THE PYRAMIDS of the COLD • Chapter 46 How the two central hauling ropes were forced down the Djed caisson by Hathor the ‘Mistress of the counterweight' hauling plug

In summary: this isn’t the first time I stumble upon something of the highest importance regarding the deciphering of the true nature of the so-called ancient Egyptian religion, something really ground breaking, and at the same time becoming aware that this very particular information seems to have been almost completely gone. Make your own research on goddess Hathor, and you’ll see that almost nobody is mentioning the fact she was known by every Egyptians as ‘Mistress of the counterweight’. Well, if you want to write something about Hathor, ‘Mistress of the counterweight’ is the first thing you want to mention.

There is one major difficulty in the deciphering process applied to ancient Egyptian art, and it is about the problem of determining if what you are looking at is about something new that only appeared with the operation of the Great Pyramid, if it is something that had already been used prior to the Great Pyramid, or if it is about something completely different such as the glorification of a theoretical scientific principle (just like we've already seen with Geb, Shu and Tefnut: three deities used to represent the endless cycle of water). We’ll see that cow goddess Hathor 'Mistress of the counterweight' had two major functions in the operation of the Grand Gallery: she was the counterweight that was needed for the two central hauling ropes to be able to reach the entry of the inclined well, when descending inside the central wooden Djed caisson, and she also facilitated the operation of these ropes by tying up their ends and assuring a perfect connection with the two bollards of the impactor.

In short, Hathor is the glorification of what I've called the central hauling plug of the Great Pyramid, and the whole thing probably looked like a modern ramshorn hook with its heavy block. Because the impactor has been glorified into sun god Ra, when the Hathor hauling plug was connected to the impactor, it would have looked like the sun disc would have been caught right between the horns of cow goddess Hathor.

We'll see as well, that not only ancient Egyptians glorified their accomplishments by creating an entire religion, that was then reinterpreted by Greeks, who didn't care that much about hiding things behind metaphors too difficult to apprehend: the so-called tripod of Heracles, is the plug; and there are many illustrations of that plug.

Crane Hook Block: https://www.indiamart.com/proddetail/crane-hook-block-8992732648.html

Operating diagram of the Grand Gallery of the Great Pyramid of Khufu, showing that the hauling plug has been released. The plug had to be weighed to drag the two central hauling ropes all the way down the Gallery, to the entry of the inclined well, where the ropes would be reconnected with the floating impactor, through the hauling plug. The plug would have resembled to a modern ramshorn double hook with heavy block.

46.01  The realm of the operating hauling plug Hathor was the central wooden Djed caisson and this is what this relief is all about: the operation of the hauling plug

Of course, everything in the ancient Egyptian religion is only metaphoric, and most of the metaphors are difficult to decipher, or even extremely difficult to decipher; but there is a very easy one with the head of Hathor put onto a Djed pillar: this is just the way Egyptians described that what is Hathor representing was actually operated inside the Djed pillar, because the Hathor hauling plug was operated inside the central wooden Djed caisson; and we’ve already seen that the Djed pillar not only is about the caisson, but also the hauling Beetle with its four transversal beams and six individual compartments, one for each crewmember of the Beetle. And of course, that is the crewmembers that were putting Hathor into motion.

[The head of Hathor on a Djed pillar] Cairo Museum, ground floor, gallery 20. Photograph by Gihane maamoun: https://www.facebook.com/photo/?fbid=1851812581598238&set=a.622059851240190

46.02  When Hathor and Ra ascended together

Ok, so now we’re getting to the connection with Hathor and sun god Ra. We’ve already seen that the sun has been used by ancient Egyptians to glorify the fact that the impactor of the Great Pyramid was engaged in an endless cycle of ascending and descending the Grand Gallery; and that in between, the impactor disappeared inside the waters of the inclined well, just like the sun when it disappears inside the waters of the Nile.

So, when Hathor is represented with the disc of sun god Ra in between her horns, just like in the above artifact “Menat counterweight with figures of Hathor as a woman and a cow” from the MET, it is just an elegant and metaphorical way of representing the impactor caught by the hauling plug.

