The Pyramids of the Cold published by french layman B. Coursol

The sarcophagus of the Great Pyramid of Giza was the "mold" of an ancient Egyptian biosand water filter.

"How to make a wooden mold for biosand water filters", by Rob Goodier at https://www.engineeringforchange.org/news/how-to-make-a-wooden-mold-for-biosand-water-filters/

34.01  Kidneys are the filtering organs of the human body

"The kidneys are two bean-shaped organs, each about the size of a fist. They are located just below the rib cage, one on each side of your spine. Healthy kidneys filter about a half cup of blood every minute, removing wastes and extra water to make urine": https://www.niddk.nih.gov/health-information/kidney-disease/kidneys-how-they-work#:~:text=The%20kidneys%20are%20two%20bean,extra%20water%20to%20make%20urine.

Photograph of the interior of the Bent Pyramid, one of the three great pyramids built by king Sneferu (the founding pharaoh of the Fourth Dynasty of Egypt during the Old Kingdom): https://guardians.net/egypt/cyberjourney/dahshur/bentpyramid/bent_pyramid_interior.htm

34.02  The biosand filter sarcophagus of the Great Pyramid

"Visualizations and volumetric properties of (a) a traditional biosand water filter (BSF) design; (b) a 40% reduced-height design; and (c) a 70% reduced-height design." https://www.mdpi.com/2073-4441/12/5/1337

"Two modeling experiments were conducted using the properties of each filter. The first modeling experiment was to estimate the average flow rate and pressure distribution throughout the traditional and alternate BSF designs. The second modeling experiment was to estimate the percent removal of E. coli and MS2 as a function of depth and grain size for each filter. Four different types of media (coarse, medium–coarse, medium, and fine sand) with varying hydraulic conductivities (K) and grain sizes were chosen for the experiments, as outlined in Table 2. These media were chosen to represent the common types of sand used for filtration systems. Each media type was used for each model, resulting in a total of twelve experimental trials (three designs with four media types) each for fluid modeling and contaminant modeling (twenty-four total)."

"Modeling Improved Performance of Reduced-Height Biosand Water Filter Designs" by James A. Phillips (Department of Chemical Engineering, University of Florida, Gainesville, FL 32611, USA) and Samuel J. Smidt (Soil and Water Sciences Department, University of Florida, Gainesville, FL 32611, USA).

The white arrow is pointing to the little technical room which today is used as an electrical room, but where was set the biosand filter "sarcophagus", 4500 years ago. At least, it remains a technical room: biosand filtration has simply been replaced by electricity, like in many places all around the world.

34.03  The sarcophagus of the Great Pyramid could have produced 201.96 liters of filtered water every 15 minutes

I've suggested the hypothesis that every 15 minutes or so, it was about 200 liters of water that would have been ejected from the inclined well towards the evaporative cooling passage. It just sounded right, but I didn't check one thing: was the biosand filter sarcophagus able to supply that amount of water?

I'm not an engineer, so this whole "practical" thing about numbers is clearly not my cup of tea, even if it was both crucial for the operation of the Great Pyramid and very easy basic science:

With an internal surface area of 1.98 m x 0.68 m = 1.3464 m², and a theoretical flow rate of 600 liters/hour/square meter (according to ACF data, below), the biosand filter of the Great Pyramid of Giza would have been able to supply 807.84 liters of filtered water every hour.

That is 201.96 liters of softened and microbial stable water every 15 minutes.

"The internal dimensions [of Khufu's Sarcophagus] are roughly 198 cm (6.50 ft) by 68 cm (2.23 feet), the external 228 cm (7.48 ft) by 98 cm (3.22 ft), with a height of 105 cm (3.44 ft)." https://en.wikipedia.org/wiki/Great_Pyramid_of_Giza

"The biosand filter has been designed to allow for a filter loading rate (flow rate per square meter of filter area) which has proven to be effective in laboratory and field tests. This filter loading rate has been determined to be not more than 600 liters/hour/square meter." From ACF:   https://www.actionagainsthunger.org/sites/default/files/publications/Biosand_and_ceramic_filters_training_manual_02.2010.pdf

"ACF is a Non-Governmental Organisation (NGO). It can also be called Action Contre la Faim (ACF) which is a French phrase meaning Action Against Hunger. ACF began in France in 1979 and currently, it operates in 40 countries worldwide."

34.04  The Two Lands of Egypt are the "Land of the Filter" and the "Land of the Well"

If the so-called sarcophagus was the biosand filter of the operating Great Pyramid of Giza, which explains why the kidneys of the deceased were left inside the body during the mummification process, its filtered water was produced for the inclined well: both the filter and the well were acting as a single functioning unit, just like the kidneys and the heart in a human body.

In previous Sections, I was able to determine that what is called today "Upper and Lower Egypt", actually referred entirely in a separation made by ancient Egyptians between the Upper and Lower "part" of the Great Pyramid; and I was able to situate the separation between these two "lands" within the huge single block constituting the upper platform of the Grand Gallery.

But because of this new comprehension of the codependent role of the filter and the well, I think we can assume with very high certainty that this Upper part of the Pyramid was actually entirely determined by the biosand filter itself, as it is indeed set onto this upper platform.

In other words, what is known today as "Upper Egypt" is indirectly the glorification of the filter, and of course "Lower Egypt" is referring to the inclined well.

The Sema Tawy thanks to James Vincent: https://twitter.com/jjvincent/status/1587431263551590402/photo/1

"Relief of Horus and Seth. In this decoration showing the theme of the unification of the Two Lands ‘Sema Tawy’, Horus and Seth replaced Hapi, which was associated with the Nile god. Detail on the side of the throne of King Senusret I." at the Egypt Museum: https://egypt-museum.com/relief-of-horus-and-seth/

34.05  The Sema Tawy unification of the Two Lands representations involved Horus and Seth

This interpretation of the Two Lands, as the glorification of the "Land of the Filter" and the "Land of the Well", is also explaining why it is most of the time Horus and Seth who are performing the act of unification of these Two Lands. The Two Lands of the Pyramid were indeed separated by the Grand Gallery: the realm of Horus (the impactor), Seth (the pressurized air created and fought by Horus himself), and Thoth (the sledge runners on which was moving Horus).

"There are many depictions of the ritual unifications of the Two Lands. It is not known if this was perhaps a rite that would have been enacted at the beginning of a reign, or merely a symbolic representation. Many of the depictions of the unification show two gods binding the plants. Often the gods are Horus and Set, or on occasion Horus and Thoth".  https://en.wikipedia.org/wiki/Upper_and_Lower_Egypt

34.06  The Origin of the Heart symbol and its association with Love

We've already seen in previous Sections that the Sema Tawy symbol representing the unification of the Two Lands, was the origin of our own modern heart symbol; but now we can analyze it even better.

• the upper horizontal line of the Sema Tawy symbol could refer directly to the massive single block that is the upper platform

• Horus and Seth (representing the realm of the Grand Gallery) are probably indicating with their feet resting onto the heart symbol that not only the heart represented something which was right under their feet, meaning "below the Grand Gallery", but they also indicated that some pressure was applied to it.

Of course, what is below Horus and Seth, what is below the Grand Gallery is the inclined well.

In other words, the symbol which looks like a modern heart in the Sema Tawy representations, is the real origin of our modern heart symbol: it was not blood pressurized inside a human heart, but water pressurized inside the inclined well.

Not only, the inclined well functioned like a living beating heart but what really gave life to it was the endless pounding of the ramming impactor which would have looked like endless sexual intercourse; and this is why our modern heart symbol is also the symbol for love; it is literally about "making love".

"CardioRenal Syndrome: The Relationship of Heart & Kidney Health" thanks to aHUS Alliance. " Cardiorenal syndrome is a fairly recent term to describe the long-recognized group of medical characteristics (syndrome) which coexist between heart (cardio) and kidney function (renal). When either the kidneys or heart are not fulfilling their vital tasks, there can be a harmful and two-way interaction where decline in one of these major organs can seriously undermine function of the other." https://www.ahusallianceaction.org/cardiorenal-syndrome-the-relationship-of-heart-kidney-health/

Heart and kidneys logos: https://portneufmedicalgroup.org/codependent-relationship-between-kidneys-and-heart

34.07  Just like the heart is in a codependent relationship with the kidneys in a human body... the inclined well of the Great Pyramid is also in a codependent relationship with the sarcophagus biosand filter

The problem with egyptology, is that it has been entirely confiscated by historians and architects; when it should have been entrusted to scientists, low-tech engineers, biologists and doctors: if the heart and the kidneys are the only organs left inside the body during mummification, it is because both organs are completely interdependent to each over. The heart and the kidneys are in a codependent relationship.

​Because the inclined well was the source of the small amount of pressurized water, maybe about 200 liters every 15 to 20 minutes or so, which transformed itself into a fog of microdroplets to produce evaporative cold, that water had to be treated (More on the sarcophagus in Section 18):

• the water in the well had to be softened to minimize salt deposits

• the water in the well had to go through microbial stabilization to avoid microbial growth

"Fortunately, if you’re doing anything to lower your risk of heart disease, you’re also helping your kidneys remain healthy, too. […] “These organ systems are intertwined, so what’s good for the heart is good for the kidneys and vice versa” says Cleveland Clinic nephrologist and hypertension specialist Michael Lioudis, MD."

Excerpt from an article written in Cleveland Clinic, "The Close Link Between Your Heart Health and Kidney Health, What's good for one is good for the other" available at: https://health.clevelandclinic.org/the-close-link-between-your-heart-health-and-kidney-health/

"Simplistic representation of the Ancient Egyptian mummification process", by SimplisticReps: https://en.wikipedia.org/wiki/Mummy#/media/File:Mummification_simple.png

34.08  Heart and Kidneys were the only organs left in the body during the mummification process

It is common knowledge that the heart was systematically left inside the body during the mummification process performed by ancient Egyptians, but it is generally less known that kidneys were also often left in the body, with the heart. This association was not systematical though; and for some reason, the heart was sometimes left alone.

I sincerely am unable to understand why sometimes kidneys were left inside the body and why sometimes, they had been taken out; but what I am certain of is that when they were left inside the body, it certainly wasn't because the embalmers "couldn't get them out" or because they were "unaware" of their presence as it is suggested in so many articles.

To be honest, the vision We, "collectively" see ancient Egyptians is to me eyes, sadly tragic. But when We look at them like they were 4 year-old kids playing in the sand box, it actually is ourselves who are looking like 4 year-old kids playing with a cigarette butt.

Ancient Egyptians invented the 365 days year, the 24 hours day, medicine and we still don't have the slightest idea of how they managed to build their great pyramids and how they had moved their astonishing gigantic statues… and some people are still arguing if they were aware of the presence of the kidneys in the body. Are you kidding me?

In one article, the author is even suggesting that if some kidneys had been left inside the body, it was because they were unable to get them out; even if they obviously didn't have any problem getting the liver out, the biggest internal organ of the human body. Are you kidding me, really?

"The Egyptian “Book of the Dead” (1600-1240 B.C.), which served as a reference work to assist the deceased in the afterlife, is one of the first known texts that mentions the heart and kidneys in parallel:  "Homage to thee, O my heart! Homage to you, O my kidneys!". The heart and the kidneys were the only organs left inside the body during the process of mummification. The heart was weighed against the feather of truth by the jackal-headed Anubis (Figure 1), but the exact role of the kidneys for the passage into afterlife is uncertain. Blood vessels are well preserved in mummies, and there is evidence that cardiovascular disease affecting both the heart and the kidneys were not uncommon." Origins of Cardiorenal Syndrome and  the Cardiorenal Connection", by L. G. Bongartz, M. J. Cramer and J. A. Joles available at: https://www.researchgate.net/publication/221928884_Origins_of_Cardiorenal_Syndrome_and_the_Cardiorenal_Connection#pf2

"The ancient Egyptians practiced mummification for more than two thousand years, but they have left us no description of the surgical procedures undertaken during embalming. The closest we have are the few papyri that describe what happened to the mummy after the surgical procedures".

"The Rind Papyri, discovered in 1856 by Alexander Rhind, a Scottish Lawyer, describes many details of mummification (Birch 1863). The two Rind Papyri were discovered in an intact tomb of the Roman period. The first was prepared for Montu-Sehef, who lived in Mermothes and died at the age of 59 in 9 BC, during the first year of the reign of Emperor Augustus. Written in both hieratic and demotic, it provides interesting details of mummification. The papyrus specifies the exact dates on which various rituals of mummification take place. We learn that the mummy was bathed in the "Pool of Khonsu," the legs, arms, torso and back were at rest for thirty days in the "Place of Cleansing". The papyrus states that during the first thirty-six days of mummification, eight ceremonies were performed, followed by an additional nine days until the seventh day, when the mummy was finally placed in its tomb. Considering all the ceremonies described in the papyrus, it is surprising that there is no mention of the surgical procedures, the removal of the brain and evisceration, performed at the time of mummification."

"When they have gathered to treat the body after it has been slit open, one of them thrusts his hand through the opening in the corpse into the trunk and extracts everything but the kidneys and heart"

"We know from examination of mummies that Diodorus is correct about the incision being on the left side. The advantage is that there is better access to the descending colon from the left side. When Diodorus mentions that the heart and kidneys were left in situ, he is again correct, though sometimes the kidneys were removed. After Diodorus, the records about the surgical procedures in mummification are silent for two thousand years."

"As we have mentioned, there is no ancient text that details the removal of the internal organs at the time of mummification and there are many unanswered questions about this procedure. For example, we do not know the order in which the organs were removed, nor why sometimes the kidneys were left in place but in some mummies were removed. It is often assumed that because the ancient Egyptians practiced mummification, they were knowledgeable in anatomy, but this is not necessarily true. We must remember that embalmers worked through a small abdominal incision, unable to see the organs as they dissected them. This is literally like performing surgery in the dark. There is no definite word in Middle Egyptian for "kidney". It is possible that some embalmers were unaware that there were kidneys. Also, to anyone with even a rudimentary knowledge of anatomy, it seems strange that there were only four canopic jars; there are more internal organs. It has been pointed out that the hieroglyphic determinative of both internal and external organs are of animals, not humans. This suggests that ancient Egyptian physicians were more familiar with animal anatomy than human anatomy. As far as we know, the ancient Egyptians did not practice dissection until the Ptolemaic times and this certainly supports the theory that the ancient Egyptians were not so skilled in anatomy as their patients would have liked. To answer some of the questions left for us by the ancient embalmers, we attempted to replicate the procedures used."

"Our experimental removal of the internal organs establishes at least a reasonable order in which the organs could have been removed. An observation relevant to the ancient embalmers' knowledge of anatomy is worth noting. Some organs, such as the kidneys hidden behind the peritoneum, could indeed have been unnoticed or easily overlooked by the embalmers."

Excerpts (slightly edited) from "Surgical Procedures during Ancient Egyptian Mummification", presented in March 1999 by Bob Brier* and Ronald S. Wade**; available at:  https://www.scielo.cl/scielo.php?script=sci_arttext&pid=S0717-73562001000100021

*Long Island University, Philosophy Department, Greenvale, NY. **University of Maryland, School of Medicine, Baltimore, MD, U.S.A.

"Quartzite Sarcophagus of Tutankhamun", by the Editors of the Madain Project: https://madainproject.com/quartzite_sarcophagus_of_tutankhamun

"Cast iron bathtub with porcelain interiors on "claw foot" pedestals, 19th century": https://en.wikipedia.org/wiki/Bathtub#/media/File:Clawfoot_bathtub.jpg

34.09  Are you kidding me? Really, no bathtub for natron solution mummification has ever been discovered?

The Queen Hetepheres, the mother of King Khufu, from the fourth Dynasty; her organs were actually preserved in a natron solution. It is also believed that the burial of Queen Meresahkh, also from the fourth Dynasty, her body was left in a natron solution for approximately 200 days as preparation for mummification. The embalming process usually took seventy days.  There was some delay between the time of her death and her burial. But to submerge a body into a natron solution, the large container would have to be larger than a bathtub, and these containers have not been found as of yet".  http://myweb.usf.edu/~liottan/prepofthemummy.html

Ancient Egyptian representations of the biosand filter of the Great Pyramid (Irynefer drinking potable water directly from the ground, because sand is nothing less than earth), and the inclined well. More on Irynefer and the biosand filter in Section 26.22

Photograph from the tomb of Irynefer, thanks to kairoinfo4u: https://www.flickr.com/photos/manna4u/11433332256/in/photostream/

Detail of an image from the ARCE, American Research Center in Egypt in partnership with the American University in Cairo Egyptology Department. KV 11: Rameses III, Side chamber Cc, rear wall. Valley of the Kings, East Valley, West Bank, Luxor. Image #21076 by Matjaz Kacicnik, taken on December 2005 : https://thebanmappingproject.com/images/21076jpg

34.10  The real meaning of the Heart and Kidneys left inside mummified bodies

Of course, when ancient Egyptians did left both the kidneys and the heart of the deceased, inside the body during the mummification process, it was not to demonstrate that they knew about the filtering function of the kidneys and the fact they also had a codependent relationship with the heart; their real goal was to compare the heart and kidneys of the deceased with the heart (the inclined well which functioned like a living pulsating heart), and the filtration unit of the Great Pyramid (the biosand filter sarcophagus in its original position).

There actually could have been two real meanings for the heart and kidneys to be left in the body, and both would ensure that the  mummification process was successful:

• the deceased could have wanted to compare himself to the power and efficiency of the inclined well: "I am worth it! My Heart is as good and as powerful as the Heart of the Great Pyramid"

• or the deceased could have wanted to draw all the necessary energy required for the mummification process, directly from the Great Pyramid itself: "May the Heart of the Great Pyramid give me all its power and efficiency!"

 "Canopic jars and lids" at the Brooklyn Museum."Canopic jars first appeared in the tomb of Hetepheres, the mother of Khufu, builder of the Great Pyramid." https://www.brooklynmuseum.org/opencollection/objects/4109

The Grand Gallery's orientation North-South in the Great Pyramid of Giza, : https://commons.wikimedia.org/wiki/File:The_Secret_Teaching_of_All_Ages_-_Chapter_6_-_Pyramid.jpg

34.11  Canopic jars first appeared in the tomb of Khufu's mother… of course because of the Great Pyramid

If the heart and potentially the kidneys were left in the body for mummification, only four of the other organs were saved and stored into four so-called "canopic jars" which were supposed to protect the lungs, the stomach, the intestines and the liver.

It is common knowledge that these jars were intended to hold the separately mummified internal organs of the deceased, but it is rarely mentioned that these jars only first appeared in the tomb of Hetepheres, the mother of pharaoh Khufu, the builder of the Great Pyramid.

What we are gonna discover now explain why it was the Great Pyramid which triggered the wonderful story hiding within the canopic jars.

"Canopic jars first appeared in the tomb of Hetepheres, the mother of Khufu, builder of the Great Pyramid. They were intended to hold the separately mummified internal organs. The middle-class examples of canopic jars, which first appeared seven hundred years later, are often dummies like these, never hollowed out to hold the organs, but still included in the tomb. Canopic jars demonstrate the development of a custom at a royal cemetery that was then adopted in a cheaper form by the middle class."  https://www.brooklynmuseum.org/opencollection/objects/4109

"A Complete Set of Canopic Jars" at the Walters Art Museum", 900-800 BCE (Third Intermediate Period), limestone with paint. "This set of canopic jars was made to contain the internal organs removed from the body during the mummification process. The four sons of the god Horus were believed to protect these organs. The jackal-headed Duamutef protected the stomach; the falcon-headed Qebehsenuef, the intestines; the baboon-headed Hapi, the lungs; and human-headed Imsety, the liver."  https://art.thewalters.org/detail/77403/a-complete-set-of-canopic-jars/

34.12  The so-called "canopic jars"

"Canopic jars are containers that were used by the ancient Egyptians during the mummification process, to store and preserve the viscera of their owner for the afterlife. They were commonly either carved from limestone, or were made of pottery. These jars were used by the ancient Egyptians from the time of the Old Kingdom, until the time of the Late Period or the Ptolemaic Period, by which time the viscera were simply wrapped and placed with the body. The viscera were not kept in a single canopic jar: each jar was reserved for specific organs. The term canopic reflects the mistaken association by early Egyptologists with the Greek legend of Canopus – the boat captain of Menelaus on the voyage to Troy – "who was buried at Canopus in the Delta where he was worshipped in the form of a jar". In alternative versions, the name derives from the location Canopus (now Abukir) in the western Nile Delta near Alexandria, where human-headed jars were worshipped as personifications of the god Osiris."

"Canopic jars of the Old Kingdom were rarely inscribed and had a plain lid. In the Middle Kingdom inscriptions became more usual, and the lids were often in the form of human heads. By the Nineteenth Dynasty each of the four lids depicted one of the four sons of Horus, as guardians of the organs." 

"Many Old Kingdom canopic jars were found empty and damaged, even in undisturbed tombs. Therefore it seems that they were never used as containers. Instead, it seems that they were part of burial rituals and were placed after these rituals, empty."

"By the late Eighteenth Dynasty canopic jars had come to feature the four sons of Horus. Many sets of jars survive from this period, in alabaster, aragonite, calcareous stone, and blue or green glazed porcelain. The sons of Horus were also the gods of the cardinal compass points. Each god was responsible for protecting a particular organ and was himself protected by a companion goddess. They were:

• Hapi, the baboon-headed god representing the North, whose jar contained the lungs and was protected by the goddess Nephthys. Hapi is often used interchangeably with the Nile god Hapi, though they are actually different gods.

• Duamutef, the jackal-headed god representing the East, whose jar contained the stomach and was protected by the goddess Neith

• Imsety, the human-headed god representing the South, whose jar contained the liver and was protected by the goddess Isis

• Qebehsenuef, the falcon-headed god representing the West, whose jar contained the intestines and was protected by the goddess Serqet."

"Early canopic jars were placed inside a canopic chest and buried in tombs together with the sarcophagus of the dead. Later, they were sometimes arranged in rows beneath the bier, or at the four corners of the chamber. After the early periods there were usually inscriptions on the outsides of the jars, sometimes quite long and complex"

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

Image of the ancient Egyptian god of the Dead, Anubis "performing" the mummification process, showing the four canopic vases of Qebehsenuef (containing the intestines), Hapy (containing the lungs), Duamutef (containing the stomach) and Imsety (containing the liver), by André from Amsterdam:   https://commons.wikimedia.org/wiki/File:WLANL_-_andrevanb_-_kist_uit_de_27-_31e_dynastie_(4).jpg

34.13  The long mummification process has been associated with the impactor's long and perilous trip

The whole point of the scene representing Anubis and the "lion-bed" on the above image is for the deceased who is lying on the bed, to mimic the "endless trip" of the impactor of the Great Pyramid. Here, Anubis is actually represented twice: the black headed jackal and the lion-headed bed are both representations of Anubis; they are both representations of the impactor's sledge (previous Sections 32 and 33).

In other words, the scene is about putting the sledge into motion: it is about the deceased to engage himself into the same endless but perilous trip of the impactor's.

34.14  The canopic jars are all about the "endless and perilous trip" of the impactor of the Great Pyramid

In short, the academic vision of the canopic jars is that they are here to protect the organs, and that the Four Sons of Horus represented onto the jars are responsible for protecting these organs.

Will see that this academic interpretation of the Four Sons of Horus "protecting" the organs, is not only incorrect but really the exact opposite of their real meaning.

To understand these canopic jars, the question of where they were placed is crucial: they were to be set under the bed of the deceased; a bed which we know now being the representation of the sledge which supported the impactor of the Great Pyramid (Section 32 and 33).

If the four canopic jars are directly associated to that sledge, it is because they are all directly referring to the endless operating cycle of the impactor. The canopic jars are about the endless and hazardous "trip" of the impactor, from its high speed dive in the Grand Gallery to the tremendous ramming impact with the inclined well waters.

34.15  The hazardous operating cycle "trip" of the impactor threatens the travelers' health: action must be taken

Even today, before going on a trip, travelers first have to prepare themselves against all the little health troubles they are gonna face during that trip; and that is the exact meaning of the canopic jars: the deceased is going on a very long trip towards immortality, a trip which is supposed to mimic the "endless trip" of the impactor of the Great Pyramid, and the organs inside the jars would have to be protected from all the health troubles they will have to face during the trip.

Will see that the Four Sons of Horus were not protecting the content of the jars, but that they were precisely representing these "health risks" that the deceased will have to face during the trip.

If some organs had been removed from the body and put into the canopic vases, it is because they needed to be protected from the dangers of the trip:

• the lungs needed to be protected from water entering respiratory tracts, that could cause pulmonary aspiration and drowning

• the stomach needed to be protected from seasickness

• the intestines needed to be "peaceful" and protected from the traveler's diarrhea

• the liver needed to be protected against over eating while "stuck in bed", and inactive

"Upper respiratory tract (pharynx and larynx) and lower respiratory tract (trachea, bronchi, and lung)", by Lord Akryl, Jmarchn: https://en.wikipedia.org/wiki/Pulmonary_aspiration#/media/File:Illu_conducting_passages.svg

"Clepsydra or water clock with squatting baboon", at the MET: https://www.metmuseum.org/art/collection/search/549190

34.16  1st traveler's health tip for the great trip through the operating cycle of the impactor: protecting the lungs from the water of Hapy, to avoid pulmonary aspiration and drowning

The baboon-headed Son of Horus Hapy was represented onto the cap of the canopic jars protecting the lungs, and he is also probably the easiest one to decipher.

We've already seen that the baboon has been one way for ancient Egyptians to metaphorically represent the water they used in their technological program, as shown on so many water clocks and the "peeing" baboon in one of the weighing of the heart scene (Section 20: https://www.milleetunetasses.com/blog/the-pyramids-of-the-cold/the-weighing-of-the-heart.html)

So, if this particular canopic jar associated with a baboon is about the idea of protecting the lungs, and at the same time we know the baboon is all about water… it doesn't take a masters degree in physiology to understand that the real function of this jar is about protecting the lungs from some water trying to get into these lungs.

The baboon-headed Son of Horus Hapy is not here to protect the lungs in the jar: he is the danger; he is the risk from which the lungs need to be protected from.

And indeed, the endless cycle of operation of the impactor involved water both during its high-speed dive in the Grand Gallery (Hapy "the Great Runner" who was the glorification of  the water used to lubricate the sledge runners into their tracks, previous Section 33), as well as the waters of the inclined well itself (the primordial waters Nun who became pressurized water Apep from the impact).

