A blog on ancient Egypt, published by french layman B. Coursol

In summary : the horizontal passage of the Great Pyramid of Giza was designed to transform pressurized liquid water coming from the inclined well, into a fog of liquid microdroplets that would evaporate and create evaporative cold, most probably close to 5°C (41°F). The cold would be stored into the Queen's chamber, where a copper plate cold exchanger would have allowed the cooling of a Solvay-like ammonia-soda process chemical manufacturing of sodium carbonate (the purest mineral form of natron, the salt used for the mummification of the pharaohs), and sodium bicarbonate.

Modern evaporative coolers' biggest problem is salt deposits; it is called encrustation, and it is exactly what had been documented in both the horizontal passage and the Queen's chamber of the Great Pyramid: hard and up to one-half inch thick incrustation of salt, everywhere in these very particular parts of the pyramid. Unfortunately, this proof of the evaporative cooling process had been cleared out in 1998 by Zahi Hawass.

Because of this unfortunate salt deposit cleaning, it probably is impossible today to precisely determine how cold did it get inside the Queen's chamber as well as how long was the Great Pyramid operated for such cold production.

1.01  The surprising efficiency of the evaporative cooling process that created cold in the horizontal passage of the Great Pyramid of Khufu, is still used today in modern evaporative coolers

"Evaporative cooling exploits the fact that water will absorb a relatively large amount of heat in order to evaporate (that is, it has a large enthalpy of vaporization). The temperature of dry air can be dropped significantly through the phase transition of liquid water to water vapor (evaporation). This can cool air using much less energy than refrigeration."

"Evaporative coolers lower the temperature of air using the principle of evaporative cooling, unlike typical air conditioning systems which use vapor-compression refrigeration or absorption refrigeration. Evaporative cooling is the conversion of liquid water into vapor using the thermal energy in the air, resulting in a lower air temperature".  https://en.wikipedia.org/wiki/Evaporative_cooler

Vertical elevation of the lower (northern) end of the Grand Gallery of the Great Pyramid of Giza, showing the joint-lines in the Western and Eastern walls, and in particular the continuous expansion joints that are suggesting thermal stress was applied on the structure : that is constraint due to a change in temperature.

1.02  The structural anomalies of the first 64 feet of the horizontal passage 

The following excerpt is from  "Great Pyramid Passages Vol 1, 1910 edition" by John and Morton Edgar, paragraph ref. 583, page 293 : https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n301/mode/2up

Paragraph. ref. 583 : "As I indicated in a former letter, the masonry of this Horizontal Passage is very symmetrical. For a length of about 64 feet from the beginning of the roof at the Grand Gallery end, each wall is built in two equal courses. In each of these courses there are 15 stones of one uniform size, namely, 41*4 inches in length, and half the height of the passage in breadth — Plate IX. The vertical joints in the upper course are in line with those in the lower ; and those on the east are in direct opposition to those on the west wall."

1.03  The wider and continuous joints filled with resin or tar

The following excerpt is referring to the initial observations made by Dormion, before discovering the fine sand lining behind the blocks of the horizontal passage. Source:   https://www.greatpyramidexplanation.com/easyUp/file/10_07_horizontalcorridor.pdf

"One more detail from Dormion: some blocks of this part of the horizontal corridor have a wider gap in between (2-3mm). The external part has been filled by mortar, while the internal part by something black and rubbery, maybe coal tar or vegetal resin. Also the first part of the floor is atypical: the blocks are narrow and often side by side, showing a poor structural rigidity, almost a propensity to warp (dis. G19). These details may show the purpose of the architect."

Vertical section, looking West, of the Great Pyramid of Giza, in the plane of its passages, by Manly Palmer Hall : https://commons.wikimedia.org/wiki/File:The_Secret_Teaching_of_All_Ages_-_Chapter_6_-_Pyramid.jpg

The fact that the Dendera Light is made of liquid water that transforms itself in a magical way, is exactly what are describing ancient Egyptians themselves : [About the snake inside the Dendera Light Bulb] "The field surrounding Ra’s snake form is referred to in ancient Egyptian literature as protective magical energy in liquid form that all gods and pharaohs possess (Faulkner 1970*)." https://ahotcupofjoe.net/2016/11/dendera-light-bulb-and-bagdad-battery-nonsense/

The evaporative cooling passage of the Great Pyramid of Giza and the Queen's chamber were discovered with a very hard encrustation of salt, up to one-half inch (1.3 centimeter) thick. That salt is the signature of the evaporative cooling process.

Please read Section 17, about Akhenaten and Nefertiti, for the explanations of the Ankh being the symbol of the evaporative cooling.

The elevation loss of 3.8 inches is between the start of the collecting ramp (858.4 inches) and its end (854.6 inches). Elevation data (inches) : "The pyramids and temples of Gizeh", by Petrie, W. M. Flinders (William Matthew Flinders), Sir, 1853-1942 ; section 40 (page 66) : "Passage to Queen's Chamber"

1.04  The horizontal passage was an evaporative cooling conduct

The first clue of the real function of the Great Pyramid of Giza, came from what we call today the horizontal passage. Actually, this passage is really not that horizontal at all. Inside, is a portion that is actually a ramp, a 32 meters long ramp with a 0,3% slope. And that puzzled me, because what the heck right. A ramp here?

And that ramp was not the only weird thing about it. There was, on the first half of the passage, many troubling things :

1/ the blocks were very small, and that is completely uncommon in all the pyramid, because it is the worst thing to do if in a "common structural sense" : you need to get every block resting on top of two different ones to maximize the strength of the structure. In that first part of the passage, every single block is perfectly fitted on top of another one, forming a continuous joint between them.

2/ These joints were not only continuous but also larger, and filled with a strange black filling resembling to resin or tar.

3/ Each side of the passage here, were also perfectly symmetrical to one another.

4/ Behind these blocks, we also discovered there was some sand.

That's a lot of uncommon things, and suddenly, I got it. Because, when you add up the fact that a few feet away you have the grand gallery, and just above of it something that is nothing else than a big water tank, and that is the King's chamber, you have water in mind now.

When I was younger, I used to have an air cooler, the one you just have to put water in it to get fresh air. And that was what this passage was all about. The slope was intended to get water flowing, very slowly, and evaporate itself. Because when the water transforms from liquid to gas, it does cool the air. It is actually called an air adiabatic cooling system. It doesn't cost a thing, and can be very effective when the air at the beginning of the process is very hot, and very dry (and that part is gonna be very important soon).

So know, we understand why we have so many oddities in the first part of the passage. This first half is where most of the cooling was taking place if we make some air coming from the very beginning of the passage. The joints, were expansion joints (large and continuous). The sand was here to absorb any expansion and distortion forces. The blocks were small because less susceptible to crack.

And at the end of the passage, we have a 50 cm step (that's a big step). But in fact that step is nothing else than a basin, for the water.

This water was here to accumulate and store the cold that was produced in this passage. Probably this basin was in fact covered with a wood casing, so it was perfectly waterproof.

This horizontal passage was designed to do 2 things : cool down the water temperature in the basin and let the air coming from the grand gallery, passing through the passage.

Because under the niche of the Queen's chamber was an air vent going to the subterranean complex allowing fresh air and cold water to flow to the complex.

Everything in the first part of the horizontal passage of the Great Pyramid is designed to reduce the stresses on the superstructure induced by multiple temperature variation cycles. It is difficult to say how long was the cycle, but let's say it was about 15 to 20 minutes. It means that during all this time, the first part of the passage had plenty of time to warm up back to the temperature of the grand gallery. And every 15 to 20 minutes, it was cooled down again. The problem is not the cooling down, but the endless cycle of cooling down and warming up again. That is what stresses the structure.

The Dendera Light in the Hathor temple, is a representation of the fog of microdroplets of liquid water, transforming itself in vapor and by doing so, creating the evaporative cold designed to cool down the Djed pillar (more probably a Solvay-like tower). The Light Bulb shape of the Dendera Light is constrained by the shape of the horizontal passage.

The snake inside the Dendera Light is a representation of the pressurized water of the inclined well and getting out of the fog nozzle of the pyramid (please read Section 5 on that matter : the waters of the inclined well). More on the Dendera Light in Section 2.

Photograph of the Dendera Light, thanks to Kairoinfo4U and posted on flickr : https://www.flickr.com/photos/manna4u/14525094039/in/photostream/

Lotus seed head thanks to Dinkum : https://commons.wikimedia.org/wiki/File:Nelumbo_nucifera_%28fruit%29.JPG

The Queen's chamber of the Great Pyramid of Giza. Center image courtesy of University of California at Riverside, California Museum of Photography, Keystone-Mast Collection : http://www.oac.cdlib.org/ark:/13030/kt1h4nd3jb/?order=2&brand=oac4

1.05  The up to one-half inch thick salt incrustation in the Queen's chamber & Horizontal passage

The salt encrustation inside the Great Pyramid has been mainly documented in the Queen's chamber, where it could have been up to one-half-inch thick in some places, 1.3 centimeter, and in the horizontal passage, but also in a smaller extent in the lower part of the Grand Gallery and in the ascending passage.

There is no salt encrustation documented anywhere else, and its distribution is perfectly explained by the evaporative process and the particular layout of the junction between the Grand Gallery, the ascending and horizontal passages.

The following excerpt is from  "Great Pyramid Passages Vol 1, 1910 edition" by John and Morton Edgar, paragraph ref. 584, page 293 : https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n301/mode/2up

Paragraph. ref. 584 : "Following these uniform sets of 15 stones, are two long stones in each course, averaging about six feet in length, after which each wall is built in one course only, apparently as far at least as the drop in the floor of the passage ; but beyond this, on to the Queen's Chamber, the very thick and hard incrustation of salt which entirely covers the walls of this passage, made it impossible for us to locate the joints with any certainty. This salt incrustation is peculiar to the Horizontal Passage and Queen's Chamber, although a little of it may also be seen on the walls of the First* Ascending Passage."

* For some authors, the first ascending passage starts at the granite plugs and ends with the start of the Grand Gallery, the second ascending passage.

Excerpt from "The pyramids and temples of Gizeh" by Petrie, W. M. Flinders (William Matthew Flinders), Sir, 1853-1942 : "The size of the chamber (after allowing suitably in each part for the incrustation of salt) is on an average 205 85 wide, and 226*47 long, 184*47 high on N. and S. walls, and 245*1 high to the top of the roof ridge on E. and W. walls." https://archive.org/details/cu31924012038927/page/n103/mode/2up

1.06  Salt encrustation is the signature of the evaporative cooling process... even nowadays

Of course, the salt encrustation in evaporative cooling systems is not about table salt NaCl, but primarily calcium carbonate CaCO3 also called calcium scale, or limescale.

With most of the pyramid built with limestone, this is not a surprise that limescale would have been a major problem.

From "Evaporative Cooler : Self Salt Clean", by Mohammed Ali Bahobail from the Department of Architecture and Building Sciences, College of Architecture and Planning, King Saud University, a Public university in Riyadh, Saudi Arabia : "Evaporative coolers are relatively economical, less expensive to install and to operate. They are consuming less electricity than a refrigerated unit, and they do not need an expert to maintain. In addition, evaporative coolers provide the building with a fresh humid air. However, evaporative coolers have some disadvantages; one of them is the deposited salt. Water usually has a high percentage of mineral. The evaporative mechanism will leave mineral deposits on the pads and interior of the cooler. This cumulative mineral will close the porous of the wetted pads and damage them and will participate to corrosion of the cooler frame."

The work made by Mohammed Ali Bahobail is about coolers designed with wetted pads where water is circulating, there is no fog of microdroplets, but the principle is the same and the deposited salt problem is the same.

https://cap.ksu.edu.sa/sites/cap.ksu.edu.sa/files/imce_images/jap_ksu_jan2013_e1_0.pdf

1.07  The 1998 salt encrustations cleaning

Unfortunately, the salt deposits have been removed since the first explorers of the pyramid reported its presence, most likely when the chamber was cleaned by Zahi Hawass in 1998 :

Zahi Hawass (Director General of the Giza Pyramids, between 1987 and 2002) : "Each visitor produces nearly an ounce of moisture with a high saline content through their breath and perspiration. This results in the accumulation of salt, which leeches into the limestone and plaster and gradually causes them to crumble into powder. So, in 1998, we spent 12 months cleaning the salt."

Excerpt from https://www.world-archaeology.com/features/pyramids-excavation-and-preservation/

Mr Hawass is obviously blaming tourists for the salt encrustations in the Queen's chamber, but when the first explorers of the pyramid discovered these encrustations, there wasn't any tourist at all visiting the pyramid. The remark of Mr Hawass, is pretty funny though : did we ever had to periodically close down limestone built churches, cathedrals or any other pyramid or building made of this material (I guess in Mr Hawass' mind, limestone is a key element of the salt deposits in the Great Pyramid), just to remove the salt? Be that as it may, salt deposits were only documented in the Grand Gallery in its lower part (most probably just around the junction with the horizontal and ascending passages); did tourists stop breathing passed this point, and did they climb the gallery and visit the King's chamber in total apnea ? Were they offered respiratory masks ?

The cleaning of the salt deposits is actually a real drama, because before 1998 it was still possible to know exactly at what temperature the Queen's chamber was cooled down, simply by analyzing the crystalline structure of the deposits, the size and shape of the crystals.

The sarcophagus of the Great Pyramid of Giza, was a biosand filter originally operated in the little room located between the antechamber and the entry to the Grand Gallery. The water treatment by biosand filtration was to control scale, corrosion, and microbiological growth within the evaporative cooling process.

"Ram Pokherai drinks clean water from his family's biosand filter. Clean water helps children stay healthy, which means they are less likely to need time away from school, so their education improves. Providing clean water has important knock-on effects." Courtesy of Editorial, Humanitarian & Travel Photographer Gavin Gough : https://www.gavingough.com/clean-water-in-rural-nepal

1.08  The sarcophagus was a biosand filter for water softening

I first thought that the sarcophagus found in the King's chamber was a biosand filter for production of drinking water for the crewmembers of the Hauling Beetle, but I have to admit it was a little… romantic, I would say.

Nowadays, evaporative cooling is an extraordinary process, but like every process it has some disadvantages, and the most problematic is surely limescale : salt encrustation.

4500 years ago, ancient Egyptians had to deal with that same problem, and they did exactly what we do today : they softened the water coming from the King's chamber, and they used sand filtration.

The most amazing thing is that everybody knows the sand filter that was used inside the Great Pyramid to soften the water : it is the sarcophagus (more on the sarcophagus in Section 18).

1.09  What is a Biosand Filter?

A biosand filter (BSF) is an adaptation of the traditional slow sand filter, which has been used for community drinking water treatment for 200 years. The biosand filter is smaller (about 1 m tall, 0.3 m wide on each side) and adapted so that it does not flow continuously, making it suitable for use in people’s homes. The filter container can be made of concrete or plastic. It is filled with layers of specially selected and prepared sand and gravel. The sand removes pathogens and suspended solids from contaminated drinking water. A biological community of bacteria and other micro-organisms grows in the top 2 cm of sand. This is called the biolayer. The micro-organisms in the biolayer eat many of the pathogens in the water, improving the water treatment.

Pathogens: micro-organisms in water that make us sick
Suspended Solids: dirt and other small pieces in the water (may also be called “turbidity”)

Source : https://www.cawst.org/services/expertise/biosand-filter/more-information

"Modeling Improved Performance of Reduced-Height Biosand Water Filter Designs" by James A. Phillips and Samuel J. Smidt, and published on MDPI : https://www.mdpi.com/2073-4441/12/5/1337

1.10  Sand filter is the softening primary step N°1 for evaporative cooling systems

"How to fix hard water is a major question of water treatment or water purification process.  Water hardness test is a process of removing undesirable chemicals, materials and biological contaminants such as suspended particles, dissolved particles, iron content, bacteria etc. from contaminated water."...