The same way, when Hathor is represented holding two weird ropes, just like on the above image from The New York Public Library, it only is another way of describing and glorifying her role as the hauling plug which also had the function to tie up the ends of the two hauling ropes (these ropes, when really engaged in the act of towing, were seen as Isis, and we’re gonna talk about the relationship between Hathor and Isis, just a little farther).

“The theology surrounding the pharaoh in the Old Kingdom, unlike that of earlier times, focused heavily on the sun god Ra as king of the gods and father and patron of the earthly king. Hathor ascended with Ra and became his mythological wife, and thus divine mother of the pharaoh. [...] Ra gave rise to his daughter [Hathor], the eye goddess, who in turn gave rise to him, her son, in a cycle of constant regeneration.” https://en.wikipedia.org/wiki/Hathor

Operating diagram of the Great Pyramid of Khufu, showing the crucial role of the central wooden Djed caisson in which two massive pieces of equipment were endlessly moving up and down: the impactor and the hauling plug that allowed the two central hauling ropes to be forced down the Grand Gallery to be reattached with the floating impactor. Both the impactor and the hauling plug were made of wood (the vessel) and a weight. If Hathor is that plug, it is the Apis bull which has been created as the glorification of the plug's weight.

46.03  The real link between Hathor and the knot of Isis

The above statue is described by the Brooklyn Museum as representing the head of the goddess Hathor resting on a protective Isis-knot. But of course, now we know better and we should say that it is the representation of Hathor (the hauling plug with counterweight) fixed at the ends of the two Isis central hauling ropes. Probably, the profound meaning of the use of the knot of Isis, instead of Isis herself, is to emphasize the very strong attachment there was between Hathor and Isis, i.e. between the hauling plug with its two ropes.

[illustration] “Kaemwaset Kneeling with an Emblem of Hathor. The royal name carved on Kaemwaset’s upper right arm dates his statue to the reign of Thutmose IV. The rolls of flesh on his torso are an artistic convention indicating his prosperity. The object he holds represents the head of the goddess Hathor resting on a protective Isis-knot. On her head is a miniature temple gateway, flanked by two spiral or scroll shapes (called volutes). These forms suggest the sistrum, a musical rattle whose sound was beloved by Hathor and other goddesses. The cobra shown in the doorway and two others on the sides also evoke goddesses and their protection. ca. 1400–1390 B.C.E." Brooklyn Museum: https://www.brooklynmuseum.org/fr-FR/objects/100541

46.04  The well known close relationship between Hathor and Isis

“Clearly, there is a relationship between these two Great Goddesses; so much so that it was required that each Goddess would have a smaller temple near the great temple of the other. In fact, sometimes that relationship between Isis and Hathor is so close that it’s hard to tell Them apart. Beginning in the New Kingdom, we regularly see Isis wearing the Horns & Disk crown of a Cow Goddess that is emblematic of Hathor. Sometimes Isis also has a small throne on top of the Horns & Disk to indicate that She is indeed Isis rather than Hathor, sometimes She doesn’t. But guess what? Hathor sometimes borrows Isis’ headdress, too. Again at Denderah, we find a carving of Hathor—and the hieroglyphs confirm that She IS Hathor—wearing the Horns & Disk with the throne on top.” By Isidora: https://isiopolis.com/2023/04/30/isis-hathor-twins/

Operating diagram of the Grand Gallery of the Great Pyramid of Khufu, showing that the hauling process is underway: the impactor is being pulled up by the two central hauling ropes inside the central wooden caisson, but this is the hauling plug Hathor who really is in direct contact with the impactor. “The Egyptians believed that the sun god [Ra] was lifted up into the heavens on the head of the celestial cow [Hathor]. […] The canopy of the sycamore tree was a sacred space where Hathor offered refuge to her followers, also after their death. […] Each morning the sun was born and placed between the horns of Hathor.” https://symbolreader.net/2015/06/21/hathor-the-exuberant-goddess-of-abundant-life/

46.05  Hathor: if she was known as the 'Lady of the southern sycamore', it certainly indicates that the central wooden Djed caisson extended entirely inside the inclined well

Additionally to the fact that at least the hollow guide rails of the central wooden Djed caisson had to get inside the inclined well so that the impactor could be properly operated, there is another information reinforcing the idea that this probably was the whole central wooden Djed caisson which extended entirely into the inclined well: Hathor was known as 'the lady of the southern sycamore'. Because what is certain, is that the Hathor hauling plug never got inside the well; so knowing that the sycamore tree is about the central wooden Djed caisson of the Grand Gallery, it implies that there is a northern sycamore; hence that the central wooden Djed caisson extends in the well.

