The Pyramids of the Cold v2 • Section 48 Primary creator Neith and the seven magical notes of Tutankhamun's bronze trumpet

Ancient Egypt Goddess Neith Lady of Arrows Harpoon Childbirth Creation Weaving

Just like Athena, her Greek reinterpretation by the process of the 'interpretatio graeca', the ‘Divine sealer’ and 'Mother of all goddesses' Neith is known from the very First Dynasty as the ancient Egyptian goddess of War, Creation, Arrows, Weaving and Childbirth, but both goddesses only are the glorification of Bronze and Bronze clicking chains... hence the association of Neith with the click beetle.

Arrowheads made of Bronze:


The Pyramids of the Cold v2 (May 2023 - May 2024) • The Magicians of the Great Pyramid

Section 48 'Divine Sealer' Neith goddess of Arrows, Seven Magical notes and the Bronze trumpet of Tutankhamun

Neith Magical Words Ancient Egyptian goddess of War Creation Weaving Arrows Bees Harpoons Nile Perch Click Beetle

In summaryin this Section 48, there wouldn’t be any new discovery about the operation of the Great Pyramid, but instead a very important new understanding of when and how the ancient Egyptian scientific Era started more than 5,000 years ago with the invention of Bronze. This Section is about the Bronze Age (3300 BCE) and the very first Egyptian deity, goddess Neith, the ‘mother of all goddesses’, who is known since the very beginning of the pharaonic Era (3150 BCE, Dynasty 1) and who had become the glorification of the Bronze itself. Most probably, the birth of the Bronze Age and the birth of the pharaonic Era are so intimately related, that it should be very difficult to determine if one of these two events triggered the other one. So, even if there is no new data about the Great Pyramid, this Section has a very particular taste for me, because it does tell us a whole new perspective about the ancient times, and how everything really started.

In previous Section 47 we’ve seen that even if historians identify Greek goddess Athena with ancient Egyptian goddess Neith, they failed to properly understand them both, just like they failed in the deciphering of every other deity from our common past. They failed because they refuse categorically to acknowledge the most important precept coming from our ancestors: most probably pretty much everything that comes from the past is only metaphorical.

Metaphors are the real treasure of our past, and deciphering them should be our common goal. It should be the goal of every single historian and every single scientist. No, ancient Egyptians weren’t ‘animal lovers’ because they were ‘so intimately linked with their environment’, as I’ve already read somewhere; Egyptians only used animals as tools, like they were using paint, just like we still do today when we paint gigantic flames onto racing cars.

Flames Racing Car Flamethrower

Metaphors are what everybody will work on in a few decades, simply because everything can be reconstructed by deciphering them. Our entire past can be reconstructed, and it all comes from ancient Egypt and the Great Pyramid.

What historians failed to discover is that Athena is simply the Greek reinterpretation of Neith, literally; there is nothing more about Athena; and if Athena is all about Bronze (that explains why the interior of her temple in Athens had been completely covered with plaques of Bronze, and so many things about the goddess), it is because Neith is also about Bronze, and more specifically about Bronze chains. The thing is that many ‘epithets’ are known about Neith; but when you try to make some sense out of them, it simply doesn’t work if you look at Neith in a conventional way: the academic vision of the goddess can’t explain what is the common point between what seems like complete different things:

• Neith was the goddess of weaving

• Neith was known as the 'Divine Sealer'

• Neith was the goddess of war, arrows and harpoons

• Neith was the goddess of childbirth... but was also known as 'the terrifying One'

• Neith was the goddess of the bee... but she was also associated with the Nile perch... and the click beetle!

In this Section 48, we’ll see that there is indeed a common point here between all the epithets given to Neith, and that this point is all about Bronze and Bronze chains, just like we’ve already seen in previous Section 47 with Greek goddess Athena who is presented by every historian as the reinterpretation of Neith.

Finally, we’ll see the importance of this particular deciphering of Neith, as she is known to be the very first ancient Egyptian goddess to be worshiped back in the First Dynasty… because she was all about Bronze, and because 4,500 years ago it precisely was the Bronze Age.

Illustrations: draw of the 'primary creator' goddess Neith by Jeff Dahl:

"Flame Thrower" by Photographer. "An old hotrod crusing up and down a strip of road.... There were tons of cars there driving up and down showing off, burning out, etc. Just lots of amazing cars... this car would blow flames out that would be as long as 6' off the back of the car. It was quite a hit..."


Bronze Age in Ancient Egypt Pharaonic Era Neith Primordial goddess War Weaving Creation Arrows May 20 2024

Ancient Egyptian goddess Neith only is the glorification of Bronze and Bronze chains; she was the very first goddess to appear since the very beginning of the pharaonic Era and she was known as the ‘mother of all goddesses’. One way or another, there is a direct link between the invention of the Bronze and the apparition of the very first Egyptian Dynasty.

“The Bronze Age is a historical period lasting from approximately 3300 to 1200 BC. It is characterized by the use of bronze”.


48.01  There is no strange ‘coincidence’ between the beginning of the Bronze Age (around 3300 Before Common Era) and the beginning of the pharaonic Era (around 3150 BCE): they are both related one way or the other

“The Early Dynastic Period, also known as Archaic Period or the Thinite Period (from Thinis, the hometown of its rulers), is the era of ancient Egypt that immediately follows the unification of Upper and Lower Egypt in c. 3150 BC. It is generally taken to include the First Dynasty and the Second Dynasty, lasting from the end of the archaeological culture of Naqada III until c. 2686 BC, or the beginning of the Old Kingdom. With the First Dynasty, the Egyptian capital moved from Thinis to Memphis, with the unified land being ruled by an Egyptian god-king.”


48.02  Neith was the very first ancient Egyptian deity to be known... since the very first Dynasty

We’ve seen so far that a vast majority of what we call today ‘the ancient Egyptian religion’ finds its origin in the operation of the Great Pyramid: most myths, gods and goddesses only are the glorification of pieces of equipment used in the Pyramid (blocks of stone, pieces of wood, ropes…), and how they were all functioning together.

We’ve seen that if the first Egyptian myths only appear during the Fifth Dynasty in the so-called ‘Pyramid texts’, it is only because the Great Pyramid has been built during the Fourth Dynasty.

But Neith is an exception: she is known from the very beginning of the pharaonic Era, and the First Dynasty.

The reason for this exception and for the fact Neith was known as the ‘Primordial goddess’ or ‘Primary goddess’ or ‘mother of all goddesses’, is because she is all about Bronze itself.

It is the Bronze which probably triggered what we can call ‘the ancient Egyptian Scientific Era’, which would have lasted about 580 years: it started around 3150 BCE (the beginning of the First Dynasty) or earlier and probably stopped with the endgame demonstration of the Great Pyramid, around 2570 BCE.

Neith, a borrowing of the Demotic form Ancient Egyptian: nt, likely originally to have been nrt "she is the terrifying one"; also spelled Nit, Net, or Neit was an early ancient Egyptian deity. She was said to be the first and the prime creator, who created the universe and all it contains, and that she governs how it functions. She was the goddess of the cosmos, fate, wisdom, water, rivers, mothers, childbirth, hunting, weaving, and war.”

“Neith was the tutelary deity of Sais where her cult was centered in the western Nile Delta of Lower Egypt. It is attested as early as the First Dynasty.”