And : "Sand filter is the primary step of WTP Water Treatment Process for collecting pure water system from water hardness. Sand filter remove water substance from water. Sand filter remove iron from hard water and it is used for water purification. This is very old technique so at present it is not developing broadly."  

Source : https://autogarment.com/wtp-remove-water-hardness-from-hard-water/

Also : "Effective water treatment works to control scale, corrosion, and microbiological growth within an evaporative cooling system. It also helps to ensure heat transfer efficiency and extend the service life of the equipment."

"When an evaporative cooling system rejects heat to the atmosphere, only pure water is evaporated. As this occurs, the dissolved ions—naturally occurring in the makeup water source—are left behind. Without proper water treatment, the dissolved ion concentration increases as evaporation continues and, at some point, will reach saturation of the ions, which can lead to scale. The most common form of scale is calcium carbonate. Preventing scale via water treatment impacts the efficiency of heat transfer, thereby reducing energy consumption of the entire system."

"Microbiological growth in evaporative systems can lead to accelerated corrosion rates, heat transfer deficiencies due to biofilm, as well as human health related concerns. There are a variety of reasons why one system may experience higher biological activity than another. Tower location, nearby construction or farming operations, the makeup water source, and more can all lead to an increased level of bacteria in the water."

Excerpt from the website of EVAPCO, Westminster, Maryland, United States : https://www.evapco.com/faq/answer/water-treatment-evaporative-cooling-system

The sarcophagus of the Great Pyramid of Giza was set in what is today a storage and electrical room that has a direct access to the King's chamber. For more on the sarcophagus, please read its dedicated Section.

The junction of the Grand Gallery of the Great Pyramid of Giza with the inclined well and the horizontal evaporative cooling passage.

On the above image of the Great Pyramid Grand Gallery lower end, the opposite 5 pairs of holes in which the junction wooden ramp would have been set onto massive wooden beams are clearly visible, as well as the markings made by the ramp itself (Rm). On this picture though, the junction imprint (Ji) in the middle of the cut-off isn't visible.

1.11  The junction Grand Gallery / inclined well / horizontal cooling passage of the Great Pyramid

On the first above image, what is amazing to notice is that the modern layout that have been designed for the tourists to walk on the lateral ramps, is actually exactly reproducing the original design made by the ancient Egyptian themselves so they could operate the 2 hauling beetles.

It is true for the "modern walking trail" on the floor, and it is also most probably true for the safety rails. If you look closely at these rails, they perfectly fit with the height of the ascending passage ceiling.

On this particular image, it is then pretty easy to imagine the (most probable) fixed caisson in which the impactor was moving : just imagine that the safety rails are completely wooden boards covered both on the sides and on top of them, and you have the fixed wooden caisson.

The junction of the ascending passage of the Great Pyramid of Giza, with the horizontal passageway, showing the little imprint on the cut off and the holes in the walls. The holes allowed a wooden ramp set on massive wooden beams, to connect the central gutter of the Grand Gallery to the ascending passage. 

The only image of the Junction imprint that I was lucky to find, is from John and Morton Edgar in "Great Pyramid Passages Vol 1, 1910 edition", plate CXLIX, page 274 : https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n283/mode/2up

1.12  The junction wooden ramp : structural continuity but with water (and probably also air) exchanges towards the cooling passage

The junction wooden ramp would have ensure the structural continuity between the Grand Gallery and the inclined well, while the junction imprint would have allow the pressurized water to get out of the well.

The wooden ramp would have been supported by massive beams set in the 5 pairs of very impressive opposite holes in the walls of the junction area.

If the fixed caisson really existed, when the impactor would have moved inside, air would have been pushed in front of it and would have been redirected to the cooling passage to renew the air and get rid of the humidity without being forced into the well itself. Humidity is the evaporated water that resulted from the evaporative cooling process.

The ramp couldn't be in solid rock because they had to bring in all the equipment of the Queen's chamber and the fog nozzle, and because they needed to get it out after the shutdown procedure; but also because they most probably had to regularly get in the horizontal passage to check, clean and repair these same equipments.

The use of wet sand as thermal insulation, in the construction of cool chambers. Left : Construction of Zero Energy Cool Chamber at Thoubal district, Manipur (India). Right : same thing but at Karong Village.

1.13  The Zero Energy cool chamber sand of the horizontal passage of the Great Pyramid of Khufu

The idea that the horizontal passage of the Great Pyramid was designed as a part of a cooling unit, is reinforced by the fact that fine sand was found behind some blocks of the passage.

If my theory is right, then that same sand would have been probably set all around the entire structure [horizontal passage + Queen's chamber] ; exactly like it is shown on the above photographs of the construction of Zero Energy Cool Chambers, in India.

After all, when the French team who discovered the sand behind the blocks, reported it, they were asked to stop their work. We don't know the entire extend of the sand casing behind the blocks.

I first thought the sand was here to reduce the thermal stress on the structure, due to the constant sudden changes in temperature that occurred in the first part of the passage, and maybe it also served this problem ; but it was most likely to be essentially a thermal insulation.  

1.14  The Dormion and Goidin discovery on the fine sand lining of the horizontal passage of the Great Pyramid

Excerpt from the Los Angeles Times article "Scientists Seeking Hidden Vaults in Great Pyramid Find Only Sand", written by Michael Ross, September 1986 : https://www.latimes.com/archives/la-xpm-1986-09-09-mn-12810-story.html

"A team of French scientists searching for hidden, treasure-filled rooms in the Great Pyramid of Cheops suspended work Monday after drilling three holes through an interior wall and finding only sand. But the French team and the head of the Egyptian organization supervising the work said they believe that the presence of a powder-fine lining of sand between the interior stones of the Great Pyramid supports their theory that secret chambers lie deep within the 4,600-year-old tomb of the Pharaoh Cheops.

“The sand means the ancient Egyptians are protecting something, something very serious and meaningful,” said Ahmed Kadry, head of the Egyptian Antiquities Organization. He said that although the French team failed to find and penetrate the cavities, samples taken from the wall beyond the sand lining indicate that it is made of a fine, soft limestone used by the ancient Egyptians for ornamental carvings on royal tombs.

“We can be sure now that there are cavities, and not just structural or stress cavities but something much more mysterious,” he said.

The French mission, headed by Gilles Dormion and Jean-Patrice Goidin, two architects who postulated the existence of secret rooms in the Great Pyramid on the basis of architectural anomalies in the interior stonework, had hoped to bore four holes through the wall of a gallery leading to the so-called Queen’s chamber. The plan then was to observe and photograph the interior with an endoscope, an optical instrument developed for viewing the interior of human organs.

However, the work was suspended after five days when, after boring three holes through more than eight feet of hard limestone, the drills hit the fine sand lining. Jacques Montlucon, an engineer with the French National Electric Company, which is providing technical expertise for the project, said the work was suspended because the drills being used are not suitable to bore through sand.

The existence of hidden chambers in the Great Pyramid has long been suspected, but there was never any real evidence until last May, when the French found what they said appeared to be three spaces, measuring 6 feet by 9 feet, off of the Queen’s gallery. The discovery, which the French said could indicate the presence of hidden storerooms, created a flurry of excitement among Egyptologists, who for the most part have assumed that all the treasures of Cheops were plundered long ago.

Not all the experts share Kadry’s conviction that there are secret chambers, but discovery of a sand lining about 10 to 17 inches thick between the great stones is regarded as a puzzling and exciting find in itself."

The Carrier diagram, or "Carrier psychometric chart", is used for determining the temperature and humidity properties of a constant pressure air-water mixture. Thanks to Arthur Ogawa : https://commons.wikimedia.org/wiki/File:Psychrometric_chart.png and posted on https://en.wikipedia.org/wiki/Psychrometrics

1.15  The Carrier psychometric chart

The dryer the air is at the beginning of the cooling process, the greater amount of water it would be able to take, and the colder it is gonna get. For example, if you have an air at 0% humidity and you know you can get to 100% humidity, then the temperature can be cooled down from 20°C  to 6.5°C (68°F to 43.7°F).

Of course, this is only true for an adiabatic cooling, at atmospheric pressure. The fact is that the evaporative cooling is pressure dependant : if the fall of the impactor was also used to push air into the horizontal passage, then the pressure would have increased and the evaporative cooling would have get more efficient.

In my opinion, in regards of all the structural particularities of the horizontal passage and the massive anti-thermal shock layout, this is what they did, and I suspect they were able to cool down the Queen's chamber at about 5°C (41°F), whatever the ambient air temperature was.

Hapi, the ancient Egyptian god of the Nile and flood. Left : Statue of the God Hapy. Late Period, Dynasty 26, VII–VI cent. B. C. © The Pushkin State Museum of Fine Arts. Right : Statuette du dieu de la crue du Nil Hâpi, N5030 from the Louvre Museum (via  l’Agence photo de la Réunion des Musées nationaux et du Grand Palais © Musée du Louvre, Dist. RMN-Grand Palais / Christian Décamps).

1.16  Hapi, the god of the representation of the water supply of the pyramid, holding the evaporative cooling fog nozzle

Horus is not the only god holding the fog nozzle, here are other examples with the god Hapi. The way that Hapi is holding the fog nozzle should convince the greatest skeptics that this so particular element wasn't a libation vessel used for purification or baptism.

It is not a coincidence that Hapi is also holding the fog nozzle : Hapi was the god of the Nile, and we've already seen that the water used inside the Great Pyramid for the impactor to move and the cold to be produced, was most probably coming from the Nile. 

Apep was the representation of the inclined well waters, pressurized by the fall of the impactor, and "Apep was seen as a giant snake or serpent leading to such titles as Serpent from the Nile" (Source : Wikipedia).

Nefertem amulets showing the Khepesh (right hand and shoulder). From left to right © British Museum EA64480, Le Louvre E 10665 and Le Louvre ME 299 (Nefertum emblem)

Nefertem is the glorifying representation of the hardware that was installed inside the horizontal cooling passage : the fog nozzle + the supply pipe + the fittings and their spanner wrenches

1.17  Nefertem 1 • The "close or not close" reference

The brass fire fog nozzle shown in the above photograph is designed to be manually handled and is equipped with a handle that doesn't appear on the representations of the fog nozzle of the Great Pyramid. That nozzle was either functioning or not, depending if the inclined well was pressurized or not.

And that echoes to the Nefertem description :

From Wikipedia : "Nefertem, possibly "beautiful one who closes" or "one who does not close", (also spelled Nefertum or Nefer-temu) was, in Egyptian mythology, originally a lotus flower at the creation of the world, who had arisen from the primal waters". https://en.wikipedia.org/wiki/Nefertem

"Close or not close" is not a bad definition for what was really representing Nefertem : the fog nozzle of the horizontal passage. This nozzle was eventually nothing else than a huge water tap that transformed pressurized water from the inclined well (the ascending passage) into a mist of microdroplets of liquid water. There was no valve though, just the fall of the impactor inside the grand gallery of the Great Pyramid that pressurized the well.

1.18  Nefertem 2 • The "who had arisen from the primal waters" reference

That part have already been discussed in the previous post on the myth about Apep : the primal waters are describing the inclined well waters themselves.

God Nefertem is another metaphor, this time it is representing the fog nozzle itself and its operating.

The Khepesh Scimitars of the Nefertem amulets were spanner wrenches for pipe connecting fittings.

Top left photograph above : a modern spanner wrench designed to connect or disconnect metal fittings. The tooth at the end of the curved part of the tool is designed to engage onto the protuberances of the fitting. Other pictures are ancient Egyptians Khepesh Scimitars (exact dating is unknown to me).

1.19  The Khepesh Scimitars of the Nefertem amulets were spanner wrenches for pipe connecting fittings

According to scholars, ancient Egyptian God Nefertem (also Nefertum, or Nefertemu) was the god of the lotus blossom who emerged from the primeval waters at the beginning of time. That would explains the huge lotus blossom that Nefertem amulets displayed on their heads.

But most of the time, Nefertem is also having a Khepesh-Scimitar on the right hand, that is described as a warfare blade with sharpened edges, even if many examples have dull edges that apparently were never intended to be sharp.

According to scholars, again, "it may therefore be possible that some Khepeshes found in high-status graves were ceremonial variants". But in my opinion, the idea that the reason why some Khepeshes weren't sharp at all, would be because they would have been for ceremonial use, couldn't be more wrong. Even today, the ceremonial Japanese katanas are maybe the most sharp of all katanas precisely because they are for ceremonial use. They are the best and the most expansive ones. The only katanas or any other kind of sword, that would be with dull edges, are the ones for kids to play, and they would be in plastic or wood.

1.20  Ancient Egyptians were using spanner wrenches

My interpretation of the Khepesh hold by Nefertem is radically different. What I am saying is that pressurized water was directed towards the fog nozzle of the horizontal cooling passage of the Great Pyramid, and for that to be possible, pressure resistant pipes were needed, and that is exactly what is depicted in the Nefertem emblem.

But there is more, because to connect the pipe to the fog nozzle, or pipe pieces to each other, they would certainly have to use connecting fittings. And as a former winemaker, I know one thing for sure about pipes and fittings : when you want to connect or disconnect these elements, you cannot do anything without a spanner wrench (maybe not in the US or in Canada where screw fittings are very rare, but in France, at least).

The Khepesh that Nefertem is holding isn't for warfare, it is a spanner wrench.

On certain representations of Nefertem, like E 10665 from the Louvre Museum (photograph above), we can also see on top of the Khepesh, a circular form in direct contact with the tool (though apparently not to scale). Could that round form be the copper fittings ?

1.21  The higher position of the tooth could indicate that the hook system was different from modern screw fittings

We can see on the ancient Egyptian Khepeshes that the tooth is placed higher in relation to the handle axis than on the modern spanner wrenches and it could mean that the hook system was different : on the modern tool, the tooth is designed to hook to an external piece of the screw fitting, but it is possible that on the ancient Khepeshes, there were sockets carved inside the fittings instead or that it wasn't at all screw fittings.

What is remarkable with these Khepeshes, is that they can probably indicate what was the pipe diameter they were designed for, and we can find out if different diameters were used or not. We also know they were probably using screw-type fittings.

1.22  Nefertem is the personification of the horizontal passage fog nozzle of the Great Pyramid

To be convinced of this, please note that on these pictures above of 2 different Khepeshes, one is engraved with the lotus flower, while a snake appears on the other one, showing the 6 teeth / needles.

Both elements, the circular shape of the snake and the lotus flower, are representing the same thing : the fog nozzle.

Left (loose clamp) : EG-ZM2426 (3.2 x 3.8 x 1.3 cm) and : EG-ZM2425 (locked clamp) (3.5 x 3.6 x 1.6 cm) from the Rijksmuseum van Oudheden in Leiden. Material : faience. Right : Ring, Accession Number: 2008.190.289 (1070 - 712 BCE) from the Metropolitan Museum of Art, New-York

1.23  The representations of quick-release clamping rings 

On the above figures of Horus, the fog nozzle is completely disconnected from the Nefertem copper pipe, and Horus hold it in both hands. To disconnect and reconnect the nozzle to the rest of the equipment, you need 2 things : high pressure resistant clamping rings and a spanner wrench.

I've already found the spanner wrench, it is very often associated with figures of Nefertem and, thanks to Elizabeth Fleming from the Griffith Institute and her colleague Cisco, I've just found representations of the clamps in the National Museum of Antiquities Rijksmuseum van Oudheden, Leiden, Netherlands.

These clamp rings were quick-release clamps

Left : Shen Ring from the LACMA, Los Angeles County Museum of Art. Egypt, New Kingdom - Ptolemaic Period (1569 - 31 BCE). Diameter: 1 1/4 in. (3.175 cm). Center : Ring figure in faience from the Metropolitan Museum of Art, New-York : Accession Number : 17.194.2307, Diam. 3 cm (1 3/16 in.); Bezel: L. 4.5 cm (1 3/4 in.) Right : modern Mikalor Super Heavy Duty Hose Clamp

1.24  The representations of permanent clamping rings

Additionally to these quick-release clamping rings, we can also find representations of more permanent connections, like the 2 representations on the above photographs. These clamps could have been used to connect different pipe sections together probably not in the cooling passage itself, but everywhere in the pyramids, mastabas, etc.

