The Lip: Footnote to the Grand Gallery and Horizontal Passage

from the work of Bernard I. Pietsch by Suzanne Thompson

There is no writing in the Great

Pyramid, but much is written in its
architecture. Fortunately,
information stored in built forms
can be recovered in any age or
epoch by applying the same
instruments used to encode it: the
languages of number, measure
and geometry. The builders of
the Great Pyramid used several
techniques to communicate
information. The most direct
method utilized the shape,
measure and placement of stone.
In earlier chapters, we described
exactly how this was achieved.
The examples sited included the
individual and irregularly carved
stones that make up the 206
Fig. 1 Arrow at the junction of the foot of the Grand courses (stepped layers) of the
Gallery and the top of the Ascending Passage points Pyramids exterior. There we found
to the Lip.
the record of the daily variation in
the level of water in a nearby well. The heights of the stones can be seen as one-to-
one correspondences with daily tidal readings taken over a period of 206 yearsa
graphic representation written in stone. Equally remarkable are the 20 stones in the
floor of the Kings Chamber. There we found other one-to-one correspondences
between the dimensions of the floor stones and the elements of the planetsan entire
catalog of astronomy written 5,000 years ago.
A second method of information storage operates via the measures and volumes of
spaces enclosed by stone. The Niche in the Queens Chamber was sited as an
example of defined space. Ironically, there is no there, there; the Niche itself is only
space. Yet, the volumes and dimensions of its five empty partitions separately, and in
total, encode the algorithms that organize the Chamber.
The third and most rarefied of the builders art takes place beyond stone. This
communication is conferred from a created space that does not exist, except as an
imagined form--one activated by the extension of the physical architectures truncated
geometry, projected into space. The empty spaces of the Four Corner Sockets, the
Apex, and the Fifth Socket are examples of incomplete architectural dialogue. The full
measure of each feature is not realized until its extended geometry is completed, by
the participant-observer.
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Throughout the course of our

survey we have identified
numerous features in the Pyramid
that employ the above methods.
One special category discussed in
the previous chapter we named
the architectural precursor. An
architectural precursor announces
in advance, what lies beyond
itself, albeit indirectly. We first
encountered the predictive
properties of the architectural
precursor in the Four Anti-Clinal
Stones over the entrance to the
Pyramid, and again at the Step
inside the Horizontal Passage.
Since then we have found
architectural precursors
throughout the Pyramid--each
configuration intimating in some
fashion, elements to be found in
nearby features. Necessarily the
discovery of a precursor occurs as
hindsight; one cannot know ahead
of time what is to come next in the
exploration of built architecture.
But if we were in possession of the
blueprint of a structure, the
purpose of the precursor would be
clearto introduce by analogy
repeated themes in the
Fig. 2 View through north wall of Grand Gallery. architecture. Such repetition could
Figures are climbing ramp and walkway where floor is be embedded in stone, indicated
missing over entry to Horizontal Passage to Queens
Chamber. In right corner, broken-o ut hole leading to by space, assigned through
Grotto and Subterranean Chamber. The Lip would be number or expressed in geometry.
in foreground at Threshold of opening. Whatever form the precursor
takes, it is not merely duplication
of motif, but reiteration of concept--in a different modea characteristic found skillfully
modeled in the next candidate for our consideration: The Lip.
 The Lip: Footnote to the Grand Gallery and Queens Chamber 2017 Bernard I. Pietsch/S. Thompson Page 3 of 14

The Lip
Let us now return to the top of the First Ascending Passage and continue toward the
upper chambers. (Fig. 1) After passing through the opening at the top of the
Ascending Passage we can stand upright
again under the high, corbelled ceiling of
the Grand Gallery. Just beyond the
threshold of the opening, the walkway
over which we had just passed is
interrupted for about ten paces. The
absence of floor exposes a ridge of
stone protruding across the passage.
Here one chooses either to step over
the ridge and proceed straight ahead into
the Horizontal Passage or to climb one
of the ramps lining either side of the
Gallery making their way toward the
upper chambers. (Fig. 2)
Most passers-by pay little notice to the
Fig. 3 Old isometric drawing of lower (North
end) of the Grand Gallery showing the opening
partially hidden ridge over which they
st
between the 1 Ascending Passage and the
stepped. (Fig. 3) The ridge is part of a
Grand Gallery (right), the Lip (just beyond the
feature called the Lip and it is more than
threshold) the West Ramp and the Horizontal
a speed bump in the passage; it is a
Passage to Queens Chamber. (See Fig. 5 which
portrays the angles of Passage and Ramps more
device intentionally positioned to get our
accurately.)
attention. The Lip is a hint, but it is
incomplete and worn; much of it is buried
under stone. Thankfully, the Lip can be recreated from what little remains.

