Poems and Short Features


God’s Witness of Stone

In a dry weary land; in a wilder ness lone;
In a desert of sand, is God’s Wit ness of Stone,
So majestic the whole and so deep its design,
It convinces the soul of a Builder Divine.

Over four thou sand years, it has stood in that place,
’Mid the sighs and the tears of the poor fallen race.
With its secret un known some have gazed at this tower,
While Jehovah alone knew the depth of its power.

Now there’s wonderful skill, that is seen all within;
Come! be hold, if you will, the dark symbols of sin;
And then trace from “the fall” how the Lord doth atone,
Showing hope that’s “for all” in this Bible of Stone.

’Tis a chart for the wise, giving signs for that day,
When man kind will arise and pursue the right way;
They’ll read the glad story which be fore was un known,
And God will have glory through His Wit ness of Stone!

Anonymous*

(*The Great Pyramid Decoded, E Ray mond Capt, 1971, Artisan Sales, Thousand Oaks, Calif.)

 


The Royal Cubit

[the “Measure” of Jesus’ Redemption]

The Egyptian Royal Cubit (RC) was evidently employed in the construction of the Great Pyramid. Its length, deter mined from measuring sticks preserved in tombs from antiquity, was between 20˝ and 21 inches. In the Great Pyramid, this measure appears conspicuously several times.

 — Queen’s Chamber Niche: one RC at the top, three RC at the bottom
— The step in the Horizontal Passage: one RC tall
— The passages: two RC wide
— The Coffer: two RC wide
— King’s chamber: ten by twenty RC
— Queen’s Chamber: ten by eleven RC
— Grand Gallery ramps: one RC wide, floor and ceiling are two
— Insets along the sides of the Grand Gallery: one RC long, one RC high
— Masonry platform on which the structure stands: one RC thick
— Three “girdle stones” upward in the Ascending Passage: spaced ten RC apart
— Platform base length: 440 RC
— Height to the apex (if present): 280 RC

 There are three places where fourteen RC, twice the perfect number seven, are used which reminds us of the value of Christ’s redemption (fourteen lambs also represent this redemption in Numbers 29:13).

 (a) From the “well” to the bottom of the Descending Pas sage (where it levels off to horizontal). Perhaps this suggests the “measure” by which Christ’s redemption (pictured in the “well”) reaches to the fallen race for their rescue.

 (b) The vertical expansion by which the Grand Gallery ceiling height exceeds the height of the Ascending Pas sage. This would “measure” the amount of freedom and redemption Christ’s ransom provides as one leaves the Law Age (Ascending Passage) and enters the Gospel Age (Grand Gallery).

(c) The entrance to the Pyramid is not in the vertical center of the north face of the Pyramid, but offset to the left (eastward) by fourteen RC. This offset of the entrance from the center line of the apex may represent the “measure” of mankind’s deficiency from perfection as they entered the down ward course of sin represented by the Descending Passage. 


 

This photo of the Great Pyramid with a dramatic shadow was taken from the tenth level of the second Pyramid. The south and west sides of the Great Pyramid are bathed in the late afternoon sun and stand tall against an azure-blue sky. A dramatic shadow hides the sunboat museum on the south side of the Great Pyramid and provides a cool resting place for visitors. This photo appears on the front cover after retouching approximated the Great Pyramid's look at the end of construction when it was completely encased in white limestone. The ancient writer Strabo said the Great Pyramid's original appearance, “seemed like a building let down from heaven, untouched by human hands.” In its original condition it would have looked like a star on earth as it reflected the sun's rays. It would be observable from a great distance and would undoubtedly have been used as a navigation aid by travelers. We can only imagine what it would have looked like from outer space, as even to day, in its present comparatively dilapidated condition, it is visible in pictures taken from the Space Shuttle.

—Todd Alexander