In short, the "peeing" baboon-headed Son of Horus Hapy represented onto the canopic jar protecting the lungs, is representing the water which is susceptible to enter respiratory tracts and cause pulmonary aspiration and drowning.

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

34.17  Gods used as simple basic tools

We've already seen with the magnifying glass represented in a relief of the Dendera temple, that the Eye of Horus had been used only because it was an eye: the Eye of Horus, the Eye of Ra or the Eye of anybody would have done the trick the same way; they simply needed an eye, and they used what they've already created.

Same thing here: they simply needed to represent water, so they used the baboon-headed Son of Horus Hapy, as a simple tool; like we would use yellow paint to represent the sun or blue paint to represent the sky.

Anyway, with this deciphering "health risks of the traveler" template regarding this particular canopic jar, we can now find out the real meaning of the three other canopic jars.

SIBO Doctors (Small Intestinal Bacterial Overgrowth): http://www.sibodoctors.ca/blog/2016/9/15/sibo-travelers-diarrhea

34.18  2nd traveler's health tip for the great trip through the operating cycle of the impactor: don't drink unfiltered water for a peaceful intestine, protected from irritable bowel syndrome and traveler's diarrhea of Qebehsenuef

The metaphor here is about the "high-speed" dive of the falcon Son of Horus Qebehsenuef, and I will not even try to explain that metaphor; we've all been through diarrhea at home or abroad, we all know how it feels.

The message is still about water, but here it is clearly about "unfiltered" water: "do not drink unfiltered water if you want peaceful intestines!"

"Avoid drinking the tap water in developing countries. The tap water in developing countries in Central and South America, the Middle East, Africa, and Asia may be contaminated with bacteria, parasites, and viruses. These can all cause traveler’s diarrhea (TD). When visiting these areas, only drink sealed, bottled beverages like bottled water, tea, soda, beer, wine, juice, and coffee."

How to Prevent Traveler's Diarrhea: https://www.wikihow.health/Prevent-Traveler%27s-Diarrhea

Giant size replicas of Ancient Egyptian god Anubis statues at Universal Studios, Singapore.

"How to Prevent Seasickness", on wikiHow: https://www.wikihow.health/Prevent-Seasickness#/Image:Prevent-Seasickness-Step-14.jpg

34.19  3rd traveler's health tip for the great trip through the operating cycle of the impactor: a peaceful stomach protected from the Duamutef motion sickness and seasickness

With the  jackal-headed Son of Horus Duamutef represented on the canopic jar protecting the stomach, the metaphor used by ancient Egyptians is the "lifted in the air" stomach that causes nausea and vomiting.

By being protected into the jar from what represents the jackal, as the giant statues of Anubis are clearly demonstrating on the above image, the traveler guarantied himself a peaceful stomach, protected from motion sickness or seasickness.

"How to Cleanse the Liver": https://www.wikihow.com/Cleanse-the-Liver#/Image:Cleanse-the-Liver-Step-7-Version-3.jpg

Anatomy of the abdomen in a human body: https://en.wikipedia.org/wiki/Liver#/media/File:Anatomy_Abdomen_Tiesworks.jpg

34.20  4th traveler's health tip for the great trip through the operating cycle of the impactor: a peaceful liver protected from bad eating habits caused by your best friend Imsety

The fourth canopic jar representing the human-face Son of Horus Imsety, is for the protection of the liver and very interestingly, the liver is also a filtering organ.

To this day, I would say Imsety is not just anybody, but probably the representation of the "best friend", the one friend with whom you are susceptible to drink too much and eat too much. By doing so, you would damage your liver, and of course you need to be protected from him as well

"The liver is the second largest organ in the human body and one of the most important, because it's responsible for filtering harmful toxins out of the bloodstream."  "How to Cleanse the Liver": https://www.wikihow.com/Cleanse-the-Liver

"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 Thoth, who is portrayed at the right." Thanks to Kairoinfo4U : https://www.flickr.com/photos/manna4u/9295311496

34.21  Is the Egyptian blue the glorification of natron itself?

For those who've already read the previous Sections of the study, you know that my big concern now is to know if the creation of the cold was a "simple" scientific demonstration or if it was created to cool down chemical manufacturing of sodium carbonate "natron" by a Solvay-like process; except for the representation of a Djed pillar receiving the Dendera Light, suggesting the cold would have been used for a Solvay tower, I found nothing else that would confirm this Solvay hypothesis.

But I just found out that the famous blue color, the "Egyptian blue" as we call it, was actually made with natron; so it is possible that the proof of the Solvay process is right under our own very eyes, and it is literally everywhere. It is possible that Ancient Egyptians didn't try to hide the Solvay process, but that they were actually showing it everywhere: the Egyptian blue could be the glorification of the Solvay process I was looking for!

"Egyptian blue, also known as calcium copper silicate (CaCuSi4O10 or CaOCuO(SiO2)4 (calcium copper tetrasilicate)) or cuprorivaite, is a pigment that was used in ancient Egypt for thousands of years. It is considered to be the first synthetic pigment."  https://en.wikipedia.org/wiki/Egyptian_blue

"Natron is an ingredient for making a distinct color called Egyptian blue, and also as the flux in Egyptian faience. It was used along with sand and lime in ceramic and glass-making by the Romans and others at least until AD 640. The mineral was also employed as a flux to solder precious metals together."  https://en.wikipedia.org/wiki/Natron

"This engraving shows Dutch mathematician and physicist Jean Henri van Swinden (1746–1823) demonstrating the generation of electricity to the Felix Meritis Society in Amsterdam. The Felix Meritis Society was founded in the late 18th century to promote the arts and sciences (Felix Meritis translates as "Happiness through Merit")". Barbiers, Pieter Pietersz., and Jacques Kuyper. Laid paper, 1800–1899. Science History Institute, Philadelphia U.S.A.:  https://digital.sciencehistory.org/works/zg64tm573

34.22  The profound demonstrating meaning of the scene representing god of Science Thoth in front of all the other gods

I've used this image many times, but what I want to point out here, is how good is the analogy between this perfect illustration of demonstrating science in the 1800s, compared to the illustration of Thoth in the Dendera "temple"; they are not just similar, they are exactly the same: Thoth is demonstrating his knowledge in science through the magnifying glass, and towards all the other gods assembled in front of him, just like Dutch mathematician and physicist Jean Henri van Swinden is demonstrating the generation of electricity to the Felix Meritis Society in Amsterdam.

"An imaginative 17th-century depiction of the Emerald Tablet from the work of Heinrich Khunrath (1560-1605)" : https://en.wikipedia.org/wiki/Emerald_Tablet

34.23  The "technical" and "religio-philosophical" Hermetica (inspired by ancient Egyptian god of science Thoth)

Maybe the most basic characteristic of this study, and which appeared little by little, month after month since January 2021, is the fact that the deciphering of the ancient Egyptian civilization only occurs if you engage yourself in a dual composite representation:

• a technical approach of what really happened in the first pyramids and mastabas of the first Dynasties, until the Great Pyramid was built

• a religious approach in which all the technical approach has been "encoded" into myths, gods and goddesses

This double approach is also the chore of the Hermetica; texts which are originating as far as ancient Egypt, and refer in particular to the ancient Egyptian god of science, Thoth:

"The Hermetica are texts attributed to the legendary Hellenistic figure Hermes Trismegistus, a syncretic combination of the Greek god Hermes and the Egyptian god Thoth. These texts may vary widely in content and purpose, but are usually subdivided into two main categories, the "technical" and "religio-philosophical" Hermetica. [...] It may even be the case that the great bulk of the early Greek Hermetica were written by Hellenizing members of the Egyptian priestly class, whose intellectual activity was centred in the environment of Egyptian temples."  https://en.wikipedia.org/wiki/Hermetica

The cavity of Al-Ma'mun only served the purpose of collecting the inclined well waters for the shutdown procedure of the pyramid. The draining of the well was triggered by the breaking of the wedging block (represented in the Bes deity) that was supporting what is now known as the upper granite plug of the ascending passage, and that was represented in the Taweret hippopotamus deity.

Photograph of the cavity of Al-Ma'mun : "Great Pyramid Passages, Volume 1, by John and Morton Edgar, 1910" : Plate LXIV, page 166 : https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n174/mode/1up

34.24  The draining of the inclined well into the al-Ma'mun cavity

If the Hermetica texts are very "obscure", the above illustration made by Heinrich Khunrath in the 17th century is a lot more interesting, because believe it or not, as crazy as it looks like, the guy more than 400 years ago depicted the entire sequence of the operation of the inclined well, starting with the biosand filter "sarcophagus" to the draining of the well into the Al-Ma'mun cavity. How about that!

It is actually weird, because it all starts at the extreme right side of the picture, and then "chronologically", the operating cycle is described little by little, by simply going towards the center of the image where is the mountain, which by the way is getting very close to look like a pyramid.

• at the extreme right is the representation of the biosand filter, in its dedicated little "grotto" (the "electric room").

• then is the representation of the Grand Gallery with its hauling slope and the hauling horse (in 17th century Germany, horses were most probably better illustrations of hauling animals than the ancient Egyptian cows).

• then is the representation of what triggered the draining of the well with these 2 big and one small rocks inside the water flow. The upper big rock is of course Taweret, released from its original position when the wedging block broke under increased pressure (they most probably simply flooded the central wooden caisson to increase the water height, hence the pressure onto Taweret); of course the little rock in between the two big rocks, is the upper part of the broken Bes wedging block; and finally we have the second big rock, the "shock absorber" block deified into "the Savior" by ancient Egyptians: look how "proud" it looks like, waiting to do its job, standing in front of the two other ones.

And to show that the little block was initially supposed to be a fixed wedging block, it has even been set onto a little flat area within the river.

• finally, we have the draining of the well itself, in a perfect representation of the Al-Ma'mun cavity and its distinguishable shape of a funnel.

More on the draining of the well in Section 8

34.25  The operating cycle of the Great Pyramid of Egypt, for evaporative cold production and (hypothetically) for cooling down chemical manufacturing of sodium carbonate "natron" by a Solvay-like process.

34.26  Did Heinrich Khunrath really knew he was depicting the operation of the Great Pyramid?

The problem now is very simple: did Heinrich Khunrath in the 17th century, really knew what he was depicting; did he understood that it was all about the operation of the Great Pyramid or did he simply reproduced something which was circulating in the 17th century?

Today, millions or billions of people are playing with the heart symbol all over the world without the slightest clue that they are actually referring to the mighty inclined well of the Great Pyramid; is it possible that Heinrich Khunrath did the same thing? Would he have implement so many details of the Pyramid if he didn't know their real significance? I have no idea.

We've already seen how much influence the Great Pyramid had on the Norse mythology (Thor, Section 22), the Hindu mythology (The Churning of the Ocean, Section 19) and the Maori Haka ceremonial dance (Bes, Section 7); so there is nothing surprising in finding influence in Europe as well.

34.27  The original position of the granite plug number 2 "shock absorber" block for Taweret's immobilization

Also, if it is true that the third big block, which is granite plug number one in the Operating Diagram of the Great Pyramid, isn't represented in the water with the three other blocks, if you look at the bank of the "river", you will see it: the three granite plugs of the inclined well are right there; because don't forget that this particular block never touched the water… ever!

Why would anyone have represented this block directly into the water of the river if it never touched the waters of the well?

But, if you look just at this part of the illustration, the bank of the river with the three kind of "rectangular shades" into it, and the slope of this bank, doesn't it looks exactly like my diagram?

And here is maybe the most amazing part of this Section: because of this illustration of the bank of the river, we know now the exact position in which was set granite plug number 2 "the Savior" shock absorber block, in the ascending passage and during the entire operation of the Great Pyramid. How about that!

"The lower butt-end of the granite plug which blocks the entrance of the First Ascending Passage of the Great Pyramid of Gizeh ; showing the space in the roof of the Descending Passage which was formerly occupied by an inset limestone block, which covered the Granite Plug and hid the entrance of the First Ascending Passage, and thus for three thousand years kept secret the existence of the upper passages and chambers of the Pyramid."

Great Pyramid Passages Vol 1 1910 edition, by John and Morton Edgar. Plate LXVIII page 172: https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n180/mode/1up

Plate LXIX, page 173; full image at: https://en.wikipedia.org/wiki/Great_Pyramid_of_Giza#/media/File:49_edgar.jpg

34.28  Granite plug number 1 was "half in the passage and half out of the passage", so its representation in the Emerald tablet is "half in the picture and half out of the picture" as well

One can think that this illustration of the Hermetica, called the Emerald tablet is a very naïve representation but it really is not. Everything has been perfectly thought through, just like ancient Egyptians when they've created their own glorification propaganda.

The lower "shadow" that looks like a rock encrusted inside the bank of the river is a perfect example of this: one can think it is half out of the picture by accident, but it really is not; and because again, this block is the lower granite plug of the ascending passage. Not only there is only the "shade" of this granite plug number 1 block into the bank of the river because this block never touched the waters of the well, but this block also had one part inside the "passage" and the other part outside the "passage", visible from the descending passage as we can see on the picture of the Edgar brothers.

34.29  The Emerald tablet text really is about an endless cycle of slow ascent and hasty descent

The fact that this illustration of the Emerald tablet is describing the operation of the Great Pyramid brings another question now: is the text accompanying the tablet also about the Pyramid?

And the answer is yes: the text really is about the endless cycle of ascending "gently in the heavens" and "descending hastily" from these same heavens. I only found this "hastily descent" in a French translation of the texts; but in the illustration, there really is the representation of a bird engaged in a high speed dive, just like the falcon god Horus would do as the impactor.

"Truth! Certainty! That in which there is no doubt! That which is above is from that which is below, and that which is below is from that which is above, working the miracles of one [thing]. As all things were from One. Its father is the Sun and its mother the Moon. The Earth carried it in her belly, and the Wind nourished it in her belly, as Earth which shall become Fire. Feed the Earth from that which is subtle, with the greatest power. It ascends from the earth to the heaven and becomes ruler over that which is above and that which is below."

"The father thereof is the Sun, the mother the Moon. The wind carried it in its womb, the earth is the nurse thereof.

It is the father of all works of wonder throughout the whole world. The power thereof is perfect. If it be cast on to earth, it will separate the element of earth from that of fire, the subtle from the gross. With great sagacity it doth ascend gently from earth to heaven. Again it doth descend to earth, and uniteth in itself the force from things superior and things inferior. Thus thou wilt possess the glory of the brightness of the whole world, and all obscurity will fly far from thee. This thing is the strong fortitude of all strength, for it overcometh every subtle thing and doth penetrate every solid substance".  https://en.wikipedia.org/wiki/Emerald_Tablet

"Le soleil en est le père, la lune est sa mère, le vent l’a porté dans son ventre ; la Terre est sa nourrice. Le père de tout le telesme de tout le monde est ici. Sa force ou puissance est entière, si elle est convertie en terre. Tu sépareras la terre du feu, le subtil de l’épais doucement, avec grande industrie. Il monte de la terre au ciel, et derechef il descend en terre" https://fr.wikipedia.org/wiki/Table_d%27%C3%A9meraude

In this French version of the "la table d'émeraude", "derechef" means "quickly, hastily".

Original 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

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

If I'm mentioning the "forgotten" girdle stones, it is only because after having perfectly described these "forgotten" girdles, the Edgar brothers decided not to include them in their interpretation of the Great Pyramid's deciphering, simply because by being all "in contact with one another".

The Edgar brothers were only interested in finding distances between blocks in order to associate these distances to some historical events related to the Bible; and for that reason, all the lower girdles were of no use for them. Instead they used the three upper (half) girdles, and since everybody did the same thing, sometimes including the first of these forgotten girdles as there is a measurable distance between G3 and G4.

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

More on the structural specifications of the ascending passage, revealing that the passage was (partially) flooded, in Section 4

34.31  The original positions of the 3 granite plugs of the ascending passage of the Great Pyramid

Last updated, April 14, 2023. Granite plug number 2 "shock absorber" block for the immobilization of the Taweret block after its release, has been slightly moved up in the passage in accordance with the Emerald tablet representation.

On this incredible picture, the wedging block is actually represented twice : not only we have the original design of the real block, but we have also its metaphorical representation in the god Bes. Image courtesy of Dosseman, from Two Bes-shaped legs for a bed, wood, New Kingdom :   https://commons.wikimedia.org/wiki/File:Allard_Pierson_Museum_Bes_Legs_for_bed_7603.jpg

Hatshepsut’s birth scene, from Édouard Naville "The Temple of Deir el Bahari" (London, 1896), volume. 2, plate. 50. Image courtesy of the University Library Heidelberg, "The Ebony shrine, northern half of the middle platform": https://digi.ub.uni-heidelberg.de/diglit/naville1896bd2/0050

More on the Bes wedging block which was anchored in the floor of the ascending passage and maintained the Taweret block in position during the entire operating of the Great Pyramid, in Section 7

34.32  Summary of the study: hidden behind the academic vision of the ancient Egyptian religion, a vast number of metaphors are describing some of the most advanced science and technological knowledge of that time : ancient Egyptian gods were nothing else than pharaohs' metaphoric self-glorifications of their theoretical and experimental scientific accomplishments in physics and chemistry.

Pharaohs used the power of Science to legitimate themselves as kings of Egypt : they forged an entire religion, based on science to rule their kingdom, and they presented that science as Magic.

The end game of this technological program that probably started on the very first Dynasty, was the Great Pyramid of Giza where evaporative cooling was engineered in the known part of the pyramid from the pressurized water produced in the inclined well, known today as the ascending passage.

The evaporative cold simply took advantage of the power of water, and was most probably necessary to cool down chemical manufacturing of sodium carbonate and sodium bicarbonate produced by an ammonia-soda Solvay process, as suggested by the very strong ammonia smell and the limestone kiln in the so-called burial chamber of the Red Pyramid. At that time, sodium carbonate was called natron, and it was the salt used for the mummification of the pharaohs (Sections 14, 15 and 16).

The cooling seems to have represented the most difficult part of the process, as suggested by the Step Pyramid's official name : according to scholars, the very first pyramid complex, the Step Pyramid of Djoser, was called "the refreshment of the Gods". No doubt that a more accurate translation would certainly be "the cooling of the Gods".

It means that ancient Egyptians were the first civilization to master a Solvay-like process for sodium carbonate manufacturing, long before it got reinvented in the 1800's in Europe. The key elements of that process is the temperature control of the chemical reactions (the cooling), and the dome shaped plate necessary for the counterflow chemical reactions to occur in an efficient way. That counterflow reaction plate is what really is the disc of Sabu.

As shown with Akhenaten and Nefertiti, the creation of the evaporative cold was the most sacred accomplishment of all (Section 17), and this is exactly what the Dendera Light is all about : the Dendera Light is the fog of microdroplets of liquid water that evaporates and creates the cold. Talking 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, Section 2).

Everything that had been done in the Great Pyramid of Giza inspired most of the ancient Egyptian religion, and it had been glorified into what we know today as the Underworld.

The Underworld is referring to the chambers and passages of the Great Pyramid of Khufu, and in particular to the Grand Gallery where a hauling gantry beetle operated a wooden coffin shaped impactor that had a small nested granite block inside it. The impactor generated endlessly, over and over, maybe every 15 minutes the pressurized water that was then transformed into a fog of microdroplets inside the horizontal cooling passage.

The Grand Gallery of the Great Pyramid where the act of hauling was done, is the "Secret Hauling Cavern of the Underworld" described in the Amduat "Book of the Hidden Chamber".

The most important chamber of the Great Pyramid wasn't the King's chamber that only was the main water tank of the pyramid, but the Queen's chamber, the only one on the central axis of the pyramid. Because the Queen's chamber was inaccessible from the rest of the pyramid, it was glorified into the "Hidden Chamber of the Underworld" (Section 11), and because the Queen's chamber was the coolest place in the pyramid (about 5°C / 41°F), and with a constant 100% Humidity rate, this chamber was the one where the biggest amount of very hard salt encrustation had been documented by the first explorers of the pyramid in the 1800's and before it had been removed in 1998 by Zahi Hawass (Section 1). Very hard salt encrustation is the signature of the evaporative cooling process, even nowadays.

The most incredible thing is that pretty much everything I've just said, actually appears in many myths, and they don't even originate from ancient Egypt : the "Churning of the Ocean" Hindu myth that produces the immortal nectar Amrita, the Tibetan Prayer Wheels operated to give small amounts of 'merit' to too lazy Naga snakes, and the entire Norse mythology with Thor's magical hammer endlessly fighting another Great Serpent of the Underworld and producing a mist of cold from a mysterious well that would be opposed to hellishly hot heat waves.

I'm talking a lot about the impactor of the Great Pyramid, but it is nothing compared to the tremendous impact caused by what the ancient Egyptians had accomplished within the 78 years of the Great Pyramids Era, from Djoser to the Great Pyramid: the entire ancient World had been shaken up in their deepest beliefs beyond all comprehension; and we are still talking about it today.

Photograph of the cavity of Al-Ma'mun : "Great Pyramid Passages, Volume 1, by John and Morton Edgar, 1910" : Plate LXIV, page 166 : https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n174/mode/1up

34.33  The funnel cavity inside the Al-Ma'mun cavity

The granite block fully appearing on the above picture, is Taweret: the former sealing block of the inclined well, which has been released by the Bes wedging block and stopped by the second granite block partially appearing on the photograph; that block is the shock absorber "the Savior" block.

The Pyramids of the Cold

Back to the Table of Contents

"Thoth, God of Writing and Knowledge, as a Baboon" at the MFAH Museum of Fine Arts, Houston: https://emuseum.mfah.org/objects/48125/thoth-god-of-writing-and-knowledge-as-a-baboon#

"Sarcophage d'ibis aux ailes repliées représentant le dieu Thot. Le corps est en bois de houx doré à la feuille. Les pattes gravées en décor de "nid d'abeille" et le long bec recourbé sont un alliage d'argent et de cuivre, les yeux sont incrustés d'un verre grenat cerclé d'or". Musée d'archéologie méditerranéenne de la Vieille Charité à Marseille:  https://fr.m.wikipedia.org/wiki/Fichier:Sarcophage_Ibis_-_Mus%C3%A9e_vieille_charit%C3%A9.jpg

33.01  Why the hell is Thoth associated with both the baboon and the ibis bird?

Thoth is indeed a very peculiar deity, because he can be represented into not one but two different animals: the baboon and the ibis bird. To my knowledge, this is unique among ancient Egyptian deities, and I'm surprised that egyptologists don't seem to be alarmed or at least concerned of that fact: they simply refer to this "curiosity" as if it was all but natural.

But of course, it can't be; how could one single god be represented either in a baboon form or in an ibis form?

The truth is that it isn't possible, and the reason is because Thoth is not just about one "thing": Thoth is about two different things which were supposed to be associated one with each other.

We'll see in this Section that Thoth is the deification of not just the sledge runners of the impactor of the Great Pyramid, but the deification of the "global operation" of the sledge runners: Thoth is the glorification of both the sledge runners and the water without which the runners wouldn't be able to function in the first place.

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

"Water Clock Decorated with a Baboon" at the Metropolitan Museum of Art, New-York: https://www.metmuseum.org/art/collection/search/572126

"Clepsydra or water clock with squatting baboon", also at the MET: https://www.metmuseum.org/art/collection/search/549190

33.02  "Baboon" Thoth and the water clocks are all about water

We've already seen in previous Sections that the baboon representations were all about water; and that it is explaining why so many baboon figures are in a bright and vivid blue color and why baboons are represented in so many water clocks, in which the water was supposed to slowly drip from the baboon's penis.

Baboon = Water. There is nothing new here.

But Thoth isn't just any baboon: Thoth is the Baboon god, and he isn't any kind of water, because he was directly associated with Ra. It means that Thoth is about water related to the operation of the impactor Ra.

What is important about Ra, is that he is all about the wooden part of the impactor; Ra is about the "vessel" in which is nestled the Osiris stone; so Thoth isn't about the power of the impactor, but about how it moved in the Gallery, like a "solar boat".

"Thoth could be shown as a “beautiful” baboon or as an ibis or an ibis-headed man. Ra was said to have created the baboon form of Thoth to shine in the night sky and the ibis form to act as a messenger between earth and heaven." https://egypt-museum.com/statue-of-thoth-with-priest/

Figurine of Thoth in his baboon form, E 17496 at the Louvre Museum, Paris: https://collections.louvre.fr/en/ark:/53355/cl010006219

Full moon reflecting on water at night, from GPA Photo Archive: https://www.flickr.com/photos/iip-photo-archive/52288510241/in/photostream/

33.03  Baboon Thoth and the reflecting shining moon metaphor

We'll assemble all the pieces that allow us to understand Thoth, farther down this Section, but first let's stay with this same above excerpt, and focus ourselves on the rest of the text.

"Thoth could be shown as a “beautiful” baboon or as an ibis or an ibis-headed man. Ra was said to have created the baboon form of Thoth to shine in the night sky and the ibis form to act as a messenger between earth and heaven." https://egypt-museum.com/statue-of-thoth-with-priest/

I really hope you're not tired of reading about the metaphors that ancient Egyptians used in their glorification of their own scientific accomplishments, and try to understand them, because there are many more to come… and it starts right now with the "reflecting moon" metaphor.

Even if it is known that "Ra was said to have created the baboon form of Thoth to shine in the night sky"; it doesn't imply that Thoth is the moon itself: we've already seen that the baboons were representations of water, and not directly about the moon.

So here, the "shine in the night sky" metaphor about the "moon" god Thoth, is all about how water is reflecting moon light at night; but I don't think it is about the moon reflecting on a large amount of water, like the sea or a lake. If you look to the above photograph of the moon reflecting on water, what is in my opinion, essential is the shape of the reflection: a straight line of reflected light; and I think that this straight line is directly referring to another known characteristic of Thoth:

"In vignettes of the Book of the Dead [Thoth] stands before the scales which weigh the heart of the deceased and record the verdict. This role gave Thoth a reputation for truth and integrity and is seen in the common assertion that a person had conducted his life in a manner "straight and true like Thoth".  https://www.worldhistory.org/Thoth/#google_vignette

In the above images, the water below the moon of the second image, is the baboon of the first image. Both images are representing the exact same thing: the reflecting moon, over water.

