THE PYRAMIDS of the COLD • Chapter 41 How the Egyptian pulley has been first glorified into Geb, Nut and a spinning Eye

In summary: we’ve just seen how the Egyptian pulley has been used by ancient Egyptians inside the Grand Gallery of the Great Pyramid, but this Pyramid probably only is the endgame of the era of the scientific and engineer pharaohs, and most certainly this Egyptian pulley has also been used a long time before it got such an important role in the Great Pyramid; Egyptians would probably have used it during the construction phase of the great pyramids and temples, just like expected by Stephen Blakely when he reinvented the Egyptian pulley in 2013. We’ve also seen how the Egyptian pulley has been reinterpreted in the Bible through Ezekiel (about the Egyptian pulley in general), and in Abram, Abraham, Sarai, Sarah and Lot (about the four Egyptian pulleys that were set onto the upper platform of the Gallery). But until very recently, I didn’t have no clue about how ancient Egyptian themselves would have glorify their pulley; but on May 10, of 2025, when rewriting the chapters about Ezekiel and Abraham, I suddenly found the answer; and what’s funny is that it was under my eyes since the very beginning: ancient Egyptians glorified the Egyptian pulley into Geb and Nut.

So, what was the problem? Why didn’t I see it before? Well, only because in my mind, I’ve already deciphered these two deities: I thought they were (only) about the glorification of the water cycle; this endless cycle where water is transforming itself from liquid to gas, and then back to liquid, etc. What I simply didn’t understood, was that Egyptians only used the fact that Geb and Nut were the glorifications of the inactive part of the Egyptian pulley with Geb, and the active part of the pulley that is the pulley wheel with Nut, to illustrate the endless operating cycle of the Egyptian pulley, and the endless rotating movement of the wheel, with the water cycle.

On the above image, that is the Egyptian pulley that is worshiped. The inactive cradle has been represented in a color invoking earth (that is Geb, the 'earth god'), when the pulley wheel has been represented transparent like an eye; but what you need to see here, is that the Eye of Horus is just an eye, a regular eye; but because this Eye is nothing but the spinning wheel of the Egyptian pulley, it is an eye in movement: it is a spinning eye, or a rolling eye or a twisting eye. But it also is a crying Eye, because the pulley cannot move without proper lubrication; we'll see with the water clocks that this is also the role of the baboon: bring the water for lubrication of the pulley.

In short, a longtime before the Egyptian pulleys of the Grand Gallery have been reinterpreted into the 'four wheels within the wheels' of Ezekiel chapter 1 (and operated by the 'four 'living creatures' with 'only one single, straight and rigid leg'), ancient Egyptians themselves had already glorified these pulleys: when 'god of the earth' Geb is the glorification of the cradles, 'goddess of the sky and stars' Nut is all about the spinning wheels.

Operating diagram of the Great Pyramid of Khufu, showing the Grand Gallery and the location of the four Egyptian pulleys that were set on the top platform of the Gallery, right above the central wooden Djed caisson. 

41.01  The four Egyptian pulleys were set right above the top end of the central wooden Djed caisson, just like it is perfectly illustrated on the pyramidion of Hori

We've already seen that Egyptians glorified the central wooden Djed caisson into the Djed pillar (the trunk of the Djed pillar represents the central caisson and the four horizontal lines are about the wooden structure of the hauling gantry Beetle), and sometimes they simply wanted to illustrate the fact that the Egyptian pulleys were set right on top of the caisson, because it was these pulleys which allowed the two central hauling ropes to get inside the inclined caisson from the horizontal platform. And that is what the above illustration of the pyramidion of Hori is all about: showing that the Egyptian pulleys were set right on top of the central Djed caisson. 