Antique Medieval Bronze Seal Matrix Neith Goddess War Creation Divine Sealer

"Medieval bronze chessman type seal matrix with a tapering hexagonal-sectioned handle surmounted by a pierced trefoil. The circular seal face has an engraved device of a walking bird and the inscription *IE SVI NVL EA the legend possibly being a derivation of other similar matrices that read, for example, 'Je su nul tel' ('there is none like me'). 14th century". Lot 129 from Hanson's catalog:


48.03  Neith was known as 'the Divine Sealer' because she was made of Bronze just like cast Bronze seals

“Known elsewhere in the ancient world as “The Land of the Bee”, Egypt exported huge quantities of honey from the south of the country in big clay jars as well as large volumes of beeswax for cosmetics, to make moulds for metalworkers and as clean-burning candles for the rich. There are documents indicating that almost 14,000 tons of honey were transported annually North along the Nile. The production and exporting of honey and other bee products were tightly controlled by the state, with many wonderful titles of Government officials including  ‘Sealer of the Honey’, ‘Divine Sealer’, ‘Overseer of all Beekeepers’ and ‘Chief Beekeeper’.”


Imhotep Polymath Great Sealer Step Pyramid Djoser ancient Egypt May 19 2024

Imhotep’s influence during Dynasties 4 and 5: he most certainly was the one architect to design the internal layout of the Great Pyramid for evaporative cold production. Imhotep couldn’t have built the Great Pyramid, but he designed it.


48.04  Imhotep had the main title of 'Royal sealer’ because he was the chief engineer 

If Neith was called the ‘Divine sealer’ and was all about the glorification of Bronze and Bronze chains, then it also means that the title ‘Royal sealer’ was also about Bronze.

What is very interesting is that we’ve already seen in Section 45 The Legend of Khufu and the "magician" polymath Imhotep, that it most certainly was Imhotep himself who designed the Great Pyramid and its internal design to produce cold by flash evaporation (the legend is that “Imhotep accomplished some kind of magical performance for king Khufu”).

In short, the super-scientist polymath Imhotep would have been, in modern terms, chief engineer of Khufu and was called in ancient terms, ‘Royal sealer’, because of Neith and the Bronze.

This ‘Royal sealer’ title, may indicates that the whole scientific era in ancient Egypt, started with the Bronze.

The problem is that now, we even have more answers to look for:

• were the pharaoh’s scientists the ones to invent Bronze or did they ‘stole’ it from independent scientists, or another country?

• were the pharaoh’s scientists at work long before the invention of the Bronze or did the Bronze really is the very beginning of the scientific era in Egypt?

Royal sealers first appear in the Early Dynastic Period, when they were probably the highest treasury officials. The first holders of the office are attested in the reign of Den: Setka, known from a seal that he used to oversee the sub-department of oil or wine pressing, and Hemaka, known from a tomb at Saqqara, whose scale and sumptuous grave goods demonstrate the office's preeminent position at this stage. The appearance of this office coincides with a step change in the sophistication and complexity of Egypt's administrative organisation. The possession of the king's seal also gave the officeholders significant symbolic authority, and it seems to have been used in part as a "ranking title", to indicate the officeholder's prominence in court. As the distinction between the Pharaoh's personal estate and the state treasury (pr-ḥḏ) developed in the late Early Dynastic Period and early Old Kingdom, royal sealers may have become administrators of the personal estate. In the Third Dynasty under Pharaoh Djoser, it was the main title held by Imhotep, the architect of the Step Pyramid”.


Mona Lisa Replica Reimagined Interpretatio Graeca Neith Athena

48.05  The incorrect academic interpretation of the ‘interpretatio graeca’: Greek mythology only is a replica of the ancient Egyptians' gods and goddesses

We’ve already discussed this notion in Section 47.10 but it really needs to be pointed out again, because it really is so important; Greeks only did exactly like so many other civilizations exposed to the ancient Egyptians’ extraordinary scientific and technological accomplishments: they simply copied and reinterpreted the ancient Egyptian deities to create their own mythology.

Does it means that there isn’t even one single true Greek deity that doesn’t originate from Egypt? Maybe. Probably.

In short, Greek goddess Athena only is the reinterpretation of the ancient Egyptian goddess Neith. Without the ancient Egyptians and without Neith, there wouldn’t have been any Athena at all.

Interpretatio graeca (Latin, "Greek translation"), or "interpretation by means of Greek", refers to the tendency of the ancient Greeks to identify foreign deities with their own gods. It is a discourse used to interpret or attempt to understand the mythology and religion of other cultures; a comparative methodology using ancient Greek religious concepts and practices, deities, and myths, equivalencies, and shared characteristics. The phrase may describe Greek efforts to explain others' beliefs and myths, as when Herodotus describes Egyptian religion in terms of perceived Greek analogues, or when Dionysius of Halicarnassus and Plutarch document Roman cults, temples, and practices under the names of equivalent Greek deities.”

“Herodotus [fourth century BCE] was one of the earliest authors to engage in this form of interpretation. In his observations regarding the Egyptians, he establishes Greco-Egyptian equivalents that endured into the Hellenistic era, including Amon/Zeus, Osiris/Dionysus, and Ptah/Hephaestus.”

“The Greek historian Herodotus (c. 484 – c. 425 BC) noted that the Egyptian citizens of Sais in Egypt worshipped Neith. The Greeks sought to draw a syncretic relationship to associate Egyptian deities with those of Greece. They identified Neith with Athena. The Timaeus, a dialogue written by Plato, mirrors that identification with Athena, possibly as a result of the identification of both goddesses with war and weaving.”

Illustration of a Mona Lisa replica ‘Mona Lisa Punk’ by Jisbar:


Antique Athena Brass Bronze statue on Table Hand Bell Casting

“Vintage Antique Greek Goddess Athena brass table hand bell statue”. Originally from La Bodega Antiques, The Netherlands:

Bronze casting in Kunstgießerei München "pouring the hot liquid bronze into the prepared forms"; photograph by Kritzolina:


48.06  Athena has the epithet ‘of the Bronze House’ and Bronze metalworkers were under her protection because Athena (Neith/Athena) really was made of Bronze herself: Athena was the goddess of the Bronze... and Creation

If Neith is also known as the goddess of Creation, it precisely is because she is the goddess of the Bronze: Bronze metalworkers were indeed able to ‘create’ anything with it. The Bronze goddess is the Creation goddess.

“In Sparta, Athena has the local epithet Chalkioikos, ‘of the bronze house’. The walls of Athena’s temple at the Spartan akropolis were decorated with bronze plaques, and her cult statue was made of bronze. It points to Athena’s Spartan patronage of bronze metalworkers."

"What I find more intriguing about Athena’s worship in Sparta is the use of bells: “Forty bronze and 80 terracotta bells have been excavated here, unique to Sparta. Bells are ornamental and musical, used to sound the hours, for subservient functions, to call communities together, and to commemorate important events and people. But we don’t know how the Spartans used them. Classical scholar Susan Deacy suggests that the bells were apotropaic and rung to ward off evil, related to Athena’s protective role. Deacy adds that Athena is associated with the creation of noise, noting the war cry at her birth and her invention of the aulos, a wind instrument.”


Brass Cow of Heaven Neith Cattle Bronze Bell

"Why Do Cows Need to Wear Bells?" By Tom Marlowe:

Cow bells at


48.07  Neith was known as the 'Great Cow of Heaven’ because cows are wearing bells... and because Athena herself was indeed associated with Bronze bells

The metaphor of the Great Cow of Heaven about Neith has actually (at least) three explanations:

The Great Cow of Heaven 1 • The Bronze bell: as we’ve already seen, Athena (the Greek reinterpretation of Neith) was indeed associated with Bronze bells; here the metaphor is about the Bronze itself

“As a deity, Neith is normally shown carrying the was scepter (symbol of rule and power) and the ankh (symbol of life). She is called such cosmic epithets as the "Cow of Heaven".

"What I find more intriguing about Athena’s worship in Sparta is the use of bells: “Forty bronze and 80 terracotta bells have been excavated here, unique to Sparta.”