"This engraving shows Dutch mathematician and physicist Jean Henri van Swinden (1746–1823) demonstrating the generation of electricity to the Felix Meritis Society in Amsterdam. The Felix Meritis Society was founded in the late 18th century to promote the arts and sciences (Felix Meritis translates as "Happiness through Merit")". Barbiers, Pieter Pietersz., and Jacques Kuyper. Courtesy of Science History Institute in Philadelphia : https://digital.sciencehistory.org/works/zg64tm573

"The astronomical ceiling at the Pronaos, outer hypostyle hall in the Temple of Hathor in the Dendera Temple complex, near Dendera, Egypt. : detail of the first Band west from the centre, showing the full healed moon on a pillar depicted as "Wadjet" the Eye of Horus healed by Thoth, who is portrayed at the right." Thanks to Kairoinfo4U : https://www.flickr.com/photos/manna4u/9295311496

Jim Hutton as detective Ellery Queen, posing with a magnifying glass courtesy of NBC Television: https://en.wikipedia.org/wiki/Magnifying_glass#/media/File:Jim_Hutton_Ellery_Queen_1976.JPG

33.04  God of Science and Knowledge Thoth and the magnifying glass

We've actually met  Thoth in the previous Sections such as in the Table of Contents, and we've seen that what Thoth is really "worshiping" in a magnificent and colorful relief in the Hathor temple at Dendera, isn't the moon as the academic vision of the scene is trying to explain, but a magnifying glass; and that if there is the Eye of Horus on the glass it is because the magnifying glass is meant for an eye.

And it makes perfect sense to see Thoth with a magnifying glass, as Thoth is the god of science and knowledge.

He [Thoth] was the god of the moon, wisdom, knowledge, writing, hieroglyphs, science, magic, art and judgment.  https://en.wikipedia.org/wiki/Thoth

"These images show the crescent of the moon in a one-month period. Due to bad weather, these images were taken within six months. All of the images have been photographed from a fixed location in Rasht, Iran, by Hamed Rajabpour and Nariman Ghorbani:  https://commons.wikimedia.org/wiki/File:Lunar_Phases.jpg

33.05  Is the magnifying glass the reason of Thoth being a "moon god"?

The question now is to know why Thoth is also a Moon god, and maybe it is just because the magnifying glass simply does look like the full moon resting on a crescent moon.

We'll see farther down this Section, that Thoth was in possession of a "knife", the knife-Medes, and it is possible that the lunar phases could have been seen as the simple result of the use of this knife-Medes onto the moon.

"Thoth was a Moon god. The Moon not only provides light at night, allowing time to still be measured without the sun, but its phases and prominence gave it a significant importance in early astrology/astronomy. The perceived cycles of the Moon also organized much of Egyptian society's rituals and events, both civil and religious. Consequently, Thoth gradually became seen as a god of wisdom, magic, and the measurement and regulation of events and of time.[30] He was thus said to be the secretary and counselor of the sun god Ra, and with Ma'at (truth/order) stood next to Ra on the nightly voyage across the sky".  https://en.wikipedia.org/wiki/Thoth

"African Sacred Ibis in the Mida Creek mud flats, Kenya" by Steve Garvie:  https://ro.wikipedia.org/wiki/Ibis_sacru_african#/media/Fi%C8%99ier:Threskiornis_aethiopicus_-Mida_Creek_mud_flats,_Kenya-8.jpg

"Statuette of Thoth as an Ibis bird" at the Egypt Museum: https://egypt-museum.com/statuette-of-the-god-thoth-as-an-ibis-bird/#google_vignette

33.06  "He who is like the ibis" metaphor because Thoth was "walking into shallow waters"

Interestingly, there are two types of representations of Thoth as an ibis bird: the standing ones and the recumbent ones; both are telling us two different things as well.

The standing representations of Thoth as an ibis, are about how the bird is walking into shallow waters. Just like in many occasions, the water is the element which is systematically forgotten in ancient Egyptian art.

The ibis bird is about water, and this is the reason why Thoth was described as "He who is like the ibis".

"According to Theodor Hopfner, Thoth's Egyptian name written as ḏḥwty originated from ḏḥw, claimed to be the oldest known name for the ibis, normally written as hbj. The addition of -ty denotes that he possessed the attributes of the ibis. Hence Thoth's name would mean "He who is like the ibis", according to this interpretation."  https://en.wikipedia.org/wiki/Thoth

33.07  The extravagant and unnatural legs of Thoth as an ibis bird • 1

"Statuette of an ibis" at the Musei Vaticani, Roma. "The statuette depicts a crouching ibis, a manifestation of the god Thoth, one of the most important deities of the Egyptian pantheon, whose main shrine was situated in the city of Hermopolis Magna in Middle Egypt. The animal’s head, tail and feet are in bronze, whereas the body is made of plastered and gilded wood. It is notable for the particularly refined anatomical rendering of the head, with inlaid vitreous paste for the eyes, as well as the tail and the plumage. The feet are modeled realistically and with particular care."  https://www.museivaticani.va/content/museivaticani/en/collezioni/musei/museo-gregoriano-egizio/sala-vi--la-collezione-carlo-grassi/statuetta-di-ibis.html#&gid=1&pid=1

"Sarcophage d'ibis aux ailes repliées représentant le dieu Thot. Le corps est en bois de houx doré à la feuille. Les pattes gravées en décor de "nid d'abeille" et le long bec recourbé sont un alliage d'argent et de cuivre, les yeux sont incrustés d'un verre grenat cerclé d'or". Musée d'archéologie méditerranéenne de la Vieille Charité à Marseille:  https://fr.m.wikipedia.org/wiki/Fichier:Sarcophage_Ibis_-_Mus%C3%A9e_vieille_charit%C3%A9.jpg

33.08  The extravagant and unnatural legs of Thoth as an ibis bird • 2

It doesn't show easily on the image, but what is very interesting in the above photograph from the French Vieille Charité Mediterranean Museum in Marseille, is that only the legs of the animal have been admirably detailed; in particular there are hundreds of little honeycomb patterns all other the legs of this little figure (height: 40 cm ; length: 56 cm ; width: 20 cm). It really is a fabulous craftsman job.

If you look at all the recumbent figures of Thoth as an ibis, you'll see that these legs are always the key element, by the attention given to its realization, and their completely unnatural posture: you will never find an ibis with its legs in such a awkward position.

Group statue of Thoth-ibis and devotee on a base inscribed for Padihorsiese, Late Period ca. 700–500 B.C. Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/552857

33.09  The extravagant and unnatural legs of Thoth as an ibis bird • 3

"Ancient Egyptian bronze and wood sculpture" at the Birmingham Museum of Art: https://www.artsbma.org/guide/stop/214/

33.10  The extravagant and unnatural legs of Thoth as an ibis bird • 4

Again here, the important part of the figure are the legs: you will certainly never see an ibis in such an awkward position; but these feet are getting really close to be a perfect representation of sledge runners; it is almost like we can "feel" the artificial rendering and the "speed" which are emanating from these legs.

"Coffin for an ibis, 664-30 BCE or later" at the RISD Museum of Art, Rhode Island School of Design Museum, Providence, Rhode Island:  https://risdmuseum.org/art-design/collection/coffin-ibis-57001

33.11  The extravagant and unnatural legs of Thoth as an ibis bird • 5

"Statue of Thoth as Ibis with a Priest" at the Egypt Museum. " This bronze statue may have been offered in the temple of Thoth at Hermopolis or one of the numerous sites sacred to this god. The cult of Thoth, god of learning, wisdom, medicine, and writing was popular in pharaonic Egypt. The wooden base is original".  https://egypt-museum.com/statue-of-thoth-with-priest/

33.12  The extravagant and unnatural legs of Thoth as an ibis bird • 6: the second aspect of Thoth is about sledge runners

The above figure of Thoth at the Egypt Museum is both unique and fantastic, because it is the only figure of Thoth I know of that is literally revealing its true nature; and this is the same pattern of "encoding" that we've already seen many times: Thoth is actually represented twice in the figure.

• The first representation of Thoth is the ibis, with its magnificent but unnatural legs

• The second representation of Thoth is the hollowed out wooden board on which the bird is standing on.

But the figure doesn't stop at the representation of Thoth: it is the complete operation of the sledge runners which is depicted here: the massive wooden piece, that fits perfectly the "ibis board", that piece is the representation of the tracks.

Just imagine extending this wooden base block, both frontwards and backwards and you can move the ibis board just like the runners were moving into the tracks of the Gallery.

In other words, it is not by accident that the ibis is looking like surfing a board: he really is. In some ways, the runners were surfing into their tracks.

Lidiya Pavlovna Skoblikova at the World Skating Championships in Deventer in 1967, by Eric Koch: https://en.wikipedia.org/wiki/Lidiya_Skoblikova#/media/File:Lidiya_Skoblikova_1967.jpg

Polina Korobeynikova (Russia) at the 2012 Figure Skating World Championships; posted by Luu: https://en.wikipedia.org/wiki/Glossary_of_figure_skating_terms#/media/File:2012_WFSC_07d_843_Polina_Korobeynikova.JPG

" Stone carving and tools – the basics", by John Pitt": https://johnpittcreative.com/2010/11/21/stone-carving-and-tools-the-basics/

Handwriting image: https://www.wikihow.com/Have-Better-Handwriting#/Image:Have-Better-Handwriting-Step-11.jpg

33.13  Thoth and the "stroke of a pen" Writing metaphor

The fact that Thoth is the glorification of the sledge runners of the impactor of the Grand Gallery, explains beautifully why he became the god of writing and knowledge, and why he was referred to as the "messenger" and the "mediator".

Of course, the most beautiful of all metaphors about Thoth is about how he became the god of writing: even today, we are using the exact same metaphor when ice skaters are "writing" beautiful arabesques on a skating-rink.

And because the hieroglyphs were invented especially to describe (but also to hide) every part of the scientific accomplishments, Thoth also became the god of knowledge.

There is also most probably a link that has to be made between the ice skating-rink that explains in modern terms the Thoth writing metaphor, and the glass of the magnifying glass of the god of science Thoth.

The operation of the sledge runners could be seen like writing arabesques on the ice (that is a modern way of understanding the metaphor), but of course ancient Egyptians would most probably use another metaphor of their time, and they would have think of the nib of a plume writing onto paper or a chisel carving a stone and writing hieroglyphs.

Today, we could use another metaphor: "the stroke of a pen".

"Thoth created the written word people used to record their history and keep track of their daily lives. According to some stories, Thoth invented the word and gave it to humanity while, in others, Thoth was the creator and his consort Seshat gave words to the people. In still other variations, Thoth was the creator but Osiris or Isis gave words to humanity." https://www.worldhistory.org/Thoth/#google_vignette

33.14  Operation of the Grand Gallery of the Great Pyramid of Egypt, Position P10 Top View

The impactor has been released into the slope and is now called Horus the elder, creating and fighting pressurized air Seth. When he will hit and ram into the inclined well waters, the impactor will become Medjed "the Smiter" ("le frappeur"). Last updated March 29, 2023. All the operating phases of the Grand Gallery's functioning in Section 31.

33.15  The "Sharp One" knife-medes that posseses Thoth is the runner which is "fighting" Seth

We've already seen that when Seth is described as fighting both Osiris and the Great Serpent Apep, it is because Seth is the pressurized air that is created inside the central caisson of the Grand Gallery: before pressurized air Seth can force his way through the inclined well waters, that is the fall of the impactor which is creating this pressurized air.

Now, with Thoth coming into play by being the deification of the sledge runners of that same impactor, the fight between Seth and Osiris can also be seen as a fight between Seth and Thoth.

"The personality of Thoth, linked to that of Seth, […] may have been determined by the inclination of both gods towards violence […] Some passages of the PT [Pyramids Texts] would confirm precisely such aspect in Thoth because of his possession of the knife-medes "the sharp one" […] Note, however, that in the quoted sentences of the PT the reference to the knife-medes close to its possessor, i.e. Thoth, is puzzling as it does not seem clear whether it was the knife or the god himself (personifying the knife) what came forth from Seth. Nethertheless, it is perhaps not by accident but intentional such a close - one might say coalescent - interrelationship between possessor (=Thoth) and possessed object (= knife-medes), i.e. between the god and an essential part of him […]"

Journal article "Thoth in PT [218] 163d and PT [219] 175a: From the Shadows of Power", available on JSTOR* and published by Lucas Baqué-Manzano; page 18 and 19:  https://www.jstor.org/stable/44654385

* JSTOR's articles are available to anyone, but you first need to register as "independent researcher"

33.16  Thoth as an ibis was indeed supposed to interact with Horus when "floating" into water

From the same article on JSTOR, page 22: "Concerning the ibis, it was this bird who ate from the divine body in the water. Horus was on the flood, (floating) on the river, unaware of (lit. far with respect to) the evil deed (committed) in Upper Egypt. […] Then this bird ate from him (Osiris) in the water and he (the ibis) was resting on his belly once he was satiated."

33.17  The design of the composite impactor of the Great Pyramid of Giza

Of course, these draws are largely adapted and simplified; when Tefen got into the central caisson, the impactor would probably be more or less floating inside the waters of the inclined well.

33.18  Seth fighting Osiris and Horus

"In the Osiris myth, the most important Egyptian myth, Set is portrayed as the usurper who murdered and mutilated his own brother, Osiris."; "An important element of Set's mythology was his conflict with his brother or nephew, Horus".   https://en.wikipedia.org/wiki/Set_(deity)

33.19  Seth fighting Apep and protecting Ra by "taking on the guise of Horus"

"Set had a positive role where he accompanies Ra on his barque to repel Apep"; "Set was depicted standing on the prow of Ra's barge defeating the dark serpent Apep. In some Late Period representations, such as in the Persian Period Temple of Hibis at Khargah, Set was represented in this role with a falcon's head, taking on the guise of Horus. In the Amduat, Set is described as having a key role in overcoming Apep."  https://en.wikipedia.org/wiki/Set_(deity)

33.20  Thoth the messenger and mediator

Another way of seeing the Thoth sledge runners, is by associating him with the role of a simple intermediary between the tracks of the Gallery and the impactor itself: Thoth can be seen as a messenger, or as a mediator.

"Thoth is an unusual god. Though some stories place him as a son of Ra, others say that Thoth created himself through the power of language. He is the creator of magic, the inventor of writing, teacher of man, the messenger of the gods (and thus identified by the Greeks with Hermes) and the divine record-keeper and mediator."  http://www.touregypt.net/godsofegypt/thoth.htm

"Statue of Harbes, called Psamtiknefer, son of Ptahhotep. Harbes was an official of the pharaoh Psamtik II. This statue depicts him protecting a figure of the god Osiris. Harbes wears the king's two cartouches on either shoulder. The statue was anciently set up in Karnak Temple at Thebes, where it constitutes a rare example inscribed for this king". Accession Number: 19.2.2. Late Period, Saite, 595–589 B.C. at the Metropolitan Museum of Art, MET New-York: https://www.metmuseum.org/art/collection/search/546748

33.21  Harbes represented lifting (the) Osiris (stone)

Again, same principle as we've already seen plenty of times now: Osiris is represented here twice, first in his human form, and second in its original form, the Osiris stone.

Also, the gesture of Harbes isn't of a man protecting Osiris like indicated by the MET, but that of a man who is lifting Osiris. The statue is about Harbes being able to lift the Osiris stone.

Wooden base of a Ptah-Sokar-Osiris figure at the MET, dedicated to a temple musician named Ihet; it is inscribed with offering prayers and texts glorifying the gods : https://www.metmuseum.org/art/collection/search/553823

Bronze seated figure of Imhotep EA40666 at the British Museum: https://www.britishmuseum.org/collection/object/Y_EA40666

33.22  It probably is Imhotep who designed the Osiris stone

Most probably many counter weight systems such as the composite impactor of the Great Pyramid would have been produced, and for many different reasons, because at the end of the day the lifting of the impactor is simply a way of accumulating energy, that you can use for many applications; but the impactor of the Great Pyramid, with its ramming capabilities and designed to pressurize both air and water, would have been without any doubt the most important of all, and its weight, the Osiris stonet had probably been designed and calibrated by the great Imhotep himself.

The above representation of Imhotep, both "seated" and "levitating" on a single block of stone, is certainly the glorification of the fact that it really was Imhotep who designed not only the Osiris stone of the Great Pyramid, or the composite impactor unit, but probably the entire operating process of the Pyramid.

"Set hated his brother Osiris, and he gathered to himself seventy-two conspirators […]. And they made a plan that when Osiris returned they should kill him and place Set on the throne; but they hid their plans, and with smiling faces went out to meet Osiris when he re-entered Egypt in triumph."

"In secret they met again and again, in secret also they prepared a coffer made of costly wood painted and decorated with rich designs and glowing colours […]. Set, that Wicked One, had in secret measured the body of Osiris, and the coffer was made to fit the body of the King, for this was part of the plan."

"One after one, the conspirators lay down in the coffer with jests and laughter; for one it was too long, and for another it was too short, and for a third it was too wide, and for a fourth too narrow. Then came Osiris to take his turn, and he, all unsuspecting, lay down in it. At once the conspirators seized the lid and clapped it on; some nailed it firmly in its place, while others poured molten lead into all the openings lest he should breathe and live. Thus died the great Osiris."

"The conspirators lifted the chest, which was now a coffin, and carried it to the river-bank. They flung it far into the water, and Hapi the Nile-god caught it and carried it upon his stream to the sea".

Excerpts are from Sacred Texts: https://www.sacred-texts.com/egy/ael/ael08.htm#page_41

"Inlay depicting Thoth as the ibis with a maat feather", Accession Number: 26.7.992 at the Metropolitan Museum of Art, New-York: https://www.metmuseum.org/art/collection/search/544093

The Apis Bull, also Api or Hapi (Apis, Taureau Consacré a la Lune)", 1823-25, by the French illustrator Léon-Jean-Joseph Dubois, at the Brooklyn Museum: https://www.brooklynmuseum.org/opencollection/archives/image/55326

33.23  The representation of the water used to operate the sledge runners

We've already seen with the Apis bull (Section 31.02), how ancient Egyptians have beautifully represented the projections of water accompanying the fall of the impactor in the central caisson of the Gallery: they used the Apis bull in his ramming position, and they added an "undulating" snake who literally looks like "pushed" in front of the bull by his two front hooves, as a representation of the water projected in front of the impactor and perfectly mimicking water ripples that would have been created in front of the impactor; and they added projections of water directed towards the back of the bull as a representation of huge water plumes that were projected behind the path of the impactor.

Because the runners were also moving into tracks covered with water, there also was water pushed in front of the runners' path and behind it; this is why we have these little "drops", pushed by the front toes of the ibis Thoth and falling at the back of the bird.

33.24  The balance of the sledge runners onto the water of the tracks

One way of describing the operation of the runners, would be to say that they were like "floating" onto the water which was present into the tracks, and that is probably explaining why the ibis bird is in "balance" onto the feather of Maat, on why that feather is originating from the base of the big "water drop".

33.25  Operation of the Grand Gallery of the Great Pyramid of Egypt, Position P10 Side View

The impactor has been released into the central caisson of the Gallery and is pressurizing the central caisson before it hits the well. The Wepwawet sledge has become Anubis and Thoth is about its sledge runners. Thoth's knife-medes is the knife of the runners. Last updated March 29, 2023. All the operating phases of the Grand Gallery's functioning in Section 31.

33.26  The connection between Thoth and the Great Serpent Apep (Apophis)

In the following excerpt, the "sky boat which crossed the heavens by day" is the impactor moving up and down the Grand Gallery, and the great serpent Apophis is the dark waters of the inclined well:

"Thoth was given a seat of honor in the sky boat which crossed the heavens by day and, by night, Thoth helped to drive away the serpent Apophis who sought to destroy the sun god."   https://www.worldhistory.org/Thoth/#google_vignette

33.27  The equilibrium between the impactor Horus and the pressurized air Seth

 I can't imagine all the work and trials that would have been implemented in the Great Pyramid's design, so that everything would work properly, in a perfect balance: the slope of the Gallery, its length, the weight of the Osiris stone, the speed of the impactor when it had to ram into the inclined well waters, etc.

One of these adjustments would have to deal with the efficiency of the sledge runners in their sliding capacities and their ability to fight the pressurized air that the impactor created during its fall; or if we use the ancient Egyptian way of describing it: the fight between Horus (the impactor, as Horus the elder) and Seth (the pressurized air).

This fight, or rather this equilibrium between the two deities, is what the following excerpt is all about:

"Thoth is the scribe who records the events of the contest and offers advice to the gods. He heals both Horus and Set at different times in their battle in order to make sure that both sides are equally capable and none can gain advantage over the other so that the contest will be fair."  https://www.worldhistory.org/Thoth/

33.28 Operation of the Grand Gallery of the Great Pyramid of Egypt, Position P1

The beginning of a new cycle of hauling and pressurization. The impactor Sobek has just rammed into the inclined well waters and the Beetle has become "the Distant Goddess". The latch bolts have already been forced out of the walls: they are fully operational, ready for the hauling process. Last updated March 29, 2023. All the operating phases of the Grand Gallery's functioning in Section 31.

33.29  How long was the Great Pyramid really in operation (highly hypothetical)

We've already discussed in Section 32.36 the (highly hypothetical) hypothesis that the Great Pyramid would have been in operation for 7 years (3 years under Khufu and 4 years under Khafre); but in the following excerpt appears another mention that could also directly refer to the operating period of the pyramid (again, this is highly questionable).

Nethertheless, when it is said that Thoth had to "fetch the Distant goddess" 1077 times, it is hard not to be inclined into associating these 1077 times, to the number of times that the impactor' sledge runners had to be reunited with the waiting Hauling beetle, at the top of the Grand Gallery.

So, was the Great Pyramid operated for 1077 complete cycles? Maybe it was...

"He [Thoth] was so important to the gods, and especially to Ra, that he was the god chosen to retrieve Ra's daughter from the distant lands she sometimes fled to. […] The motif of The Distant Goddess appears in a number of Egyptian myths but always has the same meaning no matter who the specific goddess is or where she has gone: Ra's daughter disagrees with him on some matter and leaves him to vanish into some far off land and someone has to be sent to bring her back […] Ra chose Thoth to fetch this Distant Goddess back from a remote desert. Disguised as a baboon or monkey, Thoth accomplished his task through humility, cunning, and perseverance. According to one account he had to ask the goddess to come home 1,077 times."  https://www.worldhistory.org/Thoth/#google_vignette

33.30  The baboon Thoth "peeing" inside the Grand Gallery

There is another extraordinary thing here with this representation of Thoth as a baboon from the Louvre.

Remember that the Son of Horus Hapy is the deification of the water that was running through the Grand Gallery and that Thoth is the glorification of the sledge runners of the impactor, but also the glorification of the part of Hapy which was in direct contact with the runners.

I actually had some difficulties trying to understand the exact meaning of both Hapy and Thoth, until I remembered that ancient Egyptians used to think more in a "functional" way, rather than a "anatomical" way.

What I mean to say is that both Hapy and Thoth are about the water running through the central caisson of the Gallery, but probably Hapy has to be seen as the water in an "anatomical" way, when Thoth has to be seen as the part of that water which was interacting with the sledge runners and forming an indissociable "couple": the sledge runners + the water needed to operate these runners.

Another way of saying that, is that the water which empowered the fully operational sledge runners formed the deity Thoth, and that this water was originating in the Hapy water.

Anyway, except for the proportions (the width of each ramp is 1 cubit, when the central gutter is 2 cubits), the "structure" on which is sited Thoth is without any doubt the representation of the Grand Gallery… and Thoth is like peeing in the central gutter. Difficult to be more explicit!

The important information here, if it has to be taken literally, is that both the gutter and the ramps look like they both supported some kind of stairs. We've already seen in previous Section 32 that the central gutter was probably covered with some kind of horizontal "sticks" just like the modern log flume ride chutes, and I would say that the ramps would simply have some kind of "stairs", which would have been probably needed for the crewmembers of the Hauling beetle to be more efficient.

Ski jumping at the 2020 Winter Youth Olympics "Simen Markeng juste avant son saut", by DarDarCH:  https://commons.wikimedia.org/wiki/File:Ski_jumping_at_the_2020_Winter_Youth_Olympics_-_20_January_2020_-_31.jpg#/media/File:Ski_jumping_at_the_2020_Winter_Youth_Olympics_-_20_January_2020_-_31.jpg

33.31  The "straight and true like Thoth" metaphor

I first want to point out that I hope there is no misunderstanding about all these modern sport or leisure activities I'm using to illustrate the metaphors that ancient Egyptians created in their own way to glorify how was operated the impactor of the Great Pyramid.

I'm not saying ancient Egyptians had log flume rides or that they were ski jumping, these are only metaphors of our own modern time.

That being said, the ski jumping or ski flying metaphor is probably even better than all the other metaphors I personally used, or ancient Egyptian themselves did use for that matter.

The thing is that the impactor would have been able to slide and gain speed no matter what, with the only requirement that water would have been used to reduce the friction between its structure and the floor of the central caisson; but if it wouldn't have been "guided" into perfectly "straight lines", it would have reduce its efficiency and even could have most certainly ended very badly.

In other words, the Anubis sledge had to have runners, and they would have to be set into some kind of tracks.

"In vignettes of the Book of the Dead [Thoth] stands before the scales which weigh the heart of the deceased and record the verdict. This role gave Thoth a reputation for truth and integrity and is seen in the common assertion that a person had conducted his life in a manner "straight and true like Thoth".  https://www.worldhistory.org/Thoth/#google_vignette

"Slovenia's Andrej Šporn at the 2010 Winter Olympics downhill in a typical downhill body position", by Jon Wick:  https://en.wikipedia.org/wiki/Downhill_%28ski_competition%29#/media/File:Andrej_%C5%A0porn_at_the_2010_Winter_Olympic_downhill.jpg

33.32  The perfect aerodynamic look of the legs of Thoth as an ibis

Every time I look at the above image of Thoth from the Risd Museum, I can't help myself imagining him in a ski race; doesn't he look like a racer of some kind, designed for speed?

Of course, the unnatural legs of the ibis form of Thoth, are the sledge runners themselves.

"An athlete descending the inrun, with the start gate visible at the top", by Val 202: https://www.flickr.com/photos/val202/16865497746/

33.33  The almost perfect ski jumping model

Just imagine here, that the athlete (the impactor) isn't in plain air but inside a low wooden corridor (the central wooden caisson), and you have a pretty perfect modern reinterpretation of the ancient Egyptian layout of the Grand Gallery, latch bolts "included".

Of course the "latch bolts" here don't have the same purpose than in the Great Pyramid, they are just here to adjust (in a discontinuous way like in the Gallery) the starting point of the jump, but it is funny anyway just to make the remark.

You even have the two lateral ramps (not for hauling anything though) on each side of the jumping tracks, just like in the pyramid… "remarkable"!