Diagram of the operating Great Pyramid of Egypt for evaporative cold production (hypothetically for chemical manufacturing cooling of pure sodium carbonate "natron", the salt used for the mummification of pharaohs). When in operation, the elevation of the Great Pyramid was not finished, and it is only after the shutdown procedure and the draining of the inclined well, that the 3 granite plugs were finally close to one another.

1.25  The design of the fog nozzle of the Great Pyramid of Egypt

First suggestion of the design of the eleven mouth-holes fog nozzle of the Great Pyramid of Egypt, based on the eleven rivers from the well of Élivágar of the Norse mythology.

1.26  The limits of the fog nozzle with 11 mouth-holes hypothesis

I strongly have to point out that the hypothesis of an eleven mouth-holes fog nozzle is clearly highly questionable, because it is only coming from the Norse Eleven Rivers coming out of the Well of  Hvergelmir that are creating the mist of cold in Niflheim.

Anyway, the idea of flooding entirely the space at the entry of the ascending passage, just below the junction ramp Grand Gallery/Ascending Passage, could be a solid hypothesis, even it would rule out the idea of a central pipe, as represented on the Nefertem emblems at the Louvre Museum.

Nefertum at the Metropolitan Museum of Art, New-York: https://www.metmuseum.org/art/collection/search/551300

Nefertem Emblem, inventory number N 5118 © Musée du Louvre / Christian Décamps: https://collections.louvre.fr/ark:/53355/cl010008518

The ancient Egyptian Shabaka Stone which record the 'Memphite Theology' or creation myth, a text perhaps originally composed during the New Kingdom, in which Ptah is responsible for the creation of all things by means of the spoken word. The Shabaka Stone at the British Museum: https://www.britishmuseum.org/collection/object/Y_EA498

1.27  The ancient Egyptian Shabaka stone and the 11 lines

 It really has to be pointed out that when ancient Egyptians used the term "creation", it isn't referring to the creation of the world. "Creation" is about the evaporative cold, created from the primordial waters of Nun, the waters of the well.

It means that creator god Ptah is about this creation of the cold, and that the Shabaka stone is also referring to that creation; if there are 11 lines separated from the central rectangular shape, it also has to refer to that creation.

© 2023 Copyright milleetunetasses.com. All rights reserved.

In summary: the Dendera Light is the representation of the fog made of microdroplets of liquid water that was produced inside the horizontal passage of the Great Pyramid of Giza in order to achieve evaporative cooling. The shape of the Dendera Light is constrained by the shape of the passage. The endless pounding of an impactor pressurized the water in the flooded ascending passage and a fog nozzle transformed that pressurized water into microdroplets of water that instantly evaporated and thus, created evaporative cold.

The lotus flower from which the Dendera Light seems to come from is the representation of the fog nozzle, because of the 'shower head' look of the lotus seed head : the lotus flowers in the Dendera Light reliefs are not about the flowers themselves, but about their seed heads.

The Dendera Light Bulb resting on a Djed pillar is the representation of why the cold was produced : most probably to cool down chemical reactions for the manufacturing of sodium carbonate Na2CO3, the purest mineral form of natron, the salt used for the mummification of the pharaohs, using a Solvay-like process that requires reaction towers in order to obtain counterflow reaction efficiency. Djed pillars are Solvay towers.

2.01  Dendera Light : the academic point of view

The scholar explanation of the famous stone reliefs in the Hathor temple at Dendera in Egypt, depict the Dendera Light "as God Harsomtus, in the form of a snake, emerging from a lotus flower in an oval container called hn, which might represent the womb of Nut. Sometimes a djed pillar supports the snake or the container." Source : https://en.wikipedia.org/wiki/Dendera_light and https://en.wikipedia.org/wiki/Dendera_Temple_complex

Vertical section, looking West, of the Great Pyramid of Giza, in the plane of its passages, by Manly Palmer Hall : https://commons.wikimedia.org/wiki/File:The_Secret_Teaching_of_All_Ages_-_Chapter_6_-_Pyramid.jpg

The evaporative cooling passage of the Great Pyramid of Giza and the Queen's chamber were discovered with a very hard encrustation of salt, up to one-half inch (1.3 centimeter) thick. That salt is the signature of the evaporative cooling process.

Please read the Section about Akhenaten and Nefertiti, for the explanations of the Ankh being the symbol of the evaporative cooling.

The elevation loss of 3.8 inches is between the start of the collecting ramp (858.4 inches) and its end (854.6 inches). Elevation data (inches) : "The pyramids and temples of Gizeh", by Petrie, W. M. Flinders (William Matthew Flinders), Sir, 1853-1942, in Section 40 "Passage to Queen's Chamber" (page 66): archive.org/details/cu31924012038927/page/n103/mode/2up

2.02  The ancient Egyptian Dendera Light "protective magical energy in liquid form" is the evaporative cooling fog

The fact that the Dendera Light is made of liquid water that transforms itself in a magical way, is exactly what are describing ancient Egyptians themselves :

[About the snake inside the Dendera Light Bulb] "The field surrounding Ra’s snake form is referred to in ancient Egyptian literature as protective magical energy in liquid form that all gods and pharaohs possess (Faulkner 1970*)." https://ahotcupofjoe.net/2016/11/dendera-light-bulb-and-bagdad-battery-nonsense/

*I'm not sure, but the excerpt might be from "The ancient Egyptian book of the dead / translated by Raymond O. Faulkner ; edited by Carol Andrews, 1972."

The double outline of the characters holding the Dendera Light because they are cold and they are having goose bumps.

2.03  The double outline of the characters holding the Dendera Light bulb and having goose bumps

This "double outline" isn't discussed at all by anybody, though it is the most important element of the Dendera reliefs. The fog is made of microdroplets of liquid water and it would evaporate itself, taking the necessary energy from the air. The result is the cooling down of the air. The character is offering cold, and he is cold himself.

The "double outline" of the offering fog character of the Dendera Light reliefs, shows the goose bumps. He was cold himself.

Actually, everything depends on the capacity of the air to absorb humidity. The example shown on the Carrier Diagram below, tells us that it was probably very easy to cool down the air next to 10°C, if the air started at a 10% humidity rate, and got to 90% at the end of the process.

But, I think they could cool down the air a lot more than that. Because at the entry of the pyramid, was certainly installed a liquid dehumidifier, working with a salt brine solution. The air at the beginning of the cooling process was probably close to 5% humidity or lower ; and the air inside the horizontal passage probably closer to 100%.

In my opinion, in regards to the extensive efforts to minimize the thermal stress on the first part of the horizontal passage, and the first part only, particularly the sand added behind the blocks and the large expansion joints, I wouldn't be surprised they got close to 5°C in the Queen's chamber (41°F).

2.04  The "Power of Water" and the "Bristling Hair" reference in the Book of the Dead of Ani

That double outline of the Dendera relief character, being a representation of the goose bumps that results of cold temperatures induced by the association of air and water, is actually present in the Egyptian Book of the Dead of Ani.

The following excerpt comes from the papyrus of Ani, Egyptian Book of the Dead (240 BCE), translated by E.A. Wallis Budge (last third of the page) : http://www.ancienttexts.org/library/egyptian/bookodead/book5.htm

"The Chapter Of Breathing The Air And Of Having Power Over Water in Khert-Neter."

"The Osiris Ani saith: Open to me! Who art thou? Whither goest thou? What is thy name? I am one of you. Who are these with you? The two Merti goddesses (Isis and Nephthys). Thou separatest head from head when [he] entereth the divine Mesqen chamber. He causeth me to set out for the temple of the gods Kem-heru. "Assembler of souls" is the name of my ferry-boat. "Those who make the hair to bristle" is the name of the oars. "Sert" ("Goad") is the name of the hold. "Steering straight in the middle" is the name of the rudder; likewise, [the boat] is a type of my being borne onward in the lake. Let there be given unto me vessels of milk, and cakes, and loaves of bread, and cups of drink, and flesh, in the Temple of Anpu."

The Dendera Light is "produced" by the sprayed venom of a spitting snake.

Dendera Light relief drawing on the left : please notice that what seems to be important here isn't the snake, but the spat venom of the snake. Also, you can see that the characters holding the snake are showing a double outline, the same way that the character holding (or offering) the Dendera Light does, on the right part of the drawing. The Dendera Light is produced by the snake, or as explained : by the venom of the snake. This particular relief is describing how was produced the microdroplets fog of sprayed water. Dendera Light drawing from the New York Public Library (Digital Collections). Author : Auguste Mariette, 1821-1881

2.05  The double Theoretical and Practical displays on the Dendera reliefs

2.051  The venom spray of a spitting snake / The fog of microdroplets

The ascending passage of the Great Pyramid of Giza was actually flooded and the fall of an impactor (wooden cradle float + granite block), pressurized the ascending passage (the inclined well) and so generated high-pressurized water that was sprayed inside the horizontal passage into a microdroplets fog, that instantly vaporized itself and by doing so, cooled down the air temperature. This is an adiabatic cooling process, that can cool down the air very effectively, with a 15 to 20°C drop.

That fog of liquid water microdroplets, is the Dendera Light.

That drawing of one of the Dendera Light reliefs, is absolutely outstanding, because it is organized the same way we do today in every single science book : the theoretical part on one side and the practical part on the other side.

On the left side of the drawing, we can see that the key element is the spat venom of the snake and not the snake by itself : that represents the sprayed water ; and on the right side we can see the practical application of the concept inside the horizontal passage of the Great Pyramid : from the inclined well (the ascending passage), is the water pipe going to the fog nozzle and resulting in the microdroplets fog.

Please note that 1/ the angle of the Dendera Light Bulb is very similar to the angle of the typical venom spray of a spitting snake ; and 2/ the shape of the Light Bulb is very similar to the shape of the horizontal passage.

This Dendera Light relief is showing both the creation of the fog of microdroplets on the left side (god Shu holding goddess Nut in the air) and the practical use of the cold that was created to cool down the Djed pillar, on the right side (the arms are "taking" the cold).

Photograph thanks to Kairoinfo4U and posted on flickr : https://www.flickr.com/photos/manna4u/14525094039/in/photostream/

2.052 • The creation of the cold / The practical use of the cold

This Dendera Light relief is particularly interesting, because it is showing that the fog of microdroplets, the evaporative cold, was created for one precise piece of equipment : Djed pillars. This is the link between the creation of the cold and the Djed pillars that needed to be cooled down. We'll see in further sections that Djed pillars were most probably Solvay or Solvay-like towers, made of piled up counterflow reaction chambers units designed to manufacture sodium carbonate (also called natron) and sodium bicarbonate.

The evaporative cold was created to cool down chemical manufacturing Solvay-like towers.

On these Dendera Light Bulbs reliefs, it is worth noting that the entire shape of the micro-droplets cooling fog entirely fits in a space that has the exact height of the passage where the process starts on the drawing it is on. Dendera Light drawing from the New York Public Library (Digital Collections). Author : Auguste Mariette, 1821-1881

2.06  The height of the Dendera Light Bulbs

On the left drawing, 1 and 1' have the same height. On the right drawing, 2 and 2' have the same height as well. And same thing on the drawing above, with the venom coming out of the snake : the height of the starting passage equals the maximum height of the fog.

The fog of microdroplets was limited by the height of the passage.

It is still unclear to me if that means that 1 and 2, strictly represent the horizontal passage of the Great Pyramid, where the cooling fog was created, or if it also includes the inclined well (the ascending passage) from where the pressurized water was coming from.

The evaporative cold is powered on the fact that when liquid water is in presence of warm and dry air, it is transforming itself naturally into evaporated water by taking the energy into the air. The air ends up with less energy : it cools down. The dryer is the air at the beginning of the process, the more water it will be able to accept : the air is progressively charging himself in humidity along the process.

If the air starts at 10% humidity and will not be able to go farther than a 90% humidity rate at the end of the process, then starting at 25°C it will cool down to 11.5°C (diagram below).

But in the pyramid, the temperature is a steady 20°C and in my opinion would have start the process at close to 0% humidity to end up at 100% humidity.

Starting at 20°C it would have end up at 6.5°C if the process was adiabatic (atmospheric pressure), but if the air pushed by the impactor also pressurized the horizontal cooling passage, it would have been more efficient.

I personally think they could have cool down the Queen's chamber around 5°C (41°F).

https://en.wikipedia.org/wiki/Psychrometrics#/media/File:PsychrometricChart.SeaLevel.SI.svg

Dendera Light drawing from the New York Public Library (Digital Collections). Grand Temple de Denderah, Crypte n°4. Author: Auguste Mariette (1821-1881): https://digitalcollections.nypl.org/items/510d47e2-9719-a3d9-e040-e00a18064a99/book?parent=7db3b2b0-c60b-012f-c11f-58d385a7bc34#page/215/mode/2up

2.07  The character with the 2 knives

The Carrier diagram above, shows us that they probably didn't have any trouble getting to a 10°C inside the Queen's chamber (50°F) ; but like I said I wouldn't be surprised they could get to 5°C (41°F).

That minimum temperature is actually very important, because it could tell us precisely what process was used to make the sodium carbonate. It could have been the Solvay process, or the Hou process, which is a variant more effective.

For what I know, but I'm not a chemist, the cold could have been used for 2 major reasons : cool down the ammoniated tower where the brine (around 50% salt solution) was saturated with the ammonia NH3 and the carbonation tower where the ammoniated brine got saturated with CO2 coming from the kiln.

The character with 2 knives and a frog face, could maybe point to the good direction, because in the Hou process, a 10°C temperature is enough to cool down the carbonation tower and the ammonium chloride precipitate into the sodium chloride solution (the brine).

The precipitation of the ammonium chloride from the sodium chloride solution, results in a separation of the 2 components. And in my opinion, the separation of these 2 components is exactly what the 2 knives mean.

The knives are not here to protect anybody or anything, they don't even really mean cut.

The knives mean separate. There are 2 knives because 2 components needed to be separated.

2.08  The frog face of the character with the 2 knives

This is maybe a little far-fetched, but this frog face could also perfectly fit in the theory. Because, the precipitation of the ammonium chloride in the brine, is the separation of a solid component from a liquid phase.

And that is precisely what a frog do when passing from a tadpole living in the water, to an adult frog living in the air.

The frog face means separate from a liquid phase.

Left image : Nelumbo nucifera seed head. https://www.wikiwand.com/en/Nelumbo_nucifera

Right image : lotus root internal structure. https://fr.wikipedia.org/wiki/Nelumbo_nucifera#/media/Fichier:Lotus_root.jpg

2.09  The Lotus Flower of Nefertem real meaning : the fog nozzle

Because the Dendera Light bulb is originating from the Lotus Flower, we know that the Lotus flower was another representation of the fog nozzle : most probably the metaphor about this Lotus Flower is about the very particular structure of its seed head that looks like a perfect shower head, and its roots that are showing many tubes, a perfect metaphor of the water supply pipe of the nozzle.

2.10  The shower head like lotus seed head

These images of sacred lotus are probably more than I did before explaining the reason why the lotus, or "sacred lotus" has been chosen by ancient Egyptians as a metaphoric representation of the fog nozzle of the Great Pyramid.

Not only the lotus seed head looks like a perfect shower head, but the inside of the lotus root is also showing many tubes. Most probably this is purely metaphoric, and the real fog nozzle was like I've already suggested before, very close to the design of a modern firefighter fog nozzle, with many "teeth" that would have been represented into the petals of the lotus flower.

The Dendera Light, the Djed pillar, the water sign and the Ankh symbol are about Solvay towers evaporative cooling.