Sennedjem in the Afterlife Ploughing Cows Towing Hauling

“A wall-painting from the tomb of Sennedjem, an Egyptian craftsman, depicting the deceased blissfully ploughing his fields in the afterlife.” Deir el-Medina, near Thebes, c. 1200 BCE:


Cow Nose Ring Animal Cattle Traction Bronze Chain Neith Athena

The Great Cow of Heaven 2 • The hauling capabilities of a chain made of Bronze: here the metaphor is about the chain, and it makes even more sense when you know the particular role that the Neith chain got inside the Grand Gallery, i.e. lifting the upper hatch of the central wooden caisson up… and releasing the impactor within the steep slope of the Gallery


The Great Cow of Heaven 3 • The nose ring: don't forget a chain is nothing but the endless succession of interlocked links

“The cattle with big round eyes in Nagan Folk Village had a big nose ring. A ringed cattle was leashed to the tree. The traditional lifestyle was preserved in this village. And the cattle were still used for the conveyance. The ring was big.”.


Neith Athena Goddess War Arrows Harpoons antique vintage bronze swordfish tuna harpoon with rope cable

Scythian Bronze Arrowhead. 750 - 30 BCE East Europe. “This bronze arrowhead design was developed by the Scythians, a group of nomadic warriors on horseback who lived in what is now Siberia. Many other groups ended up adapting this design too, Greeks and Romans both used this kind of arrowhead as well. The arrowheads featured in this listing were found in the Eastern Mediterranean region, though it is impossible to attribute them to a particular culture.”

Antique Vintage Bronze Swordfish Tuna Harpoon with Rope Cable thanks to Ancient Point:


48.08  Neith was known as the goddess of arrows and harpoons... because she was made of Bronze

Aiming a bow String touches the Nose

In previous Section 47 we’ve already seen that Neith (or Neith/Athena as Athena was only the Greek reinterpretation of the ancient Egyptian goddess Neith) was only the glorification of hauling chains made of Bronze, and by extension the glorification of the individual ‘Eyes’ forming a chain made of Bronze.

This nature of Neith in Bronze is the reason why she was considered as the Goddess of Arrows and Harpoons:

• arrowheads were indeed made of Bronze

• harpoon heads were also made of Bronze


48.09  But Neith was also the one releasing the impactor… just like the archer is releasing the arrow

As seen in previous Section 47, it was most certainly by lifting up the upper hatch of the central wooden caisson of the Grand Gallery, that the impactor was released and started another operating cycle of the Great Pyramid. And it was Neith, probably a couple of Bronze chains, who was lifting the hatch up.


Operation of the Grand Gallery Great Pyramid of Giza Pharaoh Khufu Side View April 5 2024

48.10  Operation of the Grand Gallery of the Great Pyramid of Giza

The impactor is locked and secure by the Sekhmet upper wooden hatch, ready to be released into the slope of the Gallery inside the central caisson. The hatch is always in perfect balance with its counterpoise (that is what Ma'at is all about). On this draw two kinds of glorifications have been used: the original ancient Egyptian deities (like Ra, Osiris, Isis, Neith, Sekhmet…) and some of their Greek reinterpretations (like Athena for Neith, or the “Shield of Athena” for the upper hatch Sekhmet). Last updated April 5, 2024.


Neith Egyptian Goddess of Creation Seven Magical Spoken Words Mouth Musical Notes Major Scale

The seven notes of the Major scale: "Burt, Benjamin Hapgood and Cahill, Wm, "Do, Re, Mi, Fa, Sol, La, Si, Do" (1906). Vocal Popular Sheet Music Collection. Score 311".

"Why does the Major Scale have 7 Notes?" Walk That Bass:


48.11  Neith and her 'Seven magical words’: there isn’t any real ‘word’ coming out of Neith’s mouth, but there are musical notes coming out of a Bronze mouthpiece... the seven words are the seven notes of the Major scale

This probably is one of the most beautiful deciphering I’ve made so far, because it involves music. It’s funny because just yesterday evening I was watching again ‘A star is Born’ with Bradley Cooper and Lady Gaga, and as usual I got pretty emotional when the two of them started singing together for the first time on stage. Such a wonderful and incredible scene!

Music is life, and there can’t be no civilization without music. So I very like the metaphors that have been used here about Neith and her ‘Seven magical words’.

Again, the key here is Bronze: the ‘Seven magic words’ aren’t real words: they are musical notes; the Seven notes of the Major scale, and the notes that come out of a Bronze mouthpiece.

Seven Notes of Music Scale Neith Magical Words Spoken

“By the time of the end of the Ptolemaic Dynasty Neith was still recognized as a creative force of enormous power who "created the world by speaking seven magical words" (Pinch, 170).”

“A text in the Roman Period temple of Esna describes how Neith created the world by speaking seven magical words.”

Do re mi fa sol la ti do. It’s one of the first things taught to us in any music class — but have you ever wondered why we divide up musical pitch in this way? Most Western music is not based on the chromatic scale, but major or minor scales, which have seven notes taken from this chromatic scale, in a combination of whole and half steps. Cognitive psychology can help explain why this is.” Why does a major scale have seven notes?

Illustration of the Tenor Bronze mouthpiece thanks to Berglarsen (Belgium). “Produced using the latest casting techniques, bronze is widely used throughout the music industry for its resonate qualities. These highly polished mouthpieces are particularly resistant to tarnishing and are extremely hardwearing. The insert is made from grained ebonite."

Logo of 'Seven notes music academy':


Tutankhamun Silver Bronze Trumpet Mouthpiece Howard Carter Tomb Egypt Magic

Lotus TurboWood Trumpet Mouthpiece: and Lotus 3M B Trumpet mouthpiece:


48.12  Neith's mouth speaking Seven magical words is about the mouthpiece of ancient Egyptian trumpets

Of course, ancient Egyptians probably didn’t have at their disposal as sophisticated mouthpieces as the Saxophone ‘Tenor Bronze’ one from Berglarsen , but they certainly had ‘basic’ pieces like the ones used even today on trumpets.

And the mention of trumpets is particularly interesting, because we do know that two of these items had been discovered by Howard Carter in 1922 in the tomb of Tutankhamun.

“Tutankhamun's trumpets are a pair of trumpets found in the burial chamber of the Eighteenth Dynasty Pharaoh Tutankhamun. The trumpets, one of sterling silver and one of bronze or copper, are considered to be the oldest operational trumpets in the world, and the only known surviving examples from ancient Egypt.”

“The trumpets were found in 1922 by Howard Carter during the excavation of Tutankhamun's tomb. The bronze trumpet was discovered in the tomb's antechamber in a large chest containing various military objects and walking sticks. The silver trumpet was subsequently found in the burial chamber. Both are finely engraved, with decorative images of the gods Ra-Horakhty, Ptah, and Amun. The silver trumpet's bell is engraved with a whorl of sepals and calices representing a lotus flower and the praenomen and nomen of the king.”


Tutankhamun Silver and Bronze Trumpet with Wooden Core Mouthpiece Howard Carter Tomb Egypt Magic

Tutankhamun’s Bronze trumpet and its wooden ‘core’. Both the trumpet and its wooden 'core' are showing a very beautiful representation of a Lotus flower:


48.13  Tutankhamun’s trumpets (without any functional mouthpiece or hole) and their wooden ‘mute’

I definitely know that a vast majority of people won’t be interested in the work I’m doing for more than 3 years now, because it would need them to rethink everything they know about ancient Egypt. People won’t like at all to have to dig into all the metaphors ancient Egyptians kept playing with in everything they’ve done, or at least in everything that survived thousands of years and that we have today at our disposal.