Of course, this is a crucial information that says there was two parts of the central wooden Djed caisson:

• the southern aerial part (the realm of the hauling ropes and plug)

• the northern flooded part (where only the impactor was able to go)

“As the “lady of the west” and the “lady of the southern sycamore” she protected and assisted the dead on their final journey. Trees were not commonplace in ancient Egypt, and their shade was welcomed by the living and the dead alike. She was sometimes depicted as handing out water to the deceased from a sycamore tree (a role formerly associated with Amentet who was often described as the daughter of Hathor) and according to myth, she (or Isis) used the milk from the Sycamore tree to restore sight to Horus who had been blinded by Set.” https://ancientegyptonline.co.uk/hathor/

Operating diagram of the Grand Gallery of the Great Pyramid of Khufu, showing that the hauling plug has been released. The plug had to be weighed to drag the two central hauling ropes all the way down the Gallery, to the entry of the inclined well, where the ropes would be reconnected with the floating impactor, through the hauling plug. The plug would have resembled to a modern ramshorn double hook with heavy block.

46.06  Hathor and the gymnastic rings metaphor

Whether you want to see a metaphor about gymnastic rings, or the operation of a crane (because the hauling plug was operated just like a crane), I think it doesn't really matter; but just look at the above operating diagram of the Grand Gallery showing the hauling plug Hathor, with her two magnificent eyes (remember that Hathor was also known as 'the Eye goddess'), and maybe you'll even come up with your own metaphor. 

[replica of a very unusual figure of Hathor ‘Mistress of the counterweight’] “One of A Kind piece of HATHOR The Egyptian goddess of the sky”: https://www.ebay.com.sg/itm/403978291829

46.07  When Hathor was the ‘feminine counterpart of Ra’ and ‘the feminine counterpart of Horus’

“Hathor was a solar deity, a feminine counterpart to sun gods such as Horus and Ra, and was a member of the divine entourage that accompanied Ra as he sailed through the sky in his barque.” https://en.wikipedia.org/wiki/Hathor

46.08  When Hathor was indeed about the Eye of Ra

“She was one of many goddesses to take the role of the Eye of Ra, a feminine personification of the disk of the sun and an extension of Ra's own power. Ra was sometimes portrayed inside the disk, which Troy interprets as meaning that the eye goddess was thought of as a womb, from which the sun god was born. […] Ra gave rise to his daughter, the eye goddess, who in turn gave rise to him, her son, in a cycle of constant regeneration.” https://en.wikipedia.org/wiki/Hathor

[left image] Naos-Sistrum with Bes-Shaped Handle: https://art.thewalters.org/object/54.493/   [right image] “Spiritual Statue for Egyptian Deities Hathor and Bes made in Egypt from Stone”: https://www.ebay.com/itm/405342370937

46.09  The Push-Pull effect illustrated by Hathor and Bes turning their backs to each other but working together

What another crazy artifact that the one represented on the above right images. So, of course this one doesn’t come from a museum, but it is fair to say that it certainly is a legitimate copy of a real Egyptian figure. That being said, it really is a curious thing at first sight. Why is Hathor and Bes associated this way, turning their backs to each other? Well, just look at the above diagram of the operation of the Great Pyramid and you’ll understand right away:

• Bes was the little piece of granite, deeply embedded into the floor of the inclined well, immobilizing the Taweret sealing block of the well

• Hathor was the hauling plug that was towing the impactor up at the other end of the inclined well-central wooden Djed caisson unit

Another way of seeing this, is to say that Bes was the one to Push (Taweret up), while Hathor was the one to Pull (the impactor up). In short, this little cute but crazy artifact is the Egyptian way of demonstrating what we call today the Push-Pull effect. This is why Hathor and Bes are turning their backs to each other: it actually only looks like they are turning their backs to each other, when in fact they are going into the same direction.

The artifact on the left is even better, because the two deities are on top of each other, just like it was in the Great Pyramid: Bes was at the very bottom of the system, when Hathor was always at the very top.