2.11  The representation of the Solvay towers cooling with the power of water

The above left image is absolutely fantastic, because it shows the entire process of the Solvay towers cooling, using evaporative cold, meaning using the power of water. The bubble held by the Djed pillar is the exact same thing that the Dendera Light; the only difference is that the Dendera Light is a better representation of the fog of microdroplets of liquid water created by the fog nozzle inside the horizontal passage of the Great Pyramid of Giza.

As explained in Section about Akhenaten/Nefertiti/Shu/Tefnut and the Aten, the Ankh is the representation of the evaporative cold itself.

Because inside the bubble there is a snake/water sign, we know that what is given to the Djed pillar is made of water : this is not just cooling, this evaporative cooling.

2.12  The name of the serpent goddess of embalming liquid Kebechet, that refreshes and purifies the pharaoh, means literally "cooling water"

This idea of a serpent representing water and cold, involved in the mummification process (the natron is the salt used for this occasion), and that progressively emerged from my work, is actually a genuine one, and she has a name : goddess Kebechet.

Wikipedia : "In Egyptian mythology, Kebechet (also transliterated as Khebhut, Kebehut, Qébéhout, Kabehchet and Kebehwet) is a goddess, a deification of embalming liquid."

"Her name means cooling water" and "in the Pyramid Texts, Kebechet is referred to as a serpent who "refreshes and purifies" the pharaoh..." . Also : "Kebechet was thought to give water to the spirits of the dead while they waited for the mummification process to be complete."

On this artifact of Kebechet, my interpretation is the following : the snake represents the entire sequence of the pressurized water spat out of the inclined well. The tail of the snake is the section of the well involved in the process, its body is the horizontal passage and its head is the fog nozzle. The structure on which the snake is put, is the horizontal passage itself, and it ends just after the step, before the entry to the Queen's chamber.

Hypothetical influence of Imhotep on pharaohs Djoser (Dynasty 3) and Sneferu (Dynasty 4) that could explain the fact he was represented with the wooden cradle float and/or the granite block weight.

2.13  Imhotep's "Refreshment of the Gods" Pyramid : the solution was here from the very beginning

Imhotep biggest influence was not in the medicine field, but in architecture. He is the one who built the first true pyramid in ancient Egypt, made of stone blocks and not dried mud bricks : the Djoser's Step Pyramid. Interestingly, this unprecedented step pyramid was called "The Refreshment of the Gods" ; and that obviously echoes the evaporative cooling process used in the Great Pyramid.

My conviction is that the term "refreshment" is not fully accurate: Imhotep's first pyramid was certainly not the "refreshment pyramid", but "the Pyramid of the cold".

Ancient Egyptians didn't master an ammonia Solvay-like process overnight : it had to be a long experimental journey, over many generations (the Disc of Sabu is dated from the First Dynasty, 3100 BCE to 3000 BCE ; and the Djed Pillars from even before that). Most probably, their biggest challenge from the beginning was cooling down the reaction chambers.

It is certainly not by accident that Imhotep not only was the first one to build structures out of limestone blocks, but also the first one to add columns to their design. Columns echoes to the Solvay towers but also to modern cooling towers (read the post about Sneferu's Red and Bent Pyramids for more on the subject).

2.14  Was Imhotep the real mastermind behind Sneferu's and Khufu's pyramids?

From Wikipedia : "Very little is known of Imhotep as an historical figure, but in the 3,000 years following his death, he was gradually glorified and deified. It appears that this libation to Imhotep was done regularly, as they are attested on papyri associated with statues of Imhotep until the Late Period (c. 664–332 BCE). Wildung (1977) explains the origin of this cult as a slow evolution of intellectuals' memory of Imhotep, from his death onward". 

When Djoser died, Imhotep is thought to have gone on to serve his successors, Sekhemkhet (c. 2650 BCE), Khaba (c. 2640 BCE), and Huni, possibly Sneferu's father (c. 2630-2613 BCE). Scholars disagree on whether Imhotep served all four kings of the Third Dynasty but evidence suggests he lived a long life and was much sought after for his talents.

Maybe his ideas have been burrowed by his successor during the Fourth Dynasty, but most probably, in my opinion, he might as well also served Sneferu himself.

Ancient Egyptian stone relief showing chemistry equipment (unknown location).

In most of the Dendera Light reliefs, also appear arms and Djed pillars. They are not mythological symbols. On that picture, we can see what is the real secret of the ancient Egyptians : chemistry. We can also see that the Djed pillars and the temples were both part of it. The magical part of the temples came from the chemistry craft.

2.15  The arms represent the Queen's chamber shafts for the cold transfer

Once the cold is produced inside the horizontal passage of the great pyramid, and stored inside the Queen's chamber, the sodium carbonate Solvay towers had to be cooled down. In my theory, the pyramid wasn't finished when operating : it had a flat roof at the Lady Arbuthnot level. The natron production site was situated at that level, and the towers probably cooled down by pumping water or directly a saline solution into the Queen's chamber where the copper serpentine cold exchanger was set.

The arms of the Dendera reliefs are the Queen's chamber shafts, and the Solvay towers are the Djed pillars.

Diagram of the operating Great Pyramid of Egypt for evaporative cold production (hypothetically for chemical manufacturing cooling of pure sodium carbonate "natron", the salt used for the mummification of pharaohs). When in operation, the elevation of the Great Pyramid was not finished, and it is only after the shutdown procedure and the draining of the inclined well, that the 3 granite plugs were finally close to one another.

© 2023 Copyright milleetunetasses.com. All rights reserved.

In summary: deities like Shu, Geb, Nut and Tefnut are referring to the basic fundamental physical laws that are explaining the evaporative cooling process. Shu is the representation of dry and warm air, Geb is the representation of water in liquid form, Nut is the representation of the evaporated water (water in the sky), and Tefnut is the representation of liquid water in form of microdroplets (that is spat water, as 'tf' means 'to spit').

Additionally to these "fundamental" gods, other gods were also directly referring to the practical application of these scientific concepts : they were the "experimental" gods, like Apep (the pressurized waters of the inclined well), Atum (the small amount of that pressurized water ejected towards the evaporative passage), Nefertem (the water supply pipe of the fog nozzle and the fog nozzle itself) and Amun, the "invisible" King of Gods that was representing the evaporative process strictly speaking and thus, creating the cold.

On this scene representing Nut, water is here clearly represented. In the same scene below, water is not represented, but it is though suggested by the solar boats, the fisherman, the fishing net and the postures of Geb and Nut. Goddess of the sky Nut is clearly diving into the water. Geb is not represented because he is the water. Shu is also not represented because he is the sail of the boat.

3.02  The solar boats sailing onto Nut, the fisherman and the fishing net clues indicating that Nut = Water

Many clues are actually clearly suggesting that Nut is all about water:

• The fact that solar boats are sailing directly onto her body.

•The fact that a fisherman is represented with half his body immersed into water : he simply appears cut in half.

• The fact that the fisherman is throwing a fishing net.

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

3.03  Shu is not separating Geb from Nut, Shu is holding Nut in the air: Shu is absorbing moisture and accumulating humidity

In my opinion, that scene of Geb and Nut separated from each other by Shu is actually representing the cycle of water between its liquid form and its evaporated form.

Nut is getting out of the water (her lower body) and then comes back in with her upper body.

3.04  So why Nut is described as the goddess of the sky and Geb as the god of the earth ?

We've just seen that Nut and Geb were both representing water, but in two different forms: liquid water (Geb) and evaporated water (Nut). Once you take the water out of the equation, the only elements remaining is the earth (where the liquid water is) and the sky (where humidity and moisture are).

This is why today, egyptologists say that Geb is the god of the earth and Nut the goddess of the sky.

They are just missing the water.

Scene showing Geb (back swimming into liquid water), Nut (represented diving into the water), and Shu in the center, "holding" goddess Nut: https://fr.wikipedia.org/wiki/Fichier:Geb_and_Nut03.png.

Diving drawing: https://www.mobilesport.ch/plongeon/plongeon-basics-chute/

Backstroke technique: https://commons.wikimedia.org/wiki/File:Backstroke_(PSF).png

3.05  Why nobody is describing the relation of Nut with water despite her water-pot emblem and the name similarity with Tefnut ?

I think the reason is that nobody really wants to talk about the water. It is that simple. But if you do that, not only you can't understand the Dendera Light, but you can't understand "god of the earth" Geb either.

For egyptologists, water doesn't deserve to be studied for anything else but agriculture, even though the expression "the power of water" appears in many occasions in the Book of the Dead, as well as the one we've just seen : "the protective magical energy in liquid form" about the Dendera Light.

If you don't think about water in the famous Geb and Nut paintings where Shu is represented "separating" them both, you can't understand their respective postures.

If you do think about water you understand that:

1 • Geb is swimming: Geb is a representation of liquid water (on earth) = god of the water on earth

2 • Nut is diving into the water from the air: Nut is a representation of humidity / moisture = goddess of water in the sky

3 • Shu (god of dry warm air and fog) is the one receiving / holding / sustaining / supporting that humidity and he is the one separating them both

In short, the Geb and Nut scene is all about the evaporative process that is the motor of the evaporative cooling.

The ancient Egyptian goddess "of the sky" Nut, in the Temple of Hathor at Dendera. Thanks to Hamerani on Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Temple_of_Hathor_at_Dendera._The_goddess_Nut.jpg

3.06  The link between the water of the Nile (Hapi) and the Dendera Light womb of Nut: Geb, the "god of the earth"

"Hapi (Ancient Egyptian: ḥʿpy) was the god of the annual flooding of the Nile in ancient Egyptian religion. […] Hapi was not regarded as the god of the Nile itself but of the inundation event. He was also considered a "friend of Geb", the Egyptian god of the earth." https://en.wikipedia.org/wiki/Hapi_(Nile_god)

In my opinion, Geb is actually a lot more than just a friend, because Geb, as Hapi and Nut, is all about water.

3.07  God Shu (spat out by the Serpent Atum) was associated with dry warm air, cooling and fog

"The ancient Egyptian god Shu is represented as a human with feathers on his head, as he is associated with dry and warm air."

"As the air, Shu was considered to be a cooling, and thus calming, influence, and pacifier. Due to the association with dry air, calm, and thus Ma'at (truth, justice, order, and balance), Shu was depicted as the dry air/atmosphere between the earth and sky, separating the two realms after the event of the First Occasion."

"Fog and clouds were also Shu's elements and they were often called his bones. Because of his position between the sky and earth, he was also known as the wind."

Source: Wikipedia page on ancient Egyptian god Shu: https://en.wikipedia.org/wiki/Shu_(Egyptian_god)

3.08  Goddess Tefnut (also spat out by the Serpent Atum) was associated with spat water and moisture

"Tefnut (tfnwt) is a deity of moisture, moist air, dew and rain in Ancient Egyptian religion."

"Literally translating as "That Water", the name Tefnut has been linked to the verb 'tfn' meaning 'to spit'."

Source: Wikipedia page on ancient Egyptian goddess Tefnut: https://en.wikipedia.org/wiki/Tefnut

Ancient Egyptian representation of a basic fundamental principle of physics and its application for the production of evaporative cooling in the Great Pyramid of Giza.

The ancient Egyptian gods (and the Great Serpent of the Underworld Apep) involved in the cold production of the Lower Great Pyramid of Khufu : Atum who created 2 other gods by spitting them out of his mouth : Shu (the god of dry warm air and fog), and Tefnut (the goddess of moisture and humidity) ; and Nefertem that represented the fog nozzle itself, and who "had arisen from the primal waters" and was the "beautiful one who closes" or "one who does not close"; as a perfect "tap" or "valve" analogy.

"In the Book of the Dead, [...], the sun god Atum is said to have ascended from chaos-waters with the appearance of a snake, the animal renewing itself every morning."

3.09  The Serpent god Atum spat out Shu, the god of air, and Tefnut, the goddess of moisture

"Early myths state that Atum created the god Shu and goddess Tefnut by spitting them out of his mouth. Other myths state Atum created by masturbation…"

"He produced from his own sneeze, or in some accounts, semen, Shu, the god of air, and Tefnut, the goddess of moisture."

My comments : when it is said Atum was created by masturbation, it is of course another metaphor here. When Isis is breastfeeding Horus, it is not milk he is receiving, but the cold liquid solution ; the same way when Atum is depicted masturbating, or when semen is invoked, it is only a way of depicting the high pressurized water coming out of the fog nozzle into microdroplets.

Once again, there is no breastfeeding, no masturbation, no semen and no spitting snake (see the Dendera Light post). These are only metaphors of the cooling fluids and the fog nozzle functioning with pressurized water.

Vertical section, looking West, of the Great Pyramid of Giza, in the plane of its passages, by Manly Palmer Hall:   https://commons.wikimedia.org/wiki/File:The_Secret_Teaching_of_All_Ages_-_Chapter_6_-_Pyramid.jpg

3.10  The scientific metaphoric representations of the ancient Egyptian gods

Every single ancient Egyptian deity is only a metaphor, and they all are about a particular aspect of scientific research and technological experimentations they've started probably with the very first Dynasty. Even if some of these deities appeared before the Great Pyramid was built, most of them are directly referring to how was created evaporative cold in the horizontal passage of the Pyramid, and how was this process based on.

For example, the combined representations of Shu, Geb and Tefnut are a perfect illustration of the evaporative process that is transforming liquid water, into evaporated water; this process being supported by Shu, the god of dry and warm air.

3.11  The impactor ramming into the inclined well waters (Nun) to produce pressurized water (Apep)

I've already talked about the distinction that has to be made between the waters of the well before the pressurization and the pressurized waters strictly speaking.

The "plain still" waters had been glorified into what have been called the primordial waters of Nun, while the pressurized waters had been represented into the Great Serpent Apep (also Apophis).

This passage talks about how Atum created everything in human form out of the chaos: "At the beginning of time, when there was nothing but chaos, the sun-god existed alone in the watery mass of Nun which filled the universe. "I am Atum when he was alone in Nun, I am Ra when he dawned, when he began to rule that which he had made."

Once the well is pressurized, a small amount of that water is ejected into the horizontal cooling passage, and that is Atum: about 200 liters of pressurized water which every 15 minutes or so passes through the fog nozzle to create a fog of microdroplets of liquid water. This very particular form of water had been glorified into goddess Tefnut (Tef, or 'tf', meaning to spit).

"He (Ra) created Shu, god of air, and the goddess of moisture, Tefnut." https://en.wikipedia.org/wiki/Ra

The above excerpt is by the way, another confirmation that the purpose of the impactor was not limited to produce pressurized water: if Ra is the one creating Shu, the god of dry and warm air, it is because the fall of the impactor is taking place inside a fixed wooden caisson that was perfectly extending the inclined well, probably to the top of the Grand Gallery. 

3.12  The Primeval Hill on which Ra is creating Shu and Tefnut is the Grand Gallery

"On a Primeval hill, Ra created out of himself the first gods, Shu (Dryness and Air), and his partner Tefnut (Humidity), who would engender other gods to complete the Cosmos: Geb the Earth god and Nut the Sky goddess."   https://www.arce.org/resource/ra-creator-god-ancient-egypt

Everyone would have most probably recognized in the "Primeval Hill", the steep slope of the Grand Gallery, precisely where the impactor Ra was operated.

Diagram of the main ancient Egyptian gods and goddesses involved as simple metaphoric glorifications, in the operating of the Great Pyramid of Egypt for evaporative cold production (see next Sections for details).

3.13  Ra as Atum and the Creation process out of Water

Also from Arce : "Before creation, according to Egyptian mythology, only Darkness embraced the Primeval Ocean out of which life would come. When the breath of life was strong and ready, the entity called Atum decided it was time for Creation to begin. An island emerged from the water to support this divinity, who manifested itself in the form of Ra, the sun god of Egypt."