Tutankhamun’s trumpets are a perfect example of the problem: none of them have a real functional mouthpiece (and no hole either), but they come with a very intriguing wooden ‘core’ that no one is really sure of its function; and because people are only interested in looking at things literally when it comes to ancient Egypt, they simply can’t understand that these ‘cores’ are again, only another kind of metaphor… because the wooden ‘cores’ that perfectly fit the internal shape of the trumpets, are simply the representation of the pressurized air that was constraint inside the instrument.

The whole thing is about pressurized air, and this is why there is no functional mouthpiece, nor there is no hole, but a beautifully crafted inner wooden ‘core’.

Of course, if the Seven magical words spoken by Neith are about the Seven notes of the Major scale, it makes the trumpets of King Tutankhamun magical trumpets.

One of the unique features of the "Tut" Trumpets is that they were found with wooden cores inserted, colorfully painted to look like the flowers and stems of a lotus. No one knows for sure why the trumpets had cores. They could have been used as mandrels (forms) to help in construction of the trumpets, or they could have been used to protect the trumpets during transportation. Having studied these trumpets extensively (and having made numerous replicas over the years), Dr. Peter Holmes believes that the cores had a symbolic meaning. When the trumpet was not being played, the core would be hidden inside, just as the lotus disappears into the water at dusk. When the core was removed, the voice of the trumpet could sound again, just as the lotus flower reappears with the rising sun, renewed and reborn. These cores may have been made especially for the trumpets that were buried with Tutankhamen, so that when he was reborn into the next life, the cores could be removed, and the trumpets would sound again.” BfB Resources “Creative Learning through Interdisciplinary Education”:


Bronze Trumpet Mouthpieces with the same cup diameter different inner form

48.14  The missing functional mouthpieces of Tutankhamun’s trumpets indicates they were most probably only symbolic 'instruments'... but it doesn't really matter anyway

It is funny to think that one would even try to play Tutankhamun’s trumpets, even if there is no mouthpiece nor there is no holes: it is (literally) like going into a car museum, get behind the steering wheel of a car from the 1900s and try to get the engine running to go to the next town.

It doesn’t make any sense to play a trumpet without a mouthpiece, but we did it anyway; and that is how bad our vision of the ancient Egyptians is. It’s so sad. Don’t you think that if the Egyptians would have wanted Tutankhamun to play the trumpet in the afterlife, they would have provided a mouthpiece? Or do you really see them as dumb as I’m afraid most people look at them?

But of course, whether there was a real functioning additional mouthpiece similar to a modern one on the real ancient trumpets or not isn’t the problem at all, simply because pretty much every single ancient Egyptian trumpet would have been made of Bronze, and there would have been indeed a Bronze mouthpiece anyway: it would have looked like the mouthpiece of Tutankhamun’s trumpets or like a modern trumpet mouthpiece, it wouldn’t change the fact that the music would have come through a Bronze mouth. And that is what the ‘ Seven magical words’ spoken by Neith is only about: the Seven notes of the Major scale getting out a Bronze mouth.

“The mouth-ends are strengthened by rings and are large by modern standards – which would have made the trumpets hard to play; Tappern needed to add a modern mouthpiece (with packing to make it fit) before his performance.”

“Silent for over 3,000 years, the trumpets were sounded before a live audience of an estimated 150 million listeners through an international BBC broadcast aired on 16 April 1939. The trumpets were played by bandsman James Tappern of Prince Albert's Own 11th Royal Hussars regiment. […] Due to their fragility, it is unlikely the trumpets will be played again in any official musical reconstructions. The instruments were likely played on a single note for military signaling; of three notes that modern trumpeters got out of the instrument, one was poor quality, one was the normally used tone, and the last put so much pressure on the instrument as to destroy it.”

Above illustration: “Four Mouthpieces with the same cup diameter, but with different inner form”:


Tutankhamun Silver Trumpet with Wooden Core Mouthpiece Howard Carter Tomb Egypt Magic

Tutankhamun’s Silver trumpet and its wooden ‘core’: © Laboratoriorosso, Viterbo/Italy, The Art Newspaper

“Silver and gold plated trumpet and its wooden mute from the tomb of Tutankhamun (1326-1336 BC). This trumpet includes the engraving of the name and image of Tutankhamun and those of three gods. The musician used the wooden mute painted in bright colours to modulate the sound of the trumpet.” text source (wikipedia)


In 1939 a British trumpeter was asked to play both trumpets for a live BBC radio broadcast - a momentous occasion since they had not been heard for over 3,000 years. The trumpets were very fragile though, and to the horror of the onlooking King of Egypt, the trumpeter tried to stick his modern trumpet mouthpiece into the end, severely damaging one of the trumpets. Fortunately it was repaired, and both trumpets were played for a live BBC radio broadcast, but with the use of a modern mouthpiece. The mouthpiece of the Šnb is simply a ring attached to the end of the tube […] which makes it very challenging to play for a modern trumpeter.” BfB Resources “Creative Learning through Interdisciplinary Education”:


Lotus Trumpets Tutankhamun Howard Carter Tomb Silver and Gold Bronze Mouthpiece

48.15  The 'secret' metaphoric link between the Lotus and the trumpet

It is funny to realize that the very modern Lotus company that produces trumpets are using the imaginary of the same flower used on Tutankhamun’s trumpets. I’m not saying there is a link, just it is funny; but who knows.

Because the thing is, this is not by accident that ancient Egyptians used the Lotus flower onto Tutankhamun’s trumpets. And the key to understand that, is what egyptologists are describing as the wooden ‘core’, or ‘mute’.


Tutankhamun Silver Bronze Trompet Mouthpiece Dendera Light Bulb Temple of Hathor ancient Egypt Magic

The Dendera Light isn’t just about a fog of microdroplets of liquid water that ‘magically’ transforms itself into vaporized water creating the evaporative cold: pressurized air coming from the central wooden caisson is also passing through the ‘Lotus’ fog nozzle, just an instant before pressurized water coming from the inclined well. Just look at the ‘pipe’ getting to the Lotus flower and coming from the perfect rectangular shape representing the well.

“The Dendera Light is a stone relief in the Hathor temple at Denderah in Egypt, that depict Harsomtus, in the form of a snake, emerging from a lotus flower. "In six reliefs he is shown within an oval container called hn, which might represent the womb of Nut. These superficially resemble a lamp or light." Photograph thanks to Kairoinfo4U and posted on flickr:

Lotus seed head thanks to Dinkum:


48.16  The wooden 'core' of Tutankhamun’s trumpets are only about the air inside the trumpet

We’ve already seen is Section 2 that the Dendera Light is the representation of the fog of microdroplets created inside the Horizontal cooling passage of the Great Pyramid: that fog evaporated instantly, producing cold (it is called flash evaporation, and it produces massive salt deposits). What I want to emphasize here, is the fact that the Dendera ‘Fog’ is actually coming out of a Lotus flower, whether the Lotus is used for the appearance of its seed head (which looks like a very modern shower head), or its roots (which are pierced with many tubes).

If I’m not sure of the exact reason why the Lotus has been used as a metaphoric representation of what we’d called today the ‘fog nozzle’, the thing is that Egyptians associated the Lotus with the fog; and the fog is both made of air and water… just like the exhaled air which is passing through the trumpet.

And that pressurized and moist air that is passing through the trumpet, that what the wooden ‘core’ is all about: the wooden ‘core’ is air, just like the Dendera Light after the liquid water has evaporated to create cold and moist air.

If the wooden ‘core’ is exactly that, the ‘core’, it is because it is supposed to represent what is right inside the trumpet. But now, there is another problem: what was the goal of representing that air?

• was it to represent pressurized air… and the ability of Tutankhamun to generate such powerful air?

• or was it for another reason?


