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The dimensions of the coffer and it's possible correspondence to the dimensions of the fabled Ark Of The Covenant.

In the King's Chamber all of the stone joints are very tight except in the lower left-hand corner of the west wall. Here the joints are larger than normal and covered by mortar. This is a strong indication of an opening to another chamber or passage. The Egyptian government has refused requests for further exploration.

The perimeter of the north or south wall of the King's Chamber divided by the length of the wall = Pi {(230.38+5.0+412.12)*2 / 412.12 = 3.14}
 

Value of Phi: - The ratio of the apothem (face slant height) to half a base side = Phi (1.618). Phi is another transcendental number like Pi which has no exact value (approximate value = 1.6181818...). The unique  properties of Phi are that phi +1 = phi squared and also 1 + 1/phi = phi. The Phi ratio is the basis for the Fibonacci sequence 1,1,2,3,5,8,13.,21,34... which was not generally  publicized until 1200 A.D.

The Pythagorean relationship represented by a 3-4-5 right triangle is displayed in the dimensions of the King's Chamber. The east wall diagonal is 309", the length is 412", and the long central diagonal is 515". However, the Pythagorean relation was not identified until 497 B.C. In the King's Chamber, the stone over the entrance is the only stone in the walls that is two courses high. It represents a 3-4-5 Pythagorean relationship by its measure of 124"L x 93"H x 155" diagonal.

The length of the granite portion of the floor of the antechamber to the King's Chamber times 2*sqrt(Pi) = 365.242

Initially, after the 5 chambers above the King's Chamber were opened, those that entered the 2nd chamber were turned black by a powder which existed only in that chamber. It was analyzed and determined to be the dust from the cast off shells and skins of insects.

Killing Joke recorded the tracks _Exorcism_ and _Millenium_ inside the King's Chamber of the Great Pyramid in Egypt.  20 minutes of recording time per day for three days due to limited battery power.  Cost: $1,000 discreet payoff.

Joshua Brown: What was it like recording in the King's Chamber?

Jaz Coleman: It was absolutely incredible. It ranged from hysterical laughter, to feeling the most incredible sense of mystery. The whole thing started with myself and Youth in the Minister of Culture's office in Cairo. We'd set up this meeting so that we could get into the Pyramids. Youth just pulled out a thousand US dollars and plunked it on the table. He [the Minister of Culture] grabbed it and put it in his top pocket and said, "I'm pleased to say that you now have three days between the hours of so-and-so to have the Great Pyramids to yourselves." And so, armed with batteries and recording equipment, we set off for the Pyramids. Going into the Pyramids is an incredible experience because you climb up. The sides of them are bigger than you think. It's bloody enormous. You climb up the side of the Pyramid and you enter this little hole in the wall. And then you go along this narrow passage, and come to this other passage that you have to crouch down in and go up on a 30-degree angle, and just keep going up and up and up. Then you walk up this massive gallery and then when you reach the top, there's another small entrance, and then you get inside the King's Chamber. It's quite big, and echoey. At one end of the King's Chamber is what looks like a sarcophagus, and that's where we set up all the microphones. And we ritualized the whole thing. It was like all the years of the band sort of culminating in that moment when we were doing the vocals. You're looking back on the whole of your life and you're also looking into the future. And you're looking back on the past 10,000 years, and feeling the spirits and the presence of the mighty things that have happened in that chamber. It affected me most profoundly.

Did you feel tangible repercussions of that?

J: Absolutely. With any form of ritual, a ball starts rolling. It just changed the way I think about things. The most amazing thing was actually coming out. I've got friends that live near the Pyramids. I've been going to Egypt since 1981. I studied music there at the conservatory. When we came out of the Pyramid, there were about 50 musicians all playing drums, and people singing, welcoming us when we came out of the recording on the first day. My friend, Abu Setu arranged for all these musicians to meet us when we emerged. It was dusk when we came out. The sun was just setting. It was a cool evening and there was this festival of rhythm outside the Pyramid, and everyone was cheering when Youth, myself, and the recording people came out. It was incredible.

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