This particular phrase "When the breath of life was strong and ready, the entity called Atum decided it was time for Creation to begin" could be another confirmation that before the well was pressurized, the fall of the impactor first pushed air in front of him. The fixed wooden caisson in which was moving the impactor would have function exactly like a bicycle pump and would have pressurized the evaporative cooling passage with the air of the caisson, before the pressurization of the inclined well waters.

Atum, originating from the well and being the one metaphorical god just before creation could happen, is the "small amount of pressurized water", maybe about 200 liters, that were ejected from the well every 15 minutes or so, towards the fog nozzle.

"Ra was believed to have created all forms of life by calling them into existence by uttering their secret names. In some accounts humans were created from Ra's tears and sweat."

"According to one myth the first portion of Earth came into being when the sun god summoned it out of the watery mass of Nun."

"Ra was thought to travel on the Atet, two solar barques called the Mandjet (the Boat of Millions of Years) or morning-boat and the Mesektet or evening-boat. These boats took him on his journey through the sky and the Duat – twelve hours of night which is also the literal underworld of Egypt. While Ra was on the Mesektet, he was in his ram-headed form." https://en.wikipedia.org/wiki/Ra

3.14  Nefertem : the mediator in which Atum is passing through

Excerpt from Michael J. Masley: "Meeks points out that the relationship between the sun and the lotus-Nefertem is well attested in the Pyramid Texts but the birth of the sun-god in the lotus blossom is known only after the Amarna period. Pyramid Texts Spell 249 (Pyr. § 266a): xa (wnjs)| m nfr-tm m zSSn r Srt ra “Unis will appear as Nefertem, as the lotus at the sun-god’s nose” corresponds to the image of the Egyptian deities giving life (anx) to the nose of the king and thus the life-force of the creator god Atum is transmitted to the sun-god Re through Nefertem. As such, Nefertem is a mediator that connects the two great gods."

3.15  The Nefertem "close or not close" reference. From Wikipedia: "Nefertem, possibly "beautiful one who closes" or "one who does not close", (also spelled Nefertum or Nefer-temu) was, in Egyptian mythology, originally a lotus flower at the creation of the world, who had arisen from the primal waters". https://en.wikipedia.org/wiki/Nefertem

"Close or not close" is not a bad definition for what was really representing Nefertem: the fog nozzle of the horizontal passage. This nozzle was eventually nothing else than a huge water tap that transformed pressurized water from the inclined well (the ascending passage) into a mist of microdroplets of liquid water. There was no valve though, just the fall of the impactor inside the grand gallery of the Great Pyramid that pressurized the well.

3.16  No one ever questioned the fact that Nut, the "goddess of the sky" had a water-pot emblem ?

According to Wikipedia's page on Tefnut, 'tfn' means 'to spit : "Literally translating as "That Water", the name Tefnut has been linked to the verb 'tfn' meaning 'to spit' and versions of the creation myth say that Ra (or Atum) spat her out and her name was written as a mouth spitting in late texts". Source: https://en.wikipedia.org/wiki/Tefnut

But according to https://en.wiktionary.org/wiki/tfn, 'tfn' means orphan: "Conventional anglicization: tefen. orphan".

The correct translation for 'to spit' would be 'tf' and not 'tfn': "Etymology 2: (intransitive) to spit (+ m: to spit (something) out) [Pyramid Texts, rarely later]". https://en.wiktionary.org/wiki/tf

3.17  Tefnut = 'to spit' + Nut. It means that Nut is referring to water

If Wiktionary is right over Wikipedia, that means that Tefnut, 'tfnwt' is 'tf' + 'nwt' = to spit + 'nwt'

If Tefnut means "that water" and is referring to spat water, then Nut 'nwt' is referring to water itself. Hence the water-pot emblem of goddess Nut.

3.18  The theoretical evaporative process of the cold production

What is remarkable with the Geb and Nut scene, is that it is a representation of the evaporative process that is producing the cold inside the Great Pyramid.

We've already seen in the first post about the Dendera Light, that ancient Egyptians loved to show and explain what they were doing, in their own way of course : they've represented a snake spitting out its venom on one side of a relief, and just next to it, they've represented the Dendera Light with the same snake inside the bulb, and by doing so they were saying that the Dendera Light was created by the venom of the snake, as a metaphor of the spat water getting out of the fog nozzle, under pressure and in the form of microdroplets.

3.19  The sociological modern drama interpretation of Geb and Nut

"There is speculation between Shu and Geb and who was the first god-king of Egypt. The story of how Shu, Geb, and Nut were separated in order to create the cosmos is now being interpreted in more human terms; exposing the hostility and sexual jealousy. Between the father-son jealousy and Shu rebelling against the divine order, Geb challenges Shu's leadership. Geb takes Shu's wife, Tefnut, as his chief queen, separating Shu from his sister-wife. Just as Shu had previously done to him." https://en.wikipedia.org/wiki/Nut_(goddess)

3.14  God of magic Heka's role was "to proclaim the pharaoh's enthronement"

The idea that pharaohs used scientific knowledge to legitimate their position as Kings of Egypt, is exactly what is said about the ancient Egyptian god of Magic, Heka (ḥk3w).

"The Old Kingdom Pyramid Texts depict ḥk3w as a supernatural energy that the gods possess. The "cannibal pharaoh" must devour other gods to gain this magical power. Eventually, Heka was elevated to a deity in his own right, and a cult devoted to him developed. By the time of the Coffin Texts, Heka is said to have been created at the beginning of time by the creator Atum. Later Heka is depicted as part of the tableau of the divine solar barge as a protector of Osiris capable of blinding crocodiles. Then, during the Ptolemaic dynasty, Heka's role was to proclaim the pharaoh's enthronement as a son of Isis, holding him in his arms."

Source: https://en.wikipedia.org/wiki/Heka_(god)

Of course, you'll have noted that Heka is holding snakes : Heka's magic was coming from snakes, meaning that magic was coming from water. Snakes = water.

Remember, Atum is the representation of the small amount of pressurized water coming from the inclined well. Atum is liquid water ready to be transformed into vapor and this is this transformation that is creating the evaporative cold.

When it is said that "Heka existed before duality had yet come into being", the duality is about water. Duality is about liquid water and evaporated water that are engaged into the water cycle depicted into the famous Geb, Shu and Nut scene.

On the two stone reliefs on the right, Amun as Amun-Min, is clearly referring to water getting out of some kind of tube. These kind of reliefs are exceptional, because they also were clearly made by some kind of "street artist" who took the liberty to show something that is appearing in no other "official" relief I know of. These "unofficial" and probably "forbidden" reliefs are showing the true nature of Amun: he was referring to water droplets, because of the dotted line.

3.15  Amun is the personification of the fog of microdroplets evaporating and creating the cold

Amun, being the fog of liquid microdroplets that was created by the fog nozzle of the horizontal cooling passage, to evaporate and create the cold, is explaining of Amun's epithets: "Great Honker/Great Shrieker".

"Amun’s many epithets included: Great Honker/Great Shrieker (An allusion to his mythological role as the goose whose cry created the universe)." https://mythopedia.com/topics/amun

This reference to the sound that would have created the pressurized water passing through the fog nozzle, isn't the first one we've seen about the functioning of the nozzle, and that was personified into god Nefertem.

Amun as Amun-Min drawing: https://en.wikipedia.org/wiki/Min_(god)

Stone relief at Wadi Hammamat, Dynasty 17 by kairoinfo4u: https://www.flickr.com/photos/manna4u/25999304796/in/photostream/

Wadi Hammamat: Dynasty 11, Nebhepetre Mentuhotep II. Photographed by Kairoinfo4U and posted on flickr: https://www.flickr.com/photos/manna4u/25932728632/in/photostream/

Heka figurine E4875 from the Louvre Museum: https://collections.louvre.fr/en/ark:/53355/cl010011666

Unmanned RB 6 fog nozzle monitor for firefighting and cooling from Rosenbauer International AG, Leonding, Austria.

"Heka is said to have been created at the beginning of time by the creator Atum."

Diagram of the operating Great Pyramid of Egypt for evaporative cold production (hypothetically for chemical manufacturing cooling of pure sodium carbonate "natron", the salt used for the mummification of pharaohs). When in operation, the elevation of the Great Pyramid was not finished, and it is only after the shutdown procedure and the draining of the inclined well, that the 3 granite plugs were finally close to one another.

© 2023 Copyright milleetunetasses.com. All rights reserved.

In summary : King Akhenaten and his wife Nefertiti represented themselves as god Shu and goddess Tefnut, the deities that combined together created the evaporative cooling in the Great Pyramid of Giza. In other words, Akhenaten and Nefertiti wanted to be seen as the ones creating the magical cold, and that is what they are giving to the heat of the solar rays : the ankh symbol is a representation of the evaporative cold.

Akhenaten and Nefertiti stopped worshiping Amun, the deity that was directly referring to the evaporative cold produced inside the Great Pyramid of Giza, but they kept worshiping the evaporative cold, from the theoretical point of view. This could be the first recorded fracture between theoretical and experimental science.

Finger Ring depicting King Akhenaten and Queen Nefertiti as Shu and Tefnut from the Metropolitan Museum of Art. New Kingdom, Amarna Period, ca. 1353–1336 BC. Accession Number 26.7.767:   https://www.metmuseum.org/art/collection/search/544679

Excerpt from the MET data sheet: "This ring was found at Amarna. The hieroglyphs may be read as an ideogram. The two seated figures are probably Akhenaten (left) and Nefertiti (right) as the deities Shu (air as indicated by the feather he holds) and Tefnut (moisture)". 

4.03  Akhenaten represented himself as god Shu and Nefertiti as goddess Tefnut

It is often said that Akhenaten rejected every ancient Egyptian god and that the cult of Aten was monotheist, but it isn't exact: Shu and Tefnut were saved (among a very few other deities; but in no way, Aten was the only god worshiped under Akhenaten).

Not only Shu and Tefnut were the only deities that Akhenaten didn't reject when he decided to reject all the other ancient deities, but surprisingly he decided that he would himself be depicted as god Shu, and his wife Nefertiti as the goddess Tefnut.

"During the “Aten heresy” led by Akhenaten, Shu, and Tefnut remained popular with the apparently monotheistic pharaoh. The pharaoh and his queen (Nefertiti) were depicted as the personification of Shu and Tefnut emphasising their divinity. As the Aten represented the sun disk, the solar aspect of Shu and his link with the pharaoh apparently prevented Shu from being proscribed along with Amun and the other gods." https://ancientegyptonline.co.uk/shu/

"Even on the pharaoh's own stone sarcophagus, images of Nefertiti replaced those of traditional goddesses. Akhenaten, by associating himself with Shu and the Aten, and Nefertiti with Tefnut, had effectively presented himself and his family as living gods." https://www.worldhistory.org/article/1110/the-art-of-the-amarna-period/

King Akhenaten worshiping Aten. Please notice the Ankh sign pointed towards the nose of Akhenaten as a sphinx. Source: Echnaton (Akhenaten) as Sphinx. From Amarna. Kestner Museum, Hannover. Photographed by Hans Ollermann on flickr: https://www.flickr.com/photos/menesje/2212492438/

4.04  The Akhenaten sphinx basking in the Aten Sun: beams are about heat, not light

This image showing King Akhenaten in the form of a sphinx is maybe one of the best representations of the real meaning of the sun Aten.

It is said that Aten is radiating beams of light, but the position of the sphinx is telling us another story : he is depicted resting on the ground with the sun beams all around him, back included, and these beams have hands at their ends.

Hands are made for touching, so the solar beams are "touching" the sphinx but also all the scenery around him : they are not light beams but they are transmitting the heat radiating from the Solar disc Aten and they are "petting" the sphinx who is basking in the sun.

"Shu is thus not only "air which is in the sun", but also, according to Akhenaton's religion, "heat which is in Aton". Egyptian Myths And Legend, By Donald Mackenzie

Aten is a representation of the heat, and in my opinion it is just here to emphasize Akhenaten's role/performance/demonstration into cold production.

Aten is not shown with beams of light emanating from him: he is radiating heat.

If Akhenaten is receiving the Ankh symbols of life from Aten because of the hands at the end of the Solar beams, why is there also hands on every single beam, whether they are directed towards Akhenaten/Nefertiti or not ?

Hands are not giving the Ankh symbols, they are taking them from Akhenaten and Nefertiti.

Detail (showing Akhenaten) of the relief of King Akhenaten (Akhenaton) and Queen Nefertiti, in the State Museums at Berlin: King Akhenaton (left) with his wife, Queen Nefertiti, and three of their daughters under the rays of the sun god Aton, altar relief, mid-14th century BCE. Photographed by Steven Zucker and posted on flickr: https://www.flickr.com/photos/profzucker/7670416780/in/photostream/

4.05  King Akhenaten and Nefertiti were creating cold air: that is the meaning of the Ankh symbol

If it is Akhenaten/Shu (meaning the dry warm air) and Nefertiti/Tefnut (meaning the spat water in the form of droplets) who are giving the Ankh symbols to the Solar disc Aten, then it means that the Ankh symbol is what comes out of the association of Shu and Tefnut: cold air.

The Ankh is the symbol of cold air, an element that is processed through the nose and that explains why Akhenaten and Nefertiti are expelling Ankh symbols through the nose: they are expelling cold air through the nose.

The hands at the end of the Solar beams are not meant to grab something (exception made of the Ankhs generated by Akhenaten and Nefertiti), they are here to emphasize the fact that these beams were touching things and people. The beams are representing the heat of the Solar disc Aten, and only Akhenaten and Nefertiti themselves would be able to respond to it, with the cold air: the Ankh symbols.

4.06  The Ankh is the symbol of the evaporative cooling

Akhenaten and his wife Nefertiti represented themselves as god Shu and goddess Tefnut, the deities that combined together created the evaporative cooling in the Great Pyramid of Khufu. 

In other words, Akhenaten and Nefertiti wanted to be seen as the ones creating the magical cold, and that is what they are giving to the heat of the solar rays: the ankh symbol is the cold.

Please note on this State Museums at Berlin's relief, that both Akhenaten (above photograph) and Nefertiti (photograph below) have Ankh signs next to their noses. These Ankhs aren't given to them by Aten, but it is they, Akhenaten and Nefertiti who are giving the Ankh symbols: they are offering the cold.

It is the association of dry warm air (personified as god Shu) and spat water (the goddess Tefnut), that was producing the cold in the horizontal passage of the Great Pyramid, by evaporative cooling.

4.07  Goddess Tefnut isn't a representation of any kind of water: she stands for spat water, that is water in form of liquid droplets

Tefnut isn't a representation of any kind of water and it is not about the water from the Nile (that is represented with god Hapi), or water from the ocean or water to drink: Tefnut is representing spat water, that is water in form of liquid droplets, whether it is dew drops, or rain drops or even tinier drops that are responsible for moisture and humid air.

This water spitting thing is so important that this is even represented in her name.

"Tefnut (tfnwt) is a deity of moisture, moist air, dew and rain in Ancient Egyptian religion."

"Literally translating as "That Water", the name Tefnut has been linked to the verb 'tfn' meaning 'to spit' and versions of the creation myth say that Ra (or Atum) spat her out and her name was written as a mouth spitting in late texts." https://en.wikipedia.org/wiki/Tefnut

4.08  God Shu isn't a representation of any kind of air: he stands for dry and warm air but also fog

"The ancient Egyptian god Shu is represented as a human with feathers on his head, as he is associated with dry and warm air." [...]

"Fog and clouds were also Shu's elements" https://en.wikipedia.org/wiki/Shu_(Egyptian_god)

"Shu is thus not only "air which is in the sun", but also, according to Akhenaton's religion, "heat which is in Aton". Egyptian Myths And Legend, By Donald Mackenzie

4.09  Theoretical physics (SHU and TEFNUT) versus experimental physics (AMUN)

I couldn't find any reference to the roles that took Shu and Tefnut under the reign of Amenhotep III, but it is well documented that his son Amenhotep IV (Akhenaten) represented himself in Shu (the god of dry and warm air), while his wife Nefertiti represented herself in Tefnut (the goddess of spat water). We've also seen that this is Akhenaten who is giving the Ankh symbol to the heat of Aten.