Tutankhamun Trumpet with Osiris

48.17  The proof of the association of the trumpet (which is only about pressurized air) with the Osiris weight (probably made of Bronze)

This representation of Osiris, the weight of the wooden and probably Bronze composite impactor of the Great Pyramid, associated with the trumpet, with obviously and simultaneously the creation of some kind of water droplets strongly reinforces the idea that precisely the nature of the Osiris weight was in Bronze (and not in granite like I thought for about three years now).

Of course, this was the Osiris weight which first created pressurized air in the central wooden caisson (hence the trumpet aiming toward his face?), before pressurizing the waters of the inclined well (hence the water droplets falling onto Osiris’ feet?).

You will notice that because the Osiris weight was ‘comfortably’ nestled inside the wooden vessel (the ‘boat of Ra’), but unable to move, Osiris is represented seated, constraint and unable to move as well.



Nile Perch Goddess of War Creation Arrows Harpoon Neith Emblem Ancient Egypt Lates niloticus

“Nile perch were involved with the worship of Neith. As a result nile perch were sometimes mummified. A deposit of several thousand mummified perch was excavated in an area to the west of Esna where there was a temple to Neith. Mummified perch have also been found at Gurob near a temple to Neith while perch statuettes have been found at Sais again in the context of a temple to Neith”.

Mummified Fish, 664 BC - AD 200. “Mummified Nile perch fish wrapped in bandages and bound together with numerous concentric windings of palm fibre rope. Thousands of pilgrims travelled to sacred sites throughout Egypt to give offerings to the gods. Many places in the Nile Valley and the Delta were linked to different gods and their animal cults. Nile perch were fish sacred to the goddess Neith and mummified at Esna where this fish mummy was buried.”:

Left: bronze fishhook from the Metropolitan Museum of Art, Early Minoan III-Late Minoan I. Date: ca. 2400–1450 BCE:


48.18  The biggest and heaviest fish to be found in the Nile river needs the strongest fishhook to be catch: the Nile perch needs a Bronze fishhook and it probably is the second element of Neith’s emblem

“The Nile perch (Lates niloticus), also known as the African snook, Goliath perch, African barramundi, Goliath barramundi, Giant lates or the Victoria perch, is a species of freshwater fish in family Latidae of order Perciformes. It is widespread throughout much of the Afrotropical realm, being native to the Congo, Nile, Senegal, Niger and Lake Chad, Volta, Lake Turkana, and other river basins. It also occurs in the brackish waters of Lake Maryut in Egypt. […] Originally described as Labrus niloticus, among the marine wrasses, the species has also been referred to as Centropomus niloticus.. Its name in the Hausa language is giwan ruwa, meaning "water elephant".

“Lates niloticus is silver in color with a blue tinge. It has distinctive dark-black eyes, with a bright-yellow outer ring. One of the largest freshwater fishes, it reaches a maximum length of nearly 2 m (6 ft 7 in), weighing up to 200 kg (440 lb).”


Athena Neith Emblem Shuttle Loom Two Three Dimensions

Illustration from “Engaging STEM Learning Experience of Spatial Ability through Activities with Using Math Trail”, by Katarína Laššová and Lucia Rumanová:


48.19  Neith’s emblem could be represented in two positions at a right angle because it is the representation of an individual link of a (Bronze) chain: it shows the difficulty to represent a three-dimensional model into a two-dimensional representation

This particular point about Neith/Athena (Athena is only the reinterpretation of Neith through the well known interpretatio graeca process), had already been discussed in previous Section 47, but it is only now I can really correctly use the correct words and the appropriate scientific approach.


Ancient Egyptian Goddess Neith Athena Owl Eye Drinking Cup Interpretation graeca

The Owl of Athena on a terracotta skyphos (deep drinking cup), Greek, mid-5th century BCE. On view at The Met Fifth Avenue in Gallery 171. Obverse and reverse, owl between olive sprigs. This work represents a type of skyphos in which one handle is vertical and the other horizontal. Because an owl is frequently the decoration, the shape is known as a glaux, the Greek word for owl Metropolitan Museum of Art:


• By using the handles of Athena’s drinking cups, Greeks didn’t have any difficulty to represent the exact nature of the goddess, i.e. the glorification of a Bronze chain: the two handles at a right angle are the perfect representation of the endless association of chain links that constitutes the exact nature of a chain, with every chain-link being set at a right angle with the two adjacent ones.

A drinking cup being in three dimensions, the task was easy. Unfortunately, ancient Egyptians didn’t work in three dimension illustrations but in two dimensions only; therefore they had to be creative and imaginative.

But I don’t even think it had been a problem for them: it only added a new ‘difficulty’ or ‘degree of complexity’ in the ‘religion’ they were imagining: in my opinion they were even happy and willing to solve this little problem; a simple mathematical problem.

• So instead of representing the handles/chain-links at a right angle in a three dimensional object and in two different perpendicular planes, they represented the same ‘object’ (the same ‘emblem’) in one single plane, but in two different positions, and at a right angle.


Neith Ancient Egyptian Goddess of War Creation Childbirth Emblem Click Beetle Weaving Shuttle Loom

Illustration #211 (rear annex, wall 27), from the tomb of Prince Khaemwaset in the Valley of the Queens in Luxor, Egypt. Photograph by Gaspard Van Haver:

Draw on the left: "The Egyptian goddess Neith, the primary creator, bearing her war goddess symbols, the crossed arrows and shield on her head, the ankh, and the was-sceptre. She sometimes wears the Red Crown of Lower Egypt". Draw by Jeff Dahl:


48.20  A chain link and some fishhooks: this is what the emblem of Neith is all about

The emblem of Neith is actually more complex than just being about the representation of the link of a Bronze chain. There are on both sides of the link, two weird kind of ‘hooks’… and I may be wrong here, but it they most probably really are about hooks, fishhooks.

Their presence isn’t really about the Nile perch Neith is associated with, but rather about the fact that each and every single link is supposed to be connected with another one. They would simply have used the function of the hook additionally to the link itself.

This ‘fishhook’ hypothesis isn’t sure at all at this point, but what is certain is that not only the emblem of Neith has nothing to do with a ‘shield’ or a ‘weaving shuttle’, but there isn’t any ‘crossed arrows’ anywhere either.


Statue of Liberty Green Patina Copper Bronze Neith Emblem Weaving Shuttle Arrows Shield

The Statue of Liberty gets its famous green color from the natural patina formed on its copper surface, by Daniel Schwen:

Natural copper patina at the Nordic Embassies (Berlin), by Manfred Brückels:


48.21  The Green color of Neith's emblem and Osiris' skin would indicate the Osiris weight was in Bronze as well

Just like we’ve already seen in previous Section 47, this green color of Neith’s emblem is the exact same color used to represent Osiris’ skin color… and that would indicate that the weight of the composite impactor wouldn’t have been a granite block, but a real weight in Bronze.


Weaving Goddess Neith Ancient Egypt Loom Warp Chain

Illustration of the vertical longitudinal threads, called “warp” that form the “chain” in French. How to weave for beginners:

Warp is called 'chaine' in French:


Weaving Loom Warp Weft Neith Goddess ancient Egypt

48.22  Neith was the goddess of weaving because 'warp' is called 'chain' in French (that comes from the Greek)...

No, the emblem of Neith isn't the representation of the shuttle operated in a loom, but there is a very special connection between Neith and the loom that makes her the goddess of weaving...

“Weaving is a method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. Other methods are knitting, crocheting, felting, and braiding or plaiting. The longitudinal threads are called the warp and the lateral threads are the weft, woof, or filling.”