Observations
Before delineating the aspects of the Lip that
cannot be seen, let us take stock of the
dimensions of the Passage and Lip that can
be visually established:
The rectangular height (90) of the
Ascending Passage is 47.32500098."
The width of the Lip and the width of the
Passageway: 41.50715601".
The vertical height of the opening
between the Ascending Passage and the
Grand Gallery is 52.78351905".
The top surface of the Lip is coincident
with the angle of the Passage: 2618' Fig. 4 Closer view of ridge of Lip.
(Fig.5)
 The Lip: Footnote to the Grand Gallery and Queens Chamber 2017 Bernard I. Pietsch/S. Thompson Page 4 of 14

Re-constructing the Lip

We have described how
incomplete or broken work
could be reconstructed and
how the internal geometry of
a stone when projected
outside of itself could create
a meaningful external
geometry. However since
much of the Lip is literally
under the passage floor, its
internal geometry is not
available. In order to
complete the form, we must
devise another method--a
type of inverse projection
wherein the geometry of the
stone might be determined
from outside its concealed
dimensions. By triangulating
from reference points in the
Fig. 5 This drawing more closely approximates actual angles of the
surrounding architecture we
passageways. The Horizontal Passage is level. The Lip, Ramps and
Ascending Passage incline 26 18'. The Lip is outlined in red. can identify the inaccessible
(Edgar Bros.) portion of the Lip and
liberate it from the stone in
which it is buried. If we read the intent of the architect correctly, and if our construct is
consistent with the design, the dimensions of the completed Lip will anticipate other
features in the passage and confirm its role as a precursor.

Fig.6
 The Lip: Footnote to the Grand Gallery and Queens Chamber 2017 Bernard I. Pietsch/S. Thompson Page 5 of 14

The following measures were obtained by the

intersection of four geometric planes originating from
neighboring architecture above the Lip:

1. The portal at the top of the

Ascending Passage
generates the first measure.
a
(Fig.7) This low entry
separates the low passage
from the high walls of the
Grand Gallery. We will use
the vertical plane of the
doorway over the Threshold
to establish the northern
edge of the Lip. Since the
Passageway, the Threshold
and the Lip are the same
width, the east/west width of
the Lip will be 41.507."

2. The third measure needed is

the length of the underside
of the Lip. The base line of Fig. 7 Silhouette of North
the Lip begins at the Wall of Grand Gallery
Threshold and is parallel to showing corbelled layers.
the level surface of the Dark space is the portal
between the Ascending
Horizontal Passage; but since Passage and the Grand
this area is not visible, we Gallery. The Threshold
must appeal to an additional of the opening marks the
indicator from the surrounding northern edge of the Lip.
Fig. 8 The ridge of the Lip is architecture to define its Width: 41.507"
directly below the highest
corners of the ceiling on the length. Fortunately, from
north end of the Grand inside the Grand Gallery we can look straight up and
Gallery.
see that the highest corners of the ceiling at the north
end wall are directly over the exposed ridge of the Lip. (Fig. 8) Using the ceiling
corners as origin, we can draw vertical lines from each corner of the ceiling down
through the peak of the ridge. Passing straight through the peak, the vertical lines
intersect the base plane 21.2306999" from the threshold, providing the length of
the underside or base. (Fig. 6)

We have visual confirmation of the slope angle (top surface) of the Lip as it is
continuous with the angle of the Passage at 2618'. The breadth of the Lip, is also
consistent with the width across the Passageway which we know to be 41.507."
a
Height of portal: 52.78351905", width: 41.507". The height (perpendicular to the floor) of the Ascending
Passage, is 47.32500098".
 The Lip: Footnote to the Grand Gallery and Queens Chamber 2017 Bernard I. Pietsch/S. Thompson Page 6 of 14

Given the length of the base of the Lip, now defined by the vertical intersection of lines
drawn from the ceiling at 21.2306999", the length of the inclined surface from the
Threshold to the peak of the ridge can be computed as 23.67." The Lip is taking
form as a prism shape. (Fig. 9)

Using both measured and extrapolated external dimensions,

the internal angles, surface area and volume of the
derived form can be computed as follows:
Height AD.. 10.496981"
Horizontal (level) base DH. 21.2306999"
Volume of stone.. 4,625.106145 cu"
Surface area.2,745.695488 sq" Fig. 9 Prism shaped formed
from external referents.