And this is the key to understand what happened with Akhenaten heretic vision of religion.

We've seen that worshiping Amun or the Aten, at the time of Amenhotep III was considered to be the same thing. It was 2 different point of views of the same thing, 2 visions of the evaporative cooling process: the theoretical point of view and the experimental point of view.

For hundreds of years, what had been worshiped the most was what happened in the Great Pyramid : Apep (the pressurized waters of the well), Atum (the small amount of pressurized water ejected out of the well at each cycle of operating of the impactor), Nefertem (the pipe and the fog nozzle) and Amun (the fog of microdroplets evaporating and creating the cold), are all directly referring to the Great Pyramid.

Shu (the god of dry and warm air), Tefnut (the goddess of spat water), Geb (the god of liquid water) and Nut (the goddess of humidity, water in the air), are all about the theoretical point of view of the evaporative process.

For some reason, what Amenhotep III and IV (Akhenaten) wanted to do, is to focus their worshiping to the theoretical vision of the evaporative process, to the detriment of the historical experimental accomplishments in the Great Pyramid.

"Theoretical physics is a branch of physics that employs mathematical models and abstractions of physical objects and systems to rationalize, explain and predict natural phenomena. This is in contrast to experimental physics, which uses experimental tools to probe these phenomena." Source Wikipedia

4.10  Akhenaten rejected everything about HOW was produced the cold, and HOW it will be used

It is like Akhenaten decided to forget and disprove every part of ancient religion that referred to how was created the cold : all the gods referring to the Grand Gallery (like Ptah, Sokar, Osiris, Aker...) or the Great Serpent Apep of the inclined well or even Nefertem and its fog nozzle in the horizontal passage. But he also wasn't interested in how it will be used in the Solvay process cooling (Horus, Isis, Nephthys, Seth...).

In other words, Akhenaten wanted to concentrate its worship on the central part of his ancestors work, the magical part of the entire Solvay manufacturing: the cold and the chemical manufactured products of the Solvay process itself.

Representations of ancient Egyptian god Amun. Draw courtesy of Jeff Dahl: https://en.wikipedia.org/wiki/Amun#/media/File:Amun.svg

Head of Amun from the Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/544780

4.11  Aten "simply became another way in which to express one's devotion to Amun": devotion to Aten = devotion to Amun

About Amun : "His cult was the most powerful and popular in Egypt for centuries", but Amenhotep III and his son Akhenaten wanted to banish Amun and replace him with Aten : this is not Akhenaten (Amenhotep IV) who introduced the cult to Aten, but his father Amenhotep III, and the Aten was also directly referring to the cult of Amun.

"By the time of Amenhotep III (1386-1353 B.C.E), the priests owned more land, had more cash on hand, and were almost as powerful as the pharaoh. Amenhotep III introduced religious reforms in an attempt to curb the power of the priesthood, but they were fairly ineffective.

His most significant reform was the elevation of a formerly minor deity, Aten, to his personal patron and encouraged the worship of this god alongside Amun. The cult of Amun was unaffected by this, however, and continued to grow. Aten was already associated with Amun and with Ra as the solar disc representative of the sun's divine power. The symbol of Aten simply became another way in which to express one's devotion to Amun, and the priests continued to live their comfortable lives of privilege and power."  https://www.worldhistory.org/amun/

In summary : the devotion to Aten = devotion to Amun.

4.12  Amun is the personification of the Dendera Light fog of microdroplets creating the evaporative cold

If, in some ways, Amun = Aten, and Aten is all about the evaporating cooling because of Shu and Tefnut, then it means that Amun is also about the evaporative cooling.

"Amun (also Amon, Ammon, Amen, Amun-Ra) is the ancient Egyptian god of the sun and air. He is one of the most important gods of ancient Egypt who rose to prominence at Thebes at the beginning of the period of the New Kingdom (c. 1570-1069 BCE). His cult was the most powerful and popular in Egypt for centuries."

"He was known as "The Concealed God" - he whose nature could not be known and associated with air or the wind which can be felt but not seen or touched."

"His name means "the hidden one," "invisible," "mysterious of form"… His presence was everywhere, unseen but felt like the wind." https://www.worldhistory.org/amun/

All these epithets of Amun are strongly suggesting that he was the representation of the fog of microdroplets that was created into the horizontal cooling passage of the Great Pyramid : it was becoming humidity, water in the form of a gas, hence invisible, with no shape and it was engulfing into the passage with the speed of the wind.

In other words, Amun is the personification of the Dendera Light.

The idea of Amun being a metaphoric personification of the Dendera Light / fog of microdroplets evaporating and creating the cold, is reinforced by the similarities between Amun and Aten, the god  worshiped by Amenhotep III and his son, Akhenaten.

Relief showing Akhenaten and his wife Nefertiti worshipping the Aten. Tel el Amarna, Aten Temple.

Pharaoh king Taharqa "presenting god Hemen with wine" E25276 from the Louvre Museum, Paris (right image). 

This amazing artifact from the Louvre Museum is outstanding, because it shows a pharaoh kneeled down in front of the representations of the heat generated by the chemical manufacturing (the falcon) and the cold production (the snake), both put on the representation of the impactor of the grand gallery / inclined well : the wooden hollow base of the figure.

4.13  Akhenaten only changed the rules, not the game

"During the Amarna Period (1353 - 1336 BCE), when Akhenaten banned the cult of Amun along with the rest of the gods and raised the god Aten as the sole god of Egypt, the ankh sign continued in popular use. The symbol is seen in paintings and inscriptions at the end of the beams of light emanating from the solar disc of Aten, bringing life to those who believe." https://www.worldhistory.org/Ankh/

This excerpt from worldhistory.com is particularly interesting : the academic interpretation is that the ankh sign is given by Aten to Akhenaten and Nefertiti.

But I disagree. In my opinion, this scene has to be interpreted in the exact same way as the one with pharaoh Amasis and his two jars, on the above photograph.

King Amasis was following the tradition : he was worshiping the entire story of his ancestors and he was demonstrating that the chemical manufacturing of sodium carbonate and sodium bicarbonate by the Solvay process was successful.

King Akhenaten doesn't want to continue worshiping non important gods, he doesn't care about the technical part of the process, he just cares about the cold and he wants to be associated with it.

The cold is the only thing you need to complete the Solvay process.

The evaporative cooling is the transformation of dry warm air into cold air, using water in form of droplets, but the key is air. The cooling is producing cold air. And air is processed through the nose.

Akhenaten not only wanted to show that he was successfully able to manufacture the Solvay products, but he also wanted to demonstrate that he was creating the cold.

King Akhenaten is represented giving the 2 jars containing sodium carbonate and sodium bicarbonate to the Aten Solar disc, but he is also represented breathing cold air.

4.14  The meaning of Akhenaten's name is "Effective for the Aten": it suggests that he was supposed to produce something

The idea that Akhenaten is depicted giving something to Aten, instead of the opposite, is actually suggested in his name : the meaning of Akhenaten is "Effective for the Aten".  And that was also true for the first 5 years of his reign when his name was Amenhotep IV, from the ancient Egyptian: jmn-ḥtp, meaning "Amun is satisfied".

Diagram of the operating Great Pyramid of Egypt for evaporative cold production (hypothetically for chemical manufacturing cooling of pure sodium carbonate "natron", the salt used for the mummification of pharaohs). When in operation, the elevation of the Great Pyramid was not finished, and it is only after the shutdown procedure and the draining of the inclined well, that the 3 granite plugs were finally close to one another.

© 2023 Copyright milleetunetasses.com. All rights reserved.

In summary : the so called Weighing of the Heart scenes are not about weighing any heart, there is no heart on any of the scales. Instead, there are jars filled with water, as suggested by the 'peeing' baboon that nobody is ever talking about, but who is clearly the one controlling the equilibrium of the scale with his raised arm in Kenna's Judgement.

Not only there is no heart on any side of any Weighing of the Heart scale, but the idea itself of weighing a heart on a scale and compare it to a feather or anything else doesn't even appear anywhere in any ancient Egyptian text : the Weighing of the Heart is nothing less but a cute fantasy construction of the 1800's Romanticism influenced egyptology.

In the above Spell 125 screenshot from Wikipedia's page on the Book of the Dead list of spells, only the highlighted part can be traced to genuine ancient Egyptian writings: the Weighing of the Heart part is a pure construction from the early 1800's first egyptologists and their fantasized vision of the ancient World.

5.02  The idea itself of weighing a heart on a scale doesn't even appear anywhere in any ancient Egyptian text

Not only there is no heart on any side of any Weighing of the Heart scale, but the idea itself of weighing a heart on a scale and compare it to anything doesn't even appear anywhere in any ancient Egyptian text. Everybody is claiming that the spell 125 in the Book of the Dead, also known as Negative Confession, or more correctly the Declaration of Guiltlessness, is describing the Weighing of the Heart draws and reliefs, but this is not correct : no such thing as weighing any heart is discussed in spell 125 or in any other spell in the Book of the Dead.

Though, it is true that the Heart of the deceased person is abundantly discussed.

We'll see in Section 12 "the beating Heart of the Great Pyramid", that the true reason why ancient Egyptians were so strongly referring to the Heart of the deceased person, was because the heart was actually being compared to the Heart of the Great Pyramid: the inclined well.

The heart of the deceased is always referring to the Heart of the Great Pyramid: the inclined well, the structure which gave life to the Pyramid.

This section is about the deciphering of the Weighing of the Heart scene and what it is really referring to.

5.03  The Weighing of the Heart is nothing less but a cute fantasy construction of the 1800's Romanticism influenced egyptology

In the above Spell 125 screenshot from Wikipedia's page on the Book of the Dead list of spells, only the highlighted part can be traced to genuine ancient Egyptian writings: the Weighing of the Heart part is a pure construction from the early 1800's first egyptologists and their fantasized vision of the ancient World. A cute story doesn't make it authentic. Unfortunately, the Romanticism of the 19th century has polluted the entire vision of this ancient time, and the Weighing of the Heart is probably the one part that had to suffer the most from this ideology.

There isn't even one single heart on any of the Weighing of the Heart reliefs or drawings.

From List of Book of the Dead spells on wikipedia: "This spell describes the Weighing of the Heart judgement ritual. The deceased is led by Anubis into the presence of Osiris, and there makes a 'negative confession', saying that he is innocent of a list of 42 crimes, in front of 42 judges. His heart is then weighed against a feather, representing truth, justice, and the goddess Ma'at. If he is innocent, he is led to Osiris; a demon called Ammut, the Devourer, stands by to eat the heart of the guilty."

The peeing baboon is the key element of the Weighing of the Heart: he is the one controlling the equilibrium of the scale with his right arm, and he is doing it by (peeing) pouring water into the small jar at the equilibrium point of the scale.

Weighing of the Heart judgment of the Dead in the Book of the Dead of 'merchant' Kenna. Papyrus in the Rijksmuseum van Oudheden in Leiden, Netherlands. Google Art Project: https://artsandculture.google.com/asset/book-of-the-dead-of-kenna-unknown/egEHQ9VZUYIVAg

5.04  The baboon is the key element of the Weighing of the Heart : he is the one controlling the equilibrium of the scale

Baboons are the key element of the Weighing of the Heart representations, and nobody is ever talking about them even if they are present pretty much in every single one of them, most of the time standing on top of the scale's central post.

The baboon represented in the Weighing of the Heart of the Book of the Dead of Kenna (papyrus in the Rijksmuseum van Oudheden in Leiden, Netherlands), is unique, because it clearly shows the role of the Baboon in these scenes.

Look at how meticulous he is holding the horizontal beam of the scale: the Baboon is the one controlling the equilibrium of the scale.

But of course, Baboons are nothing less than metaphors, and they are about water.

We've already seen that snakes like Apep or Atum were water metaphors, but they were about pressurized water.

Here, the Baboons are just about plain water, as shown in so many water clocks : Baboon = Water

5.05  The extra layers on the original hidden meaning by ancient Egyptians themselves and 1800's egyptologists

Not only what is really depicted in the Weighing of the Heart artistic representations doesn't fit with the description made by egyptologists today, but I still didn't find any evidence of the act of having to physically weigh any heart in spell 125 : there is no such thing.

The Weighing of the Heart story that is made today only comes from false interpretation of the drawings, paints and reliefs that are representing the weighing scenes.

The thing is that it doesn't even really matter if Spell 125 describes the weighing of the heart or not. We've seen with the Dendera Light Bulbs that ancient Egyptians had perfectly represented the fog of microdroplets that created the cold, its oblong shape adjusting with the horizontal passage's own shape, but they also created a complete new myth about the creation of the universe as a disguise, that they could have presented to their people.

So, did ancient Egyptians themselves created the Weighing of the Heart story, another myth to present to people to explain the scale scientific and technological artistic representations or was it the first egyptologists in the early 1800's who came up with the story, I don't know. It looks like it is a "modern" thing, but it doesn't really matter, does it? 

The Weighing of the Heart Justice scene ceremony in the sarcophagus chamber of the tomb of Baennentiu, Qarat Qasr Salim, el-Bahriya depression, Libyan desert, Egypt. Photograph courtesy of Roland Unger and posted on Wikipedia: "Justice scene: tomb owner Baennentiu conducted by Maat, Anubis and Horus with scales, Thoth, right wall in the sarcophagus chamber of the tomb of Baennentiu.

https://upload.wikimedia.org/wikipedia/commons/3/39/BawitiSelimBanentiuSanctRight.jpg

5.06  The peeing Baboon is controlling the equilibrium of the scale with water

The Weighing of the Heart Justice scene in the sarcophagus chamber of the tomb of Baennentiu is unique because it shows a baboon peeing into the jar that is connected to the equilibrium point of the scale.

This is to my knowledge the most explicit description of the real meaning of the small jar: it is a water jar. In no other draw or relief of the scene, is such a thing represented. The baboon is peeing into the jar!

We can probably assume that the peeing baboon in the tomb of Baennentiu is the same one, so to speak, that the baboon in the papyrus of the Judgment of the Dead of Kenna: both have the same raised controlling of the equilibrium of the scale arm.

One is controlling the equilibrium of the scale and the other one is peeing into the small jar.

We can assume that if they are the same baboon, then this is the peeing baboon who is controlling the equilibrium of the scale.

In other words, the small amount of water in the small jar is controlling the equilibrium of the scale.

The idea that Baboons are another metaphor of water is also reinforced by the representations of the god of the annual inundation of the Nile on canopic jars: Hapi is depicted on these jars as a Baboon. In brief: Baboon = Hapi = Water from the Nile.

5.07  Ancient Egyptian baboons are all about water • 1: the canopic jars of Hapi and the waterclocks

Canopic Jar Representing the Son of Horus Hapy, at the Metropolitan Museum of Art in New-York: https://www.metmuseum.org/art/collection/search/543953

All blue Baboon (Moon God Thoth) at the Minneapolis Institute of Art, 7th - 6th century BCE:  https://collections.artsmia.org/art/126884/baboon-ancient-egyptian

Clepsydra or water clock with squatting baboon. 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." https://www.metmuseum.org/art/collection/search/572126

Apep, the Great Serpent Apophis, bound in Tomb KV9 in Egypt's Valley of the Kings, originally constructed for Pharaoh Ramesses V, 20th Dynasty: https://en.wikipedia.org/wiki/KV9

5.08  Ancient Egyptian baboon representations are all about water • 2: the merging tail with Apep

The tail of the Great Serpent Apep merging with the tail of the baboon indicates that Baboon = Snake = Water

Here Apep is represented constrained, it is the representation of the constraint of the pressurized water of the inclined well.