“Ptolemaic plaque found at Dendera, showing a woman giving birth with the assistance of two cow-headed goddesses, both representing Hathor”. Egyptian Museum, Cairo. JE 40627: https://i0.wp.com/egypt-museum.com/wp-content/uploads/2023/11/Plaque-of-a-Woman-Giving-Birth.-Egyptian-Museum-Cairo.-JE-40627.jpg?ssl=1

46.10  The Push-Pull effect illustrated: Hathor 'the pulling Lady'... for the pushing woman giving birth

The one thing a woman giving birth is doing is pushing. “Push… push… push”; and indeed her whole attitude is about pushing, as clearly illustrated by her arms on her knees. Look how beautifully, for each of her two pushing arms is a helping goddess in the form of Hathor; ‘the hauling Lady’ was also ‘the pulling Lady’.

So, every time a woman was giving birth, and every time she was pushing to let the baby out, she was also at the same time invoking and asking for help of the ‘pulling Lady’, Hathor.

“Ancient Egypt, Painting, Gods of the Underworld Tethered to Hathor, Divine Cow, Towing the Solar Barque, Tomb of Rameses I, Thebes”. Book of Gates second division (P)/third hour (H), middle and lower registers, Burial chamber J, right (northwest) wall (center part). Courtesy of Uni Dia Verlag; Uni Dia. Original image 35664: https://thebanmappingproject.com/media/22557?site=5605

Composite image from “Ancient Egypt, Painting, Gods of the Underworld Tethered to Hathor, Divine Cow, Towing the Solar Barque, Tomb of Rameses I, Thebes”. Kheker frieze; Book of Gates, second division (P)/third hour (H), middle register, scene 11: Bark of the Earth. Image 35664: https://thebanmappingproject.com/media/18048?site=5605 and 35668: https://thebanmappingproject.com/media/22560

46.11  “Slide back Hathor… slide… and haul back that wooden vessel Ra”

Above is a composite image made of two original pictures showing the whole story of what we already have discussed in the beginning of this section: it shows Hathor literally represented hauling the so-called solar boat of Ra.

What is crucial to understand is the reason why Egyptians have used not a usual a representation of Hathor as a cow or in a human form, but as this wonderful glorification of the precision beam balance: the whole point of this particular relief was to show that Hathor, not only was hauling the solar boat (the wooden part of the impactor, Ra), but really to show that Hathor was supposed to slide, just like the weights of a beam balance are sliding through the beam.

46.12  “Seti… get in the car!”

On the left is another very interesting painting showing Hathor, presenting to Seti I the connecting eye. Here, Hathor isn’t “welcoming” Seti I, she is presenting to him the connecting plug (that is herself) that would allow him to be hauled just like the above solar barque. Another modern way of seeing it, is Hathor saying to Seti I: “Hello sweety, get in the car!”

Hathor welcoming Seti I into the afterlife, 13th century BC: https://collections.louvre.fr/en/ark:/53355/cl010009693

[cow goddess Hathor ‘Mistress of the counterweight’ holding two mysterious and weird looking ropes] From Pantheon Egyptien by Leon Jean Joseph Dubois, digitally enhanced by rawpixel-com

46.13  Hathor 'Mistress of the counterweight' was indeed holding ropes

Hathor was not only about a counterweight, but also about two ropes, as she is so proudly demonstrating it.

“The counterweight alone was a magical symbol of the goddess Hathor”: metmuseum.org/art/collection/search/548610

[original illustration of cow goddess Hathor holding two mysterious and weird looking ropes] Pantheon Egyptien by French egyptologist Leon-Jean-Joseph Dubois, at the General Research Division of The New York Public Library. (1823 - 1825). "Athor ou Hathor": https://digitalcollections.nypl.org/items/510d47d9-5ba1-a3d9-e040-e00a18064a99

On the left is Apollo (‘Apolenos’), the Greek god who has been identified by historians with Egyptian god Horus the elder, the god who was the glorification of the impactor of the Great Pyramid in the part of its operating cycle where it was painstakingly lifted up by the two hauling ropes inside the central wooden Djed caisson; so imagine my surprise seeing Apollo/Horus the elder “running” after this weird “harness-like” thing that is the Delphic tripod with its two magnificent “rings”. I’ve always assumed the ropes were “free” in the caisson when they were released from the top of the Gallery, but when you think it through, they wouldn’t have been able to descend by their own weight: the friction would have stopped them pretty much right away. In short, the two central hauling ropes needed extra weight at their ends and this is what really is the Delphic tripod: a practical connecting plug for the two bollards of the impactor, with enough weight for the ropes to descend the caisson all the way to the entry of the inclined well.