The Lip as a Precursor to features in the Horizontal Passage

The first validation that the Lip is a significant marker is indicated by the position of its
northern edge at the Threshold of the opening between the Ascending Passage and
the Grand Gallery. The area of the opening of the portal (Fig.7) anticipates the
distance between the Lip and the Queens Chamber door. This is how it works:
3. The width of the portal, 41.507" multiplied by the height of the portal, 52.78351905"
is an area of 2,190.893765 square inches or 15.21454 square feet:
2190.893765 square" = 15.21454 square feet in area of doorway.
144
The area of the empty space in the opening, 15.21454 square feet, times 100 is
the same number as the number of inches from the ridge of the Lip to the Queens
Chamber door: 1521.454 inchesb. The number of square feet in the doorway to
the Grand Gallery, traded for linear inches, takes us straight through the Horizontal
Passage to the threshold of the Queens Chamber.c
4. The second pertinent indication can be extracted from the volume of stone in the
derived Lip itself: 4,625.1061475 cubic inches. The reciprocal of this number,
times 10 6 is the same number as the number of inches between the Step and
the Doorway of the Queens Chamber: 216.211254" i.e. the volume of the Lip is
a precursor to another marker in the Horizontal Passage, the Step. Here the
6
reciprocal of the volume of the Lip ( x 10 ) matches the linear distance
between two precursors, the Step and the doorway to the Queens Chamber.
(Fig. 10)
__ 1______ = .000216211254
4,625.1061475
.000216211254 x 10 6 = 216.211254 as inches from
Step to Doorway.
b
1521.454 divided by 10 reminds us of the length of the NE socket: 152.1454 inches.
c
The area of the opening between the two passages is a precursor to a forth-coming marker in the
Pyramid. The area of the doorway is 15.21454 square feet, divided by 12 then squared is a number:
16,075.15468. If we divide that number by 100, we arrive at the number of feet between the Lip and the
Boss on the Granite Leaf in the Ante-Chamber, just prior to the Kings Chamber.
 The Lip: Footnote to the Grand Gallery and Queens Chamber 2017 Bernard I. Pietsch/S. Thompson Page 7 of 14

Fig.10 The distances between the various markers in the Horizontal Passage are meaningful ratios.

5. The third action relating the Lip to the Horizontal Passage

arises intuitively and requires mirroring or doubling the
planes of the prism shaped Lip. The result of this
construction is a rectangular shape twice the volume of
the prism. (Fig. 11) Half the construct is stone, half is a
projectiona conceptual form. When the volume of the
stone portion of the Lip is added to the volume of its
empty twin, our intuition is confirmed: the augmented
Fig. 11 Prism doubled. virtual Lip reveals details that will be discovered in the
Horizontal Passage: the reciprocal of the doubled volume
7
x 10 names the number of inches from the Cut-off to the Step: 1081.05627
inches.
__ 1______
= .000108105672
9,250.212295
.000108105627 x 107 = 1081.05627 as inches from Cut-off
to Step.
The intricacies of the number 1081 and its variations, indirectly foreshadowed by the
Lip, are tethered to the position of a feature called the Cut-Off. The Cut-Off marks the
beginning of the low entrance under which one must stoop in order to pass into the
Horizontal Passage. The interplay between the Cut-Off, the Horizontal Passage and
the Queens Chamber, (described in detail in the previous section Entering the
Queens Chamber,) reiterates the harmony of the arrangement between these
several features. To review:
The distance between the Cut-Off and the Step is 1081 inches or 90.08 feet.

The distance between the Cut-off and the Queens Chamber Door is 108.1 feet. 10
times that number but read as inches is the distance between the Cut-off and the
Step: 1081."
108.1 feet is also 1297.2 inches.
1297.2" 6 = 216.2"
 The Lip: Footnote to the Grand Gallery and Queens Chamber 2017 Bernard I. Pietsch/S. Thompson Page 8 of 14

216.2" is the distance between the Step and the Doorway to the Queens
Chamber. One of the characteristics of the length of this space as a precursor is
that it divides the Horizontal Passage exactly by 6. d
The distance between the Step and the Doorway to the Queens Chamber, 216.2"
multiplied by 5, produces number of inches between the Cut-Off and Step, 1081"

Defining the Passage Angle, Lip and Slab

For early surveyors like Piazzi Smyth and Flinders Petrie, determining the precise
angle of the Ascending Passage and Grand Gallery was a challenging undertaking.
Despite the difficulties encountered, each reckoned the inclination of this major
architectural indicator to be an angle of about 26 18'. The significance of this angle,
played large in the Passage System is recreated in the smallest detail of the Lip.