More on the Great Serpent Apep, the metaphoric representation and glorification of the pressurized waters of the inclined well in Section 10

Weighing of the Heart relief at the temple of Deir el Medina, in the interior of the Hathor Temple of ''Deir el-Medina'' ("City Monastery"), ancient Egyptian ''Set Maat'' ("Place of Truth") , in Theben-West near Luxor, Egypt.

5.09  There is no heart anywhere on any side of any scale of the Weighing of the Heart

The Baboon and the Jars / No Heart • 1: https://upload.wikimedia.org/wikipedia/commons/b/b1/Temple_of_Deir_el-Medina_Panorama.jpg

The Weighing of the Heart ceremony interpretations that we have today is the perfect example of the Romanticism influenced egyptologists of the early 1800's: there never is any heart on any scale in any Weighing of the Heart representations that we know of.

But because in numerous ancient Egyptian religious books, the Heart of the deceased person is so importantly discussed, firsts egyptologists came up with this so cute story about weighing the Heart of the deceased person.

Nowhere in these books is described such a cute Weighing of the Heart thing and nowhere in reliefs or art paintings showing the scale, is represented any Heart.

There is no heart anywhere, but in the dual Hapi representation: this is the only one occasion where we can see a Heart, and it is not a real heart, but what has become the Heart symbol.

We've seen that when ancient Egyptians talked about the heart, what they really had in mind was the Heart of the Great Pyramid.

They only compared their heart to the one of the Great Pyramid: the inclined well.

Their heart had to be as good as the inclined well.

5.10  The Baboon and the Jars / No Heart • 2: https://www.flickr.com/photos/isawnyu/4545650911

Paintings from the tomb of Petosiris at Muzawaka (XII) courtesey of the Institute for the Study of the Ancient World.

5.11  The Baboon and the Jars / No Heart • 3: https://www.flickr.com/photos/isawnyu/4546290998

Paintings from the tomb of Petosiris at Muzawaka (XII) courtesey of the Institute for the Study of the Ancient World.

5.12  The Baboon and the Jars / No Heart • 4:  https://oi-idb.uchicago.edu/id/d5624b36-18dd-4724-94dd-583110080c57

Book of the Dead of Nesshutefnut (Papyrus Ryerson), Ptolemaic Period, ca 250 BCE at the Oriental Institute at the University of Chicago.

The Weighing of the Heart in the sarcophagus chamber of the tomb of Baennentiu, Qarat Qasr Salim, el-Bahriya depression, Libyan desert, Egypt. Photograph courtesy of Roland Unger and posted on Wikipedia: "Justice scene: tomb owner Baennentiu conducted by Maat, Anubis and Horus with scales, Thoth, right wall in the sarcophagus chamber of the tomb of Baennentiu.

5.13  The peeing Baboon and the Jars / Still No Heart • 5: https://upload.wikimedia.org/wikipedia/commons/3/39/BawitiSelimBanentiuSanctRight.jpg

5.14  There are always only 2 water jars and a feather on the scale, without any heart

Not only there is no heart on any of the scales of the 'Weighing of the Heart' scenes, but there is one element that is always present but nobody is talking about it, and that is the baboon.

Most of the time the baboon looks like a simple 'decoration' in the scene and it is most probably the main reason he has been disregarded.

The problem is that in the Justice scene from the tomb of Baennentiu, the baboon is depicted peeing into a jar that looks like the equilibrium point of the entire scene.

If this small jar is filled with water, then the exact same jar, only bigger that is on the scale is also filled with water.

The Geb, Shu and Nut scene (B). On this particular representation, please note that Shu (the god of dry warm air) had been substituted with a sailing ship powered by the wind (the air) ; and that Geb had also been substituted with what he is really about too: liquid water. Geb is water in its liquid form.

The baboon is the representation of god of the Nile Hapi and here, he is set into that same water of the Nile.

5.15  The Baboon into the water is connecting the Weighing of the Heart (A) with the Geb, Shu and Nut scene (B)

We've seen in Section 3 that the representations showing Geb, Shu and Nut in very unusual positions, were metaphorical representations of the water cycle between liquid water and evaporated water; the cycle that is the core of the evaporative cooling process that was the very essence of the Great Pyramid functioning.

If the Weighing of the Heart scene in the above picture is positioned right under the Geb, Shu and Nut scene, and with the Baboon in the sea, part of both scenes, then it means that they are both connected.

5.16  The meaning of the Weighing of the Heart is given by the Geb, Shu and Nut scene context

The context of the Weighing of the Heart ceremony is crucial to understand it, and this context is given on the above image showing the Geb, Shu and Nut scene.

We've already seen that this context scene is describing the water cycle between liquid water and evaporated water, the evaporative process being supported by dry air. This is why god Shu is supporting Nut: dry air is supporting humidity, dry air is charging himself with humidity.

The Geb/Shu/Nut scene is actually one way of representing the evaporation and condensation processes: it is about the endless cycle of that transformation.

We'll see that the 'Weighing of the Heart' scene is the quantitative aspect counterpart of the Geb/Shu/Nut scene: it is about the quantitative aspect of water evaporation and condensation processes and the limitation of that process due to the initial humidity rate of the air.

The ancient Egyptian gods and goddesses involved in the glorification process of the evaporative cooling

The "bubble" = the "Dendera Light" = the "egg" created by Atum and Thoth. Dendera Light, thanks to kairoinfo4u on flickr: https://www.flickr.com/photos/manna4u/14525094039/in/photostream/

5.17  The creation of the egg by Thoth/Atum is the Dendera Light

"Thoth was the god of wisdom from Hermopolis in Middle Egypt. According to the Hermopolitan cosmology (which is best known from texts found at other sites), the eight primordial gods representing "hiddenness," "darkness," "formlessness" (?), and the "watery abyss" produced an egg that appeared at Hermopolis when the inundation subsided and from which the creator god appeared and brought everything else into being. When mentioned in the Heliopolitan Pyramid Texts, this creator god was Atum, but in the local Hermopolitan tradition he could have been Thoth."

Source: https://www.encyclopedia.com/philosophy-and-religion/ancient-religions/ancient-religion/thoth

This part about Thoth, who were often represented as a Baboon like Hapi, is very interesting because many things about how was created the evaporative cold.

It is mentioned eight primordial gods, and they are most probably referring to the eight crewmembers of the Hauling Beetle who were endlessly lifting up the impactor inside the Grand Gallery.

We've already seen that the "watery abyss" was referring to the waters of the inclined well, and the terms "hiddenness" and "darkness" could refer to both the Grand Gallery, the inclined well as well as the horizontal passage.

Then it is said that Atum and Thoth were born from an inundation and that they created from the watery abyss, an egg. That egg is the Dendera Light : the fog of microdroplets of liquid water that evaporated and created the cold.

The little jar is suspended to a feather and so is about the air. Book of the Dead of Anhay, frame 4. © The Trustees of the British Museum. The judgment of Anhay: https://www.britishmuseum.org/collection/image/1613642214

5.18  The small water jar suspended into the air is the equilibrium point of the scale

The Judgment of Anhay is precious because it maybe is the only representation of the Weighing of the Heart where the true importance of the little jar is clearly depicted: it is not on the central vertical post that the equilibrium is marked, but on that little water jar held by Anubis.

5.19  The main limitation of the evaporative process: the small amount of water already suspended into the air

Today, we need to adjust engine settings to assure the most efficient performances of our motors; in the Great Pyramid, the efficiency of the horizontal cooling passage was only depending on the initial quantity of water that was in the air at the start of the evaporative process : the more humid is the air before you want to force water to evaporate, and the less cold it is gonna get.

In other words : the small amount of water that is already in the air before the cooling will change how much water you'll be able to force into that air.

That small amount of water in the air, the humidity rate of the air is determining the efficiency of the process: it is determining the equilibrium of the evaporative cooling.

That small amount of water already in the air, is the meaning of the small jar at the equilibrium point of the scale.

We know that for sure, because this small jar held by Osiris in the above image of the Book of the Dead of Anhay, is actually suspended from a feather, very similar (or identical) to the feather of Shu, the god of dry and warm air (Section 3).

The small jar suspended from the feather = the small amount of water 'suspended' into the air.

Book of the Dead of Hunefer (Hw-nfr) showing Hunefer's judgement at the British Museum, London:   https://www.britishmuseum.org/collection/object/Y_EA9901-3

'Book of the Dead', Papyrus of Ani (frame 3): Ani's Judgment: the scene is the Hall of Judgment. EA10470,3 at the British Museum, in the Bloomsbury area of London: https://www.britishmuseum.org/collection/object/Y_EA10470-3

Maat wearing the "feather of truth" thanks to Lunazagor: https://commons.wikimedia.org/wiki/File:Maat.jpg

5.20  Maat is the result of the weighing process and can't be placed on one side of the scale

" Maat or Maʽat refers to the ancient Egyptian concepts of truth, balance, order, harmony, law, morality, and justice."

"After her role in creation and continuously preventing the universe from returning to chaos, her primary role in ancient Egyptian religion dealt with the Weighing of the Heart that took place in the Duat. Her feather was the measure that determined whether the souls (considered to reside in the heart) of the departed would reach the paradise of the afterlife successfully. In other versions, Maat was the feather as the personification of truth, justice, and harmony."

https://en.wikipedia.org/wiki/Maat

The fact that Maat's primary role dealt with the Weighing of the Heart ant that it took place in the Duat is very interesting. We've just seen that the Weighing of the Heart was all about the transformation of liquid water into evaporated water, and that the equilibrium of this process was determined by the small amount of water already present into the air in which the transformation occurred.

If Maat is all about this process, then Maat is the glorification of this equilibrium between evaporation and condensation and the process of evaporation into the air itself.

If the emblem of goddess Maat is the same one than the feather of god of the air Shu, it is because Maat is all about the air and how much water it can sustain, depending on how much water is already in that air.

The idea that pharaohs used their scientific and technological knowledge to legitimate themselves as kings of Egypt and that they had to perform successful demonstrations will probably irritate many people, however pretty much the same idea is developed with the concept of Maat:

"So revered was the concept of Maat that Egyptian kings would often pay tribute to gods, offering small statues of Maat, indicating that they were successfully upholding the universal order".

5.21  The Hall of Two Truths in the Underworld is the evaporative cooling passage

In short, we know that Maat dealt with the Weighing of the Heart in the Duat, the ancient Egyptian Underworld, and that she actually represented the equilibrium between both liquid and evaporated water: two different phases of water.

"In the Duat, the Egyptian underworld, the hearts of the dead were said to be weighed against her single "Feather of Maat", symbolically representing the concept of Maat, in the Hall of Two Truths". https://en.wikipedia.org/wiki/Maat

"The Hall of Two Truths" is the evaporative cooling passage where the two phases of water created the cold.

'Book of the Dead', Papyrus of Ani (sheet 3): Ani's Judgment: the scene is the Hall of Judgment. © The Trustees of the British Museum: https://www.britishmuseum.org/collection/object/Y_EA10470-3

5.22  Ammit is about the questioning of the interest of operating the well

Now that we know the real meaning of the Weighing of the Heart is about evaporation of water, there is something that needs to be pointed out: if the efficiency of the evaporative process is depending on the humidity rate of the air that is injected into the cooling passage, the small amount of water that is already in the air, then it means there is a point where there wouldn't be any interest to operate the inclined well because the cooling process wouldn't be efficient enough.

Ammit is all about that questioning: is it worth operating the well, depending on the humidity of the air.

Draw of Ammit thanks to Jeff Dahl, on Wikipedia: https://en.wikipedia.org/wiki/Ammit

Image from the burial chamber KV17 of Seti I, thanks to kairoinfo4u: https://www.flickr.com/photos/manna4u/36500349182/

5.23  Ammit is the representation of the 3 equipments that operated the well: the Taweret block, the impactor and the axle beam

The first thing that struck me about Ammit, is that his lower part is an hippopotamus, and we'll seen in Section 7 that Taweret is also represented into an hippopotamus and that she is a metaphoric glorification of the sealing block of the well, the upper granite plug #3.

So, the Taweret hippopotamus being the lower part of the inclined well and the lower part of Ammit being also an hippopotamus, then it doesn't take a genius to realize that Ammit could be representing the inclined well itself.

Actually, Ammit is much more than just the inclined well: the two other parts of his body isn't about the well, but about the impactor and the axle beam with its holders.

We'll see in Section 9 "The draining of the well", that the crocodile in the Burial chamber relief of the tomb of Seti I, KV17 in the Valley of the Kings, was a representation of the impactor that pushed the Taweret block that was the sealing block at the bottom of the functioning well. The crocodile is one of the many representations of the impactor and he is here depicting the entire sequence of events that released the Taweret block from its initial position in the well and triggered its draining at the end of the operation period of the pyramid.

We'll also see in Section 21 "The Hidden Hauling Cavern of the Underworld", that cat and lion representations are about Aker, and the equipment that was set onto the upper platform of the Grand Gallery of the pyramid: the axle beam and its holders that were set into the eastern and western holes of the platform.

It means that Ammit, part hippopotamus, part crocodile and part lion is a metaphorical construction of the entire equipment that operated the inclined well.

Of course here, the hauling gantry beetle isn't represented. The hauling beetle was the equipment that would come next, if it was worth operating in the first place.

5.24  Was 42 the daily Heart rate of the Great Pyramid of Egypt?

We have already seen that when ancient Egyptians were talking about the Heart, they were referring to the heart of the Great Pyramid: the inclined well that functioned like a beating heart; and in the crucial Spell 125 of the Egyptian Book of the Dead it is mentioned that the deceased person has to make a Negative Confession: "The Negative Confession (also known as The Declaration of Innocence) is a list of 42 sins which the soul of the deceased can honestly say it has never committed when it stands in judgment in the afterlife." https://www.worldhistory.org/The_Negative_Confession/

Knowing that the whole heart thing is about the inclined well, this number 42 could be a very important data.

For some time know I evaluated the entire operating cycle duration of the hauling Beetle at something between 10 and 15 minutes, most of that time used to haul the impactor from its resting floating position in the well, up to the upper part of the Grand Gallery next to the top platform.

Let's say the entire team of the Grand Gallery was working 10 hours a day, from 8 am to 6 pm. With a 10 minutes cycle, it would have been possible for them to complete 60 cycles; and with a cycle of 15 minutes that number comes down to 40 cycles.

It means that working 10 hours a day, the Hauling beetle could have been able to complete 42 complete cycles of a little less of 15 minutes each, assuming the Beetle was never stopped being operated and that the crewmembers would have been regularly relayed.

In short, 42 cycles could have been the daily objective of the Hauling beetle crewmembers.

42 could have been the daily Heart rate of the Great Pyramid of Egypt (very hypothetical).

5.25  The creation of the myths about the inclined well

It is very hard to imagine what really looked like the pyramid when operated, but certainly as I've already discussed many times in posts previous to 'The Pyramids of the Cold', the Great Pyramid wouldn't have been completed; it would have pretty much looked like the lower part of the Bent Pyramid, and if this Bent Pyramid is precisely in 2 parts, it must certainly has to be related to that lower Great Pyramid part for cold production.

But if the impactor hit the waters of the well every 15 minutes and if the Grand Gallery was somehow close to be in midair, the sound of the whole thing would have been heard probably kilometers away.

Everybody in ancient Giza would have been able to hear it, 10 hours a day, every 15 minutes for most probably a period of 4 months (Section 20). Residents of Giza would have heard it but also everybody coming to Giza from foreign countries : visitors, merchants, domestic and foreign dignitaries, etc.

Of course, the biggest impression would have been caused by the breaking of the Bes wedging block and the release of the Taweret block resulting in the tremendous shock with the Savior block (granite plug #2).

Everybody heard it, and everybody talked about it. This is how the inclined well inspired so many myths in the ancient World.