Warp and weft in plain weaving:


48.23  and most probably for other reason(s) due to the design of a weaving shuttle

In particular, a few words about a shuttle’s design would be worth investigating further, like ‘metal’, ‘eyes’ or ‘kissing the shuttle’:

“Shuttles were constructed from a dense heavy hardwood with metal tips. […]The eye of the shuttle was often made of porcelain. The thread from the pirn had to be led through the eye before it could be used. The fastest way to do this was to suck it through. […]"Kissing the shuttle" is the term for a process by which weavers used their mouths to pull thread through the eye of a shuttle when the pirn was replaced. The same shuttles were used by many weavers, and the practice was unpopular. It was outlawed in the U.S. state of Massachusetts in 1911 but continued even after it had been outlawed in Lancashire, England in 1952.”


Chainsaw invented for Childbirth Neith Egyptian Goddess Bernhard Heine Osteotome

"The chainsaw was invented by two Scottish doctors to help with childbirth". Illustration of the Bernhard Heine's Osteotome. "Bernard Heine's chainsaw, known as the osteotome, used a hand crank but was still difficult to use. Heine was one of the only surgeons who ever mastered using it". Private photo taken at Orthopädische Universitätsklinik Frankfurt, by Sabine Salfer:


48.24  Neith was the goddess of childbirth because she is all about a chain and because chainsaws had been invented to assist difficult childbirth by performing symphysiotomy... hence the ‘terrifying’ Neith who took care of the mother and the baby during delivery

One of the most intriguing data about Neith, is that even if she is known to be the goddess of war and arrows, she is also the goddess of childbirth. One would say both ideas are completely contradictory: how could one single goddess be associated at the same time with war, arrows and giving birth to a child?

It doesn’t seem right at all, except if you know what Neith really is all about: a chain.

And if you want to get the answer to this apparently unsolvable mystery, just Google it! Type “chain childbirth” into Google and the answer comes right away, in first position: the answer is the chainsaw.

Of course, I didn’t have the slightest idea that chainsaws were first (officially) invented in the 1800s as a chirurgical tool used during childbirth, but chainsaw has to be the link, the reason why Neith has been worshiped as a goddess of childbirth.

• Excerpt from “The chainsaw was originally developed to aid in difficult childbirths”, By Claire Maldarelli:

“When you picture a chainsaw, the typical uses that come to mind usually have to do with wood (and, you know, chopping it). But why were chainsaws invented, really? It might surprise you that the device’s origin lands about as far away from a lumber yard as you can get: The creators of the chainsaw were two Scottish surgeons named John Aitken and James Jeffray. And they developed their gnarly and dangerous device to help them do their jobs—cutting human bone and flesh.

Even under the best possible circumstances, giving birth is not what most would call a pleasant experience. But in the 18th century, prior to the development of anesthesia and other modern surgical tools, delivery could turn incredibly dangerous with little warning. When babies came out feet-first or their bodies were otherwise trapped in the birth canal, doctors would have to widen the pelvic area by cutting into the cartilage and bone. Aitken and Jeffray found that a sharp knife just didn’t do the trick in a timely fashion, so, somewhat shockingly, they created a chainsaw as a more precise and humane option.

The resulting procedure was known as a symphysiotomy, and thankfully it is no longer in use today. What’s left is the chainsaw, which is now kept well away from surgical wards. Thank goodness.”


Neith Cesarian Section Texas Chainsaw Massacre

• Also: "Unfortunately, Chainsaws Were Invented for Childbirth"; by Alana Hippensteele, Editor:

"Although childbirth remains a difficult, often stressful experience for mothers, the […] use of appropriate sanitation methods, has made childbirth far safer for mothers than was possible during previous periods in history. In the late 18th century, two Scottish doctors, John Aitken and James Jeffray, developed a prototype of the chainsaw—familiar today in the timber industry—for symphysiotomy and the excision of diseased bone.

The design of the chainsaw was based on a watch chain with teeth that moved through the use of a hand-crank. This meant that although the mother may not have looked down to see her doctor holding a version of the chainsaw we know today, she would instead see her doctor furiously cranking a chainsaw against her vulva.

With the invention of the chainsaw, obstetricians and gynecologists (OB/GYNs) working in the field at the time were bowled over by how much better chainsaws were to use for conducting symphysiotomies than the previous methods they were relying on.

In light of this success, the chainsaw was eventually mechanized in the later 19th century to increase its ease of use by OB/GYNs on expectant mothers. However, shortly after this, the chainsaw was superseded by the Gigli twisted wire saw, which was most commonly used to cut bone. This led to the mechanized chainsaw eventually getting adopted by the timber industry in 1905, allowing the instrument to be applied to trees, rather than its original use on women.”

The Texas Chainsaw Massacre is an American independent horror film produced, co-composed, and directed by Tobe Hooper, who co-wrote it with Kim Henkel:

More about this 1974 horror film:


48.25  Neith ‘the Terrifying One’ because of the chainsaw 'massacre' metaphor

I was really puzzled by the epithet the ‘Terrifying One’ given to Neith, because how could the goddess of Childbirth be at the same time the ‘Terrifying One’? Of course it doesn’t make any sense. Unless you know precisely her role during childbirth: the chainsaw used for symphysiotomies. And now, it does make perfect sense: Neith was indeed the goddess of childbirth, helping expectant mothers having problems giving birth to their child, but at the same time Neith was seen as the ‘Terrifying One’.

“Neith is an extremely ancient goddess with connections to war, hunting, the primordial waters, and the creative art of weaving. Her name (perhaps meaning ‘The Terrifying One’) appears on material from the very earliest days of the Egyptian state, such as a grave goods tag discovered in the 1st Dynasty royal cemetery at Abydos in Upper Egypt. She seems to have been one of the most important deities to the earliest kings and queens, with many having names that honoured the goddess […]. While other deities rose to prominence over the millennia of Egyptian history, Neith remained a mighty force within the Egyptian pantheon, her worship stretching from the beginnings of pharaonic Egypt to its end.”


Scary Terrifying goddess Neith Chains ancient Egypt the_ghost_of_jacob_marley_by_mengblom deviant art

48.26  Neith was known as the “terrifying One” and Athena was associate with noise… lot of noise indeed

One way of looking at the operation of the upper hatch is as it was functioning like a very real French guillotine, with the blade getting endlessly up and down and the Neith/Athena chains being responsible for lifting the blade. In other words, the Neith/Athena chains were responsible for arming the guillotine, and if the entire structure operating the hatch, the chains and the counterpoise was closed, nobody would have ever been able to see the origin of that rattling noise.

Scary right? So maybe, the terror that could originate in ghosts carrying rattling chains comes right from the Grand Gallery. It is perfectly known that:

• Neith was called “the Terrifying One”

• Athena was associated with “making noise”, echoing Neith being associated with the click beetle.

 “Neith, a borrowing of the Demotic form Ancient Egyptian: nt, likely originally to have been nrt "she is the terrifying one".

“In the 6th labor, Hercules had to scare off the Stymphalian Birds from Lake Stymphalia. These birds were a menace and would terrorize those who lived in the area. To scare the birds, Athena created a noise making clapper called the krotala. Hercules used the krotala to scare off the birds.”

Illustrations: "The Ghost of Jacob Marley", with chain, by mengblom on Deviant Art:

And "Scary Ghost Costume with Sound FX Effects Kids Grim Reaper Halloween Fancy Dress" at


Bike chain clicking noises Click Beetle Neith Goddess War Creation Arrows ancient Egypt

“New Bike Chain Clicking Noise: Diagnose and Fix”, by BikeTips:


Click Beetle Goddess Neith Ancient Egypt

48.27  Neith, the chain clicking noise... and the click beetle... click... click

And there is another beautiful metaphor, with the clicking noise. We’ve already seen is previous Section 47, that if the Greek goddess Athena has been so strongly associated with olive oil, it is because as the reinterpretation of the glorification of a Bronze chain, Athena couldn’t be separated from the lubricant that maintained ‘her’ in perfect condition.