6. The walking surface (top plane) of the Lip because it is built into the passage floor
physically embeds the angle of the Passage: 26 18'. The reiteration of this
important angle can be likened to the architects decision to consign to each casing
stone that covered the outside side of the Pyramid, the side angle of the completed
Pyramid. Although only a few casing stones remain in existence, the angle of the
exterior, 5151' is embedded in each one; thus from a single casing stone the side
angle of the whole Pyramid can be determined and reconstructed were it
necessary. Likewise, if the Ascending Passage itself were damaged or destroyed,
the intended angle of the Passage could be recreated by reading the angle
recorded in the single stone of the Lip.

7. There is a second construct in the passage, which had Smyth or Petrie noticed,
would have given further corroboration to the assessment of the passage angle
and indicated that their readings, laboriously measured by rod, plumb bob and
theodolite were on track. It involves a stone called the Slab.

When Smyth surveyed the Pyramid in 1864, he speculated that a large stone had
once spanned the gap in the missing floor at the beginning of the Grand Gallery.
Such a stone would have obscured the opening to the Horizontal Passage and
thwarted the discovery of the Queens Chamber. It is not known for sure whether
a stone slab existed or not; had there been an actual stone in place, one would
have easily walked up and through the Grand Gallery, entirely bypassing what lay
beneath. On the other hand, though no evidence of a physical stone has ever
been found, there is indication that one was meant to be in place. The masonry
which would have supported the stone was designed to be read as if there were a
stone bridging the gap in the floor. Consistent with our understanding, nothing in
the Great Pyramid is concealed, nothing is hidden and no effort to impede our
understanding is attempted by the builder--all can be taken as information. As I
interpreted it, the communication indicated by the gap is, Look through the

d
Fleshing out the decimals places, that would be 1297.267524" and 216.211254"
 The Lip: Footnote to the Grand Gallery and Queens Chamber 2017 Bernard I. Pietsch/S. Thompson Page 9 of 14

stone...See to the space. e This intuition proved fruitful in that it later alerted me
to the precursor spaces in the Horizontal Passage, the Niche and the Queens
Chamber. The volumes and dimensions of those spaces, as described in the
previous article, are messages in the empty placessubtle assurances that we
are on the right path.

Out of the Slab, comes yet another intimation and confirmation of the angle of the
Passage.

8. Smyth presumed that the gap in the floor of the Grand

Gallery would have been filled by a stone Slab 263 inches
long. Such a stone would have butt against the ridge of the
Lip at the north end and against the continuation of the
walk-way at the southern (upper) end of the Grand
Gallery about 40 inches beyond the Cut-Off below. (Fig.
12) What Smyth and Petrie didnt connect was that the
length of the Slab in inches, divided by 10 would have Fig. 12 The space for a
"Slab" (red line) begins
matched the decimal number for the angle of inclination of about 40 south of the plane
the Grand Gallery and the Lip. The precise numbers indicated by the Cut-Off.
would be:
263.0892667 = 26.30892667
10 As degrees, minutes, seconds: 26 18' 32"

9. At the break in the walking surface of the passage where the Lip appears to erupt
out of the Grand Gallery floor, the measure of its southern face is indeterminate
due to wear. The 3 or 4 inches of stone along the slant edge where it is exposed
is intersected by the level of the Horizontal Passage which itself is rough and
uneven. It has been speculated by others that the Horizontal Passage was meant
to have been finished with smooth paving stones; the ridge of the Lip would have
supported the floor Slab and bridged the gap in the walkway thus hiding the
entrance to the Queens Chamber. If this were an accurate assessment, and we
do not agree that it is, we would have been deprived of reading the indications of
the precursors along the way. Adding paving stones to the Passage would have
altered the height of the Step, distorted the volumes of the passage geometries
and eliminated their corresponding relationships to the Queens Chamber.