Hieroglyph signs thanks to Whynowagain: https://en.wikipedia.org/wiki/Lists_of_Egyptian_hieroglyphs#/media/File:CG_9422_B.svg

5.26  Hieroglyphs have only been partially deciphered

Whoever is reading this, you certainly don't care, but I'm so pleased to have discovered how ancient Egyptians themselves called the evaporative cooling passage; because this passage was the start of my understanding of the Great Pyramid. Everything started in there, mid-January 2021, a year and a half and more than 2000 hours of hard work ago, with the vertical expansion joints and the fine sand lining behind the small blocks… the Hall of Two Truths ! It's so beautiful !

The "Hall of Two Truths", or whatever the real original meaning is; because even if egyptologists are claiming that hieroglyphic text deciphering has been resolved, they are most probably wrong.

Not only the only thing that is resulting in their deciphering are consonants, egyptologists don't get any vowel ever; but more important : the meaning of the hieroglyphic sign isn't taken in consideration at all, they are only interested in the sound that every sign is associated to. Today, a typical hieroglyphic text deciphering looks like that (without any punctuation either) : hntrblkdfpmpbnrt.

Then, in between all these consonants, some vowels would be added here and there, partly depending on the mood of the moment (I'm only overstating a little about the mood, I guess).

The thing is that egyptologists don't care of the meaning of any of the about 1000 different hieroglyphs, and that is crazy: if it was only about sounds there wouldn't have been about 1000 signs created.

Each and every one of the hieroglyphs meaning has to be taken in consideration : when we'll understand the real meaning of every sign, then we'll be able to really decipher the hieroglyphs.

It also has to be pointed out that hieroglyphic language wasn't the only language ancient Egyptians could rely on: hieroglyphs are cryptographic signs, they were designed precisely to hide things that weren't supposed to be understood by the people. Only "priests" and the chosen ones could really have understood the language of the gods.

Diagram of the operating Great Pyramid of Egypt for evaporative cold production (hypothetically for chemical manufacturing cooling of pure sodium carbonate "natron", the salt used for the mummification of pharaohs). When in operation, the elevation of the Great Pyramid was not finished, and it is only after the shutdown procedure and the draining of the inclined well, that the 3 granite plugs were finally close to one another.

© 2023 Copyright milleetunetasses.com. All rights reserved.

In summary: the structural particularities of the ascending passage, the 14 girdle stones and the interlocking polygonal arrangement of the blocks, are revealing the real function of this passage : it was designed to be flooded, exposed to repetitive shocks and to enormous pressure directed towards the exterior of the flooded well. The ascending passage was functioning as an inclined well.

The polygonal arrangement of the blocks of the ascending passage / inclined well of the Great Pyramid of Giza.

Original of the Diagram of the First Ascending Passage, by John and Morton Edgar, in "Great Pyramid Passages, Volume 1 (1910 edition)", plate CX, paragraph ref. 460, page 230: ​https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n239/mode/2up

6.01  The polygonal arrangement of the blocks of the ascending passage

The blocks of the first ascending "passage" are displaying an interlocking layout revealing that the so-called "passage" was actually under a lot of longitudinal forces. We'll see just now, that many huge blocks, called "girdle stones" were in addition to that, set to counteract transversal forces that were passing through the "passage", from the inside to the outside of the "passage".

With just a little more than one meter high, this passage should actually rather have been called a "conduct", and the interlocking of the blocks combined with the girdle stones should have let people know that this conduct was also (at least partially) flooded.

Vertical section, looking West, of the Great Pyramid of Giza, in the plane of its passages, by Manly Palmer Hall:   https://commons.wikimedia.org/wiki/File:The_Secret_Teaching_of_All_Ages_-_Chapter_6_-_Pyramid.jpg

6.02  The "forgotten" girdle stones of the ascending passage

When you look attentively to the drawing of the Edgar brothers, showing the girdle imprints on the walls, floor and ceiling of the passage, you can see something absolutely amazing: these girdle stones were arranged in 2 sets of girdles, and that these 2 sets were positioned at a different angle to the vertical axis.

It is like the 2 sets of blocks are opening up to reveal a dormant breach. More amazing is that at the exact location where the breach is positioned, we can find a tiny squared imprint in the floor with a granite plug stuck inside; and that piece of granite is still in place today in the floor of the passage.

Contrary to what seems to suggest all the ascending passage drawings mentioning the girdle stones, there is not just 3 or 4 of these huge blocks in the passage. Actually, the entire passage, from the G4 girdle (the lower of the usual girdles) to the lower part of the passage, is nothing else than 100% girdle stones. The fact is that when the Edgar brothers tried to understand the role of these girdle blocks, they couldn't make any sense of this lower part of the passage and all these girdles. They were only interested in finding distances between blocks in order to associate these distances to Bible or other historical events. Girdle stones from G5 to G14 are completely pressed against each other. They couldn't measure anything so they didn't talk about it (this is precisely what they wrote themselves), and they didn't draw them either. And since, everybody did the exact same thing.

The layout of the girdle stones in the inclined well of the Great Pyramid of Giza (top view). 

Original of the Diagram of the First Ascending Passage, by John and Morton Edgar, in "Great Pyramid Passages, Volume 1 (1910 edition)", plate CX, paragraph ref. 460, page 230: ​https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n239/mode/2up

6.03  The girdle stones of the ascending passage indicate that it was an inclined flooded well

In italic, are excerpts from "Great Pyramid Passages, Volume 1, by John and Morton Edgar 1910", sections 460 to 470.

Source: https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n239/mode/2up

Section 462, talking about the girdle stones: "Before leaving home we had recognized the importance of the three upper ones as marking important dates in the Law Dispensation".

Section 467: "Those Girdles which lie lower down the passage than the three just described, are all in contact with one another".

Section 468: "it would seem that the stones which form the Girdles here were originally built in solid, end to end, after which the bore of the passage was cut through them. Above the fourth Girdle, however, there can be no doubt that the passage was constructed in the usual way, i.e., that the floor was first laid, the walls erected at the proper distance apart on the floor, and the roof- stones then placed on top of the wall-stones".

The problem is that this part of the passage, from G4 to G14 is so more protected with these girdles, that it makes the usual ones look like insignificant.

If you want to understand the girdle stones layout, you need to understand that the passage was flooded and that the girdles were acting as an integrated strapping of the well.

The pressure inside the well was probably perfectly distributed on all its surface by a another complete wooden casing, that also allows the well to be waterproof. It is possible though, that the seal between the blocks was sufficient enough so that no casing was needed. Probably the center part of the floor casing part is thinner than the rest of it, and it makes a kind of gutter inside the casing allowing air and water to get out of the well, into the entry of the horizontal cooling passage.

The layout of the girdle stones in the inclined well of the Great Pyramid of Giza. Photograph of the ancient Egyptian way of representing the inclined well, from tomb KV 11 of Ramesses III, side chamber, image # 21076 by Matjaz Kacicnik, courtesy of ARCE, American Research Center in Egypt in partnership with the American University in Cairo Egyptology Department: https://thebanmappingproject.com/images/21076jpg

During the entire operating period of the Great Pyramid, the bottom of the inclined well was sealed by the Taweret block : the upper granite plug. Taweret was maintained in position by a wedging block presenting an easy to break protruding part, getting out of the floor of the well. The breaking of that fragile part released the Taweret block and the waters of the well were drained through the dormant breach, between the Girdle Stones G8 and G9.

6.04  The lower end-to-end girdles are arranged in 2 sets with different orientations

When you look attentively to the drawing of the Edgar brothers (plate CXXVIII), showing the girdle imprints on the floor of the passage (red and green short lines), you can see something absolutely amazing: these girdle stones were arranged in 2 sets of girdles, and that these 2 sets were positioned at a different angle to the vertical axis.

This particular layout reveals a dormant breach, just waiting to be opened up, and it is located right where the Al Ma'mun cavity has been digged.

6.05  The breach opening for the shutdown procedure of the pyramid

The 2 sets of girdles with different orientations are opening up to reveal a dormant breach. More amazing is that at the exact location where the breach is positioned, we can find a tiny squared imprint in the floor with a granite plug still stuck inside, and on the other side of the wall is the huge Al-Ma'mun cavity, leading to the subterranean part of the Great Pyramid.

My guess is that this particular layout was designed to drain the well for the shutdown procedure of the pyramid : a small granite block would have been positioned in the small imprint (colored in blue on the drawing), placed against the wall, directly next to the dormant breach.

This is Petrie talking about the part just ahead (south) of the granite plugs: "The present top one is not the original end ; it is roughly broken, and there is a bit of granite still cemented to the floor some way farther South of it". Source: The Pyramids and Temples of Gizeh par W. M. Flinders Petrie. Chapter : Ascending Passage, page 21.

When time has come to shut the pyramid down, the impactor is lifted up to the top of the grand gallery one last time, unless this time there is no float anymore. When the impactor is released and enter the inclined well, it doesn't pop back up to the surface but sink to the bottom of the well with high velocity. When it hits the granite plug block n°3 that was dormant all along by this small granite block in the imprint, it opens the breach and all the water is drained trough the cavity of Al-Ma'mun.

The draining of the well was necessary in order to empty completely the pyramid of all its content. More about it farther below, same post (dormant breach, little imprint, draining of the well into the cavity of Al-Ma'mun...).

"The iron grill door which closes the lower reach of the descending passage of the Great Pyramid of Gizeh; showing Judah sitting on the debris which concealed Petrie's granite block; also the lower butt-end of the Granite Plug which blocks the entrance of the First Ascending Passage."  Plate LXVI, page 170 in "Great Pyramid Passages, Volume 1, by John and Morton Edgar, 1910":  https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n177/mode/2up?view=theater

6.06  The Eyes looking through the magnifying glass… and at the lower butt end of the granite plug

We've already seen that the Eye of Horus represented on the "Moon" and worshiped by Science god Thoth, was actually about an eye looking through a magnifying glass; here there is another example of the use of the Eye of Horus, to express the simple idea of "visibility": you can look through the magnifying glass and you can have a look at the bottom of the structure represented on the left image.

Even if the relief from the tomb of Rameses III is still mysterious in many ways, it evidently is about the inclined well and the sequential ejection of pressurized water: the blue "dots" in the inclined "tube", and the snake "sneaking out" of the tube, they are all about water.

Because it is about the inclined well of the Great Pyramid, the Eyes of Horus represented at the bottom of the whole thing, are about the lower granite plug of the "ascending passage": this granite block was the only visible part of the whole structure in which the inclined well was built in (most probably this block has been deified into Beset, because just like Bes, and contrary to both Taweret and the Savior block, this particular block wasn't supposed to move an inch, ever; Bes and Beset, because of the similarity of their names, were most probably both about "not moving an inch", even if Bes had been designed to break under a certain amount of pressure).

The photograph of Judah, who helped the Edgar brothers in 1909, is thereon particularly striking, because it is the perfect modern illustration of these Eyes of Horus: Judah is doing the exact same thing by looking at this strange and beautiful granite block. In short, Judah here is looking right at Beset.

6.07  The Junction imprint between the inclined well and the horizontal cooling passage

the Junction imprint was connecting the inclined well waters with the horizontal evaporative cooling passage. Without it, there wouldn't be any pressurized water ejected from the inclined well towards the evaporative cooling passage.

This little imprint was absolutely essential once the wooden ramp would have been in place.

6.08  The only known photograph of the Junction imprint ?

Image of the Junction imprint, taken by John and Morton Edgar and published  in "Great Pyramid Passages Vol 1, 1910 edition", plate CXLIX, page 274:   https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n283/mode/2up

The only image of the Junction imprint that I was lucky to find, has been taken by John and Morton Edgar and published  in "Great Pyramid Passages Vol 1, 1910 edition", plate CXLIX, page 274.

Excerpt from "Great Pyramid Passages": "Our photograph of this lower part of the East Ramp where it butts against the north wall of the Grand Gallery (Plate CXLIX), shows also the abrupt cut-off of the smooth sloping floor, a short distance up (south) from the line of the north wall of the Gallery."

It looks like the floor of the ascending passage has been pretty rapidly covered with wooden boards to facilitate the tourists' progression in the passage, and that the Junction imprint in now hidden underneath.

It is also possible that it had been filled up with cement, like it had been done in the cut-off of the top platform of the Grand Gallery.

Statue of god Ptah, photographed by kairoinfo4u: https://www.flickr.com/photos/manna4u/26774477850/in/photostream/

"Ptah, in the form of a mummified man (except for arms and face) standing on the symbol for Ma'at, holding a scepter or staff that bears the combined ankh-djed-was symbols" and drawing of the Creation god Ptah by Jeff Dahl on Wikipedia: https://en.wikipedia.org/wiki/Ptah

Photograph from tomb KV 11 of Ramesses III, side chamber, image # 21076 by Matjaz Kacicnik, courtesy of ARCE, American Research Center in Egypt in partnership with the American University in Cairo Egyptology Department: https://thebanmappingproject.com/images/21076jpg

6.09  Ptah's hollow scepter is a representation of the inclined well itself

In the above image and in most of his representations, Ptah is holding a blue and yellow scepter or staff that bears the combined ankh, djed and was symbols.

This blue and yellow 'staff' is actually the representation of the inclined well of the pyramid, and the reason why the ankh, djed and was symbols seem to be nested into that 'staff' is only to indicate that it is hollow: the 'staff' is the inclined well and the dotted blue line is about the movement of water .

The representation of the well held by Ptah is always in a perfect vertical position, but its true nature is shown in the tomb of Ramesses III: it has pretty much the same slope than the Grand Gallery/ascending passage layout.

6.10  Ptah constantly referring to the Heart is the glorification of the Heart of the Pyramid: the inclined well

We've already seen many times that the inclined well was metaphorically represented into a functioning beating heart, so when creator god Ptah is constantly referring to the Heart, he is referring to the inclined well.

In the following excerpt, Ptah is being linked to some of the ancient Egyptian gods that are referring to the evaporative cooling process: Atum and Tefnut ('tf' meaning to spit).

Of course, the mention of the tongue in the following excerpts is directly referring to the ejection of the small amount of pressurized water (that is Atum): the "tongue" reference is about spitting.

"He created the universe by speaking words through his Tongue (linked to the god Thoth and the goddess Tefnut) and by thoughts coming from his Heart [...]. There came into being as the heart and there came into being as the tongue ... in the form of Atem (Atum)." http://www.touregypt.net/featurestories/ptah.htm

6.11  The creation of the myths about the inclined well

It is very hard to imagine what really looked like the pyramid when operated, but certainly as I've already discussed many times in posts previous to 'The Pyramids of the Cold', the Great Pyramid wouldn't have been completed; it would have pretty much looked like the lower part of the Bent Pyramid, and if this Bent Pyramid is precisely in 2 parts, it must certainly has to be related to that lower Great Pyramid part for cold production.

But if the impactor hit the waters of the well every 15 minutes and if the Grand Gallery was somehow close to be in midair, the sound of the whole thing would have been heard probably kilometers away.

Everybody in ancient Giza would have been able to hear it, 10 hours a day, every 15 minutes for most probably a period of 4 months. Residents of Giza would have heard it but also everybody coming to Giza from foreign countries: visitors, merchants, domestic and foreign dignitaries, etc.

Of course, the biggest impression would have been caused by the breaking of the Bes wedging block and the release of the Taweret block resulting in the tremendous shock with the Savior block (granite plug #2).

Everybody heard it, and everybody talked about it. This is how the inclined well inspired so many myths in the ancient World.

Diagram of the operating Great Pyramid of Egypt for evaporative cold production (hypothetically for chemical manufacturing cooling of pure sodium carbonate "natron", the salt used for the mummification of pharaohs). When in operation, the elevation of the Great Pyramid was not finished, and it is only after the shutdown procedure and the draining of the inclined well, that the 3 granite plugs were finally close to one another.

© 2023 Copyright milleetunetasses.com. All rights reserved.