41.02  The Ankh symbol associated with the Egyptian pulleys and the overheating problem of the pulleys

There is another thing very interesting about the above pyramidion, and that is the Ankh symbol. We've seen in the chapter about Akhenaten and Nefertiti, that the Ankh was most probably the Egyptian representation of the cold itself (that is the Ankh that is given by Akhenaten to the heat of the Aten), so here not only Egyptians wanted to illustrate the link between the Egyptian pulley and the central wooden Djed caisson with the Djed pillar, but Egyptians probably also wanted to represent a major problem: the overheating of the pulleys.

[Pyramidion of Hori] Photograph by Poet X: https://www.flickr.com/photos/gregbaysans/13808620023/ and actually visible at the Seattle Art Museum: https://art.seattleartmuseum.org/objects/15699/pyramidion-of-hori

In 2013, a group of mechanical engineering students at the University of Illinois, sponsored by independent researcher Stephen Blakely, did the original test of the pulley theory which had been developed to explain how ancient Egyptians could have built the great pyramids. On September 5, 2020, Blakely demonstrated the theory in person with some family and friend help. Stephen Blakely called his reinvented pulley the Egyptian pulley. Photograph by Jared Treece: https://dailyegyptian.com/102401/news/southern-illinois-man-tests-pyramid-creation-theory/#

41.03  The cradle of the Egyptian pulley looks just like a throne! That's the origin of Geb and the 'Throne of Geb'

Remember what we’ve already seen many times now: ancient Egyptians were obsessed with the idea of activity and repose, so they kept glorifying everything they’ve done with this duality in mind (the Maa't is just then the consequence of that duality). With the Egyptian pulley, they didn’t have any trouble separating the inactive part that was the cradle, and that always stayed put on the ground (like a chair or a throne), with the active part that was the pulley wheel (in constant rotation inside the cradle).

“Geb is also the symbol of royalty, which he is said to have forcibly taken from his mother Tefnut, who took refuge in the Ennead and eventually ceded the throne to him. He thus became the first mythical king of Egypt and gave his name to the pharaoh's throne, which was called the "throne of Geb." Translated from: https://fr.wikipedia.org/wiki/Geb

"Limestone Egyptian Pulley cradle". Photo by Gregory Blakely: exarc.net/issue-2014-3/at/reinventing-egyptian-pulley

41.04  The cradle also looks like it has two jaws imprisoning the wheel! That's the origin of 'the Jaws of Geb'

“Geb could also be regarded as personified fertile earth and barren desert, the latter containing the dead or setting them free from their tombs, metaphorically described as "Geb opening his jaws", or imprisoning those there not worthy to go to the fertile North-Eastern heavenly Field of Reeds. In the latter case, one of his otherworldly attributes was an ominous jackal-headed stave (called wsr.t Mighty One') rising from the ground onto which enemies could be bound.” https://en.wikipedia.org/wiki/Geb

41.05  But the cradle of the Egyptian pulley also has its own magnificent groove! Just like Abraham: Geb and the full throat laugh metaphor

Many metaphors used in ancient times, whether they come from Egypt or the Bible, are metaphors based on human anatomy or physiology; and that is the case here, where the grooves of the Egyptian pulley has been compared to the human throat. In French the metaphor is called “rire à gorge déployée”, and in English, it is called “full throat laugh”. Today, everybody know that a pulley wheel does have a groove (a throat) for the rope, but it is a small one compared to the groove (the throat) of the cradle where the pulley wheel is set. This is why here, Geb is, just like Abraham, associated with laughing.

Also, look at this wonderful other metaphor where it is said that Geb was creating earthquakes with his laugh. One can ask why is there this association with earthquakes about Geb? Well, the answer is because of another metaphor used for Geb: the metaphors of the jaws.

“Geb was the Egyptian god of the Earth and a mythological member of the Ennead of Heliopolis. He could also be considered a father of snakes. It was believed in ancient Egypt that Geb's laughter created earthquakes and that he allowed crops to grow”. https://en.wikipedia.org/wiki/Geb

[illustration] How to laugh, using your throat: https://www.wikihow.com/Laugh#/Image:Laugh-Step-6-Version-4.jpg

41.06  Just like Abraham again: Geb and the flour metaphor, here with barley

Here, it is because the endless movement of the pulley would have looked like the endless movement of a grinding stone.