33.34  Operation of the Great Pyramid of Egypt for evaporative cold production, hypothetically for the cooling of a Solvay chemical manufacturing of sodium carbonate (natron)

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

33.35  The Dendera light is the fog of water that created the evaporative cold

Even if all the physical work occurred in the Grand Gallery of the Great Pyramid with the operating of the Hauling beetle, the magic happened in the horizontal cooling passage with the creation of a fog of microdroplets from the pressurized water generated inside the inclined well (more on the Dendera Light in Section 2).

The Dendera Light is that fog.

33.36  Summary of the study: hidden behind the academic vision of the ancient Egyptian religion, a vast number of metaphors are describing some of the most advanced science and technological knowledge of that time : ancient Egyptian gods were nothing else than pharaohs' metaphoric self-glorifications of their theoretical and experimental scientific accomplishments in physics and chemistry.

Pharaohs used the power of Science to legitimate themselves as kings of Egypt : they forged an entire religion, based on science to rule their kingdom, and they presented that science as Magic.

The end game of this technological program that probably started on the very first Dynasty, was the Great Pyramid of Giza where evaporative cooling was engineered in the known part of the pyramid from the pressurized water produced in the inclined well, known today as the ascending passage.

The evaporative cold simply took advantage of the power of water, and was most probably necessary to cool down chemical manufacturing of sodium carbonate and sodium bicarbonate produced by an ammonia-soda Solvay process, as suggested by the very strong ammonia smell and the limestone kiln in the so-called burial chamber of the Red Pyramid. At that time, sodium carbonate was called natron, and it was the salt used for the mummification of the pharaohs (Sections 14, 15 and 16).

The cooling seems to have represented the most difficult part of the process, as suggested by the Step Pyramid's official name : according to scholars, the very first pyramid complex, the Step Pyramid of Djoser, was called "the refreshment of the Gods". No doubt that a more accurate translation would certainly be "the cooling of the Gods".

It means that ancient Egyptians were the first civilization to master a Solvay-like process for sodium carbonate manufacturing, long before it got reinvented in the 1800's in Europe. The key elements of that process is the temperature control of the chemical reactions (the cooling), and the dome shaped plate necessary for the counterflow chemical reactions to occur in an efficient way. That counterflow reaction plate is what really is the disc of Sabu.

As shown with Akhenaten and Nefertiti, the creation of the evaporative cold was the most sacred accomplishment of all (Section 17), and this is exactly what the Dendera Light is all about : the Dendera Light is the fog of microdroplets of liquid water that evaporates and creates the cold. Talking 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, Section 2).

Everything that had been done in the Great Pyramid of Giza inspired most of the ancient Egyptian religion, and it had been glorified into what we know today as the Underworld.

The Underworld is referring to the chambers and passages of the Great Pyramid of Khufu, and in particular to the Grand Gallery where a hauling gantry beetle operated a wooden coffin shaped impactor that had a small nested granite block inside it. The impactor generated endlessly, over and over, maybe every 15 minutes the pressurized water that was then transformed into a fog of microdroplets inside the horizontal cooling passage.

The Grand Gallery of the Great Pyramid where the act of hauling was done, is the "Secret Hauling Cavern of the Underworld" described in the Amduat "Book of the Hidden Chamber".

The most important chamber of the Great Pyramid wasn't the King's chamber that only was the main water tank of the pyramid, but the Queen's chamber, the only one on the central axis of the pyramid. Because the Queen's chamber was inaccessible from the rest of the pyramid, it was glorified into the "Hidden Chamber of the Underworld" (Section 11), and because the Queen's chamber was the coolest place in the pyramid (about 5°C / 41°F), and with a constant 100% Humidity rate, this chamber was the one where the biggest amount of very hard salt encrustation had been documented by the first explorers of the pyramid in the 1800's and before it had been removed in 1998 by Zahi Hawass (Section 1). Very hard salt encrustation is the signature of the evaporative cooling process, even nowadays.

The most incredible thing is that pretty much everything I've just said, actually appears in many myths, and they don't even originate from ancient Egypt : the "Churning of the Ocean" Hindu myth that produces the immortal nectar Amrita, the Tibetan Prayer Wheels operated to give small amounts of 'merit' to too lazy Naga snakes, and the entire Norse mythology with Thor's magical hammer endlessly fighting another Great Serpent of the Underworld and producing a mist of cold from a mysterious well that would be opposed to hellishly hot heat waves.

I'm talking a lot about the impactor of the Great Pyramid, but it is nothing compared to the tremendous impact caused by what the ancient Egyptians had accomplished within the 78 years of the Great Pyramids Era, from Djoser to the Great Pyramid: the entire ancient World had been shaken up in their deepest beliefs beyond all comprehension; and we are still talking about it today.

The Pyramids of the Cold

Back to the Table of Contents

Next Section: The filtering kidneys of a smart traveler

32.01  The jackals are all about putting the "solar boat" into motion

In previous Section 31, I've corrected the error I've made about the 8 crewmembers hypothesis for the operation of the Hauling beetle; and it mostly is the above image that tricked me about it. There are indeed 8 characters who are really looking like they are hauling the solar boat, in two rows of four, just like the design of the Beetle, one row on reach ramp of the Grand Gallery.

But when I think it through now, it actually makes no sense to associate the boat with the hauling process, because Seth "attacking" the Great Serpent Apep is clearly saying that the scene is about the ramming of the impactor into the inclined well waters (Seth is pressurized air, Section 27); and there was no hauling involved in this part of the Grand Gallery's operating cycle.

So, if "no one" is hauling the boat in this picture, because the "boat" is already speeding towards the well, the only possible explanation is one more time about another metaphor: the four jackals and the four snakes are not hauling back up the impactor to the top of the Gallery, but they are the ones giving all his speed and all his energy to the impactor.

We've already seen that the snakes are mostly metaphoric representations of the water used to power up the Pyramid, and they probably are also about water here; but the big question is about the jackals: they are the key, why are there four of them, and why is there a snake (most probably water) for every one of them?

The jackals are the key that explain the movement of the "solar boat", and will see in this Section that the jackals are about the sledge and its runners.

"Funerary papyrus of Djehutymes", at the Museo Egizio, Torino, Italia: https://collezioni.museoegizio.it/en-GB/material/Cat_1781

32.02  The descending jackals leading the solar boat of Ra are about the sledge of the descending impactor

In the above image, we see that the solar boat is like at the top of what looks like kind of a hill: the boat has been brought to the top of the hill and is now ready to get down that hill. We also see that it is the jackals who are the ones leading the way, or "opening the way".

This is why both Anubis and Wepwawet, the most famous ancient Egyptian jackal-headed gods were called " the openers of the ways".

We'll see in this Section, that the jackals are deifications of the sledges used in the Grand Gallery (as well as the glorification of all the other sledges which were used in the past, before the Great Pyramid)

We'll see that Anubis is just one of these glorification of the sledges, and that he is precisely about the sledge of the impactor during its descent towards the well (moving towards the north).

But first, we need to focus ourselves on Wepwawet, the god who was the deification of the sledge of the impactor, but only in its ascending part of the cycle (moving towards the south).

"the jackal headed god of ancient Egypt. Based on New Kingdom tomb paintings", by Jeff Dahl: https://en.wikipedia.org/wiki/Anubis#/media/File:Anubis_standing.svg

Image in the center: "Litany of Re with Scenes of Anubis. Besides the litanies of Re, we find the vignette of Chapter 151 of the Book of the Dead. It represents the mummification of the dead king under the protection of Anubis, Isis, Nephthys and the four sons of Horus". New Kingdom, 19th Dynasty, ca. 1292-1189 BC. Detail on the ceiling in the Tomb of Siptah (KV47), Valley of the Kings, West Thebes. The Egyptian Museum in Cairo: https://egypt-museum.com/litany-of-re-with-scenes-of-anubis/

Image on the right, up: "Wooden statue of Anubis at the MET, "This sleek wooden statue of the jackal god Anubis wearing a red ribbon around his neck depicts him guarding the necropolis, one of his commonest roles. The Egyptians knew that jackals inhabited the desert edge, where cemeteries were located. The pose Anubis takes here represents the god perched on his sacred mountain above the necropolis, with his tail drooping downward. This is the same form of Anubis addressed in the standard funerary prayer that Egyptian priests recited for the deceased."  https://www.brooklynmuseum.org/opencollection/objects/4155

Image on the right, down: "Wolf - Anubis (Kunsthist. Museum Wien)". Photograph: Ralph Haussler: https://ralphhaussler.weebly.com/wolf-mythologie-egypt.html

32.03  Anubis and Wepwawet: the most famous jackal-headed ancient Egyptian gods

Most of the time, Anubis and Wepwawet are not really described as "brothers" (I've only seen one author, for whom Anubis and Wepwawet are even called "twin brothers"); and we also know that even the fact of trying to see gods as part of a traditional family tree really is worthless.

But obviously, in their jackal-headed human forms, Anubis and Wepwawet really are "twin brothers", in some way, and they only differ by the color of their faces: Anubis is represented with a black jackal-head face, when Wepwawet is represented with a white or grey jackal-head face.

Even if Anubis is the most famous of them, it is with Wepwawet that we can understand them both.

Draw of Wapwewet by Jeff Dahl: https://en.wikipedia.org/wiki/Wepwawet#/media/File:Wepwawet_standing.svg

The Canopic Chest of Tutankhamun: http://www.globalegyptianmuseum.org/detail.aspx?id=15099

Wooden representation of Wepwawet, "Banner with image of the god Upuaut [Wepwawet]", at the Museo Egizio, Torino: https://collezioni.museoegizio.it/it-IT/material/Cat_914

32.04  Wepwawet was moving South and identified as both Horus and Ra

The major deciphering key of this Section is the above wooden representation of Wepwawet, that is today at the Museo Egizio in Torino, Italy. The artifact actually couldn't be more explicit about what really represents Wepwawet, and that is obviously all about a sledge runner.

I first thought that Wepwawet was precisely that, all about the runners of a sledge, and that consequently Anubis would be about the sledge itself, but I was wrong; I couldn't make it work with what we know of Wepwawet:

• Wepwawet is called "Ra" who has gone up from the horizon

• Wepwawet was sometimes called the “son of Isis” and identified as Horus

• Wepwawet [is] the opener of the roads to the South

What these 3 elements have in common, is that they are perfectly describing the impactor itself ("Ra" and "Horus"), ascending the Grand Gallery from the darkness of the well ("going up from the horizon") and moving towards the south side of the Gallery.

It means that Wepwawet is the sledge of the ascending impactor Ra/Horus.

Through Wepwawet, these excerpts "Wepwawet is called Ra and is identified as Horus"  are also the proof that Ra = Horus

So now, we also have Ra = Horus = Wepwawet

Of course, the equal signs aren't exactly exact so to speak: each and every one of them have their own specificities, but they all are an aspect of the impactor.

"In late Egyptian mythology, Wepwawet (hieroglyphic wp-w3w.t; also rendered Upuaut, Wep-wawet, Wepawet, and Ophois) was originally a war deity, whose cult centre was Asyut in Upper Egypt (Lycopolis in the Greco-Roman period). His name means opener of the ways and he is often depicted as a wolf standing at the prow of a solar-boat. Some interpret that Wepwawet was seen as a scout, going out to clear routes for the army to proceed forward." 

"In later Pyramid Texts, Wepwawet is called "Ra" who has gone up from the horizon, perhaps as the "opener" of the sky." https://en.wikipedia.org/wiki/Wepwawet

"According to E.A. Wallis Budge in The Gods of the Egyptians Anubis shared the duty of guiding the dead through the afterlife with another jackal-headed god ... "Opener of the Ways"). These two gods both "opened the ways", although Anubis was the opener of the roads of the North and Wapwawet the opener of the roads to the South. Budge goes on to say that Anubis was the personification of the summer solstice, and Wapwawet of the winter solstice."  http://www.touregypt.net/featurestories/anubis.htm

"His relationships with the other gods were confused by the merging and shifting of roles throughout Egyptian history. Wepwawet was closely associated with Anubis who was originally part of the Ogdoad of Hermopolis, and came to be seen as his son. However, he was also linked to the god Shu of the Ennead of Heliopolis by the epithet “he who has separated the sky from the earth”. […] To complicate matters further, Wepwawet was sometimes called the “son of Isis” and identified as Horus."  https://ancientegyptonline.co.uk/wepwawet/

32.05  Operating cycle of the Grand Gallery Position P4 Side view

The impactor is now called Horus the child and is hauled back up to the top of the Grand Gallery, using the latch bolts in the walls. The impactor's Hauling rope has become Isis and its sledge runners ascending the Gallery have become Wepwawet.

32.06  The twisted Sun metaphor used to reproduce the endless cycle of the Grand Gallery's operation

We also have here a perfect illustration of the fact that Ra and the Sun are only metaphors: the natural movement of the Sun is East to West; but even though Wepwawet is identified with Ra, he has a totally different orientation of movement by moving towards South. And with Anubis being described as moving towards North, it is a totally different orientation of movement that is appearing.

Canopic jars chest N 4094, from the Louvre: https://collections.louvre.fr/en/ark:/53355/cl010008066

"A white-headed dwarf gecko with tail lost due to autotomy.", by Muhammad Mahdi Karim: https://en.wikipedia.org/wiki/Autotomy#/media/File:White-headed_dwarf_gecko.jpg

"A lizard tail shed by autotomy", by Metatron: https://en.wikipedia.org/wiki/Autotomy#/media/File:Lizard_tail_autotomy.JPG

32.07  The lizard metaphor of the severed tail and the release of the impactor (through its sledge)

The huge tail of the full jackal representations of Anubis, really puzzled me until I stumbled on the following excerpts, and realize that it was all about the entire cycle of operation of the impactor, from the sledge point of view:

"Like many Egyptian gods, Anubis was capable of shapeshifting; he was so shocked at the sight of Osiris’s dead body that he immediately turned into a lizard."  "Anubis was a faithful follower of Isis, who adopted him following his abandonedment as an infant. A fierce fighter, he routinely defeating the god Set in battle."  https://mythopedia.com/topics/anubis

The metaphor about Anubis "turning into a lizard", is about the release of the impactor; if you look closely to the canopic jars chest from the Louvre, you'll notice that Anubis' tail is blocking him from going frontwards; but you'll also notice that the tail is actually designed in two parts: the tail is supposed to "break" and to let Anubis go.

The tail of Anubis, just like the tail of the lizard are designed to be cut off on demand and just like the tail of the lizard will grow back, the tail of Anubis will be reassemble just before another cycle can start again.

That is about the release of the impactor, and what it is also suggesting, even if it is highly questionable, is that the release of the impactor was triggered through Anubis: the release mechanism of the impactor might have been triggered through the sledge itself.

Maybe (very hypothetical), the huge tail is also telling us that the release mechanism was triggered by a large "stick" or "lever" which would have been operated from the top platform by teammate 7 (Matet, previous Section 31).

32.08  The impactor's recovery by the Isis Hauling rope

If I'm saying that the above excerpt is not just only about the release of the impactor; but about the entire cycle of its operation, it is because it is also mentioned the fact that, at some point Anubis gets "abandoned" as an infant, before being "adopted" by Isis: "Anubis was a faithful follower of Isis, who adopted him following his abandonedment as an infant."

We've seen that Isis is the deification of the Hauling rope, so the "adoption" of Anubis by Isis, is actually the "rescue" or "recovery" of the impactor floating in the well, inert and fragile like an infant.

Attention, even if Isis is "adopting" Anubis (the sledge which just rammed into the waters of the well), when Isis is actually hauling the impactor, the sledge isn't called Anubis anymore, but Wepwawet (see the above and below Position P4 views of the operating cycle of the Grand Gallery).

The Grand Gallery's orientation North-South in the Great Pyramid of Giza, : https://commons.wikimedia.org/wiki/File:The_Secret_Teaching_of_All_Ages_-_Chapter_6_-_Pyramid.jpg

32.09  The operating cycle of the impactor from the sledge point of view: Anubis and Wepwawet

The "Openers of the roads" excerpt from E. A. Wallis Budge, is crucial. Again, appears the apparent "obsession" of ancient Egyptians for the concept of "cycle"; everything seemed to be about a cycle, and here there is Anubis and Wepwawet who are parts of one of these cycles.

When Wepwawet was "opening the roads to the South", Anubis was "opening the roads to the North".

North/South; that is the orientation of the Grand Gallery of the Great Pyramid, with the ascending passage (the inclined well) at the North-end of the Gallery, and the top platform at the South-end.

Because both Anubis and Wepwawet are about the sledge (runners), then we can affirm that:

• Wepwawet is the deification of the sledge of the impactor, ascending the Grand Gallery towards South

• Anubis is the deification of the sledge of the impactor, after its release in the central caisson of the Gallery, gaining speed and energy until it rammed into the waters of the well

"According to E.A. Wallis Budge in The Gods of the Egyptians Anubis shared the duty of guiding the dead through the afterlife with another jackal-headed god ... "Opener of the Ways"). These two gods both "opened the ways", although Anubis was the opener of the roads of the North and Wepwawet the opener of the roads to the South. http://www.touregypt.net/featurestories/anubis.htm

32.10  Operating cycle of the Grand Gallery Position P4

The impactor is now called Horus the child and is hauled back up to the top of the Grand Gallery, using the latch bolts in the walls. The impactor's Hauling rope has become Isis and its sledge runners ascending the Gallery have become Wepwawet.

32.11  The beautiful concept of representing one single deity combined with its real meaning

We've already seen that ancient Egyptians used to represent one single idea (or object), in combined representations where this idea is shown in two different forms; one of the two forms being the intellectual deification of that idea (a god or a goddess who glorifies it), and the second one being a simple representation of the idea itself.

For example:

• Ra and his boat, as the deification of the wooden part of the impactor. Remember: there is no boat of Ra, because "Ra really is the boat".

• Bes on his "standing post", as the deification of the wedging block for Taweret who was at the bottom of the well during the entire operation of the Great Pyramid, with its thin and fragile extension protruding out of the inclined well floor. Bes is then simply represented resting onto himself.

• Now Wepwawet and the sledge runner: Wepwawet really is the sledge runner.

• Just below, we'll see that the same principle had been used on the giant statues of Anubis lifting the sledge into the air, because Anubis really is the sledge.

32.12  Wepwawet and Anubis are supposed to "lift" something into the air

This idea that Anubis and Wepwawet were combined together to be both parts of a cycle of some kind, is actually perfectly known:

"Anubis is associated with his brother Wepwawet, another Egyptian god portrayed with a dog's head or in canine form, but with grey or white fur. Historians assume that the two figures were eventually combined."  https://en.wikipedia.org/wiki/Anubis

So we have Anubis and Wepwawet combined together, and when the first one is moving North, the second one is moving South.

But it doesn't end here, because we also know that Wepwawet referred to Shu; and we've already seen that Shu is not only all about a cycle of his own (the cycle of water, from its liquid form to its evaporated form), but he is also all about sustaining something into the air: Shu is represented sustaining/supporting/holding evaporated water into the air.

"Like Shu, he [Wepwawet] was also referred to as the "one who has separated the sky from the earth."  http://www.touregypt.net/featurestories/wepwawet.htm

"Giant size realistic replicas of Ancient Egypt makes an impression at Universal Studios Singapore". Photograph by William Choe: https://www.flickr.com/photos/adforce1/5038237869/in/photostream/

and by John Wah 华约翰:https://www.flickr.com/photos/johnwah/6794236531

32.13  Anubis is indeed all about "lifting" (as the deification of the sledge, he is actually lifting himself up in the sky)

Unfortunately, I couldn't find any scientific information about the four giant replicas of Anubis' statues that are today at Universal Studios in Singapore; no archeological context what so ever, so their interpretation is kind of risky: they could possibly be not genuine material.

With that being said, these statues of Anubis are the perfect illustration of the "lifting" capacities of both Wepwawet and Anubis.

What needs to be seen here, from the ancient Egyptian point of view, is that when Wepwawet is represented standing on his sledge runner, or when Anubis is represented in his lifting position just like he is doing the clean-and-jerk exercise, both are actually about the sledge capacities: you can see it in both as a sliding and a lifting movement.

If these replicas of Anubis are genuine in their posture and lifting "intention", they would probably have been intended to represent the sledge lifted into the air.

32.14  Operation of the Grand Gallery position P10: the release of the impactor

Other positions in previous Section 31

Giant size replicas of Ancient Egyptian god Anubis statues at Universal Studios, Singapore.

32.15  Why did the jackal-dog-wolf had been chosen as the metaphor of the sledge?

I must admit that for this particular question, I have not came up with a satisfactory response. Was it because of the way these animals were running like crazy in the country? Or because of the sound of the runners that would have maybe resemble to their howling? Or simply because of the way their four legs looked just like runners when they are in a recumbent position (see below)? I don't know, and it is probably because of something else.

"Statues of Ancient Egypt" at Universal Studios Singapore, by verdandi_magic: https://en.wikipedia.org/wiki/Universal_Studios_Singapore#/media/File:Universal_Singapore_Ancient_Egypt_Statue.jpg

Technical sled drawing by Patrice Godon Polar Engineering (Plouzane, France): http://www.patricegodonpolarengineering.eu/sleds/

32.16  Did the sledge of the impactor had four runners like the four parallel paws of Anubis?

This is a very legitimate question to ask, and if we consider both the giant statues of Anubis and his recumbent representations with his four legs perfectly parallel and like nailed to the ground, it would suggest that the sledge had four runners.

I would have personally imagine two large runners, but maybe there really was four small ones, one underneath each corner of the impactor.

But we really have to take this four runners hypothesis with precaution, as we've already seen many times that ancient Egyptians used profusion of metaphors. Instead of having four runners on each corner, maybe the whole thing was to precisely describe everything "just like" there was four runners, when the sledge would only have two runners instead.

Would it be a practical reason for having four runners? Would it be more efficient, or more reliable? Wouldn't it be more fragile instead?

"Egyptian Late / Ptolemaic Wood Anubis Jackal Form" at Bidsquare: https://www.bidsquare.com/online-auctions/artemis-gallery/egyptian-late-ptolemaic-wood-anubis-jackal-form-1160578

32.17  Again, the legs perfectly paralleled and anchored into the floor seem to be the key of the jackal forms of Anubis

Most of the time the representations of Anubis in his fully jackal form are very well rendering the anatomy of the animal, but in very rare occasions, its true artificial nature can be seen on his legs. That probably is the confirmation that the reason, or one of the reasons, which incited ancient Egyptians to use the jackal/wolf/dog animal, is precisely its legs in their recumbent position, perfectly well anchored into the floor, just like sledge runners would be.

It even looks like the curved part at the front of the runner has been reproduced (blue arrow).

32.18  How to lift an Olympic (or ancient Egyptian) bobsled!

"Lifting an Olympic Bobsled - How bobsleds are moved", a video by Axe Racing: https://www.youtube.com/watch?v=qbUvsbfpGkE

"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

Scale adapted from the mechanical column scale, by Seca: https://www.seca.com/en_gb/company/stories/details/article/the-mechanical-column-scale-nostalgia-with-a-modern-spirit.html

32.19  The sliding metaphor used through Anubis in the weighing of the heart scenes

What is really magnificent, is not just how ancient Egyptian gods and goddesses have been used to encode everything that was done in a scientific and technological manner, but also how they used these same gods and goddesses, in a total different context from where they originated, as simple tools in completely different contexts and representations.

"This engraving shows Dutch mathematician and physicist Jean Henri van Swinden (1746–1823) demonstrating the generation of electricity to the Felix Meritis Society in Amsterdam. The Felix Meritis Society was founded in the late 18th century to promote the arts and sciences (Felix Meritis translates as "Happiness through Merit")". Barbiers, Pieter Pietersz., and Jacques Kuyper. Courtesy of Science History Institute in Philadelphia : https://digital.sciencehistory.org/works/zg64tm573

"The astronomical ceiling at the Pronaos, outer hypostyle hall in the Temple of Hathor in the Dendera Temple complex, near Dendera, Egypt. : detail of the first Band west from the centre, showing the full healed moon on a pillar depicted as "Wadjet" the Eye of Horus healed by Thoth, who is portrayed at the right." Thanks to Kairoinfo4U : https://www.flickr.com/photos/manna4u/9295311496

Jim Hutton as detective Ellery Queen, posing with a magnifying glass courtesy of NBC Television: https://en.wikipedia.org/wiki/Magnifying_glass#/media/File:Jim_Hutton_Ellery_Queen_1976.JPG

32.20  The Eye of Horus used just like Anubis as a simple metaphorical tool

We've already seen that with the Eye of Horus represented right in the middle of what simply is a magnifying glass (Table of Contents), because "a magnifying glass is only meant for an eye"; and here this is Anubis who has (almost) absolutely nothing to do in the "weighing of the heart" scene (Section 20), but who is just used because of his sledge sliding movement: the Anubis sledge was sliding up and down the Grand Gallery, and they used that image by making him "play" with the sliding counterweight of the scale. This is both beautiful and brilliant.

"A steelyard balance, steelyard, or stilyard is a straight-beam balance with arms of unequal length. It incorporates a counterweight which slides along the longer arm to counterbalance the load and indicate its weight. A steelyard is also known as a Roman steelyard or Roman balance."  https://en.wikipedia.org/wiki/Steelyard_balance

If Ra is represented into a falcon, it is because of its speed and the way it is hitting its prey at high velocity : "The peregrine falcon is renowned for its speed, reaching up to 320 km/h (200 mph) during its characteristic hunting stoop (high-speed dive), making the peregrine falcon the fastest member of the animal kingdom." Ra, as a falcon is all about this high-speed dive and the force of the impact with its prey. Source: https://en.wikipedia.org/wiki/Peregrine_falcon

Ra-Horakhty is a combined deity of Horus and Ra, and is usually depicted as a falcon-headed man. Draw by Jeff Dahl: https://en.wikipedia.org/wiki/Ra#/media/File:Re-Horakhty.svg

Photograph of a high-speed diving falcon by Lassannn, on imgur and also at  https://www.facebook.com/wildlifeatrisk/photos/a.442972959170883/1593597324108435/

Le réveil d'Osiris (the Awakening of Osiris) at the Exposition Osiris, Institut du Monde Arabe, by Gautier Poupeau

Skeleton infographic by the International Bobsleigh and Skeleton Federation: https://www.ibsf.org/en/our-sports/skeleton-info-graphics

32.21  The bobsled and skeleton metaphors

I'm sure many people are gonna be horrified I'm even considering associating ancient Egypt with a bobsled; but the fact is that the ancient Egyptians themselves did exactly that; not on Anubis but on Osiris; and if you don't see that Osiris is represented in the above image, in the exact perfect position which one takes onto a skeleton, there is nothing I can do more that I'm doing right now.