So Greeks emphasized what needed to service the chain (the olive oil), when ancient Egyptians emphasized the problem that would inevitably come if the chain wasn’t to be service properly: the clicking noise.

“Click beetles are common in Egypt, and are named for the clicking sound they make when they jump. Click beetles were associated with Neith, the goddess of protection. Ancient Egyptian artifacts and carvings depict the click beetle. Although the symbolism is unclear, the beetle may have had some religious significance.”

“Check your chain. A dry chain can produce a clicking sound. Examine the chain links, especially the inner links. If they are frozen, difficult to move or if the chain has rust on it, it needs to be lubricated. Apply a drop of the lubricant of your choice to each link.”

Click beetle draw:


Well Chain Water Pump Cistern with Rubber

“Chain Driven Cistern Pump”, by Andrew Branson:



48.28  Is the chain driven well water pump the reason why Neith is known to be the primary water goddess?

Most of the time, gods and goddesses have more or less a very particular ‘field of expertise’, I would say; but because Neith is so ‘old’ and about such a versatile true meaning, a chain, she has been associated with numerous very different tasks: how could one single goddess be at the same time, among other roles, the goddess of arrows, click beetles, weaving and water?

Of course, Neith is already associated with the Nile perch because of the Bronze fishhook metaphor, but it isn’t enough to make her a water goddess, in my opinion.

Probably ancient Egyptians used more than only one metaphor to make Neith a goddess of water:

• maybe because of ‘rain chains’ (rain gutters, left illustration)

• most probably because of ‘chain pumps’

“The Egyptian goddess Neith (also called Nit, Net, and Neit) had multiple identities. Since her name closely resembles the word for water, she was known as a creation goddess, associated with primordial waters. Her name also means “weaver,” so she was the goddess of weaving and other domestic tasks, which made her a protector of women.”

Above illustration: "Double Loops™ aluminum link chain with Bronze powdercoating":


Well Chain Water Pump hand Cranked Sprocket Cistern with Rubber Suckers Video

“The pump is a hand cranked sprocket that pulls a loop chain up through a pipe. The chain has round rubber suckers on the chain every few feet. The suckers are a loose fit in the pipe. The pipe has a funnel/bell on the bottom to start the suckers up through the pipe. The top of the pipe is attached to a sump/box. The spout is hooked to this box. The suckers pull water up through the pipe. The water is released in the box where it will run out the spout. The chain has to have a loop that is several feet longer than the length of the pipe."... By JDseller:


On the left: “Chain pump. A variation on the bucket chain or bucket wheel using pistons in a tube.” Very informative demonstrating video of a chain pump operation although using a rope not a chain, by Technologytom:


Well Chain Water Pump hand Cranked Sprocket Cistern with Rubber Suckers

... "These pumps are only good where the water table is close to the top of the ground. If you would try them in a deep well the weight of all of the water would make the handle impossible to crank. The sucker fit loose so the water will run back into the well to prevent freezing. Lehman's in Dalton, Ohio has copied the old Gem pump. You can buy the complete pump and or parts”. By JDseller:


Festooning Honey Bees forming Chains

"Liquid bronze at 1200°C is poured into the dried and empty casting mold", by Takkk:

"Honey bees hang on to their sister’s legs so their bodies create chains when they're making new beeswax combs. It’s called festooning":


48.29  Festooning Bees forming chains, messenger Bees, Liquid Bronze... and Liquid honey

It is well known that Neith was called ‘Queen bee’, and there are probably many reasons for that. Among these reasons we can cite:

1 • the fact that honey just looks like melted Bronze, both in color and ‘texture’ or viscosity

2 • the fact that sometimes bees behave in a very weird way to create chains with their own bodies: the ‘festooning’

3 • the fact that bees were seen as messengers by the ancient Egyptians

The last excerpt is particularly interesting because it describes bees as ‘messengers’. It is interesting because we’ve already seen this metaphor about the angels used in the Jewish religion: angels were the ropes which never touched the floor of the Grand Gallery, hence their wings.

But of course, what you can say as a ‘messenger’ (ropes are by definition ‘messengers’ because they are transmitting information of forces), you can say it as well about chains.

Chains are messengers, and the association with bees is perfect, because of these three points.

Festooning Honey Bees forming Chain Hive

“The Egyptian goddess Neith has a reputation as both a military figure and as a mother goddess and nurse, characteristics that caused the Greeks to identify her with the goddess Athena. In Hebrew, Deborah means “Bee” and that symbol is closely identified with Neith. A Temple to Neith was called “House of the Bee”, and the Bee was the symbol of kingship in Lower Egypt.”

“Because of their importance in feeding, curing diseases and other uses, hives served as models for various temples of antiquity; the Egyptian temple of the goddess Neith was known as “the house of the bees,” the honey serving as a symbol of protection and used in the consecration of the foundations and in the embalming of the pharaohs.”

As an ideogram, the hieroglyph of the bee, which we can read “bit,” indicated both the insect and honey. However, it was also the symbol of the Egyptian kingship of Lower Egypt: in the royal protocol, the title preceding the name of the king was “n(y)-swt-bit, that is”he who belongs to the reed and the bee”, where the reed was the emblem of Upper Egypt and the bee of Lower Egypt. In the wide meadows of the Delta, bee keeping was practiced since the 3rd millennium BC, if not already in the Neolithic period. The bee was also associated to the cult of the goddess of war Neith: her temple was called “Castle of the Bee”

Honeybees were regarded as messengers between our world and the spirit realm and were associated with wisdom garnered from the otherworld. This folklore persisted through to Christian times, with folk tales in Scotland and England stating that bees would hum loudly at midnight on Christmas Day for the Savior’s birth. When the new Gregorian calendar was adopted in 1752, 11 days were removed and the fact that the bees could not be heard humming on the new Christmas Day was taken as a sign of God’s displeasure at the changes!”

Screen shot of a video showing festooning honey bees forming a perfect chain:


Queen Bee Neith Goddess of Weaving Creation Arrows War Telling the Talking Bees Tradition

"How to speak Bee! Beekeeping with The Bee Whisperer":


Ancient Egyptian goddess Neith Athena First Primary War Weaving Telling the Bees legend

48.30  Neith is associated with the “telling the bees” tradition because of chain stories: Neith isn't just about Bronze but about Bronze chains

Bees really are talking, and talking, and talking to each others... just like they are engaged into an endless chain story; and this chain story is probably the origin of the 'telling the bees' tradition. The metaphor is again about a chain.

Story chains are simple ways to keep students telling a story. Start a story and then students keep adding lines to continue. They can even be done with only words, students relating words to other words through association.”


48.31  Neith was known as Queen bee because beeswax was to make moulds for metalworkers (i.e. the Bronze metalworkers)

“Known elsewhere in the ancient world as “The Land of the Bee”, Egypt exported huge quantities of honey from the south of the country in big clay jars as well as large volumes of beeswax for cosmetics, to make moulds for metalworkers and as clean-burning candles for the rich. There are documents indicating that almost 14,000 tons of honey were transported annually North along the Nile. The production and exporting of honey and other bee products were tightly controlled by the state, with many wonderful titles of Government officials including  ‘Sealer of the Honey’, ‘Divine Sealer’, ‘Overseer of all Beekeepers’ and ‘Chief Beekeeper’.”


Operating Diagram of the Great Pyramid of Egypt for Evaporative Cold Production May 23 2024

Operation of the Grand Gallery of the Great Pyramid. Diagram last updated on Thursday, May 23, 2024.