“As a chthonic deity he (like Min) became naturally associated with the underworld, fresh waters and with vegetation – barley being said to grow upon his ribs – and was depicted with plants and other green patches on his body.” https://en.wikipedia.org/wiki/Geb

41.07  The goose is the sacred animal of Geb and if it is He who laid the sacred Great Egg, it only is because He is the cradle of the Egyptian pulley, and the Great Goose Egg is the pulley wheel itself

This myth about Geb, the goose and the egg,  probably is one of the most exquisite metaphors ancient Egyptians have left for us to decipher and enjoy; because if can’t understand this metaphor and if you can't enjoy it ether, you are just missing all the fun there is in deciphering the fantastic job ancient Egyptians have done in their glorifying process. If you are not ready to see the facetious side of these guys, it’s too bad; because again, yes you need to apprehend the ancient Egyptian civilization with a facetious eye; that’s what egyptologists are completely missing since the very beginning of egyptology.

So, here Geb really is a “cas d’école”, a perfect example of how Egyptians have thought their glorifying process; because if Geb’s sacred animal was the goose, he also was depicted as a ram, a crocodile or a bull. So, you’re gonna ask “why the hell was Geb depicted as either a goose, a ram, a crocodile or a bull?” Well, because Egyptians only used animals as metaphorical illustrations of how what was hidden underneath the metaphor was really looking, or was really doing as a piece of equipment that was set in the Great Pyramid, or before the Great Pyramid for some of them. Egyptians used animals just like a painter would use brushes or paints: they’ve used the hippopotamus to illustrate the block that was the plug of the inclined well, because a hippopotamus is spending pretty much all its time under water (see Taweret); they’ve used the falcon to illustrate the speed of the falling impactor (see Horus) and they’ve used the crocodile to illustrate the way the impactor was sliding into water (see Sobek). In short, animals for ancient Egyptians were only tools, so there is no problem what so ever if Geb is sometimes represented as a goose, or as a ram, or as a crocodile or as a bull. The only problem is to understand the metaphors that spurred Egyptians to used every single one of them.

“It seems that Geb was largely worshiped as a goose, his sacred animal, during the pre-dynastic period. Edfu (Apollinopolis Magna) was called the “Aat of Geb,” and Dendera was also known as “the home of the children of Geb.” https://ancientegyptonline.co.uk/geb/

“The oldest representation in a fragmentary relief of the god was as an anthropomorphic bearded being accompanied by his name, and dating from king Djoser's reign, during the Third Dynasty, and was found in Heliopolis. However, the god never received a temple of his own. In later times he could also be depicted as a ram, a bull or a crocodile (the latter in a vignette of the Book of the Dead of the lady Heryweben in the Egyptian Museum, Cairo).” https://en.wikipedia.org/wiki/Geb

[illustration of Geb with his sacred animal, the goose] A fine relief of the Egyptian gods Horus and Geb from tomb KV14 in the Valley of the Kings. Geb has his animal emblem over the head: the goose. Photograph by kairoinfo4u: https://fr.m.wikipedia.org/wiki/Fichier:Relief_of_Horus_and_Geb_from_KV14_(Kairoinfo4u).jpg

41.08  The metaphor of the goose egg is about goose egg bumps (on the head!)

So, why is Geb associated with both the goose and the egg of the goose? Well, because Geb is nothing but the glorification of the cradle in a pulley; and if you look at the whole pulley from the side, the pulley wheel appears just like a gigantic goose egg bump. And it’s not like they tried to hide it! They even gave the solution: you just have to see where they’ve put the goose on Geb! The goose is literally onto the head of Geb. How would you have better illustrated a goose egg bump on the head, than by simply putting a goose abobe Geb’s head and create a myth about the goose egg that involve Geb himself?