It is said that this position of Osiris, is the "awakening" position; but I dare anyone to wake up like that. Seriously.

If the Osiris position looks exactly like a perfect copy-paste of the "official" position recommended by the IBSF if you want to be a skeleton Olympic champion, it is simply because it really is all about the skeleton position.

The fact is that this Osiris skeleton position isn't the only reference to winter sports which have been used by ancient Egyptians as metaphors of the operation of the impactor: on the IBSF drawing, you have the sledge, the position and the helmet.

Well, ancient Egyptians also used the helmet; and that is what we call "the masks of Anubis".

"Mask" N 4096 from Le Louvre Museum, Paris. Numéro principal : N 4096. Matériau : figuier sycomore (Masque, partie supérieure : Ficus sycomorus L. Analyses Xylodata, Victoria Asensi Amoros, 2018), tamaris (mandibule articulée et dents : Tamarix type tetragyna:  https://collections.louvre.fr/en/ark:/53355/cl010007896

Early bobsled mask, which somewhat resembles an American football helmet; by J.T. Macintosh: https://en.wikipedia.org/wiki/Bobsleigh#/media/File:Bobsled_Mask_1932.png

32.22  The mask of Anubis from the Louvre is just like every early bobsled mask with many holes for perspiration

First, I need to emphasize the fact that the mask of Anubis as shown on the above picture from the Louvre, is totally unique: Anubis is the only ancient Egyptian god (I know of) for whom had been realized such artifacts with all these holes around the head.

This mask is completely specific to Anubis, and the holes around the head are telling us that the mask is actually a helmet, and that it is all about the sledge, because it is a bobsled helmet.

And just like any ancient helmets of the kind, many holes were arranged all around the face and on the head, because these holes aren't for "lacing" as suggested on the technical sheet from the Louvre, but they are intended to evacuate perspiration.

Everything about Anubis is about the sledge.

"Vonetta Flowers (left) and Jill Bakken power up in the push zone for their 80-mile-per-hour (130 km/h) ride down the Winter Olympic bobsledding track. Bakken, the driver, and Flowers, the brakeman, won the first gold medal presented in Olympic women's bobsledding (2002)". Photograph by U.S. Navy photo by Journalist 1st Class Preston Keres: https://en.wikipedia.org/wiki/Bobsleigh#/media/File:US_Navy_020219-N-3995K-304_Gold_Medal_Women_BobSledders_1.jpg

"This clay Anubis mask has two slits for the shoulders and two small holes for the eyes. It has been fashioned in clay in two parts. The massive muzzle and eyes were shaped as an independent whole, attached to the other part of the mask with a tenon. The tenon fits into a hole in the other part and a piece of wood was then driven through it to secure it". Anubis mask at the Pelizaeus-Museum at Hildesheim: http://www.globalegyptianmuseum.org/detail.aspx?id=10807

32.23  The evolution in the design of the Anubis mask followed the design of the bobsled masks

What is incredible is that even if the Anubis mask from the Louvre and the one from the Pelizaeus Museum at Hildesheim look very different, they actually are quite the same: the Anubis mask from the Louvre is simply about a leather helmet, when the one from Hildesheim is the equivalent of our modern hard-material shock-resistant helmets.

Ancient Egyptians simply added the head of the jackal onto the helmets.

Snow in the town of Saint Katherine, Sinai Egypt, on the morning of March 1, 2009. Photograph by Zoltan Matrahazi https://en.wikipedia.org/wiki/Saint_Catherine,_Egypt#/media/File:Snow_in_St._Katherine,_Sinai_Egypt_-_March_1,_2009.jpg

Image on the right: © Go Tell It on the Mountain, A travel blog about discovering the high mountains of the Sinai, by Ben  Hoffler: https://gotellitonthemountain.net/sinai-in-the-snow/

32.24  Where all these winter sport references are coming from?

At first sight, Egypt is not a country where you can expect snow, but it does happen on the high mountains of the Sinai; so the question is: are all the skeleton references coming from there, or did ancient Egyptians also used to go in foreign countries for winter?

It is definitely not the most important question to answer to, but it would have to be anyway, one day.

Log flume ride "Bûches de Legoland Deutschland", thanks to Stefan Scheer: https://www.wikiwand.com/fr/Attraction_aquatique#Media/Fichier:Legoland_Ger_Flume.jpg

Screenshot from the video "We Are On A Log Flume - Wasalandia Water Ride POV Finland", by Theme Park Review:  https://www.youtube.com/watch?v=AOQoBpQS_mo

32.25  The log flume ride model

What is fantastic about the bobsled metaphors used to describe the way how the Grand Gallery has been used, is that it directly refers to the final goal of the process, which was producing cold, and that is brilliant; but the best way to really describe the operation of what really happened inside the central wooden caisson is with another sliding activity: the log flume ride.

In my opinion, the similarity between the log flume ride and the operation of the impactor, is pretty much perfect.

The Colorado Boats, by Emanuele Taddei: https://fr.wikipedia.org/wiki/B%C3%BBches_(attraction)#/media/Fichier:Colorado_Boats.JPG

Original image of the Grand Gallery of the Great Pyramid of Egypt at Giza, built by pharaoh Khufu, from page 52 of "The call of the stars; a popular introduction to a knowledge of the starry skies with their romance and legend" (1919) by Kippax, John R. (John Robert), 1849-1922 : https://www.flickr.com/photos/internetarchivebookimages/14597229618/

32.26  The mysterious horizontal lines of the central gutter in the Grand Gallery

The similarity of the operation of the central gutter of the Gallery with modern rides, is even reinforced by the mysterious lines that are showing on the above photograph taken in the early 1900's: the modern log flume ride chutes are showing the exact same pattern of horizontal lines which seem to produce many little chutes within the big one.

Again, I have no idea what is the purpose of these structures, but it seems that most of the rides have this design and that ancient Egyptians seem to have done the exact same thing in the Great Pyramid.

Left: "The Pitoune at La Ronde (Montreal, Quebec)": https://parkvault.files.wordpress.com/2015/04/imag2774.jpg

32.27  The "boiling" water of the log flume ride chute and the "frothing beer" of Anubis

And actually, it could even be more similar that I expected. At this point I would like to draw your attention to the way that the water looks like "boiling" right at the beginning of the big chute of the ride; I've tried to find some technical informations about how and why there is this "boiling" water, in what seems to be the vast majority of such rides, but I didn't succeeded; the only thing I know, is that there is an ancient Egyptian tale about Anubis which is called "the tale of the Two Brothers", obviously about Anubis (the deification of the sledge and its runners), and his younger brother Bata:

The tale of the Two Brothers papyrus at the British Museum: https://www.britishmuseum.org/collection/object/Y_EA10183-10

32.28  The tale of the Two Brothers, Anubis and Bata

"The story centers around two brothers: Anpu (Anubis), who is married, and the younger Bata. The brothers work together, farming land and raising cattle. One day, Anpu's wife attempts to seduce Bata. When he strongly rejects her advances, the wife tells her husband that his brother attempted to seduce her and beat her when she refused. In response to this, Anpu attempts to kill Bata, who flees and prays to Re-Harakhti to save him. The god creates a crocodile-infested lake between the two brothers, across which Bata is finally able to appeal to his brother and share his side of the events. To emphasize his sincerity, Bata severs his genitalia and throws them into the water, where a catfish eats them.

Bata states that he is going to the Valley of Cedars, where he will place his heart on the top of the blossom of a cedar tree, so that if it is cut down Anpu will be able to find it and allow Bata to become alive again. Bata tells Anpu that if he is ever given a jar of beer that froths, he should know to seek out his brother. After hearing of his brother's plan, Anpu returns home and kills his wife. Meanwhile, Bata is establishing a life in the Valley of the Cedar, building a new home for himself. Bata comes upon the Ennead, or the principal Egyptian deities, who take pity on him. Khnum, the god frequently depicted in Egyptian mythology as having fashioned humans on a potters' wheel, creates a wife for Bata. Because of her divine creation, Bata's wife is sought after by the pharaoh. When the pharaoh succeeds in bringing her to live with him, she tells him to cut down the tree in which Bata has put his heart. They do so, and Bata dies.

Anpu then receives a frothy jar of beer and sets off to the Valley of the Cedar. He searches for his brother's heart for three years and then another four years, finding it after searching for seven years. He follows Bata's instructions and puts the heart in a bowl of cold water. As predicted, Bata is resurrected.

Bata then takes the form of a bull and goes to see his wife and the pharaoh. His wife, aware of his presence as a bull, asks the pharaoh if she may eat its liver. The bull is then sacrificed, and two drops of Bata's blood fall, from which grow two Persea trees. Bata, now in the form of a tree, again addresses his wife, and she appeals to the pharaoh to cut down the Persea trees and use them to make furniture. As this is happening, a splinter ends up in the wife's mouth, impregnating her. She eventually gives birth to a son, whom the pharaoh ultimately makes crown prince. When the pharaoh dies, the crown prince (a resurrected Bata) becomes king, and he appoints his elder brother Anpu as crown prince. The story ends happily, with the brothers at peace with one another and in control of their country."

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

"Plowing farmer" in the burial chamber of Sennedjem: https://en.wikipedia.org/wiki/File:Maler_der_Grabkammer_des_Sennudem_001.jpg

Ploughed field: https://commons.wikimedia.org/wiki/File:Furrows,_ploughed_field.jpg

32.29  The Tale of Two Brothers: the sledge runners and their tracks

This tale is just like all the other myths we've already seen, ant it is packed with metaphoric representations of, in that case, the operating of the Grand Gallery, focusing onto the sledges.

I'm saying sledges, because it is not just about the Anubis sledge of the impactor: Anubis' younger brother (hence "smaller" brother) Bata, is all about the sledges of the Hauling half-beetles. This is why the context is a farm and Bata is working for Anubis.

In the tale, Anubis is actually the plough that creates the furrow (because he is the sledge, running into its tracks), and Bata is the one hauling the plough (because he is about the hauling beetles, on their own runners and running in their own tracks). If you keep that in mind, then you can understand that Anubis' wife is the tracks; this is why Anubis cannot kill his brother Bata: they are simply not on the same tracks.

"This myth is a little different as it fits outside of the Osiris-centric mythological canon. Instead of the normal cast of Egyptian gods and goddesses, the ancient god Bata starred alongside Anubis. Anubis’s younger brother Bata worked on his brother’s farm. One day, while doing chores for his brother, Bata ran into Anubis’s wife. She was quite taken with what she saw, and invited Bata to bed with her. Shocked at this invitation, Bata told her “you have been to me as a mother and what you say is an abomination!” He promised he would tell no one of the incident so long as she never spoke of this again. Anubis’s wife, however, had other plans. When Anubis came home, she pretended that Bata had beaten her, saying that he had propositioned her and struck her when she declined. Now enraged, Anubis attempted to kill his brother. Try as he might, however, he could not harm Bata; divine intervention prevented Anubis from taking his revenge." 

Meehan, Evan. “Anubis.” Mythopedia, November 29, 2022. https://mythopedia.com/topics/anubis

The Timber Mountain Log Ride, by Metro96:   https://upload.wikimedia.org/wikipedia/commons/2/2b/Timber_Mountain_Log_Ride_20.jpg

32.30  The moment when the "wine without froth" turns into "frothing beer"

I know it is a pretty long text, and it is all about the operation of the sledge in the Grand Gallery, but there is the excerpt that is very interesting: "Bata tells Anpu [that is Anubis] that if he is ever given a jar of beer that froths, he should know to seek out his brother".

In another text it says: "After dawn and the next day had come about and after the pine tree had been cut down, Anubis, the elder brother of Bata, entered his house and sat down and washed his hand(s). He was handed a beaker of beer, and it produced froth. Another of wine was handed him, and it turned bad. Then he took his staff and his sandals as well as his clothes and his weapons, and he hastened to journey to the Valley of the Pine".

From "The literature of ancient Egypt"; translations by R. O. Faulkner, Edward F. Wente Jr and William Kelly Simpson: https://uh.edu/honors/human-situation/survival-kit/study-aids/TwoBrothers.pdf

In the Anubis tale, it is clearly mentioned that this is the froth that is important, it is not the beverage itself, nor it is about the alcohol, it is only about the froth of the beer. My feeling about this, is that the "froth" of the Anubis tale, which is all about the operation of the sledge, is directly referring to the "boiling" water of the modern log flume ride chutes.

"Rainbows can form in the spray of a waterfall (called spray bows)", by Captain76: https://en.wikipedia.org/wiki/Rainbow#/media/File:Double_Rainbow_with_Niagara_Falls.jpg

32.31  The rainbow metaphor of the Anubis sledge sitting upon an "unparalleled and large bull that has every beautiful color"

It is hard to remember at all times, that everything about ancient Egypt is purely metaphoric, but once in a while you stumble upon a metaphor so cute that it like strikes you in the head; and this one, the "large bull that has every beautiful color, whose sort is unparalleled" is just one of them.

The context here is still the "boiling frothing beer", and froth is simply tiny little drops of water stuck into the air; that is also what is what is called a Spray bow: a rainbow caused by tiny little drops of water in the air.

The "beautiful color whose sort is unparalleled": that is the rainbow (the Spray bow), and that is the description of the impactor "sitting" onto that Spray bow, i.e. "sitting" onto sprayed water. The "frothing beer" is the "sprayed boiling" water that is making the impactor move into the central caisson.

"After dawn and the next day had come about and after the pine tree had been cut down, Anubis, the elder brother of Bata, entered his house and sat down and washed his hand(s). he was handed a beaker of beer, and it produced froth. Another of wine was handed him, and it turned bad."

"Then Bata said to his elder brother: Look, I shall become a large bull that has every beautiful color and whose sort is unparalleled, and you shall sit upon back. After dawn / and the next day had come about, Bata changed into the form which he had mentioned to his elder brother. Then Anubis, his elder brother, sat down upon his back until dawn, and he reached the place where the king was."

Typical English flat irons of the 1800s (Collection Tranby House, Australia). The shape was used by Victorian antiquarians to describe a style of medieval shield, termed by analogy heater shield. Photograph by Gnangarra:  https://en.wikipedia.org/wiki/Clothes_iron#/media/File:Tranby_house_21_gnangarra.jpg

32.32  The "hot iron" metaphor of the sledge runners true nature of Anubis

Seth is central in the ancient Egyptian mythology, and he is all by himself fighting the two most important Egyptian deities: Osiris and Anubis.

We've already seen that when Seth is fighting Osiris, it is because Seth is the deification of the pressurized air inside the central caisson of the Grand Gallery, and that it is about pressurized air "fighting" against the weight of the impactor (the Osiris stone) during its descent in the Gallery.

In the tale of the Two Brothers, the same Seth is now fighting Anubis, because the impactor had to be set onto a sledge equipped with two large of four smaller runners.

The fight between Seth and Anubis is about pressurized air "fighting" the sledge during the descent of the impactor.

In the tale, the true nature of Anubis is even mentioned, metaphorically of course; this time the metaphor is about a "hot iron": in some ways the endless sliding movement of the runners would indeed looked exactly like "hot irons" moving up and down the Gallery.

"While Set had succeeded in killing Osiris, he still needed to destroy his brother’s body in order to defeat him completely. After Osiris’s body was recovered by Isis, Set plotted to steal it back and complete its destruction. During the embalming process, Osiris’s body was kept in the wabet, or place of embalming. Noting that Anubis left the wabet every night, Set devised a plan. Transforming himself into Anubis, he strolled past the unsuspecting guards and stole Osiris’s body.

Set would not able to make it far, however, before Anubis discovered the theft and set out in pursuit. In an attempt to ward off his pursuer, Set turned himself into a bull. The jackal-god was not intimidated, however. Upon capturing Set, Anubis castrated him and imprisoned him in Saka, the 17th nome of Egypt.

Not one to be deterred, Set escaped his imprisonment and continued his mission. This time, Set attempted to steal his brother’s body in the form of a great cat. The plan failed, and Anubis caught him once more; the jackal-headed god punished Set by branding him with hot irons. This myth thus explained how leopards became spotted.

Ever persistent, Set continued trying to steal Osiris’s body back. Again, he turned himself into Anubis, and again he was caught. Set was forced to serve as Osiris’s throne for all eternity—that is, until he escaped.

Set’s next attempt would be his last. After catching Set yet again, Anubis killed him, flaying his skin and setting his body aflame. After donning the flayed skin, Anubis snuck into Set’s camp and decapitated his entire army with a single slash of his sword. Set’s army was killed in the 18th nome, where a reddish mineral makes the land appear stained with blood."

Source: Meehan, Evan. “Anubis.” Mythopedia, November 29, 2022. https://mythopedia.com/topics/anubis

"The dips of the Wiegand alpine coaster at the Eifelpark in Rhineland-Palatinate, Germany", by Eifelpark GmbH:  https://en.wikipedia.org/wiki/Summer_toboggan#/media/File:Eifelpark_Eifel-Coaster.jpg

"Alpine slide in Heritage Square, Golden, Colorado", by Charles Willgren: https://en.wikipedia.org/wiki/Summer_toboggan#/media/File:Alpine_Slide_in_Golden.jpg

32.33  The "road" and "guide" metaphors of the Anubis sledge runners perfectly set into their tracks

There is another metaphor concerning the true nature of Anubis, as the glorification of the sledge runners: the "guide" metaphor. It also has to be pointed out another equivalent metaphor: the road metaphor; as we've already seen that Anubis (as well as Wepwawet) were called the "openers of the roads".

The roads and guide metaphors are about the sledge runners and their tracks.

"In the Old Kingdom, Anubis was the most important god of the dead. He was replaced in that role by Osiris during the Middle Kingdom (2000–1700 BC).[17] In the Roman era, which started in 30 BC, tomb paintings depict him holding the hand of deceased persons to guide them to Osiris."  https://en.wikipedia.org/wiki/Anubis

32.34  The operation of the Great Pyramid of Giza for evaporative cold production into the Queen's chamber.

Last updated March 18, 2023.

32.35  The first gods and the beginnings of the "pharaonic scientific era" triggered by the Hauling beetle "motor"

One very important point about everything I've written so far, is the fact that it may appears like I'm only focusing the work on the Great Pyramid, but it is only simply because it is (or it looks like) the achievement of what could be called the "pharaonic scientific era". It seems that era stopped abruptly at the end of the Fourth Dynasty and the construction of the pyramid of Khafre, Khufu's son; and it is also clear that most of the ancient Egyptian religion texts seem to really get into gear just at that moment; for example the "Pyramid Texts" and many deities, are starting to show only with the Fifth Dynasty.

"The Pyramid Texts are the oldest ancient Egyptian funerary texts, dating to the late Old Kingdom. They are the earliest known corpus of ancient Egyptian religious texts. Written in Old Egyptian, the pyramid texts were carved onto the subterranean walls and sarcophagi of pyramids at Saqqara from the end of the Fifth Dynasty, and throughout the Sixth Dynasty of the Old Kingdom, and into the Eighth Dynasty of the First Intermediate Period. The oldest of the texts have been dated to c. 2400–2300 BCE."  https://en.wikipedia.org/wiki/Pyramid_Texts

Anubis is one of the deities who can be traced way before the Great Pyramid; others like Hathor are unclear but also seem to have a "previous life" before the Fourth Dynasty and the Great Pyramid.

"In Egypt's Early Dynastic period (c. 3100 – c. 2686 BC), Anubis was portrayed in full animal form, with a "jackal" head and body. A jackal god, probably Anubis, is depicted in stone inscriptions from the reigns of Hor-Aha, Djer, and other pharaohs of the First Dynasty."  https://en.wikipedia.org/wiki/Anubis

"Despite these early precedents, Hathor is not unambiguously mentioned or depicted until the Fourth Dynasty (c. 2613–2494 BC) of the Old Kingdom, although several artifacts that refer to her may date to the Early Dynastic Period (c. 3100–2686 BC). When Hathor does clearly appear, her horns curve outward, rather than inward like those in Predynastic art".  https://en.wikipedia.org/wiki/Hathor

We've seen that Hathor is the deification of the Hauling beetle, at the top of the Grand Gallery and that she is the one who released the impactor; and this is very important, because I would bet that most of the ancient Egyptian gods who can be traced way before the Fourth Dynasty, were all involved in the couple which constituted the Hauling beetle and the impactor.

What triggered the Industrial revolution in our modern era, during the 18th and 19th centuries was the steam engine; it did make all the difference, and I bet that this is the association of the Hauling beetle with the Sledge which made all the difference for ancient Egyptians, whether this couple was associated with an "impactor" like in the Great Pyramid (specifically designed to pressurize air and water), or used as a simple hauling tool to move blocks.

Schlitteln, Schweizer Alpen, 1890-1910: https://en.wikipedia.org/wiki/Sledding#/media/File:Zentralbibliothek_Z%C3%BCrich_-_Schlittelsport_in_den_Alpen_-_000012146.jpg

"Anubis, supervisor of the mummification process. Underneath the lion bed are the four canopic vases, for the organs that were mummified separately". Photograph of a wooden sarcophagus, by Andre:  https://www.flickr.com/photos/9987501@N08/3643941456/

Sledge from the Davidowski collection: https://www.davidowski.nl/collections?searchTerm=sledge

32.36  The "decay" of the sledge runners and the operation time of the Great Pyramid

There is one epithet of Anubis which is very troubling if you only consider the academic vision of the god, and that is the fact that the ancient Egyptian root of Anubis' name "inp", means "to decay".

And that brings us to discuss the question of how long was the Great Pyramid in operation.

Knowing that Anubis is the glorification of the sledge, and/or more precisely the deification of the sledge runners, the problematic of the runners wearing off other time let us think that this operation time of the Pyramid could have been over a long, or very long period of time.

I would personally tend to think about a few years; and that echoes a passage of the tale of the Two Brothers: "Anpu [that is Anubis] then receives a frothy jar of beer and sets off to the Valley of the Cedar. He searches for his brother's heart for three years and then another four years, finding it after searching for seven years. He follows Bata's instructions and puts the heart in a bowl of cold water. As predicted, Bata is resurrected."

Of course, this part of the study is very risky and hypothetical, I agree, but if we don't start somewhere, we'll accomplish nothing and will never come close to what really happened.

The question is why is it mentioned a period of 3 years, and then another period of 4 years. Of course, all these years could really only be metaphors referring to the 7 teammates of the Grand Gallery's operation; maybe.

But I'm seeing something else, something that is maybe starting to answer one question that troubles me for a very long time now: why did Khufu's son Khafre built one last great pyramid, just next to his father's?

The (extremely hypothetical) answer I'm suggesting, is as follows:

• Khufu build the Great Pyramid, then operates it for 3 years before dying or giving up the throne

• Khafre then takes over the throne and operates the Great Pyramid for another 4 years, before celebrating the achievement and building his own pyramid that concludes the "engineer era" of ancient Egypt.

Again, this last part is getting very close to science-fiction, but who knows?

When Zahi Hawass, cleaned up the massive salt deposits which accumulated in the Queen's chamber and the evaporative passage in 1998 (Section 1), thus destroying the evidence of the evaporative cooling process itself, not only we probably definitely lost the ability to exactly know how efficient was the ancient Egyptian design (the size of the crystals would have told us the temperature of crystallization), but we also lost the ability to valid or invalid this 7 years of operation hypothesis (by studying the layers of crystallization).

"Anubis, also known as Inpu, Inpw, Jnpw, or Anpu in Ancient Egyptian is the god of funerary rites, protector of graves, and guide to the underworld, in ancient Egyptian religion, usually depicted as a canine or a man with a canine head."

"Anubis" is a Greek rendering of this god's Egyptian name. Before the Greeks arrived in Egypt, around the 7th century BC, the god was known as Anpu or Inpu. The root of the name in ancient Egyptian language means "a royal child." Inpu has a root to "inp", which means "to decay." https://en.wikipedia.org/wiki/Anubis

32.37  The iconic scene of Osiris lying on his bed and Anubis "caring" for him

This is probably the most iconic representation of the ancient Egyptian religion, and now with the deciphering of Anubis, we can decipher the entire scene: of course Anubis is associated with mummification (he has indeed a major role in the creation process of the evaporative cold that most probably would have been used to cool down the manufacturing of 100% pure sodium carbonate natron), but here he is only "taking Osiris" by the hand, so to speak.

Edited from "Tomb of Sennedjem Deir el-Medina, TT1", by kairoinfo4u: https://www.flickr.com/photos/manna4u/14425902021/in/photostream/

32.38  Osiris lying on his sledge bed, and again Anubis represented twice in the same scene

Osiris laid on the bed is actually the Osiris stone (hence the composite impactor in its entirety) resting on the sledge, and that is Anubis himself. It is the same thing that we've already seen earlier in this Section: on that scene, Anubis is represented twice:

• the jackal-headed god is Anubis (the deification of the sledge)

• the bed on which is laid Osiris, is also Anubis, the sledge itself

If you pay attention to the tail of the lion-headed bed, it looks like it is merging with Anubis, where his own tail should be.

This "merging tail" metaphor, one more, we've already seen it with the Great Serpent Apep merging its tail with a baboon.

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

32.39  The running waters of Hapy giving birth to the pressurized but restrained waters of the inclined well

I don't think that the Osiris-Anubis "tail-gate" is simply a happy coincidence, because we've already seen that the exact same trick had already been used with the tail of a baboon merging into the tail of the Great Serpent Apep.

And because we've seen in previous Section 31, that the baboon Hapy is the representation of the waters "running" down the (central caisson of the) Grand Gallery, we wan even better decipher that image: the baboon (the running waters) is simply shown giving birth to Apep (the pressurized waters of the well).

Here, the waters are pressurized but contained and restrained by the well. The ropes restraining Apep are probably directly referring to the girdle stones (Section 4 and 5).

Wood Drawer Slide at https://www.amazon.ca/PCS-Inches-Wood-Drawer-Slide/dp/B087CJF7V9

32.40  The tracks of the Grand Gallery

The sledge runners of the impactor would have needed to be operated inside wooden tracks on each side of the central gutter (on both sides of the mysterious horizontal lines), and they would have most certainly looked like wood drawer slides.