We are confident that the Pyramid masons were capable of executing any surface
to the degree they chose. The type and texture of stone used, even the
completeness of construction realized, are articles of communication. Though the
floor Slab is missing and the stone of the Lip has been diminished by wear, the
information carried by each of these artifacts can be restored from what little
remains. Using two different methods, and abetted by clues drawn from the

e
Ironically, Smyth referred to the slab in the floor as a trap door not unlike the blocking stone which had fallen
from the ceiling at the junction of the entrance and Descending Passage. The trap is not physical but conceptual
as in an intuitive block. .
The Lip: Footnote to the Grand Gallery and Queens Chamber 2017 Bernard I. Pietsch/S. Thompson Page 10 of 14

surrounding structure, the Slab and the Lip can be reconstructed. The relevant
information and the certainty of the Passage angle at 26 18', is affirmed and
preserved in the process.

Fig. 13 Photo of Morton Edgar climbing the walkway between the Ramps
lining each side of the Grand Gallery. The man below is standing in front of
the Cut-Off and opening to the Horizontal Passage leading to the Queens
Chamber. A Slab of stone thought to have lodged against the small step in
the walkway (red arrow) and butting up against the ridge of the Lip at the
lower (Northern) end, would have covered the whole opening to the Horizontal
Passage. No Slab has ever been found.
 The Lip: Footnote to the Grand Gallery and Queens Chamber 2017 Bernard I. Pietsch/S. Thompson Page 11 of 14

Anticipating the Grand Gallery

Had we been alerted when stepping over the Lip, we might have received a hint: that
the Grand Gallery we were entering is also an astronomical observatorynot in the
sense of a place from which to view the heavens, but in the sense of an architectural
device on which the patterns of the planets are played out in the angles and measures
of the corbelled walls themselves. The keenness of the Pyramids architectural
alignment with the sun and other celestial timing referents confirms that the ancient
f
builders had both an accurate calendar and knowledge of an whole Earth geo-
graphy.

10. The first clue is given in the slant length of the inclined plane of the Lip,
23.68394453". This number, released from its denomination as inches, alludes to
one of the many astronomical offerings to be found in the Gallery: the decimal
angle of inclination of the Earths astronomical orbit: 23.68394453. Written
sexigesimally: 2341'02".2003.

The fact that we derived the Lips dimensions from outside of it, by referencing
points in the Grand Gallery, could be seen as analogous to how astronomical
coordinates are assigned. The reliability of Earths geographic coordinate system
of latitude and longitude--degrees, minutes and seconds of arc laid upon a round
Earth, is so familiar to us as to be taken for granted. But the origin of those smooth
lines circling a spherical globe is in fact conceptually rendered from points, millions
of light years away. The measure of the Earth is taken not from the Earth, but
from the passing of celestial referents far beyond the Earth which geometrically
intersect fixed coordinates on the surface of our orb. Extrapolating over time, the
decimal angle of Earths inclination relative to the celestial equator has been
astronomically or visually determined as 23.68394453 --a referent coincident with
the length of the Lip in inches: 23.68". Here, the length of a line expressed in
number is matched by the same number expressed as degrees of angle.

The Pyramid as a model of Earth magnetism

Our conjecture that the geometry of the Pyramid also models a system of coordinates
based on Earths magnetic characteristics pre-dates modern appraisals of the
sophistication of ancient civilizations. Knowledge of a magnetically based system
appears to have been widespread, as we have observed its incorporation in
monumental sites all over the world. Our analysis suggests that the Pyramid builders
implemented a system of orientation derived not from the stars like the geographic
system, but from the Earth itself. A magnetically informed coordinate system does not
appeal outside of the Earth for its orientation; coordinates can be established by
carefully reading two simple instruments--the precessing pendulum and the magnetic
dip and declination compass. Unlike the time-less and stable system of geographic

f
The engineer/astronomer D. Davidson in The Great Pyramid: Its Divine Message, illustrates many instances
where the Pyramid is synchronized with astronomical and calendrical events. For example in mid-February every
year, the sun first illuminates the north face of the Pyramid on a date which has enjoyed calendrical accuracy for
thousands of years. Predictably, on a corresponding day in October, when the sun draws closer to the horizon, its
rays depart from the north face of the Pyramid and leave it in shadow once again.
 The Lip: Footnote to the Grand Gallery and Queens Chamber 2017 Bernard I. Pietsch/S. Thompson Page 12 of 14