“How to treat Goose Egg Bumps - Pediatrician explains”. Edited image from a video made by Dr. Nkeiruka Orajiaka, Pediatrician + Pediatric Emergency Medicine Doc (Fellow): https://www.youtube.com/watch?v=07c_l7T50pQ

“It seems that Geb was largely worshiped as a goose, his sacred animal, during the pre-dynastic period. Edfu (Apollinopolis Magna) was called the “Aat of Geb,” and Dendera was also known as “the home of the children of Geb”. It may seem strange to have a male earth god (most cultures associating the earth with female power) but Geb was sometimes considered to be bisexual. In his shrine in Bata in Iunu he laid the great Egg (symbolising rebirth and renewal) from which the Sun-god arose in the form of a phoenix or Benben.” By J. Hill: https://ancientegyptonline.co.uk/geb/

41.09  The 'goose egg metaphor' can seem fancy but it really is real and Nut herself is demonstrating it: she really is about a bump in the ground, because the ground is the cradle of the pulley (that is Geb, 'god of the earth')

What a fantastic artifact we have here, representing Nut standing of what looks like some kind of 'bump on the ground', but that bump is nothing but the illustration of the 'goose egg bump' itself. This is the endless trick of representing a deity twice, using two different metaphors:

• Nut is first represented in her regular human form

• Nut is also represented in the little bump on the ground she is standing on, because she really is that bump (the pulley wheel viewed from the side)

[Stela of Tjanetiset] “The Mistress of the House, Chantress of Amun, Tatiaset, was a daughter of Siah. She was married to a Scribe of the House of the Divine votaress of Amun, Djedbastet, son of Merenkhonsu. One side of her stela shows the deceased being led by Anubis toward the seated statue of Ra-Harakhty. The other has the deceased on the left, facing the right. She and her husband, each seated on a chair, receive water from Nut in the tree. The goddess, as was common in this period, is shown in a frontal view.”: https://www.metmuseum.org/art/collection/search/550807

[representation of goddess of ‘the sky’ Nut] A 3000 year-old vignette from the Djedkhonsuiefankh funerary papyrus on display in the Cairo Egyptian Museum. By SenemmTSR: https://commons.wikimedia.org/wiki/File:Djedkhonsuifeankh.jpg

41.10  Nut and the brighting stars: the hypothesis that the Egyptian pulleys were made of Black Galaxy granite or a similar type of sparkling granite for the wheels in constant rotation on their axis

There is something very intriguing about the Stela of Tjanetiset and the intense black color of the 'little bump' on which is standing Nut; because the question remains: why was Nut associated with stars? Well, there might be an answer here: remember that Nut is the deification of the pulley in an Egyptian pulley, and that by definition that pulley kept spinning, just like the sky is spinning.

Black Galaxy Granite: https://stoneartskenya.com/product-details/Black%20Galaxy%20Granite/222#&gid=gallery1&pid=5

My hypothesis is that the Egyptian pulleys used in the Grand Gallery of the Great Pyramid were made of a very special kind of granite, that would have many white and yellow inclusions, just like that particular granite called 'Black Galaxy granite'. Apparently, the 'Black Galaxy' granite comes from India, but I guess some similar types of granite can be found closer to Egypt, and maybe in Egypt itself. But does that mean that ancient Egyptians wouldn't have been able to get Black Galaxy granite from India? Well, if you've already read the chapters about the reinterpretations that have been made by Indians of the operation of the Great Pyramid and the 'Churning of the Ocean' chapter in particular, well I certainly wouldn't rule out this possibility that Black Galaxy granite was indeed used by Egyptians, and that they've imported it directly from India. If the idea was precisely to make Nut, the goddess of the stars, so to speak, they would have made what ever was necessary to get the stone they needed.