Photographs thanks to kairoinfo4u. Anubis: https://www.flickr.com/photos/manna4u/33781706141/in/photostream/

Wadi Hammamat, Dynasty 11, Nebhepetre Mentuhotep II.: https://www.flickr.com/photos/manna4u/25932728632/in/photostream/

Wadi Hammamat, Dynasty 17: https://www.flickr.com/photos/manna4u/25999304796/in/photostream/

32.41  The projections of water behind Anubis' path

We've already seen in previous Sections that the flail was the ancient Egyptian way of representing projection of water, and that the direction of its end part points towards the direction in which the water is projected.

It is then not a surprise if Anubis is represented with the flail in so many occasions: the sledge was indeed projecting massive flumes of water behind its path. More about the flail in Section 3

"Transport of a colossus, from a tomb at El Bersheh", at the New York Public Library: https://digitalcollections.nypl.org/items/510d47e4-37f4-a3d9-e040-e00a18064a99

32.42  The transport of the colossus of Djehutihotep

About the sledge, there is one more thing I want to address, and that is its use for the transport of the Colossus of Djehutihotep, because I must admit I feel very bad about the way Egyptologists are seeing the ancient Egyptians.

Even if the scene of the transport of the colossus is showing the combined use of a (very weird looking) beam and water, Egyptologists are seriously thinking ancient Egyptians were pouring that water directly onto the sand; just like they were 4 year old boys playing in the sandbox.

Seriously, don't you think they would have use tracks to guide the sledge?

Don't you think that this weird looking beam with notches is about the tracks? And don't you think they would have pour that water directly into these tracks?

If you look closely, you will notice that it is clearly indicated what should be put under the runners of the sledge, and what should come from the top of the runner: the strange notched beam and the water are supposed to be here, right underneath the sledge runners (and that really is sledge runners: ancient Egyptians didn't ever represented "flat" sledges, every single sledge came with runners); and at the same time they are also showing that the water was supposed to come from atop of the runner.

Maybe the "notches" are just like the latch bolts of the Grand Gallery, at least in their function if not in their design.

Anyway, the tracks on which the colossus was transported, functioned exactly like the ones in the Grand Gallery, with water used to reduce the friction, drastically.

" By far, Djehutihotep is known best for the famous decoration inside his tomb that represents the transport of a colossal statue of him that was nearly 6.8 metres (22.3 ft) high, being transported by 172 workers using ropes and a slide, in an effort that is facilitated by pouring water in front of the slide. With an estimated weight of 58 tonnes (57.1 long tons; 63.9 short tons), it was carved by a scribe, Sipa son of Hennakhtankh. Unfortunately, no traces of this colossus have ever been found. The colossus' depiction itself was irremediably vandalized and destroyed in 1890, and all the existing drawings are based on a single photo taken the previous year by a certain Major Brown. It is assume a rate of 5% of water ease the transport by up to around 30%."  https://en.wikipedia.org/wiki/Djehutihotep

Horus holding the fog nozzle of the Great Pyramid of Giza, refreshing himself, and King Amasis demonstrating that he was able to master the Solvay process and that the manufacturing of sodium carbonate and sodium bicarbonate was successful. Horus Figure DUT 162 from the Louvre Museum and Kneeling statuette of King Amasis from the Metropolitan Museum of Art, New-York. Accession Number: 35.9.3 : https://www.metmuseum.org/art/collection/search/544886

Pyramids of the Giza Necropolis by KennyOMG :   https://en.wikipedia.org/wiki/Giza_pyramid_complex#/media/File:Pyramids_of_the_Giza_Necropolis.jpg

32.43  Summary of the study: hidden behind the academic vision of the ancient Egyptian religion, a vast number of metaphors are describing some of the most advanced science and technological knowledge of that time : ancient Egyptian gods were nothing else than pharaohs' metaphoric self-glorifications of their theoretical and experimental scientific accomplishments in physics and chemistry.

Pharaohs used the power of Science to legitimate themselves as kings of Egypt : they forged an entire religion, based on science to rule their kingdom, and they presented that science as Magic.

The end game of this technological program that probably started on the very first Dynasty, was the Great Pyramid of Giza where evaporative cooling was engineered in the known part of the pyramid from the pressurized water produced in the inclined well, known today as the ascending passage.

The evaporative cold simply took advantage of the power of water, and was most probably necessary to cool down chemical manufacturing of sodium carbonate and sodium bicarbonate produced by an ammonia-soda Solvay process, as suggested by the very strong ammonia smell and the limestone kiln in the so-called burial chamber of the Red Pyramid. At that time, sodium carbonate was called natron, and it was the salt used for the mummification of the pharaohs (Sections 14, 15 and 16).

The cooling seems to have represented the most difficult part of the process, as suggested by the Step Pyramid's official name : according to scholars, the very first pyramid complex, the Step Pyramid of Djoser, was called "the refreshment of the Gods". No doubt that a more accurate translation would certainly be "the cooling of the Gods".

It means that ancient Egyptians were the first civilization to master a Solvay-like process for sodium carbonate manufacturing, long before it got reinvented in the 1800's in Europe. The key elements of that process is the temperature control of the chemical reactions (the cooling), and the dome shaped plate necessary for the counterflow chemical reactions to occur in an efficient way. That counterflow reaction plate is what really is the disc of Sabu.

As shown with Akhenaten and Nefertiti, the creation of the evaporative cold was the most sacred accomplishment of all (Section 17), and this is exactly what the Dendera Light is all about : the Dendera Light is the fog of microdroplets of liquid water that evaporates and creates the cold. Talking 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, Section 2).

Everything that had been done in the Great Pyramid of Giza inspired most of the ancient Egyptian religion, and it had been glorified into what we know today as the Underworld.

The Underworld is referring to the chambers and passages of the Great Pyramid of Khufu, and in particular to the Grand Gallery where a hauling gantry beetle operated a wooden coffin shaped impactor that had a small nested granite block inside it. The impactor generated endlessly, over and over, maybe every 15 minutes the pressurized water that was then transformed into a fog of microdroplets inside the horizontal cooling passage.

The Grand Gallery of the Great Pyramid where the act of hauling was done, is the "Secret Hauling Cavern of the Underworld" described in the Amduat "Book of the Hidden Chamber".

The most important chamber of the Great Pyramid wasn't the King's chamber that only was the main water tank of the pyramid, but the Queen's chamber, the only one on the central axis of the pyramid. Because the Queen's chamber was inaccessible from the rest of the pyramid, it was glorified into the "Hidden Chamber of the Underworld" (Section 11), and because the Queen's chamber was the coolest place in the pyramid (about 5°C / 41°F), and with a constant 100% Humidity rate, this chamber was the one where the biggest amount of very hard salt encrustation had been documented by the first explorers of the pyramid in the 1800's and before it had been removed in 1998 by Zahi Hawass (Section 1). Very hard salt encrustation is the signature of the evaporative cooling process, even nowadays.

The most incredible thing is that pretty much everything I've just said, actually appears in many myths, and they don't even originate from ancient Egypt : the "Churning of the Ocean" Hindu myth that produces the immortal nectar Amrita, the Tibetan Prayer Wheels operated to give small amounts of 'merit' to too lazy Naga snakes, and the entire Norse mythology with Thor's magical hammer endlessly fighting another Great Serpent of the Underworld and producing a mist of cold from a mysterious well that would be opposed to hellishly hot heat waves.

I'm talking a lot about the impactor of the Great Pyramid, but it is nothing compared to the tremendous impact caused by what the ancient Egyptians had accomplished within the 78 years of the Great Pyramids Era, from Djoser to the Great Pyramid: the entire ancient World had been shaken up in their deepest beliefs beyond all comprehension; and we are still talking about it today.

The Pyramids of the Cold

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Next Section: Thoth's Medes-blade and the writing metaphor

Son of Horus Hapy is indeed all about water as suggested by many water clocks: Hapy really is Hapi's twin brother.

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

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

"Clepsydra or water clock with squatting baboon", at the Metropolitan Museum of Art, New-York: https://www.metmuseum.org/art/collection/search/549190

31.01  Son of Horus Hapy really is all about god of the Nile Hapi: the similarity of their names isn't accidental at all

One more time, I really have to admit I love all these metaphors; sometimes they are just under our very eyes and we don't even understand that it really is one of them, until suddenly you simply see it… and try to understand it.

And once again, the Hapy metaphor is really so good: because son of Horus Hapy is well known to be connected with "navigation" and in the same time is referred to as the "Great Runner", seriously it doesn't take a genius to understand that the metaphor about the "Great Runner" in a "navigation" context is all about "running water", or does it?

I understand that for egyptologists, Hapy is simply the baboon-headed son of Horus we can find on many canopic jars protecting the lungs of the deceased; but the baboon is also find everywhere directly associated with water, as are proving the many water clocks found from the ancient times, as well as in a representation of the "weighing of the heart" scene, where a baboon is obviously "peeing" water into a jar.

"Hapi (Ḥpj) the baboon headed son of Horus protected the lungs of the deceased and was in turn protected by the goddess Nephthys. The spelling of his name includes a hieroglyph which is thought to be connected with steering a boat, although its exact nature is not known. For this reason he was sometimes connected with navigation, although early references call him the great runner: "You are the great runner; come, that you may join up my father N and not be far in this your name of Hapi, for you are the greatest of my children – so says Horus"  https://en.wikipedia.org/wiki/Four_sons_of_Horus

If the Hauling beetle has been glorified into many goddesses with the appearance of a cow (Hathor, Mehet-Weret, Neith and Serket), the impactor has been represented into powerful bulls, such as the Apis bull. 

The Apis Bull, also Api or Hapi (Apis, Taureau Consacré a la Lune)", 1823-25, by the French illustrator Léon-Jean-Joseph Dubois, at the Brooklyn Museum: https://www.brooklynmuseum.org/opencollection/archives/image/55326

"Poseidon" water coaster at Europa-Park, by Stefan Scheer: https://en.wikipedia.org/wiki/Water_ride#/media/File:Europapark_Poseidon.jpg

31.02  The still waters of god of the Nile Hapi vs. the running waters of Hapy: the water coaster metaphor

Hapy is a Son of Horus, so the running water he is all about is the one used inside the central wooden caisson of the Grand Gallery precisely where the impactor Horus was endlessly moving up and down. That running water transformed the central gutter of the Gallery  into a water slide for the impactor, and the one which was accumulating in front of the impactor, as well as on its sides.

This accumulated water is what "I have come to be your protection. I have bound your head and your limbs for you. I have smitten your enemies beneath you for you, and given you your head, eternally" is all about.

Hapy is simply the continuity of Hapi's water; they are also both another example of the ancient Egyptian philosophy opposing the active and inactive sides of all things: when the waters of god of the Nile Hapi are still in the King's chamber, the water of Hapy are active "running waters".

In Spell 151 of the Book of the Dead Hapi is given the following words to say: "I have come to be your protection. I have bound your head and your limbs for you. I have smitten your enemies beneath you for you, and given you your head, eternally."  https://en.wikipedia.org/wiki/Four_sons_of_Horus

Original image of the Grand Gallery of the Great Pyramid of Egypt at Giza, built by pharaoh Khufu, from page 52 of "The call of the stars; a popular introduction to a knowledge of the starry skies with their romance and legend" (1919) by Kippax, John R. (John Robert), 1849-1922 : https://www.flickr.com/photos/internetarchivebookimages/14597229618/

31.03  Hapy (the son of Horus) represents the same waters of Hapi (the god of the Nile), but running down the Gallery

The deciphering of the baboon-headed son of Horus Hapy, the Great Runner because of the "running water" metaphor (and used in particular in ancient Egyptian water clocks associated with the baboon), as the deification of the water which was running inside the central wooden caisson of the Grand Gallery to reduce friction and accelerate the fall of the impactor, also allows us to explain why ancient Egyptians chose to use to name two "different" gods with pretty much the exact same name: Hapi and Hapy (in their occidental writing).

The baboon-headed son of Horus Hapi (Ḥpj in ancient Egyptian) vs. the god of the Nile Hapi (also Hpj)

To be honest, the ancient Egyptian writing for god of the Nile Hapi, also has an additional sign, but which isn't read properly by my computer.

https://en.wikipedia.org/wiki/Four_sons_of_Horus and https://en.wikipedia.org/wiki/Hapi_(Nile_god)

But what is important is that if both names are or sound identical or very similar is that they are about the same thing.

Remember, one of the most important errors I've made, was to think the water used to power up the Great Pyramid was coming from the Nile; I didn't see the metaphor. Because god of the Nile Hapi is like every other deity, a metaphor.

What ancient Egyptians wanted to focus on was the way the water they used was circulating inside the pyramid: from the sky they collected rain water (rainwater harvesting from the flat roof of the pyramid), which runned through the King chamber shaft(s) towards the chamber itself, then the biosand filter Khnum (and its supplying valve Satis and Anuket) where it became purified, then the Gallery from which the inclined well was supply with new water as well, then the fog nozzle, the evaporative cooling passage, the Queen's chamber and finally its shaft(s).

This entire journey of the water inside the Great Pyramid is what triggered the Nile metaphor: the water in the Pyramid behaved just like the Nile in the country.

In other words, the water running inside the central caisson of the Gallery to "sustain" the impactor Horus, was kind of a river "within" the Nile river itself. The son of Horus Hapy is all about that river which put Horus into motion; kind of a river within the river. In some way, that little river which runned through the Grand Gallery, was a perfect reduction of the great river that was the Nile, and so a perfect reduction of the metaphor of that great river.

In other words, the god of the Nile Hapi can be seen as the one giving birth to the son of Horus Hapy.

In order to create and use pressurized air, the central caisson had to function exactly like a bicycle pump: the caisson was closed and completely airtight, from top to bottom, the only access to its interior was the Bastet hatch at the bottom of the Gallery, near the mouth of the inclined well.

31.04  The operating diagram of the Great Pyramid of Egypt for evaporative cold production

Last updated February 28, 2023. Four Sons of Horus correction and implementation of the baboon-headed son of Horus Hapy as the continuity of god of the Nile Hapi. Hapy represents the Hapi filtered water, running though the Grand Gallery and allowing the impactor Horus to gain speed and energy.

Also, Hathor is not the Hauling beetle actually releasing the impactor from the top of the Grand Gallery, but the Beetle with the impactor secured and protected underneath her (the impactor is then Horus the child; the exact moment of the impactor release had been glorified into Neith (the One giving birth to Ra) and Serket (the One giving birth to Horus.

If the Hauling beetle has been glorified into many goddesses with the appearance of a cow (Hathor, Mehet-Weret, Neith and Serket), the impactor has been represented (among others) into the powerful bull, as in the Apis bull.

Hapy is simply the continuity of Hapi's water; they are also both another example of the ancient Egyptian philosophy opposing the active and inactive sides of all things: when the waters of god of the Nile Hapi are still in the King's chamber, the water of Hapy are active "running waters".

31.05  The dumbest thing to do if you see yourself as a scientist

The thing is, I knew about the myth of Isis and the seven scorpions for quite a while now, but because of the false interpretation of the Sons of Horus I've made, I completely disregarded the myth because it wasn't compatible with the hypothesis of a Hauling beetle that would have been operated by 8 crewmembers; and it was certainly the dumbest thing to do.

Instead of questioning the 8 crewmembers hypothesis, I preferred to forget every piece of data contained in the scorpions' myth; but now that I know that the Sons of Horus are nothing less than the exact same kind of metaphors we've already seen with so many gods and goddesses, that they are not about "people", I can give to these scorpions all the attention they deserve.

31.06  The myth of Isis and the seven scorpions

Excerpt from a post written by Joshua J. Mark, a freelance writer and former part-time Professor of Philosophy at Marist College, New York. https://www.worldhistory.org/Serket/

"One of the most popular stories concerning Isis is known as Isis and the Seven Scorpions. It relates how, when Horus was an infant and Isis was hiding him in the swamp lands, Serket had seven scorpions keep her company. When Isis went out to beg for food in the nearby towns, three of them - Petet, Tjetet, and Matet - would go before her to make sure the way was safe and Set was not waiting in ambush, two were on either side of her - Mesetet and Mesetetef - and two brought up the rear - Tefen and Befen, who were the most fierce - in case Set chose to attack from behind".

"Whenever she left the swamp, Isis would conceal her glory so she looked like a poor, older woman asking for alms. One night, as she and her bodyguard entered the town, a very rich noblewoman looked down on them from her window and quickly slammed her door and locked it. Serket, though watching over Horus in the swamp, could see all that her scorpions saw, and she was angered at this affront to Isis. She decided the woman would pay for the insult and sent a message to Tefen that he should take care of the situation. The other six scorpions all surrendered their poison to Tefen who drew it up into his stinger and waited for the right moment. In the meantime, a poor peasant woman had seen the noblewoman refuse hospitality and, even though she had little, offered Isis and her scorpions a place under her roof for the night and a simple meal".

" While Isis was eating with the young woman, Tefen snuck out of the house and crept beneath the door of the home of the noblewoman, where he stung her young son. The boy fell down in a stupor, and the noblewoman grabbed him up and tried to revive him but could not. She ran into the streets, crying for help, and Isis heard her. Even though the woman had refused her food and a place for the night, Isis forgave her. She did not want the boy to pay for his mother's insult. Isis took the child in her arms and called each of the scorpions by their secret name, thereby dominating them and neutralizing their power, and recited spells of great magic. The poison evaporated, leaving the child's body, and he revived. The noblewoman was so grateful and so ashamed of her earlier behavior, she offered all her wealth to Isis and the peasant woman. Serket, back in the swamp with Horus, regretted having sent the scorpion to attack the innocent boy and vowed to protect all children in the future". 

It is in the two huge holes on the upper platform of the Grand Gallery where were set the axle beam drive shaft holders. The "Two Sandals" of the House of Isis are these holders (see farther down the Section).

31.07  Operating diagram of the Grand Gallery with seven crewmembers and a six-compartments Hauling beetle, P4 Side view

31.08  Isis and the seven scorpions - Deciphering part 1: the 6 crewmembers operated Hauling beetle

"It relates how, when Horus was an infant and Isis was hiding him in the swamp lands, Serket had seven scorpions keep her company." https://www.worldhistory.org/Serket/

This myth is incredible, because it is so rich; there are so many clues and so many references to the operating of the Grand Gallery that it is hard to even decide where to start. Let's try step by step, piece by piece from the above excerpt:

Horus the infant is obviously Horus the child, and we've seen that Horus (the child or the elder) is the glorification of the impactor, from an "energetic" point of view: Horus the elder has all the power needed to accomplish its tasks and he is gaining speed and energy in the Grand Gallery, when Horus the child doesn't and he is either getting to the top of the Gallery or staying put at the top, under the Beetle Hathor). Horus the child is hauled by Isis, and it all happens inside the central caisson of the Gallery. So here, the swamp lands are the central caisson. We've just seen that this caisson was, every 15 minutes or so, travelled by the running waters of Hapy so that the impactor could move in the first place.

And of course, it is the Hauling beetle which was keeping company to Horus the child: it means that the seven scorpions are the work team of the Beetle.

Obviously, there is a distinction to make between Hathor and Serket; of course they both are representations of the Beetle at the top of the Gallery, with the impactor hidden underneath, and probably Hathor is the "protecting side" of the Beetle in this particular position, when Serket would be about the cycle of hauling and releasing in its entirety.

What we learn, is that there are seven scorpions. Is it "safe" to presume that this time, it really is about the team work of the Gallery? I would say yes; the Hauling beetle of the Great Pyramid was most probably designed to accommodate six crewmembers, and there would have been an additional teammate that would have stay on the platform at all times.

I guess, some of his most important role was to secure the impactor after the hauling, and to release it on demand.

"Mummy Bead Net with Winged Scarab, Third Intermediate Period - Late Period, date 1076-332 BCE", at the Michael C. Carlos Museum in Atlanta: https://collections.carlos.emory.edu/objects/38469/mummy-bead-net-with-winged-scarab

Image from the Walters Art Museum: https://art.thewalters.org/detail/28885/amuletic-figure-of-kebehsenuef-son-of-horus/#item-modal

"Faience pectoral scarab with spread wings and bead net", Royal Pump Room, Harrogate. This file was donated by Harrogate Museums and Arts service as part of the Yorkshire: https://en.wikipedia.org/wiki/Scarab_(artifact)#/media/File:Bead_net_with_scarab_HARGM3698.JPG

"Egyptian Faience" at the Australian Museum, Sydney: https://australian.museum/learn/cultures/international-collection/ancient-egyptian/egyptian-faience/

31.09  It is the 6 legs Sacred Beetle Scarab which is really caught in Sobek's net

I've thought in previous Section 30, that the famous "net of Sobek" was all about the Four Sons of Horus, and that is what tricked me in the deciphering of these Sons of Horus: they are not about the crewmembers, as I've already explained in this Section; at least one of them is about the water running inside the caisson, and I suspect that the three other sons of Horus, also are about water, as they are often represented "getting out" of a lotus flower.

But, if you look at the above images of nets, of course some of them are showing the Sons of Horus (water was everywhere in or around the Grand Gallery), but what is always here, caught in the nets is the sacred beetle scarab. In other words, if the Beetle is the One caught inside the net, it is because it really is the net: it is the net in which the crewmembers of the Beetle were caught.

If the Sacred beetle scarab is represented caught in a fishing net, it is because its 6 legs are actually the 6 crewmembers of the Hauling beetle, and these crewmembers looked like caught in a fishing net when they were all together operating the Beetle.

31.10  The Hauling beetle was literally "fishing the impactor out of the inclined well waters"

Just like there is no such thing as the barque of Ra (because Ra is the barque, i.e. the wooden part of the impactor), there is no such thing either as the fishing net and the scarab beetle: both are the same thing. Both are metaphoric representations of the Hauling beetle, either because of the way the crewmembers would have looked like onboard, or because it moved and behaved like a beetle, going backwards, with 3 pairs of legs.

The second meaning of the fishing net, is of course because the Hauling beetle itself was literally "fishing" the impactor out of the inclined well waters.

What is fascinating in the first above image of the  "Mummy Bead Net with Winged Scarab" at the Michael C. Carlos Museum in Atlanta, is that the Beetle had been represented at the very top of what really looks like the shape of the Grand Gallery itself. In other words, in this fantastic artifact, we have both the "murder weapon" and the "crime scene" of  what it is really representing.

Soutpansberg Dung Beetle (Scarabaeus schulzeae), a Soutpansberg Endemic, thanks to Ryanvanhuyssteen: https://en.wikipedia.org/wiki/Scarabaeus#/media/File:Soutpansberg_Dung_Beetle_(Scarabaeus_schulzeae).jpg

Sacred scarab beetle © Encyclopædia Britannica, Access date 3 mars 2023: https://www.britannica.com/animal/scarab-beetle#/media/1/526654/139393

31.11  The beetle scarab doesn't have 8 but 6 legs like every other insect

When I believed that the Beetle was made for 8 crewmembers, I didn't make just one big mistake: I actually made another one; because what I know for sure about what ancient Egyptians created, is that nothing was done approximately. Everything that was done in science, architecture or "religious" glorification was profoundly thoughtful, and they simply never would have glorified the Hauling beetle into the scarab amulets if the original Beetle had not 6 but 8 legs.

So, I'm glad that Hapy came into play and made me see through these big mistakes.

Anyhow, and unless I'm being a simple fool again, I think we can honestly count on a Hauling beetle operated by 3 pairs of crewmembers, just like the beetle scarab has 3 pairs of legs as well.

31.12  Operating diagram of the Grand Gallery with seven crewmembers and a six-compartments Hauling beetle, P1

Contrary to the previous 8 positions of the Hauling cycle, P1 is now when the impactor is floating in the inclined well after it has rammed into its waters, instead of the moment when the impactor is released from the top of the Grand Gallery.

31.13  Operating diagram of the Grand Gallery with seven crewmembers and a six-compartments Hauling beetle, P2

31.14  Isis and the seven scorpions - Deciphering part 2: Tefen passing through the opened Hatch

"One night, as she and her bodyguard entered the town, a very rich noblewoman looked down on them from her window and quickly slammed her door and locked it. Serket, though watching over Horus in the swamp, could see all that her scorpions saw, and she was angered at this affront to Isis. She decided the woman would pay for the insult and sent a message to Tefen that he should take care of the situation. The other six scorpions all surrendered their poison to Tefen who drew it up into his stinger and waited for the right moment."  https://www.worldhistory.org/Serket/

Here, the situation changed: Isis isn't begging anymore (fully coiled and drying out onto the platform), she is accompanying the serpents into town (the caisson); it means that at that exact moment Isis had become Hatmehit, the Hauling rope which is released into the caisson for its reattachment with the impactor (Section 27.37).

This part is actually all about Position 2 of the Hauling cycle. When it is said that Serket (the Hauling beetle at the top of the Gallery) is "watching over Horus in the swamp", it should be added that it happens from a distance, because at some point Serket "send" a message to Tefen to take action and defend Isis. In other words, while Serket is at the top end of the Gallery, the impactor Horus is at the other end (and actually it had become Sobek, floating in mid waters just like a crocodile, see previous Section 30).

We've seen that the central wooden caisson wasn't optional because the moist air of the evaporative cooling passage absolutely needed to be replaced with new dry air for the cycle to continue again and again, and we've also seen that this caisson also had to have a hatch at its bottom end so that the impactor could be reattached with the Isis Hauling rope.

The closed and locked hatch that have to sustain the pressurized air caused by the fall of the impactor, and which needs to be opened up in Position 2, so that one teammate would have to get in and proceed to the reattachment of the impactor, all this operation of the Bastet hatch (Section 27), is what the passages "a very rich noblewoman looked down on them from her window and quickly slammed her door and locked it" and "She decided the woman would pay for the insult and sent a message to Tefen that he should take care of the situation." is all about.

The teammate of the Grand Gallery who is getting inside the central wooden caisson through the Bastet hatch, that is Tefen (crewmember 6 in the diagrams).

