidence? And secondly, for what reason
would the renditions have been portrayed so large, facing skywards?
At one ‘Rammeside period’ tomb in Egypt there is
a cosmic mural with a similar portrayal of the human form with
arms and legs outstretched, contained inside a circle. The man’s
head is ‘crowned’ with the sacred solar disc (or sacred
Sun-like star as debated) so often seen in Egyptology, and which
the author strongly believes is the star of the ‘gods’.
To add to this reasoning, a whole array of stars, shown as small
dots, can be seen inside the disc.
One could surmise that it suggests that the solar disc and the
cosmic man are found near the edge of the myriad of stars of our
galaxy we call the Milky Way.
The imagery depicted below is derived from 17 years of research
by the author and will become clearer as the chronicle of ‘The
Hidden Records’ continues. Over the aeons humanity has shown
how destructive it is. Hence it comes as no surprise that evil
doers would find a way to destroy the truth. The truth being the
wonder of the origins of humankind as pure, and God-created! The
author feels very strongly about reviving the purity and truth
of something so important. What he is about to explore here is
how the various symbols are unquestionably different… good
from evil… constructive from destructive. The images directly
below are sacred and pure:
There are two very ancient symbols – the first two here
(from left to right) are both of sacred geometry – identified
by the author as having been found at Stonehenge. In both instances
the human form is shown upright ‘mimicking’ a five
pointed star! The image on the far right is the simplified version
of the five pointed star with a circle. Today the meaning of the
pentagonal inner shape with its equal sides has been completely
forgotten. Notice that the star is ‘upright’.
In instances of the human form being shown ‘upright’
(as in the symbols above derived from Stonehenge), this is indicative of the goodness of a constructive
God’s creation… hence a sacred human codex.
The image in the centre is a complete version of the pentagonal
geometry found at Stonehenge. When compared to the images and
symbols that follow below (which are ostensibly associated with
evil), it is quite obvious how the meaning of this ‘sacred’
geometry became distorted and confused.
One important breakthrough I made since publishing
my book is that the geometry at Stonehenge also appears in the
secret geometry associated with the legendary King Solomon, but
this is a long story on its own.
In more recent times, the pentagonal symbol that makes up Stonehenge
is exactly what the military and law and order in the United States
use as their badge. Is this merely a coincidence?
Evil destructive societies throughout history have found a way
to desecrate the sacred symbols (shown above) associated with
the human form. The opposite of good and purity is achieved when
the symbols shown above are depicted upside down, as seen below.
What has happened is that their meanings have been totally confused
over time, deliberately in some instances, unwittingly in others.
In all fairness, there are innocent cases of artists and builders
of modern structures over the last few centuries getting these
symbols completely mixed up and unknowingly reproducing them in
their derogatory form.
The symbol in the centre (shown above) completely mocks the
original sacred symbol by showing the human form upside down and
hence dishonouring God’s creation of humanity. Shown on
either side of this symbol that has become associated with evil,
are more recent derivatives, entirely devoid of the original geometry,
and hence the honourable intention of the symbol’s original
meaning. At some stage the symbol was associated with a goat head
being superimposed over the original geometry, and is now used
by Satanic groups and blood fetish cults.
The author disassociates himself completely from the three symbols
shown above in red (or any practises associated with them). For
me they decry everything my research stands for, namely the
revival of pure and constructive ancient knowledge. I believe
they are fundamentally and conclusively against the God-created gift
of life, and the beauty of the uniqueness associated with the
There are already places in this world, where the red symbol’s
meaning has become a reality and society is not even aware of
how destructive it is. Human life is no longer regarded as sacrosanct,
thus undermining the very reason for our existence. I
believe the time is very near where those who are spiritually
weak and without this critical knowledge, risk being caught up
in the lure of these destructive forces.
For those who feel a calling to the truth, please spread the
news to disseminate this ancient knowledge and stand your ground
against a pervading evil.
CLICK FOR PART TWO