“Nut is the goddess of the sky, stars, cosmos, mothers, astronomy, and the universe in the ancient Egyptian religion.” https://en.wikipedia.org/wiki/Nut_(goddess)

“Star trails above the village of Fewston in North Yorkshire, UK”. Photograph by Vaidotas Mišeikis: https://www.flickr.com/photos/v4idas/4881801899/

41.11  The 'Great Cackler': about the noise made by the Egyptian pulley in operation

Not only the metaphor of the goose egg bump is so good to illustrate the way that the pulley wheel is protruding from its cradle, but Egyptians even went further: they also had to illustrate the sound that the wheel would have made when in operation inside the cradle; so they’ve come up with this part of the myth were Geb was known as ‘the Great Cackler’ that makes a lot of noise.

"He [Geb] was given the epithet “The great Cackler” because of the noise he made when the egg was laid.” Copyright J. Hill: https://ancientegyptonline.co.uk/geb/

[illustration of Geb] “Geb was the Egyptian god of the Earth and later a member of the Ennead of Heliopolis.” Draw by Daniel Toye: https://en.wikipedia.org/wiki/Geb#/media/File:Geb.svg

Book of the Dead of Henuttawy with Geb and Nut at the far right, with Geb represented with the head of a snake. [papyrus, edited] British Museum EA10018,2: https://www.britishmuseum.org/collection/image/1162559001

41.12  When Geb is represented with the head of a snake, it isn't his head but the rope itself (maybe even the end of the rope): a snake is indeed a 'living creature with only one leg, rigid and straight' like described in Ezekiel chapter 1

On the right of the above papyrus of the Book of the Dead of Henuttawy, is depicted the goddess Nut arched over the god Geb, with Geb depicted with the head of a snake; but that snake is just a rope.

“Book of the Dead of Henuttawy (Lady of the House; Chantress of Amun). Within this papyrus, we see a rather unique depiction of Osiris, depicted here as the night sky and referred to as “Osiris Foremost of the Westerners, maker of heaven, maker of earth, maker of the netherworld”. Osiris is seemingly resurrected, his manhood noticeably restored. Geb, god of the earth, appears below, and appears to be performing autofellatio, which possibly signifies “self-sustaining fertility”. Beside this image of Osiris, is the goddess Nut in a similar pose, a pose she is actually more recognizable for as the goddess of the night sky; on fingers and toes she hovers above the earth god Geb, who is now seen with the head of a snake. Third Intermediate Period, c. 1070-664 B.C.” Text: https://www.facebook.com/Egypt.Museum/posts/book-of-the-dead-of-henuttawy-lady-of-the-house-chantress-of-amunwithin-this-pap/1076807217808200/

Rope with head of snake. @les.creatonautes: https://viejospellejos.com/post/665906681456295936/lescreatonautes

Operating diagram of the Grand Gallery, showing the original positions of the four Egyptian pulleys that were set on the upper platform of the Gallery to redirect the two lateral driving ropes and two central hauling ropes into the steep slope of the Gallery. Before these four Egyptian pulleys have been reinterpreted into the prophet Ezekiel in the Bible, they've been first glorified by ancient Egyptians into Geb (the inactive cradle) and Nut (the active pulley wheel).

41.13  There was four Egyptian pulleys in the Grand Gallery, so four wild geese had to be released

Four Egyptian pulleys, means four goose egg bumbs on the head, hence four geese to release. 

“One ceremony to mark the accession of a new pharaoh involved the release of four wild geese, to the four corners of the sky, to bring luck to the new king. During the Ptolemaic period, Geb became identified with the Greek god Kronos (time).” https://ancientegyptonline.co.uk/geb/

The throat metaphor used in the myths where Abraham and Geb are laughing, is about the throats of the Egyptian pulley: the groove of the cradle and the groove of the pulley wheel.