31.15  Operating diagram of the Grand Gallery with seven crewmembers and a six-compartments Hauling beetle, P3

More on the "Tresses of Nephthys", the Isis and Nephthys "Twin Sisters" and the metaphor of their "lamentations" in Section 23 and Section 25

31.16  The Tresses of Nephthys

31.17  Operating diagram of the Grand Gallery with seven crewmembers and a six-compartments Hauling beetle, P4

31.18  Isis and the seven scorpions - Deciphering part 3: the recovery of the impactor

"While Isis was eating with the young woman, Tefen snuck out of the house and crept beneath the door of the home of the noblewoman, where he stung her young son. The boy fell down in a stupor, and the noblewoman grabbed him up and tried to revive him but could not. She ran into the streets, crying for help, and Isis heard her. Even though the woman had refused her food and a place for the night, Isis forgave her. She did not want the boy to pay for his mother's insult. Isis took the child in her arms and called each of the scorpions by their secret name, thereby dominating them and neutralizing their power, and recited spells of great magic. The poison evaporated, leaving the child's body, and he revived."  https://www.worldhistory.org/Serket/

This part may well be the climax of the myth. First there is again Tefen who "crept beneath the door" of the home of the noblewoman, and by doing so literally replicating crewmember 6, passing through the hatch of the caisson. Then Tefen is "stinging" the young boy, who becomes inert; and that is pretty close to what really happened inside the caisson; because to the question as to know whether the impactor was really floating at the surface of the inclined well waters, or whether it was more like in mid waters, we may have the answer now: we've already seen that this second "mid waters" hypothesis  was probable because of the deification of the impactor as a crocodile once in the well, an animal who loves to stay hidden in shallow waters, and if the impactor was indeed in this position in the well, most probably Tefen would have needed a tool to get him back; with that tool in his hand, Tefen would have looked like he was going to kill the crocodile impactor… or the young boy.

Then, we have the Isis "embrace" metaphor; an easy one as this part of the story here is all about the recovery of the impactor; about its reattachment with the Isis rope.

Finally, once the Isis rope is reconnected with the impactor, it is time to ask for the work team to start the Hauling process: "Isis took the child in her arms and called each of the scorpions by their secret name, thereby dominating them and neutralizing their power, and recited spells of great magic. The poison evaporated, leaving the child's body, and he revived."

Of course, I couldn't miss the mention of the "evaporated" poison: that is particularly amusing, considering the fact that the whole thing was precisely about the evaporative process.

31.19  Isis and the seven scorpions - Deciphering part 4: the Two "anchoring" Sandals of Isis are the axle beam holders

This is another text, from "Ancient Egyptian Legends, by M. A. Murray (1920)": https://www.sacred-texts.com/egy/ael/ael09.htm

"I am Isis, the great Goddess, the Mistress of Magic, the Speaker of Spells. I came out of my house which my brother Set had given to me, for Thoth called to me to come, Thoth the twice great, mighty of truth in earth and in heaven. He called, and I came forth when Ra descended in glory to the western horizon of heaven, and it was evening.

And with me came the seven scorpions, and their names were Tefen and Befen, Mestet and Mestetef, Petet, Thetet, and Matet. Behind me were Tefen and Befen; on either side were Mestet and Mestetef; in front were Petet, Thetet, and Matet, clearing the way that none should oppose or hinder me. I called aloud to the scorpions, and my words rang through the air and entered into their ears, "Beware of the Black One, call not the Red One, look neither at children nor at any small helpless creature."

Then I wandered through the Land of Egypt, Tefen and Befen behind me, Mestet and Mestetef on either side of me, Petet, Thetet, and Matet before me; and we came to Per-sui, where the crocodile is God, and to the Town of the Two Sandals, which is the city of the Twin Goddesses."

Again, there are so many informations here… I'm gonna start with the end because it really is extraordinary and it also literally set the place. And that place is the Grand Gallery; from the top end where are the platform and the axle beam (that is the "city of the Twin Goddesses [Isis and Nephthys]), to the mouth of the inclined well ("Per-sui", where the crocodile is God [that is Sobek floating in the waters of the well]).

We also learn that in between these two landmarks, is the entire "Land of Egypt", but most of all, we learn that the "city of the Twin Goddesses", i.e. the home of Isis and Nephthys, in other words the place they go to rest (the axle beam), is also called "the Town of the Two Sandals"; and that is the extraordinary part I'm talking about, because these Two Sandals, next to the axle beam, they are about the holders of the axle beam.

The metaphor here is about "anchoring": it is about having "both feet on the ground".

The same way sandals are anchoring your body to the ground, the two axle beam holders were anchoring Isis and Nephthys into the ground as well. The Sandals are about the axle beam holders. Sandals are what is anchoring your feet onto the ground; the holders are these anchors.

Line art drawing of a sandal, by Pearson Scott Foresman: https://fr.wikipedia.org/wiki/Sandale#/media/Fichier:Sandal_3_(PSF).svg

Mooring posts by Audriusaat: https://www.wikiwand.com/da/Fort%C3%B8jning#Media/Fil:Mooring2HPoleFixed.jpg

Mooring lines draw at: https://www.safe-skipper.com/competent-crew-skills-mooring-lines/

31.20  Isis is known as the "Great Mooring Post" and when she eventually located Osiris’s body after his death, she is also the one who "moored her brother" Osiris

The fact that Isis is really all about ropes and anchoring to the ground, and that she literally also used a rope to get Osiris back after his death, is actually very well known:

• Isis was called the "Great Mooring Post" in some ancient Egyptian texts: "Isis is not just about rebirth and sunrise. She is also the Great Mooring Post". https://isiopolis12.rssing.com/chan-10218340/all_p4.html

• "When Isis eventually located Osiris’s body after his murder by Seth, she “moored her brother” can be find in  a very detailed study, called "When Isis "Moored" Osiris", by L. D. Graham - JEOL. There is an excerpt: "The present paper, which is philological in nature, addresses a central event in the Osiris myth as it is narrated in the Great Hymn on the Stele of Amenmose. Specifically, the Great Hymn says (in line 15) that, when Isis eventually located Osiris’s body after his murder by Seth, she “moored her brother”. https://hcommons.org/deposits/objects/hc:47012/datastreams/CONTENT/content

31.21  Operating diagram of the Grand Gallery with seven crewmembers and a six-compartments Hauling beetle, P5

31.22  Isis and the seven scorpions - Deciphering part 5: the names of the crewmembers

"I am Isis […] I came out of my house […] and with me came the seven scorpions, and their names were Tefen and Befen, Mestet and Mestetef, Petet, Thetet, and Matet. Behind me were Tefen and Befen; on either side were Mestet and Mestetef; in front were Petet, Thetet, and Matet, clearing the way that none should oppose or hinder me."  https://www.sacred-texts.com/egy/ael/ael09.htm

The fact that we know all the names of the seven scorpions is evidently extremely valuable, but what would be even more valuable, is to know every crewmember by his name, individually.

We already know that crewmember 6 is Tefen, the one getting inside the caisson; hence we know that Befen is completing the third pair. The problem now is to interpret this part of the myth to decipher all the other ones.

I have no doubt that there are many ways to interpret the excerpt, and to try to determine if what is described is close or not to one particular position in the Hauling cycle, but maybe it is even not really rightful to see it that way, as we've already seen that ancient Egyptians loved to both demonstrate and hide their accomplishments.

My assumption is that the scorpions are named in the exact order as they were in the Beetle:

• crewmembers 5 and 6 were Tefen and Befen

• crewmembers 3 and 4 were Mestet and Mestetef

• crewmembers 1 and 2 were Petet and Thetet

• the seventh teammate of the work team was Matet, the last to be named.

"Tendre la main au sens propre comme au sens figuré", by Honoré Daumier (France, Marseille, 1808-1879). LACMA, Los Angeles County Museum of Art: https://fr.wiktionary.org/wiki/tendre_la_main_%C3%A0#/media/Fichier:'Le_Flot_qui_la_porta...'_LACMA_M.91.82.276.jpg  and https://collections.lacma.org/node/203097

Supply ratings handling a coil of 16 inches (410 mm) towing hawser (rope) at the Royal Navy's Naval Stores Department, Nore, Harwich. Royal Navy official photographer, Russell, J E (Lt) - This is photograph A 16341 from the collections of the Imperial War Museums: https://en.wikipedia.org/wiki/Hawser

31.23  Isis and the seven scorpions - Deciphering part 6: the drying out and begging Isis Hauling rope

"When Isis went out to beg for food in the nearby towns, three of them - Petet, Tjetet, and Matet - would go before her to make sure the way was safe and Set was not waiting in ambush, two were on either side of her - Mesetet and Mesetetef - and two brought up the rear - Tefen and Befen, who were the most fierce - in case Set chose to attack from behind. Whenever she left the swamp, Isis would conceal her glory so she looked like a poor, older woman asking for alms."  https://www.worldhistory.org/Serket/

This part is obviously the chore of the myth, and the first thing to talk about is Isis leaving the swamp, concealing her glory to resemble to a poor and old begging woman; that part is when the Hauling rope (Isis) is taken out of the central wet caisson (the swamp) and becomes Nephthys, the twin sister of Isis who was about the Hauling rope completely coiled upon the axle beam, drying out and with its end hanging out from the rest of the rope. That is what the old begging woman metaphor is all about.

Coiled upon the axle beam, and all dried out, with its end hanging out, Isis would have looked exactly like that poor old begging woman, stretching her hand for food.

The second thing is that while Isis was begging and drying out onto the platform of the Grand Gallery, the scorpions left her in a very meticulous pattern or sequence: Tefen and Befen who "brought up the rear", Mesetet and Mesetetef on "either side" of her, Petet, Tjetet and Matet who made sure the way was safe. These are the names of the seven teammates of the Grand Gallery's work team.

31.24  Operating diagram of the Grand Gallery with seven crewmembers and a six-compartments Hauling beetle, P6

"When Isis went out to beg for food in the nearby towns, three of them - Petet, Tjetet, and Matet - would go before her to make sure the way was safe and Set was not waiting in ambush, two were on either side of her - Mesetet and Mesetetef - and two brought up the rear - Tefen and Befen, who were the most fierce - in case Set chose to attack from behind".

Petet, Tjetet and Matet are crewmembers 1, 2 and 7.

31.25  Isis and the seven scorpions - Deciphering part 7: the latch bolts disabling for the Beetle's ascent

Again, still from the previous excerpt from: https://www.sacred-texts.com/egy/ael/ael09.htm

"I am Isis […] I came out of my house […] and with me came the seven scorpions, and their names were Tefen and Befen, Mestet and Mestetef, Petet, Thetet, and Matet. Behind me were Tefen and Befen; on either side were Mestet and Mestetef; in front were Petet, Thetet, and Matet, clearing the way that none should oppose or hinder me."

We've already seen that the whole process of the Hauling, was only possible because of the latch bolts that were installed inside the niches of the walls: they were enabling a sequential process, little by little, the impactor was ascend the Gallery.

But once the Hauling process is finished, these same latch bolts are becoming obstacles that are blocking the way back up of the Beetle; these latch bolts need to be forced back inside the walls: they need to be rendered inoperative.

And that is what "in front were Petet, Thetet, and Matet, clearing the way that none should oppose or hinder me" is all about.

This disabling of the latch bolts can be seen in Position P6 of the Hauling cycle, with crewmembers 1 and 2 (Petet and Matet), forcing the latch bolts in the walls on their way to the platform of the Gallery where they would deal with the lateral ropes progressively winding on the axle beam.

What is unclear is the role of crewmember 7 Matet, who visibly participate in the "clearing of the way" for the Beetle; maybe it is about what needs to be done to "embrace", lock and secure the Beetle when it finally reaches the top of the Gallery.

Source of the draw: "Examining The Grand Gallery in The Pyramid of Khufu And its Features" by Luca Miatello in PalArch´s Journal of Achaeology of Egypt/Egyptology, 7(6) (2010)

31.26  The niches of the eastern and wester walls of the Great Pyramid of Giza

31.27  Operating diagram of the Grand Gallery with seven crewmembers and a six-compartments Hauling beetle, P7

31.28  Operating diagram of the Grand Gallery with seven crewmembers and a six-compartments Hauling beetle, P8

31.29  Operating diagram of the Grand Gallery with seven crewmembers and a six-compartments Hauling beetle, P9

31.30  Operating diagram of the Grand Gallery with seven crewmembers and a six-compartments Hauling beetle, P10

One of the most popular stories concerning Isis is known as Isis and the Seven Scorpions. It relates how, when Horus was an infant and Isis was hiding him in the swamp lands, Serket had seven scorpions keep her company. When Isis went out to beg for food in the nearby towns, three of them - Petet, Tjetet, and Matet - would go before her to make sure the way was safe and Set was not waiting in ambush, two were on either side of her - Mesetet and Mesetetef - and two brought up the rear - Tefen and Befen, who were the most fierce - in case Set chose to attack from behind".

31.31  Why Tefen and Befen were the "most fierce" of the scorpions and ready to face Seth

If Tefen and Befen were "the most fierce" of the seven scorpions and prepared to face Seth (Set), it is because they were both at the bottom of the Grand Gallery when the impactor was released, next to the Bastet hatch. If the Hatch was to fail, there would have been facing pressurized air.

Again, ancient Egyptians glorified the same thing, here it is the air being pressurized in the caisson, in (at least) two major deifications:

• First in Seth, who is about the air facing (or fighting) the fall of the impactor: that is what the famous "Contendings" between Ra and Seth are all about (Section 24.09).

• Second into Sekhmet, who is that same pressurized air, but feared to get out of the central wooden caisson through the Bastet hatch, if this hatch happened to fail (Section 27).

"Horus and Set challenged each other to a boat race, where they each raced in a boat made of stone. Horus and Set agreed, and the race started. But Horus had an edge: his boat was made of wood painted to resemble stone, rather than true stone."

"According to one myth, Apep would hypnotise the sun god and all of his followers, except Set who would repel the serpent by piercing his side with a great spear. In some texts, Apep* would trap the boat of Ra in his massive coils (referred to as sandbanks) or cause the waters of the underworld to flood to overwhelm him." https://ancientegyptonline.co.uk/apep/

* Apep is the glorification of the waters of the inclined well, being pressurized by the fall of the impactor.

"Guardian statue of the goddess Selket [Serket] from the Tomb of Tutankhamun." Egyptian Museum Cairo, photo by Hans Ollermann 2016. https://www.flickr.com/photos/menesje/29111939073/in/photostream/   and   https://www.flickr.com/photos/menesje/29634452671/in/photostream/

31.32  Serket is the Hauling beetle rising the impactor, i.e. giving birth to Horus (associated with air)

"One of the most popular stories concerning Isis is known as Isis and the Seven Scorpions. It relates how, when Horus was an infant and Isis was hiding him in the swamp lands, Serket had seven scorpions keep her company."

The myth about Isis and the seven scorpions is confusing because it could let us think that the scorpions are belonging to Isis herself; but it is not: they belong to Serket.

Serket is the key, and she is actually at the center of the story, because she appears in the myth when Horus "was an infant" who was "hidden in the swamp lands".

What it is describing is the impactor Horus the child hidden in the inclined well (that is Sobek), and waiting to be hauled back up to the top of the Gallery. In order to do that, the Beetle could only be at the top of the Gallery itself.

It means that Serket is the Hauling beetle ready to process, ready to haul the impactor out of the darkness of the inclined well waters; and that is the birth of Horus.

In other words, Serket is the Beetle giving birth to Horus (Horus the child), from the top of the Grand Gallery.

31.33  The Serket "Who causes the Throat to breathe" metaphor of the pressurized air forced though the central caisson

We'll see farther in this Section that the Beetle had been also associated with another goddess, Neith, in the same position that Serket, but instead of being associated with Horus, Neith is associated with Ra.

The big difference between Horus and Ra, is their respective "associate element": when Horus is associated with the air (Horus is often represented in a hawk), Ra is often associated with water (the barque of Ra).

It is most probably because of this association with the air, that Serket has been described as the one "who causes the throat to breathe". Of course, the throat is all about the central caisson of the Grand Gallery.

"She [Serket] is associated with healing, magic, and protection, and her name means "She Who Causes the Throat to Breathe".  https://www.worldhistory.org/Serket/

I need at this time to emphasize one more time how crucial was the role of the central caisson for the entire operating of the Great Pyramid: if you don't get rid of the moist air produced during each cycle, the evaporative cooling stops right away. The evaporative cooling needs dry air to work, so that as much water can be forced into it.

Without the caisson, there wouldn't be any "cleaning" of that moist air.

The impactor worked inside the caisson just like a bicycle pump: it pressurized the air that was forced through the wooden structure, and then forced towards the evaporative cooling passage. In some ways, the central caisson looked like a throat, hence the "She Who Causes the Throat to Breathe" metaphor, about Serket (the Hauling beetle releasing the impactor).

By releasing the impactor in the central caisson, Serket caused the "throat" to breathe.

Figures of Horus from the Louvre Museum, Paris.   DUT162: https://collections.louvre.fr/ark:/53355/cl010409963 and E3752: https://collections.louvre.fr/ark:/53355/cl010006611

Evaporative cooling applications webpage screenshot : AquaFog® from Jaybird Manufacturing Inc (Pennsylvania, USA) : https://jaybird-mfg.com/applications/evaporative-cooling/

31.34  Serket... and the "Refreshment of the Gods" complex of pharaoh Djoser

The fact that ancient Egyptians were really creating cold by mastering basic laws of physics, has already been mentioned in this work: the very first pyramid complex built by pharaoh Djoser was indeed called "the Refreshment of the Gods".

"Of course, Imhotep is most famous as the builder of Djoser’s unprecedented step pyramid complex, called the “The Refreshment of the Gods.” Imhotep designed this complex on a scale that surpassed everything achieved by his predecessors."  https://arce.org/resource/search-imhotep-tomb-architect-turned-god-remains-mystery/

If this "Refreshment of the Gods" translation from the ancient Egyptian language, would most probably gain in being called "the Cooling of the Gods", the "Refresh" word can be directly linked to Serket herself:

"Qebehsenuef (Qbḥ-sn.w⸗f) was the falcon-headed son of Horus, and protected the intestines of the deceased. He was in turn protected by the goddess Serket. It appears that his role was to refresh the dead person, and his name means literally "he who libates his siblings". Horus commands him, "Come refresh my father; betake yourself to him in your name of Qebehsenuef. You have come that you may make coolness for him after you ... "  https://en.wikipedia.org/wiki/Four_sons_of_Horus

"You have come that you may make coolness for him after you": is a perfect illustration of "the Pyramids of the Cold".

31.35  When Osiris and Horus are directly associated with "cooling" and "cold water"

"Osiris N, take this fresh water, cooled for you by Horus, in your name of He-who-is-come-from-the-fresh-water". […] "The most complete ancient work in existence of the myth of Osiris which we know is that of Plutarch, in his 'De Iside et Osiride'. We know the stratagem used by Seth and his associates, and we know how the conspirator, having locked Osiris precisely by guile in a chest made to his measurements, threw it into the sea, an episode which Plutarch is the only one to relate, began the mourning and the quest of Isis. […] Osiris is designated as the one who had been "put in a chest (deben), in a box and in a bag".Nadine GUILHOU: Les deux morts d'Osiris, d'après les textes des Pyramides.

Extracted from the magazine "Egypte", N°10, August 1998: https://www.osirisnet.net/dieux/osiris/e_osiris_03.htm

"But I am parched with thirst and I perish. Give me quickly the cold water flowing forth from the Lake of Memory".

Delia, D. (1992). The Refreshing Water of Osiris, page 189. Journal of the American Research Center in Egypt, 29, 181–190. https://doi.org/10.2307/40000492

Draw of goddess Neith by Jeff Dahl: https://en.wikipedia.org/wiki/Neith#/media/File:Neith.svg

"Guardian statue of the goddess Neith from the Tomb of Tutankhamun. Egyptian Museum Cairo, photo by Hans Ollermann 2016. https://www.flickr.com/photos/menesje/29483236590/in/photostream/

31.36  Neith is the last goddess of the famous four golden statues protecting Tutankhamun's gilded shrine

In the following excerpt about Serket, another goddess is brought to our attention: Neith, the fourth goddess who was protecting the gilded shrine of Tutankhamun.

We've already deciphered Isis (the active Hauling rope), Nephthys (the inactive Hauling rope) and Serket (the Hauling Beetle releasing the impactor seen as Ra because of the endless cycle of the sun metaphor), and now we have the last one of the goddesses protecting the shrine: Neith.

"She [Serket] is depicted as nursing the kings of Egypt in the Pyramid Texts, which date to the Old Kingdom (2613-2181 BCE), and one of the protective spells from those texts - known as PT 1375 - reads, "My mother is Isis, my nurse is Nephthys...Neith is behind me, and Serket is before me" (Wilkingson, 233). These four goddesses would later be represented famously in Tutankhamun's tomb on the canopic chest and as gold statues protecting the gilded shrine." […] There is no evidence of temples to Serket in any region of Egypt suggesting to some scholars that she either never had any or, more likely, that she was absorbed into the figures of other deities such as Hathor or Neith, who are equally ancient. https://www.worldhistory.org/Serket/

31.37  Neith is also about the Beetle releasing the impactor seen as a physical object (not about its operating cycle)

The following excerpts are giving the meaning of Neith. Just like Serket was representing the release of the impactor as a metaphoric representation of the endless cycle of the Sun, Neith is actually exactly that same impactor, and in the same exact position, but not about the cycle of the Sun anymore: Neith is about the physical aspect of the impactor, its force, its power (Horus), the way it looked (the wooden part Ra and Sobek floating inside the well).

When Neith is described as "either" the mother of Ra, "either" the mother of Sobek, she is actually the mother of both at the same time, because as we've already seen in previous Section 30; the impactor was seen as Ra (and Horus the Elder) when descending the Grand Gallery, and as Sobek when floating in the inclined well after the impact.

"In the form of a cow, she [Neith] was linked to both Nut and Hathor, and in late dynastic times she was regarded as a form of Hathor".  https://ancientegyptonline.co.uk/neith/

"Sometimes Neith was pictured as a woman nursing a baby crocodile, and she then was addressed with the title, "Nurse of Crocodiles", reflecting a southern provincial mythology in Upper Egypt that she served as either the mother of the crocodile god, Sobek. As the mother of Ra, in her Mehet-Weret form, she was sometimes described as the "Great Cow who gave birth to Ra". As a maternal figure (beyond being the birth-mother of the sun-god Ra), Neith is associated with Sobek as her son (as early as the Pyramid Texts)".  https://en.wikipedia.org/wiki/Neith

"Neith was associated with Anubis and Wepwawet (Upuaut), because of her epithet “Opener of the Ways”. She was also one of the four goddesses (along with Isis, Nephthys, and Serqet/Selket) who protected the deceased and the canopic jars (which were topped by the four sons of Horus). Neith guarded the east side of the sarcophagus and protected Duamutef (the the jackal-headed god) as he watched over the stomach. Neith was usually depicted as a woman wearing the Red Crown of Lower Egypt, but was occasionally depicted as a cow in connection with her role as the mother of Ra (linking her with Hathor, Hesat, and Bat). Her name links her with the crown of Lower Egypt which was known as “nt” . However, her name is also linked to the word for weaving (‘ntt’) and to one of the words used for water (“nt”). When she is referred to as the creator of the world her name is written using the hieroglyph of an ejaculating phallus, indicating that she was considered as an androgynous creator". Copyright Jenny Hill 2010: https://ancientegyptonline.co.uk/neith/

31.38  Neith is indeed about "opening", "releasing" and "shooting"

Most probably the epithet "the Opener of Paths" attributed to Neith, has to be associated with the Serket's "Who causes the Throat to breathe" metaphor: they are both describing the fall of the impactor in the caisson, pressurizing and pushing the air in front of him.

And there is another metaphor also used about Neith, that is still depicting that same powerful movement of the impactor in the caisson: that is the "arrow" metaphor.

 It is not the first time we've seen the "arrow" metaphor, it has already been seen in the Satis and Anuket deciphering (Elephantine triad Section): the arrow shot from the bow was about the part of the biosand filter valve which was regulating the fixed part of the valve; and here it is about the moving impactor leaving the Hauling beetle and speeding in the caisson.

"References to Neith as the "Opener of Paths" occurs in Dynasty Four through Dynasty Six, and Neith is seen in the titles of women serving as priestesses of the goddess. Such epithets include: "Priestess of Neith who opens all the (path)ways", "Priestess of Neith who opens the good pathways", "Priestess of Neith who opens the way in all her places".  […] Since Neith also was goddess of war, she thus had an additional association with death: in this function, she shot her arrows into the enemies of the dead".   https://en.wikipedia.org/wiki/Neith

31.39  From the arrow metaphor to the endless weaving metaphor

The arrow metaphor is good, it describes perfectly the movement of the impactor leaving the Beetle, but it doesn't include the endless part of the operating of that impactor; but there is another metaphor which does: the weaving metaphor, where the endless up and down movement of the impactor has been compared to the endless left to right movement of the shuttle used in a loom.

"As the goddess of creation and weaving, she was said to reweave the world on her loom daily. An interior wall of the temple at Esna records an account of creation in which Neith brings forth the Nun, the first land, from the primeval waters. All that she conceived in her heart comes into being".  https://en.wikipedia.org/wiki/Neith

31.40  When Serket is the Hauling beetle releasing the impactor in reference to the birth of Horus, Neith is about the same thing but in reference to the birth of Ra

What is beautiful is that the ancient Egyptians gave two different names to the Beetle at the exact moment when the impactor is released: the first one is regarding to Ra and the endless cycle of the day, and the Beetle is then called Neith; the second one is regarding to all the ramming power of Horus and, and the Beetle is then seen as Serket.

About Serket / Horus : "Serket is sometimes included in the story [the Osiris myth] at this point in her role as protector of the innocent. Isis has a difficult labor and gives birth to Horus in the swamps of the Delta. Serket presides over the birth keeping venomous scorpions and snakes away from the new mother and child. This part of the story would later be cited in Serket's role as protector of women in childbirth and of mothers and children. After Horus' birth, Isis had to continue to hide in the marshes from Set and only went out at night for food. At these times, Serket guarded the baby and sent her scorpions with Isis as her bodyguard".  https://www.worldhistory.org/Serket/

About Neith / Ra: "As the mother of Ra, in her Mehet-Weret form, she was sometimes described as the "Great Cow who gave birth to Ra".  https://en.wikipedia.org/wiki/Neith

Wooden base of a Ptah-Sokar-Osiris figure at the MET, dedicated to a temple musician named Ihet; it is inscribed with offering prayers and texts glorifying the gods : https://www.metmuseum.org/art/collection/search/553823

Bronze seated figure of Imhotep at the British Museum: https://www.britishmuseum.org/collection/object/Y_EA40666

31.41  The Osiris myth and the coffin that perfectly fits his body

Just as a reminder, there are some excerpts of the Osiris myth, where is "explained" the chore of the operation of the Great Pyramid: the composite nature of the impactor, designed to get to water.

What is very interesting in this myth, is that it is clearly suggested that first was designed the Osiris stone, and only then, the wooden vessel for the stone had been crafted: "Set, that Wicked One, had in secret measured the body of Osiris, and the coffer was made to fit the body of the King, for this was part of the plan."