latitude and longitude contrived from astronomy, magnetic coordinates change over
time; magnetically based designations are continually shifting westward. The question
of when a reading is taken is therefore as important as where. When and where are
inseparable attributes of a magnetically based framework. Necessarily, to be
effective, implementation of a magnetic framework would have to be accompanied by
an accurate method of timekeeping; there is no shortage of evidence to indicate that
the builders were in possession of a sophisticated astronomical/calendrical science
with which to mark the movement of the heavens, the passing of time and the
changes in magnetic dip and declination in a location.
The architecture of the Great Pyramid defines and monumentalizes its geographic and
its magnetic orientation on Earth for the time it was designed. From all indications,
we hold that the apothem angle of 5151 is a referent to the Pyramids initial magnetic
bearings. Reversing the movement of the Earths magnetic field, rather like rewinding
a clock at a rate of about 1 for every 71+ years of timeg, would place the
coincidence of a dip and declination reading of 5151 on the Giza Plateau in 2900
BCE, on a date coincident with astronomical perihelion. Recovery of this coupling is
another means of triangulating the proper dating of the Pyramid and also unlocking
the data base of information in its courses. The course levels as we have described
are the historical records of changing astronomical conditions on the Earth recorded
h
over a 206-year period, commencing in 2900 BCE.
On a grand scale, the Pyramid Passage System, the Ascending Passage, Grand
Gallery and Descending Passage model in architecture the orientation of the Earth in
the cosmos. The distillation of this knowledge, gained after eons of observation is
embodied in the decimal angle of the Grand Gallery: 26.30892567 Read as degrees,
minutes and seconds: 26 18' 32".
The architect of the Pyramid was directing our attention to an important conjunction in
Time--a co-incidence which would occur only once in many, many millennia, when the
two frameworks, one astronomical and one magnetic were conjoined on the Earth and
in the heavens. The Pyramid is the benchmark of that moment and that conjunction.
As we continue toward the upper chambers of the Pyramid, we will continue to be
informed by all that we have explored along the way. Though our course has not
always lineartacking this side to that from one architectural element to anotherit
was necessarily meandering. Significant bits were discovered as we came to them.
The correspondences made, even those revealed in seemingly insignificant details
like the Lip, are becoming the building blocks of a data base, each bit of information,
qualified and validated by repetition and reiteration. Each datum, deftly expressed in
stone and space, underscores the organizing principles of the Pyramid. Thus
prepared, our journey will culminate where we began--in a grand synthesis of design
orchestrated by the dimensions and geometry of the Kings Chamber. To be
continued

g
h
The equinoxes precess about a degree every 71.7 years.
See: http://www.scribd.com/document/13738188/New-Perspectives-On-The-Great-Pyramid-
Pt-1-Ancient-Data-Base
 The Lip: Footnote to the Grand Gallery and Queens Chamber 2017 Bernard I. Pietsch/S. Thompson Page 13 of 14

Dimensions of The Lip

at the foot of the
Grand Gallery, Cheops Pyramid.

January 18, 2016

Prism Rectangular Enclosure

Width AB, CD, GH: 41.50715601" Width AB, CD, GH, EF: 41.50715601"
Height AD, BC: 10.496981" Height AD, BC, EH, FG: 10.496981"
Depth CG, DH: 21.2306999" Depth AE, BF, CG, DH: 21.2306999"
Inclined Edge AH, BG: 23.68394453" End Plane ADHE, BCGF: 222.8582534 sq"
Surface Area: 3,079.568109 sq"
Areas of Prism Planes
Base Plane: 881.225929 sq" Major Diagonal BH, DF: 49.1428582"
Vertical Plane: 435.699828 sq"
Inclined Plane: 983.0531046 sq" Volume: 9,250.212295 cu"
End Plane: 111.4291267 sq" 5.35312115 cu'
Surface Area of Prism: 2,745.695488 sq"
Volume of Prism: 4,625.1061475 cu"

Diagonal Lengths and Angles of Prism Planes

Base Plane Diagonal Length: CH 46.62173996"
CHG: 27.08951382
CHD: 62.9104816

Vertical Plane Diagonal Length: BD 42.81390674"

CBD : 14.1922883
ABD: 75.8077117

Inclined Plane Diagonal Length: BH 49.14268582"

ABH: 29.70904041
GBH: 60.29095959

End Plane: AH 23.68394453"

AHD: 26.30892567
DAH: 63.6107433
The Lip: Footnote to the Grand Gallery and Queens Chamber 2017 Bernard I. Pietsch/S. Thompson Page 14 of 14

46.62173996"
42.81390674"
23.68394453"
49.1428582"