In some ways the most cogent and disturbing of this set. Once more, we can observe the use of covert and multi-dimensional 3D perspectives to accomodate the various episodes of this tableau. This time, there is also more specific articulation of geometrical structures - pyramids in the classic Egyptian style - presenting different perspectives and views when, perhaps, approaching ( or overflying ) in a craft. Intriguingly, one finds presence of a shinx-like canine creature built into the pyramid mentioned, as well as a clear Egyptian-styled baby ( or child ) wearing that ancient culture's recognisable head adornments. What further link between ancient Egypt and this ancient S American culture, can there have been, I wonder?

The basic scene is set with the pyramid defining the shape of the craft cockpit superstructure, again as if the observer were flying slightly above in formation ( blue outline ). Consolidated in this, is the reptile- shaped head of the pilot converting into a deity being consulted by a figure strongly suggestive of a female with hierarchical status. More than this is difficult to speculate on, but it is repeated in the topography of Regent's Park, London, along with the following similar symbolism.

Following the peak direction of the pyramid, one finds a beautiful and yet ominous multiple image. It seems to represent an human female form - in some gynocological detail - being operated on by a reptilian creature holding a claw-like instrument. You will recall that this entity features earlier in these tableaux, as well as the Oklahoma and Giza images. This fact may be included in the city images of old Washington DC in America. Other adjacent images seem to refer to foetuses and/or young animals of various ypes. The parallel-lined structure running thro this seems to represent a table with a subsumed scalpel image at the left end. The direction of the small-winged dragon refers to the reversed-image of the unmistakeably Egyptian-styled child already mentioned.

Following on from this around the curve of the rear aircraft wing, is the image of human worship and supplication found in all major sites I have examined thus far. ( Washington, London, Oklahoma, Giza etc ). The key feature here is only one raised arm is shown - usually the right. This procedes in the direction of the left corner of the cockpit/pyramid in this case.

Significantly, the plan geometry of most of the figures is based on 33. 45 and 90 degree relationships. This would appear to relate to the key numerical factors of so-called sacred geometry which integrates energy into matter - just like the Egyptian pyramids are supposed to facilitate.

All told, a most fascinating and awe-inspiring visual tale has unfolded before us. It will probably be found repeated all over the human world today. What it all means, however, is for you to decide.