On the above image, Apollo (the Greek reinterpretation of Horus the elder-impactor painstakingly rising up in the Grand Gallery of the Great Pyramid) is actually trying to connect with the “tripod”, because it only is the plug that would connect him (the ascending impactor, with its two bollards) to the two hauling ropes. The eyes of the tripod are meant for the bollards.

“Dispute of Apollo (‘Apolenos’ on the left) with Heracles (on the right) for the Delphic tripod”. Photograph by Jastrow: https://en.wikipedia.org/wiki/Apollo#/media/File:Herakles_tripod_Louvre_F341.jpg

46.14  Finally, the true origin of Hathor

What we’re gonna see now, is why Hathor had this title of ‘Mistress of the counterweight’; and of course it is because of something that happened inside the Great Pyramid: Hathor only is the glorification of the counterweight that was used inside the central wooden Djed caisson of the Gallery. Without this very particular Hathor counterweight, the two central ropes wouldn’t have been able to descend all the way to be reattached with the impactor. This really is what Hathor is all about; the hauling plug and counterweight for the two central hauling ropes descending the Gallery. This is only because of the deification of that plug into goddess Hathor, that ancient Egyptians started to invoke the ‘Mistress of the counterweight’ goddess each time they were counting on counterweights in their everyday life. And the deciphering of the Hathor hauling plug and counterweight starts with the Greek Apollo.

The famous scene of the “struggle of Heracles (left, with his club underneath) with  Apollo (right)”: https://mykingdomforadonkey.wordpress.com/heracles-and-apollo-the-struggle-for-the-delphic-tripod/

46.15  Egyptian god Horus the Elder was known as Horus ‘of the two eyes’ and was identified by historians with Greek Apollo, the one who fought with Heracles for the ‘Delphic tripod’

So, let’s start with the relation there is between Horus the elder and Apollo. We’ve already seen with Egyptian goddess Neith and Greek goddess Athena, that historians failed in the comprehension of what is known as 'interpretatio Graeca': Egyptians and Greeks didn’t develop similar gods and goddesses separately; but instead Greeks completely reinterpreted the work that Egyptians had already made to glorify the operation of the Great Pyramid and all their scientific knowledge and technological prowess to create their own deities. In short, Greeks only copied Egyptians for the creation of their own deities, and they are all about how was operated the Great Pyramid as well.

So, when you look at the above image representing Greek Apollo, you know that it is all about the impactor being hauled to the top of the Gallery (Apollo is Horus the elder). What it means is that the hauling ropes weren't simply loose and independant in the central wooden Djed caisson: the fact that Apollo is holding the very strange 'Delphic tripod' changes everything, and clearly there was some kind of additional equipment with two magnificent rings, that you can easily interpret as some kind of eyes.

Operation of the Grand Gallery of the Great Pyramid while the hauling process of the impactor is in progress, showing that both Isis and Hathor are pulling the impactor up together. This is why, in most of representations of Isis and Hathor, you simply cannot tell the difference between the two goddesses if they are not clearly named.

46.16  Egyptian Horus the Elder = Greek Apollo

So far we have the following:

• Horus the elder = Greek Apollo

• Horus the elder was known as ‘Horus of the two eyes’

• Greek Apollo is holding some kind of tool with two eyes

“Heru-ur (Horus the Elder). His titles include: 'foremost of the two eyes', […] Other variants include Hor Merti 'Horus of the two eyes' […] Heru-ur, also known as Heru-wer, Haroeris, Horus the Great, and Horus the Elder, was the mature representation of the god Horus. This manifestation of Horus was especially worshipped at Letopolis in Lower Egypt. The Greeks identified him with the Greek god Apollo.” https://en.wikipedia.org/wiki/Horus

