The architecture of the sphinx is built upon a model existing from the construction of the pyramids of Egypt and the great wall of China. The pyramids and wall are a rearrangement of existing building materials which had been used to construct towers around labyrinths guarding the actual physical gates to hell. The labyrinths and towers were as high as the sky and were built over time by the humans which existed in the foliage layer before regimenting the land to the surface.
The glyph system no longer resembles any obvious linear and progressive methodology for assigning characters, tokens, glyphs, cells, or any other regimented insignia to any particular architectural structure, portal, or passageway. What remains is similar to the holy bible scripture; a visual conglomerate which has been layered over itself thousands of times over all of time. Vandals also did their part in mixing up and destroying the original intent of the glyph system. Originally the glyph system was to assist the monks in tracking the building materials of the labyrinthian passageways. Passageways in the labyrinths were guarded by sounds and staffed with bouncers if necessary. Individuals which made particular sounds were known to frequent, for individual and personal purposes or as temple staff, corresponding passageways. As the towers were dismantled there was the obvious decision to permanently close off the actual gates to hell to all except to the dutifully appointed morticians that were themselves kept in exceptionally well-guarded and sequestered paths of life. Glyphs were then assigned, in kingdoms and heirarchies and with maze-like grid-marking and mapmaking
rationales, that the sounds of the passageways from the bricks would be preserved with those bricks and that other systems which had been calibrated by the monks to correspond with lengths and directions and depths of passageways could be preserved. As the glyphs and bricks were rearranged they gave birth to the modern day languages of the world—the concept of babylonian kings arranging the languages to keep everybody on their excuse paths to hell exists before the towers were regimented to the surface.
The full glyph system begins with Eden. The glyph of Eden resembles the outdoor of trees interlaced together with no roof except for the sky. The glyph is available in modern popular culture.
The next glyph is the basic line format structure of the inside of a box. Two vertical lines to the front, a horizontal line to define the height of the ceiling, and vertical lines of depth diagonal to the top outside corners of vision. The glyph is Eden's glyph now inside with a ceiling. The glyph is the chicken witch pole; stonehenge. The social conditioning of the sphinx provides meaning to the lines of the inside box. Incoming stress and anxiety is the diagonal ceiling axis on the left. Available outlets and priveleges are the diagonal ceiling axis to the right. Application of this rationale while physically standing within the babylonian furnace provides additional explanation: the eunuch's oil cannon is mounted to the left side along the ceiling axis, the plane of vision to the front is the tar pits where people remain for the money, and the chicken witch resurrection stonehenge pole fills the diagonal ceiling axis to the right. The peanut gallery is to the back when facing the tar pits from inside the babylonian furnace. When the eunuch keeping you in the tar pits for the money or punishing you in the furnace, hitting you with the oil cannon from the side while the crowd stabs you in the back and all looks like tar and loss in front, then, according to your cries and pleas and complaints, you are given various levels and opportunities for "fun" and "privelege" on the chicken witch pole: bad beer and drugs and even worse porn and sexual deviance. What else is the eunuch for? The kingdoms of the inside glyph are arranged such that the mortician's role takes the pole and diagonal on the left. The midwife's role takes the crossbeam. The anaesthesiologist's role takes the pole and diagonal on the right.
From there the glyphs become the ancient high priests, the symbols which modern day people consider to be satanic or demonic. The glyphs are rearrangements of kingdoms, line and space models for various sanctuary arrangements, the pattern of the hair on their faces as the trees were cut down and the hot sun was exposed, or the necronomicon pattern stamped into the baptismal garment for the mummy-pressed new humans which were to be assigned underneath their kingdom. The variations in the glyphs depict progressions from the mortician/midwife/anaesthesiologist time to the time of the forty thieves to the time of the twelve sons to the time of the egyptian captivity to the time of the prophets and tribes to the time of the babylonian captivity to the time of the one christ and gospel to the present. The sounds and systems of the glyphs were incorporated into the structure and architecture of the city and the effectiveness of the training was calibrated over generations of Ninevah and Sodom and Gomorrah.
The evolution of technology is also recorded in the glyph system. Kingdoms of technological intellectual property continue to be governed by the glyph system inside of the sphinx.
Consider the glyph which sits atop the picture of the actual passover lamb after the eunuch method has been applied and post mummification. That glyph is very close to the Eden glyph with the diagonal ceiling space-filling lines. A very old technological system. Notice the similarity, for whatever reason, to the glyph on the pop media culture Judas Priest "Painkiller" album. I am not aware if there is any glyph for goats.cx; that is the passover lamb post application of the Isaiah portion of the script. There is also a collection of glyphs on the cover of the pop media culture Dio "Strange Highways" album. The Strange Highways cover is artistically decorated but, similar to the picture of the passover lamb, the artwork does require the glyphs to be present because the depiction is a "rooster". The half-height character on the cover is mounted, similar to the eunuch's third hand, inside the abdomen of the subject. The successful completion of the surgery and the incorporation of the resulting character into a life route which fits with the surrounding society is no small task. There is an enormous amount of money to drive the corporate empire which was first capable to create a rooster model, and an even more enormous amount of money to staff a corporate empire to create them reliably and use them in the surrounding scripts of the sphinx. Such corporate empires and staffing problems were solved by the eunuch organization long before roosters were a viable product line.
The glyph system is part of the table of the nations training and a good portion of a non-fast human's life mood, ambition, current fortitude, and current psychological state is a comparison between the current viewing area glyph and its closest match to their personal table of the nations training route, with life experience situations providing small modifications. The base model indoor box glyph may be modified to include the time period of mining below the surface by distorting the polygon motif indoor glyph to the "check girder, check short girder" style. Begin with the indoor glyph and then make the pole of the right side shorter than the pole of the left side; girder and short girder.