48.32  Operation of the Grand Gallery of the Great Pyramid of Egypt for cold production by flash evaporation

Both air and water pressurization were obtained by using the fall of a composite impactor through the Ascending passage. Implementation of the internal upper hatch (glorified into Sekhmet by the ancient Egyptians) of the central wooden caisson that functioned just like a bicycle pump with its impactor as the piston moving part. The chains (probably a pair?) which operated the upper hatch have been glorified as well, into goddess Neith by the ancient Egyptians and into Athena by the Greeks.


Dendera Light Electricity Demonstration Magnifying Glass

"The astronomical ceiling at the Pronaos, outer hypostyle hall in the Temple of Hathor in the Dendera Temple complex, near Dendera, Egypt: first Band west from the centre, showing the full healed moon on a pillar depicted as "Wadjet" the Eye of Horus healed by [the god of Science] Thoth, who is portrayed at the right." Photograph thanks to kairoinfo4u:


48.33  On numerous subjects, ancient Egyptians were as advanced as ourselves during the 1800s

Probably, you would have noticed  the fact that, if you’ve already read previous Sections of The Pyramids of the Cold, this is not the first time that these ‘1800s’ come into play (we’ve seen this about the Solvay process* and in the picture illustrating the demonstration of electricity that is representing a magnifying glass just like the one on Dendera’s ceiling**).

And that is a very important remark, because what it means is that on numerous subjects (not all, but numerous subjects), ancient Egyptians were as advanced, or almost as advanced, in science and technology, than our own European and American civilization were during the 1800s.

* Sections 34 (the Disc of Sabu)  ** Section 45 (the 'magician' Imhotep)


Operation of the Great Pyramid of Giza Pharaoh Khufu for Evaporative Cold Production April 4 2024

Diagram last updated on April 4, 2024 (addition of the upper hatch of the central wooden caisson of the Grand Gallery).


48.34  Operation of the Great Pyramid of Egypt at Giza for cold production by flash evaporation

Both air and water pressurization were obtained by using the fall of a composite impactor through the Ascending passage: air was pressurized by the impactor in the Grand Gallery and water was pressurized by the fall of the impactor ramming into the flooded First Ascending passage (what I’ve called the ‘inclined well’).

At this time, the use of the cold produced inside the Horizontal passage and stored in the Queen chamber with the probable use of a cold exchanger, is still hypothetical but may has been for the cooling of a Solvay-like unit of sodium carbonate (natron) and sodium bicarbonate production.

The goal would have been to demonstrate two things:

• the mastering of the cold production (remember, the very first Pyramid was the Step Pyramid of Djeser, and it has been called by ancient Egyptians themselves ‘the Pyramid of the Refreshment of the Gods’)

• the mastering of the production of natron (the salt used for the mummification of the pharaohs), by the unique way of Magic (Science)

Nevertheless, this flash evaporation of water is the explanation of the presence of massive salt deposits in the Horizontal passage and the Queen chamber.


The Pyramids of the Cold Bronze Goddess Neith by French Egyptologist Bruno Coursol Table of Contents


The Pyramids of the Cold version 2 (May 2023 - June 2024)

Summary of the study and Table of Contents


Part A: The evaporative cooling process

Section 1 • The horizontal evaporative cooling passage layout

Section 2 • The Dendera Light and the creation of the fog of microdroplets by the fog nozzle

Section 3 • The water cycle glorifying metaphors: Geb, Shu, Nut, Tefnut

Section 4 • The theorization of the evaporative cooling process by Akhenaten and Nefertiti

Section 5 • The theorization of the evaporative cooling process in the Weighing of the Heart


Part B • The inclined well of the Great Pyramid of Giza

Section 6 • The inclined well layout and the girdle stones

Section 7 • The Taweret "Lady of the Well" temporary sealing granite plug of the well

Section 8 • The Bes temporary wedging block immobilizing Taweret

Section 9 • The draining of the well

Section 10 • The Great Serpent Apep and the snake water metaphors

Section 11 • The Was scepter and the control over "snakes"

Section 12 • The beating Heart of the Great Pyramid


Part C • The composite impactor of the Great Pyramid (Horus, Ra, Osiris, Medjed, Sobek...)

Section 13 • The wooden and stone composite design of the impactor: Ra and Osiris

Section 14 • The endlessly immersed Osiris stone and the seed metaphor

Section 15 • The Anubis sledge and the bobsled mask

Section 16 • The sledge runners of the impactor: Thoth

Section 17 • Medjed: the smiter nobody can ever see

Section 18 • The Apis bull and the ramming impactor's metaphors

Section 19 • The crocodile god Sobek impactor (more or less) floating in the waters of the well

Section 20 • The Obelisk and the Benben stone rising from water


Part D • The Grand Gallery's of the Great Pyramid of Giza

Section 21 • The Sacred "sloping paths" of the "oval-shaped cavern of the act of Hauling"

Section 22 • The central wooden caisson of the Gallery: Sekhmet and the Triad of Memphis

Section 23 • The hauling ropes of the Grand Gallery: Isis, Nephthys, Hatmehit, Wadjet and Nekhbet

Section 24 • The hauling Beetle and the Seven Scorpions of Isis

Section 25 • The Great Cow goddess Hathor and the operating cycle of the hauling Beetle

Section 26 • The 10 operating phases of the Grand Gallery

Section 27 • The guide to the Afterlife for the smart traveler and the canopic jars

Section 28 • The scarab amulet glorifications of the hauling Beetle


Part E • The very large and roughly finished sarcophagus of the Great Pyramid

Section 29 • The biosand filter sarcophagus of the Great Pyramid

Section 30 • The Elephantine Triad deification of the biosand filter of the Great Pyramid

Section 31 • The Great Pyramid's operating flat roof and the water supply issue


Part F • Chemical manufacturing and industrial cooling before the Great Pyramid

Section 32 • The Serdab and the "Refreshment of the Gods" Step Pyramid of Djoser

Section 33 • Sneferu's Red Pyramid and the accumulated ammonia

Section 34 • The Disc of Sabu and the Solvay process for pure natron manufacturing


Part G • The tremendous impact of the Great Pyramid on the whole ancient world

Section 35 • The hidden secrets of the Hermetica Emerald Tablet (around 1600 C.E.)

Section 36 • Thor and the magical Hammer in the Great Hall of Bilskirnir

Section 37 • The Churning of the waters of the Ocean of Milk (Hindu mythology)

Section 38 • The Tibetan prayer wheels and the Grand Gallery's operation

Section 39 and Conclusion • The cooling water of spitting Kebechet


Part H • Epilogue

Section 40 • The smiting Ark of the Covenant and the Ten Commandments

Section 41 • The 293 kilograms windlass Staff of Moses and Aaron... and the First Plague of Egypt: water turning into blood

Section 42 • Ezekiel's Four Egyptian pulley "Wheels within the Wheels" and the four angel ropes

Section 43 • David, Saul, two giant Goliaths, five little stones, an aeolian harp... and a weaver's beam

Section 44 • The holy water fonts and the biosand filter


Part I • The magicians of the Great Pyramid of Giza

Section 45 • The Legend of Khufu and the "magician" polymath Imhotep

Section 46 • The two magical eyes of Isis and the brilliant but painful flame of her twin sister's braids

Section 47 • The Aegis Shield of Athena "Subduer of the Winds" and the upper hatch of the central wooden caisson

Section 48 • The Seven Magical Words spoken by 'Divine Sealer' Goddess of Arrows and Bronze Neith

Section 49 • When the Taweret plug finally moves and becomes Mother of Fire Opet: the sparkling rocks metaphor



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Commentaires (1)


I have found your theories to make a lot of sense. I had come across your website while searching for the hieroglyph that is supposed to contain Gardiner's code D53. I'm very interested in hearing your other theories about other Egyptian metaphors and what they might mean.

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