Do you really believe Apollo and Heracles are fighting for a piece of furniture? (and by the way, can you imagine yourself sitting on the damn thing?). Left: Heracles (the Delphic tripod really is himself), and on the right is Apollo: https://upload.wikimedia.org/wikipedia/commons/6/68/Phintias_ARV_24_12_-_satyr_-_Herakles_and_Apollon_struggling_for_the_tripod_-_Herakles_and_Alkyoneus_%2804%29.jpg

46.17  Apollo isn’t fighting Heracles for the tripod: Heracles is the tripod and they are simply connecting to each other

We’ve seen already many times the process represented here: the same thing represented twice. First there is Heracles, the Greek god, and second there is the Delphic tripod; except that Heracles really is the glorifying representation of that tripod. What the scene really means is the description of how the impactor of the Great Pyramid (Horus the elder = Apollo), was connected to the hauling ropes, through some kind of ‘harness connecting plug’.

In short: Heracles really is the ‘harness connecting plug’ that was in between the ropes and the bollards of the impactor.

“Heracles was a divine hero in Greek mythology, […] He was the greatest of the Greek heroes, the ancestor of royal clans who claimed to be Heracleidae (Ἡρακλεῖδαι), and a champion of the Olympian order against chthonic monsters. In Rome and the modern West, he is known as Hercules, with whom the later Roman emperors, in particular Commodus and Maximian, often identified themselves.” https://en.wikipedia.org/wiki/Heracles

“Heracles with club, lion skin and golden apples. The statue was found neatly buried under tiles with the inscription “FCS” (“fulgor conditum summanium”), indicating that it was struck by lightning then buried on the spot. Gilt bronze, Roman artwork of the 2nd century CE.” https://upload.wikimedia.org/wikipedia/commons/b/b5/Hercules_bronze_in_the_Vatican_Museums.jpg

46.18  Heracles' club is all about glorifying the idea of weight itself

At first, I really didn’t see there was a major problem regarding the operation of the two hauling ropes when it was time to let them go inside the central wooden Djed caisson so that they would be reattached with the impactor more or less floating inside the inclined well, and start another cycle of hauling the impactor back up to the top of the Gallery. I didn’t see that the ropes wouldn’t have been able to slide all by themselves all the way down the caisson: they would probably have been stuck pretty much right away after their release.

So, some kind of extra weight had to be implemented somehow at the very end of the two ropes. It was not optional, it was mandatory. Knowing that Heracles really is the plug at the end of the ropes, and that the plug is most certainly all about putting additional weight, then we understand the ‘club of Heracles’. Because Heracles was all about putting extra weight, Greeks gave him the perfect metaphorical tool representing that weight: a club. Not just any kind of club of course: a very, very, very heavy club (just like the one on the above image).

In short: the first role of the Heracles connecting plug is to put extra weight on the hauling ropes’ ends so the ropes would descend all the way in the central wooden Djed caisson: in short, the club of Heracles is about its heavy weight (the fishing weight metaphor).

Drop Shot Fishing Weights Kit Lead Freshwater Fishing Sinkers: https://www.amazon.com/AMYSPORTS-Freshwater-Removable-Saltwater-Streamlined/dp/B0B9MNZSSY?th=1

46.19  The Heracles hauling plug also allowed to assemble together the two hauling ropes’ ends

This is a representation of the Roman reinterpretation of Heracles: Hercules, as a child, grasping in his two hands the two snakes.

The idea was to illustrate the fact that when Hercules/Heracles wasn’t really doing his hauling job as the connecting hauling plug, he still had a job to do: maintaining a firm grip on the ends of the hauling ropes.

This is why this is a child who has a firm grip on the snakes: he is too young to do any hauling job yet.

“Hercules is the Roman equivalent of the Greek divine hero Heracles, son of Jupiter and the mortal Alcmena. In classical mythology, Hercules is famous for his strength and for his numerous far-ranging adventures.” https://en.wikipedia.org/wiki/Hercules

“Infant Hercules Strangling Two Serpents” at the MET: https://www.metmuseum.org/art/collection/search/195443

46.20  Finally, the Heracles connecting plug facilitated the operation of connecting the two hauling ropes with their corresponding bollards onto the impactor

I don’t think there wouldn’t have been any problem for the crewmember who had to get inside the central wooden Djed caisson through the lower Bastet hatch, to connect individually each of the eyes of the two central hauling ropes with their corresponding bollard, but the fact that the ends of the ropes were assembled together through the connecting Heracles hauling plug, was certainly something that helped this guy to do the job fast.