Representation of Geb and Nut, with Shu. Geb is laying on the ground, Nut is arched above him and Shu is in between 'separating' them. Papyrus mythologique de Tanytamon, Egyptien 172. Bibliothèque nationale de France, département des manuscrits (color and luminosity modified on gimp): https://gallica.bnf.fr/ark:/12148/btv1b8304598h

41.14  The perfect representation of how the cradle of the Egyptian pulley (Geb, lying on the ground) is designed to perfectly accomodate the spinning wheel (Nut) inside the limits of his own body (that's the cradle)

You will notice on the above papyrus of Tanytamonthat, that there is not one single part of the body of goddess Nut (the deification of the pulley wheel), not even a tiny part that is represented 'outside' of the body of god Geb, lying onto the ground, only here to perfectly accomodate Nut's body.

“Normal anatomy of the human eye and orbit, anterior view.” Patrick J. Lynch, medical illustrator: https://en.wikipedia.org/wiki/Human_eye#/media/File:Eye_orbit_anatomy_anterior2.jpg

41.15  If boats are represented onto the body of Nut, it's because they're not really onto her body but inside her body: boats are onto the water poured inside the groove of the pulley wheel

Most probably, the lubrication of the whole Egyptian pulley was made by pouring water inside the groove of the pulley wheel, that would explain the representations of Nut, pouring water.

[illustration] Stela of Tjanetiset. “The Mistress of the House, Chantress of Amun, Tatiaset, was a daughter of Siah. She was married to a Scribe of the House of the Divine votaress of Amun, Djedbastet, son of Merenkhonsu. One side of her stela shows the deceased being led by Anubis toward the seated statue of Ra-Harakhty. The other has the deceased on the left, facing the right. She and her husband, each seated on a chair, receive water from Nut in the tree. The goddess, as was common in this period, is shown in a frontal view.”: https://www.metmuseum.org/art/collection/search/550807

It's not like Nut herself isn't showing what she really is all about: the pulley wheel itself. Do you see how the arms of the goddess are mimicking the two 'jaws' of the cradle to block the wheel into position? [illustration of Nut] Lid of the sarcophagus of Djedhor at the Louvre museum. Photograph by Frank Kovalchek from Anchorage, Alaska.

41.16  If Geb and Nut were "so close that nothing could come between them", it only is because when Geb is the glorification of the cradle, Nut is about the wheel of the Egyptian pulley... and yes, the wheel can look like a disc

Maybe one day, egyptologists will stop seeing the sun disc in every single disc represented by ancient Egyptians. Maybe, they should remember a very simple rule: “if you see a disc, and this disc doesn’t have anything that looks like sunrays around it, then you should rule out the possibility that this disc is about the sun”. Not every disc is about the sun, if any.

“Geb and Nut were so close that nothing could come between them. Geb was separated from Nut by their father Shu, but thanks to a stratagem of Nut they managed to unite and gave birth to Osiris, Seth, Isis and Nephthys. Symbolism has it that Geb and Nut united in the secrecy of the night only to be separated by Shu in the morning.” Translated from https://fr.wikipedia.org/wiki/Geb

Papyrus EA10018,1 "Book of the Dead of Henuttawy"; frame 1; full colour vignette. The Trustees of the British Museum: https://www.britishmuseum.org/collection/object/Y_EA10018-1?selectedImageId=359892001

Character: Kukuri ククリ. Anime: Mahoujin Guruguru. “In Japanese, guruguru-me ぐるぐる目 means “spiraling eyes,” “spinning eyes,” or “swirling eyes.” In anime, it's those spiral-shaped eyes characters make when they're dizzy, puzzled, dazed, flustered, and so on. The term comes from guruguru ぐるぐる, a mimetic word meaning “swirling,” and me 目, “eyes”.” https://www.japanesewithanime.com/2019/05/guruguru-me.html