46.21 The Hathor connecting plug

This isn’t the first time that I have to make a mea culpa, I’ve already done that many times, and that is one of the most important difference there is between academic historians and myself. Making mistakes is part of the learning process. This time the mea culpa it is about the end of the two hauling ropes, the ones which have been glorified into Egyptian religion in goddess Isis (the One saving Osiris from the water, see Section 51). The first mistake I’ve made about Isis, was to think there was one single rope to take care of the hauling process, and we’ve seen in Section 42 “The Four Egyptian Pulley Wheels”, that there was actually two ropes inside the central wooden Djed caisson, probably the exact same ropes that the driving ropes connected to the hauling Beetle, one above each ramp of the Grand Gallery.

In my mind, I didn’t see no problem imagining the ends of these two Isis hauling ropes would have been ‘loose’ inside the wooden structure of the central Djed caisson; but in previous Section 52, I realized that I was wrong about the interpretation of Horus the child and most of all in Horus the elder. And that is precisely Horus the elder who is the beginning of this all new addition to the reconstitution of the Grand Gallery’s operation, because according to historians, Horus the elder has been identified as the Greek’s god Apollo; and if there is one extraordinary thing that is known about Greek Apollo, and that is his famous tripod.

Historians never understood (or never wanted to assume) that the so-called “interpretatio Graeca” wasn’t the result of two separated lines of evolution, one from the Egyptians and one from the Greeks, with no link between them. If many Greek deities have been ‘identified’ with corresponding Egyptian deities, it is only because Greek deities are reinterpretations of Egyptian deities. Most probably, there isn’t one single Greek deity that is not originating in the Egyptian mythology.

Left: Heracles with his club, and on the right is Apollo: https://mykingdomforadonkey.wordpress.com/heracles-and-apollo-the-struggle-for-the-delphic-tripod/

So here, if Apollo is known for his tripod, it means that the tripod is also the one of Horus the elder. And because we know now with about 100% certainty that Horus the elder is about the impactor of the Great Pyramid in this very particular phase of operation when it was painstakingly lifted up to the top of the Gallery, helped both on his left and his right side by the two parts of the hauling Beetle, just like when you want to help every elder man, then we know that the tripod has to do with the impactor being hauled and raised up.

What is obvious about this Delphic tripod is its two magnificent rings, that were designed to be connected with the two bollards of the impactor.

Of course, we’ll see that Apollo isn’t really fighting with Heracles to get the tripod: if Apollo is the impactor being hauled (Horus the elder), then Heracles is about the tripod itself and  the reinterpretation of the connecting part that assembled the two ends of each hauling rope with the two bollards of the impactor. In short, Heracles really is the tripod itself, and he pretty much looked like the female part of a modern plug.

In short, the two hauling ropes of the Grand Gallery had been operating the impactor of the Great Pyramid, through an additional piece of equipment, that served two main goals: connect the ropes with the impactor and allow these ropes to descend the central caisson and reach the impactor. This additional equipment, this is what Hathor is all about, and it had been later reinterpreted into the Delphic tripod of Heracles in Greek mythology.

46.22  The understanding of Horus the elder

The understanding of the true origin of Horus the elder really turns out to be one of the most important discoveries of the study. Horus the elder is of course all about the day to day challenge that elderly are facing in their every move. So because Horus is about the impactor, Horus the elder can only be about this phase of the operation of the impactor when it had to be slowly and painstakingly lifted up to the top of the Gallery.

Once released, the impactor was then seen as Horus the child, because of the way children are born; released from their mother’s womb. From that comprehension of Horus the elder, two things will in turn be deciphered as well: the Greek god Apollo and the Egyptian goddess Hathor.

1 • Egyptian god Horus the elder has officially been identified with Greek god Apollo

2 • Egyptian god Horus the elder was officially the husband of goddess Hathor

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Operating diagrams of the Great Pyramid

Timelines

Index