41.17  The spinning Eye of Horus: the eye metaphor about the endless spinning of the pulley wheel

[illustration] “Egyptian Pulley, 5,000 pound lift”. Video by Stephen Blakely: https://www.youtube.com/watch?v=g_dAZpCAElA

[detail] Papyrus EA10018,1 "Book of the Dead of Henuttawy"; frame 1; full colour vignette. The Trustees of the British Museum: https://www.britishmuseum.org/collection/object/Y_EA10018-1?selectedImageId=359892001

41.18  The Egyptian pulley needed lubrication by water... hence the association of Geb and Nut with water and the baboon

One of the most redundant metaphors used by ancient Egyptians is about the baboon and the fact the animal is nothing but or mostly about water supply, as it is perfectly depicted in many water clocks where a baboon is seated right above the water outlet of the recipient. In the above papyrus EA10018,1 "Book of the Dead of Henuttawy" (the pictures before), the role of the baboon is perfectly explained: if he looks like he is pushing the Eye of Horus, it only is because he is the one to put the Egyptian pulley into motion. And of course, it he can do that, it only is because as a baboon providing water, he is the one lubricating the pulley.

Water Clock Decorated with a Baboon. “This piece is considered to be a model of a water clock. Water within could drain from a hole between the baboons legs over a measured time. This object was likely a temple offering to the god Thoth in his role as overseer of knowledge and measurement.” From the Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/572126

Ancient Egyptian winged goddess of the sky and stars Nut. [edited] From an original photograph by Rob Koopman: https://www.flickr.com/photos/koopmanrob/3956335139

41.19  Once lubricated, Nut was actually like levitating in the air: the wheel of the Egyptian pulley wasn't touching the cradle anymore, she was above the 'earth' and so she had been given wings

Does the disc above Nut's head really looks like the sun to you? You'll note that the little 'goose egg bump' is so important, it is even part of her hieroglyphic name.

Operating diagram of the Grand Gallery, showing the original link between Nut (the deification of the two central hauling and redirecting Egyptian pulleys' wheels) and Ra (the wooden part of the composite impactor).

41.20  Nut had three other names: here are the four wheels of the four Egyptian pulleys of the Grand Gallery

“Nut was the goddess of the sky but had many other purposes as well. She had three other names: Nuit, Newet, and Nueth.” https://simple.wikipedia.org/wiki/Nut_(goddess)

41.21  Because Nut was indeed swallowing the hauling ropes through her groove (her throat) she was also carrying Ra

“The ancient Egyptians believed that Nut swallowed the sun-god, Ra, every night and gave birth to him every morning. […] She was also the mother of heavenly bodies, whose laughter was thunder and tears were rain. She often carried the sun across the sky.” https://simple.wikipedia.org/wiki/Nut_(goddess)

41.22  Why is Nut's emblem a water pot on the head if what she's really about is the wheel of an Egyptian pulley

Knowing that Nut is the glorification of the wheel of the Egyptian pulley, I wondered why was her emblem a water pot on her head; what’s the link between what is a simple cylinder with a central groove and the water pot. I do have a solution, but I’m really not sure it is correct; but there it is: Nut is basically a very simple cylinder, and if you want to deify this cylinder into a deity in human form, it’s gonna be hard, because the cylinder doesn’t have any leg of any arm; so of course Nut does have normal limbs in her human form, but what I want to say is that in order to rotate in the cradle, that cylinder Nut had to be lubricated; and it had to be lubricated all other its body; but a body without legs or arms, is just some kind of head. So it is possible that Egyptians gave Nut the emblem of a water pot on her head, because the pulley wheel cylinder Nut only had a head, and there was water all other that head. Maybe in the future, there will be another explanation, but for now, this is all I can think of.

[illustration edited from] Book of the Dead for Chonsu-mes, image 5. Kunst­historisches Museum, Vienna: https://www.khm.at/en/artworks/book-of-the-dead-for-chonsu-mes-319162

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Operating diagrams of the Great Pyramid

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