What it means is that the ancient Egyptian engineers first had to determine what power they needed to pressurize the waters of the well to get the perfect fog of microdroplets in the evaporative cooling passage; and only then they were able to design the wooden coffin, then maybe the gutter and all the Grand Gallery's design: the slope, the length, etc.

Excerpts are from Sacred Texts: https://www.sacred-texts.com/egy/ael/ael08.htm#page_41

"Set hated his brother Osiris, and he gathered to himself seventy-two conspirators […]. And they made a plan that when Osiris returned they should kill him and place Set on the throne; but they hid their plans, and with smiling faces went out to meet Osiris when he re-entered Egypt in triumph."

"In secret they met again and again, in secret also they prepared a coffer made of costly wood painted and decorated with rich designs and glowing colours […]. Set, that Wicked One, had in secret measured the body of Osiris, and the coffer was made to fit the body of the King, for this was part of the plan."

"When all was ready, Set bade his brother and the seventy-two conspirators to a feast in his great banqueting-hall. […] Then Set stood up in his place and said, "He who lies down in this coffer and whom it fits, to that man I will give it." His words were sweet as honey, but in his heart was the bitterness of evil."

"One after one, the conspirators lay down in the coffer with jests and laughter; for one it was too long, and for another it was too short, and for a third it was too wide, and for a fourth too narrow. Then came Osiris to take his turn, and he, all unsuspecting, lay down in it. At once the conspirators seized the lid and clapped it on; some nailed it firmly in its place, while others poured molten lead into all the openings lest he should breathe and live. Thus died the great Osiris."

"The conspirators lifted the chest, which was now a coffin, and carried it to the river-bank. They flung it far into the water, and Hapi the Nile-god caught it and carried it upon his stream to the sea; the Great Green Waters received it and the waves bore it to Byblos and lifted it into a tamarisk-tree that grew by the shore."

The Pyramids of the Cold

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Next Section: Anubis and the bobsled mask

30.02  Operating diagram of the impactor of the Great Pyramid, floating inside the inclined well after the impact (P3)

The other diagrams of the entire operating cycle of the Grand Gallery (P1 to P8) are available in Section 27 • The Memphis Triad

30.03  When the impactor Ra is sending the Hatmehit rope to reconnect with the Distant Goddess Hathor Hauling beetle

For the recovery of the impactor, one man had to get inside the fixed caisson to reattach the Hatmehit rope, and start a whole new Hauling cycle towards the upper part of the Grand Gallery. The Acacia wooden caisson had to have a hatch at the bottom of the Gallery.

"When the Distant Goddess (Hathor) eludes Ra's control, a god is sent forth by Ra to find his daughter and bring her home and, when this happens, she brings with her the inundation of the Nile River which overflowed its banks […]"

The god sent by Ra (who is the impactor), to find Hathor (the Hauling beetle) to reassemble them both is precisely the Hatmehit rope.

"When the Distant Goddess eludes Ra's control, a god is sent forth by Ra to find his daughter and bring her home and, when this happens, she brings with her the inundation of the Nile River which overflowed its banks and brought life to the people".  https://www.worldhistory.org/Hathor/

30.04  The perfect fishing net metaphor of the Hauling beetle crewmembers "caught" inside the beetle's wooden structure

In the following excerpts, it is also mentioned a fishing net used by Sobek to rescue the Four Sons of Horus. To understand the metaphor, you have to imagine what would have looked like the Hauling beetle, with every crewmember isolated in his own little "niche": the crewmembers of the Beetle would have looked like they were caught in a fishing net.

I know I've said that many, many times, but isn't this particular metaphor one of the best of all?

"Sobek was revered for his ferocity and quick movement. It is said that he was the god who caught the four sons of Horus in a net, as they emerged from the waters in a lotus bloom."  http://www.touregypt.net/featurestories/sobek.htm

"In a different version of the tale of Osiris, it was Sobek who carried the dead body of Osiris to the bank of the Nile on his back. The four mummiform sons of Horus - Imsety, human headed protector of the liver, Hapy, baboon headed protector of the lungs, Duamutef, jackal headed protector of the stomach and Qebehsenuef, falcon headed protector of the intestines - were believed to have come out of a water lily that rose from the waters of Nun. Under the orders of Ra, the four gods were rescued by Sobek in a net, and brought them to land."   http://www.touregypt.net/featurestories/sobeka.htm

The Canopic Chest of Tutankhamun: http://www.globalegyptianmuseum.org/detail.aspx?id=15099

30.05  The representation of the crewmembers "caught" inside the Hauling beetle... on sled runners

What is incredible in the above Canopic Chest of Tutankhamun is that it is showing magnificent sled runners, just like the ones used on modern skeleton sleds (please read previous Section 29, with the representation of Osiris in the typical skeleton position).

Most probably, there were 3 sets of runners used in the Grand Gallery: one set for the impactor (but hypothetical), and two sets for the two half-beetles (as represented in the different positions of the Hauling beetle's operating cycle, P1 to P8).

Of course, the heads of the lids shouldn't face each over: they should be back to back.

"This alabaster canopic chest is considered to be one of the finest masterpieces of Tutankhamun's collection. The interior of the chest is divided into four compartments, each with a cylindrical hollow covered by a lid elegantly carved in the form of the king's head. The lid was fixed to the chest with cords knotted to gold rings and bore the official seal of the royal necropolis. Within each compartment was a miniature gold mummiform coffin that held the king's embalmed internal organs".   http://www.globalegyptianmuseum.org/detail.aspx?id=15099

30.06  The crewmembers' posture inside the Hauling beetle

What is even more incredible in the Sobek fishing net metaphor, is that the natural posture adopted when hauling in the nets, is a perfect replica of the posture that would have to take the crewmembers of the Hauling beetle themselves: they would have to put all their weight on their backs, towards the bottom of the Gallery.

Men and women hauling a fishing net onto a beach on the Quileute Indian Reservation. Photographer: Thompson, J.W. © Museum of History & Industry, Seattle; All Rights Reserved.   https://digitalcollections.lib.washington.edu/digital/collection/mohai-thompson/id/312

30.09  Operating diagram of the impactor of the Great Pyramid of Giza being hauled inside the Grand Gallery (P4)

The other diagrams of the entire operating cycle of the Grand Gallery (P1 to P8) are available in Section 27 • The Memphis Triad

"Canopic chest with four canopic jars; chest and jars are part of the same, monolithic limestone block. Unknown provenience, 12th-13th dynasty, Middle Kingdom. Archeological Museum of Bologna (Italy), KS 3247". Photograph by Khruner: https://commons.wikimedia.org/wiki/File:Canopic_chest_01.JPG and also:   http://www.museibologna.it/archeologicoen/percorsi/66288/id/74866/oggetto/74875/

"Tutankhamun's canopic chest. Egyptian Museum, Cairo. An alabaster chest with four cavities to hold the internal organs. Each is cavity is covered by a stopper carved with a portrait of Tutankhamun". Photograph by Jon Bodsworth:  https://en.wikipedia.org/wiki/Canopic_chest#/media/File:Cano_ja_49_tut.jpg

30.10  Was there really 8 crewmembers "caught" inside 8 "niches"?

The question is to know if we can take literally the 4 compartments of the canopic chest of Tutankhamun, or the Four Sons of Horus in other canopic chests, keeping in mind that every of these compartments or every single Son of Horus really stands for 2 crewmembers (the left arm and the right arm, joining their efforts to indirectly haul the impactor).

For now, I will tend to think that they really were 8 crewmembers, each and every one of them "caught" in his individual wooden "niche", but I would say it is about 80% sure at best. On the draws I've made, I also had to add one crewmember on each ramp, primarily to deal with the latch bolts; but maybe this "additional" crewmember actually really is one the 8 crewmembers and there would have been only 6 niches.

Maybe we will never have a 100% certainty about this, before life-sized reconstitutions would be made of the operating of the Grand Gallery.

"Wallis Budge quotes a passage that reads, "I go in like the Hawk, and I come forth like the Bennu", and he goes on to say that the scholion on this passage expressly informs us that the Benu is Osiris: "In essence, the Benu was considered a manifestation of the resurrected Osiris".*

30.11  Hathor, as the Hauling beetle at the top of the Grand Gallery had two major roles:

• Maintain the impactor in a secured position after its hauling

• Release the impactor, on demand (most probably with a quick-release system of some sort)

* "The bird was primarily associated with Atum and Re, but inevitably, its connection with rebirth came to associate it also with Osiris. In quoting from the Book of the Dead, Wallis Budge quotes a passage that reads, "I go in like the Hawk, and I come forth like the Bennu, the Morning Star (i.e., the planet Venus) of Ra; I am the Bennu which is in Heliopolis" and he goes on to say that the scholion on this passage expressly informs us that the Benu is Osiris. In essence, the Benu was considered a manifestation of the resurrected Osiris. […]  Sometimes, it was also depicted wearing the Atef Crown in its aspect as Osiris".  http://www.touregypt.net/featurestories/benu.htm

Hypostyle hall of the Temple of Hathor at Dendera, photographed by A. Parrot: https://en.wikipedia.org/wiki/Hathor#/media/File:Dendera_hypostyle_hall_crosswise.jpg

Hathor column at Dendera: https://upload.wikimedia.org/wikipedia/commons/7/75/Hathor_column_dendera.png

Hathor columns and breathtaking ceiling at Dendera, by Karen Green: https://www.flickr.com/photos/19479358@N00/4416542140

30.12  The Distant goddess Hathor

If Hathor is represented at the very top of a column capital, it is because Hathor is the deification of the Hauling beetle of the Great Pyramid of Giza, when it is back to the very top of the Grand Gallery, right underneath the top platform after having done its hauling job.

When Hathor is described as "the Distant goddess", it is about the moment when Ra (the impactor) is alone and floating in the inclined well, desperately waiting to be taken in charge for another Hauling cycle to begin.

More on the total reinterpretation of the operation of the Great Pyramid of Egypt in the Norse mythology in Section 22 (the fog of cold, the well of Hvergelmir, the Great Hall of the largest building ever constructed...).

30.13  The similarity of the names of Thor and Hathor is not accidental: Thor really "is" Hathor (the Hauling beetle)

If Thor's "magical" hammer which always gets back to him "somehow" is the reinterpretation of the impactor of the Great Pyramid of Giza, and Thor himself the One who is throwing the hammer, should I say "releasing" the hammer, then it means that Thor is actually Hathor: the Hauling beetle at the top of the Gallery and releasing the impactor.

The similarity of the names of Thor and Hathor is not accidental: they are both about the same thing. Thor and Hathor are glorifications of the Hauling beetle of the Great Pyramid, releasing the impactor.

• Thor is endlessly throwing his "magical" hammer onto the Great Serpent Jörmungandr (into the water), and it comes back every time.

• Hathor is endlessly releasing her "magical" impactor onto the Great Serpent of the Underworld Apep (also into the primordial waters), and it comes back every time as well.

In other words: Thor = HaThor

Of course, the impactor couldn't be seen inside the central wooden caisson; and the Hauling beetle is actually totally covering the caisson on both sides as well as on top: the central caisson also disappear completely underneath the Hauling beetle.

30.14  The operating cycle of the Grand Gallery • Position 2

The impactor has been released into the slope and is now called Horus the elder, gaining speed and energy. Pressurized air is "angry" Sekhmet, and it is maintained inside the caisson by the Hatch which is "gentle and protective" Bastet.

30.15  When Sobek is described as "the splashing one who came from the thigh and tail of the great goddess"

In the following excerpt, we have the description of the release of the impactor by Hathor. We've already seen that ancient Egyptians used sexual metaphors all around (the masturbatory hands of Atum, references to impregnation and copulation, etc.), and that all these metaphors were about the endless movements of the impactor through the wooden structure of the Hauling beetle that formed like a tunnel inside which the impactor kept "penetrating", or about the ejection of pressurized water from the well, consequently to this endless penetrating movement.

When Sobek is described as "green of plumage, with alert face and raised fore, the splashing one who came from the thigh and tail of the great goddess in the sunlight", it is precisely the description of the impactor release by Hathor. The "Great Goddess" is Hathor; the Beetle which was holding the impactor like a mother would do with her child, before releasing it.

"Unis is Sobek, green of plumage, with alert face and raised fore, the splashing one who came from the thigh and tail of the great goddess in the sunlight ... Unis has appeared as Sobek, Neith's son. Unis will eat with his mouth, Unis will urinate and Unis will copulate with his penis. Unis is lord of semen, who takes women from their husbands to the place Unis likes according to his heart's fancy".  https://en.wikipedia.org/wiki/Sobek

30.16  Operating diagram of the Great Pyramid of Egypt for Evaporative Cold production, using plain water

Last updated: February 17, 2023 (implementation of the Hauling beetle Hathor releasing the impactor, of the Four Sons of Horus crewmembers of the Beetle, of Medjed "the Smiter" as the impactor hitting the waters of the inclined well, and of Sobek as the impactor, more or less floating in the well after the impact). More on the Evaporative Cold process, in Section 1

Because each "Son of Horus" was actually representing a pair of crewmembers (the left arm and the right arm), there were 8 crewmembers in total, operating the Hauling beetle.

Relief of the Hathor temple at Dendera, showing the Dendera Light, photographed by Kairoinfo4U and posted on flickr: https://www.flickr.com/photos/manna4u/14525094039/in/photostream/

30.17  When "splashing" Sobek is involved in the process of Creation by laying "eggs" on the bank of Nun

This part of the mythology built on Sobek is crucial, because it directly links the "splashing" Sobek with the creation of the world process and the famous "eggs", which are here the exact same ones than the "cosmic egg" linked to the Dendera light.

The (numerous) "eggs" of Sobek are about the Dendera light and the (numerous) creation of fogs of microdroplets inside the evaporative cooling passage of the Great Pyramid.

"One creation myth stated that Sobek laid eggs on the bank of the waters of Nun, thus creating the world."  https://ancientegyptonline.co.uk/sobek/

"One tale says that Sobek laid his eggs on the bank of the waters, starting the creation process."  http://www.touregypt.net/featurestories/sobeka.htm

30.18  Family Tree of the major ancient Egyptian gods and goddesses

Ancient Egyptian gods were "only" metaphoric representations of the scientific knowledge and experimental accomplishments of the pharaohs. Most of them are directly referring to the Great Pyramid of Giza, the end game of hundreds of years of research.

30.19  Basic mathematics applied to Sobek reveal that Sobek = Horus = Ra

I really didn't expect that Sobek's study would be so prolific, but it turns out that he is maybe one of the most crucial gods of all, kind of at the heart of the abstract and metaphorical construction of what is the ancient Egyptian religion.

In the following excerpts, we can deduct that Sobek = Horus = Ra. It's what I've been saying all along, and it is right there:

1 • Sobek = Horus (Sobek fused with Horus)

"Amenemhat and many of his dynastic contemporaries engaged in building projects to promote Sobek – projects that were often executed in the Faiyum. In this period, Sobek also underwent an important change: he [Sobek] was often fused with the falcon-headed god of divine kingship, Horus. This brought Sobek even closer with the kings of Egypt, thereby giving him a place of greater prominence in the Egyptian pantheon".  https://en.wikipedia.org/wiki/Sobek

2 • Sobek = Ra (Sobek fused with Ra) 

"Sobek first acquired a role as a solar deity through his connection to Horus, but this was further strengthened in later periods with the emergence of Sobek-Ra, a fusion of Sobek and Egypt's primary sun god, Ra".  https://en.wikipedia.org/wiki/Sobek

3 • If Sobek = Horus and Sobek = Ra, then Sobek = Horus = Ra

What needs to be pointed out, is that if the affirmation "Sobek = Horus" is 100% correct, the affirmation "Horus = Ra" is "only approximative", because Ra is not the glorification of the entire composite impactor, but only its wooden part. Though, if you just look at them, they are the same because only the wooden part is visible; the Osiris stone can't be seen.

Goddess Hathor (left) and crocodile god Sobek, Temple of Kom Ombo, Egypt. Thanks to Codex: https://fr.m.wikipedia.org/wiki/Fichier:Kom-Ombo-Sobek-et-couronnement-001.jpg

30.20  The atypical temple of Kom Ombo isn't meant for two different deities, but just one single "god": the impactor of the Great Pyramid of Giza, worshiped at two different and consecutive stages of its operating cycle

The fact that Horus the Elder and Sobek were actually both about the same thing, the same "structure", i.e. the impactor getting inside the inclined well of the Great Pyramid, is explaining the unique "double" design for these two gods in the temple of Kom Ombo. The temple is also atypical because everything is perfectly symmetrical along the main axis.

In other words, the temple of Kom Ombo isn't really meant for two different gods, but for the same one: the impactor of the Great Pyramid of Giza, at two different but consecutive stages of its operating cycle.

"The building is unique because its 'double' design meant that there were courts, halls, sanctuaries and rooms duplicated for two sets of gods. The southern half of the temple was dedicated to the crocodile god Sobek, god of fertility and creator of the world with Hathor and Khonsu. Meanwhile, the northern part of the temple was dedicated to the falcon god Haroeris ("Horus the Elder"), along "with Tasenetnofret (the Good Sister, a special form of Hathor or Tefnet/Tefnut) and Panebtawy (Lord of the Two Lands)." The temple is atypical because everything is perfectly symmetrical along the main axis".  https://en.wikipedia.org/wiki/Temple_of_Kom_Ombo

"Ra-Horakhty is a combined deity of Horus and Ra, and is usually depicted as a falcon-headed man wearing a sun disk on his head. By themselves, Ra and Horus sometimes share similar iconography". Wilkinson, Richard H. (2003), in "The complete gods and goddesses of ancient Egypt"; draw by Jeff Dahl: https://en.wikipedia.org/wiki/Ra#/media/File:Re-Horakhty.svg

"Sobek, an ancient Egyptian crocodile god, often depicted with a crown composed of ram horns, a sun disk, and feathered plumes". Draw by Jeff Dahl: https://en.wikipedia.org/wiki/Sobek#/media/File:Sobek.svg

30.21  No trace of Sobek at the time when the Great Pyramid was built (Fourth Dynasty)

One of the most difficult things about the deciphering of the real ancient Egyptian history, is the fact that the study has to concentrate both on very little details (architecture particularities, artifact designs and all kind of mythological details), but also on the widest spectrum of the Egyptian history known today.

It is only when you step back at the whole picture that maybe the most important data are visible; and what we know of Sobek is very revealing of the major role that took the Fourth Dynasty: there is simply no trace of Sobek before the Fifth Dynasty.

Nor there is no trace of many other ancient Egyptian gods and goddesses; actually, the "Pyramid Texts" so often mentioned by egyptologists, first appear during that particular Fifth Dynasty; there is nothing before. It means that during the historical period when the great pyramids of Djoser, Sneferu, Khufu and Khafre, pretty much no major "religious" text has ever been written when at the same time, hundreds of thousands of people built these pyramids (and mastabas) over about 656 years. (3150 BCE for the beginning of the First Dynasty to 2494 BCE for the end of the Fourth Dynasty).

What I'm saying, is that it is the Great Pyramid who triggered and inspired all these Pyramid Texts.

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

"Sobek (also known as Sebek, Sebek-Ra, Sobeq, Suchos, Sobki, and Soknopais) was the ancient god of crocodiles. He is first mentioned in the Pyramid Texts and his worship continued until the Roman period". https://ancientegyptonline.co.uk/sobek/

"Sobek enjoyed a longstanding presence in the ancient Egyptian pantheon, from the Old Kingdom of Egypt (c. 2686–2181 BCE) through the Roman period (c.  30 bce–350 ce ). He is first known from several different Pyramid Texts of the Old Kingdom, particularly from spell PT 317. The spell, which praises the pharaoh as the living incarnation of the crocodile god, reads: Unis is Sobek, green of plumage, with alert face and raised fore, the splashing one who came from the thigh and tail of the great goddess in the sunlight ... Unis has appeared as Sobek, Neith's son. Unis will eat with his mouth, Unis will urinate and Unis will copulate with his penis. Unis is lord of semen, who takes women from their husbands to the place Unis likes according to his heart's fancy".   https://en.wikipedia.org/wiki/Sobek

"The Pyramid Texts are a collection of funerary inscriptions written on the walls of nine Fifth and Sixth Dynasty pyramids (generally dated to around 2350 B.C.E)". https://ancientegyptonline.co.uk/pyramidtext/

"The Pyramid Texts are the oldest ancient Egyptian funerary texts, dating to the late Old Kingdom. They are the earliest known corpus of ancient Egyptian religious texts. Written in Old Egyptian, the pyramid texts were carved onto the subterranean walls and sarcophagi of pyramids at Saqqara from the end of the Fifth Dynasty, and throughout the Sixth Dynasty of the Old Kingdom, and into the Eighth Dynasty of the First Intermediate Period.  The oldest of the texts have been dated to c. 2400–2300 BCE".  https://en.wikipedia.org/wiki/Pyramid_Texts

The Pyramids of the Cold

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Next Section: Hapi's Twin Brother Hapy and the Seven Scorpions of Isis

29.02  The 1st key: the Bennu bird deity and the Benben stone are representing the same thing

The first key to comprehend the real meaning of the Obelisk, is that just like there is no such thing as the "barque of Ra", because Ra is the "wooden barque" itself (as the wooden floating part of the impactor), there is no such thing as the Bennu bird nested onto the Benben stone, because the Bennu bird is only the deification of the Benben stone itself.

The Bennu bird is the deification of the Benben stone.

"The bird deity Bennu, which was probably the inspiration for the phoenix, was venerated at Heliopolis, where it was said to be living on the Benben stone or on the holy willow tree."   https://en.wikipedia.org/wiki/Benben

"The Bennu bird (the Egyptian phoenix) built its nest on top of the Benben stone […]".  https://www.landofpyramids.org/ben-ben-stone.htm

"The Benben Stone was believed to be the beacon for the mythical Bennu Bird, a phoenix-like bird with beautiful red and golden feathers that sheltered in the Tree of Life, at Heliopolis. According to ancient Egyptian mythology the sacred Benben Stone emerged from the primeval waters at the beginning of creation and symbolized the Primeval mound."   https://www.landofpyramids.org/ben-ben-stone.htm

The bennu bird, an ancient Egyptian deity often depicted as a heron wearing the atef crown. Based on New Kingdom tomb paintings, by Jeff Dahl: https://en.wikipedia.org/wiki/Bennu#/media/File:Bennu_bird.svg

The tomb of Irynefer, "Servant in the Place of Truth", TT 290 at Deir el-Medina, a necropolis workman of the Ramesside Period. Irynefer lived in the village in the 19th dynasty during the early part of Ramesses II's reign. Source unknown, but same than https://www.flickr.com/photos/manna4u/11433207843/in/photostream/

29.03  The "double metaphorizing" process

Unfortunately, there is nothing to support that idea about Ra being equal to his barque, or the Bennu bird to the Benben stone; it is just something that has to be understood and assimilated, and surely ancient Egyptians have used this same encoding process over and over, in many different situations.

And this is so interesting, because it means that not only they have used metaphoric representations of their scientific knowledge and technological accomplishments (Isis for the central Hauling rope or the solar barque for the wooden impactor for example), but they have also used metaphoric representations of things or ideas that had already been "metaphorized" (precisely Ra and his barque, and the Bennu with the Benben stone).

Kind of a "double metaphorizing process" where metaphors can be played with and become a real art of some kind.

Ancient Egyptian god Osiris by Jeff Dahl: https://en.wikipedia.org/wiki/Osiris#/media/File:Standing_Osiris_edit1.svg

The bennu bird, an ancient Egyptian deity often depicted as a heron wearing the atef crown. Based on New Kingdom tomb paintings, by Jeff Dahl: https://en.wikipedia.org/wiki/Bennu#/media/File:Bennu_bird.svg

29.04  The 2nd Key: both the Bennu and the Benben stone are glorifications of what I've been calling the "Osiris stone"

The second key to comprehend the Obelisk is the fact that the Benben stone, because of the Atef crown of Osiris that the Bennu bird is often wearing (remember: the Bennu bird = the Benben stone), is what I've been calling the Osiris stone.

The Benben stone = the Osiris stone

"Because of the connection with Osiris, Bennu sometimes wears the Atef crown, instead of the solar disk."   https://en.wikipedia.org/wiki/Bennu

29.05  Osiris represented "getting out" of the inclined well primordial waters

The iconic representation of Osiris, standing upright in a mummified position onto a blue painted "stand" with an inclined side is the ancient Egyptian way of describing Osiris, the granite stone weight constrained inside the hollowed out cavity of the wooden impactor.

But in my opinion, Osiris isn't represented getting out of the well (that is the meaning of the Obelisk), but getting inside the waters of the well. The clue for this, is the flail; because we've already seen that the flail is the representation of water projections spraying, not "all around", but specifically in the direction indicated by the "broken" part of the flail, probably "towards the back and the floor". Though its interpretation isn't easy at all, maybe in this particular representation of Osiris, the water splashes are about the impact, but it could also refer to the descent in the Grand Gallery.

If Ra is represented into a falcon, it is because of its speed and the way it is hitting its prey at high velocity : "The peregrine falcon is renowned for its speed, reaching up to 320 km/h (200 mph) during its characteristic hunting stoop (high-speed dive), making the peregrine falcon the fastest member of the animal kingdom." Ra, as a falcon is all about this high-speed dive and the force of the impact with its prey. Source: https://en.wikipedia.org/wiki/Peregrine_falcon

Ra-Horakhty is a combined deity of Horus and Ra, and is usually depicted as a falcon-headed man. Draw by Jeff Dahl: https://en.wikipedia.org/wiki/Ra#/media/File:Re-Horakhty.svg

Photograph of a high-speed diving falcon by Lassannn, on imgur and also at  https://www.facebook.com/wildlifeatrisk/photos/a.442972959170883/1593597324108435/

Le réveil d'Osiris (the Awakening of Osiris) at the Exposition Osiris, Institut du Monde Arabe, by Gautier Poupeau

Skeleton infographic by the International Bobsleigh and Skeleton Federation: https://www.ibsf.org/en/our-sports/skeleton-info-graphics

29.06  The Bennu bird indeed really is Osiris... who "goes in like the Hawk and comes forth like the Bennu"

The following excerpts, including a passage of the Book of the Dead, are just like a gold mine, because not only it is confirming the idea that the Bennu bird is exactly the same thing than Osiris himself, but it is also perfectly metaphorically describing the entire operating cycle of the impactor: its high speed descent, and the marvelous resurection followed by the painstaking reascent:

"The bird was primarily associated with Atum and Re, but inevitably, its connection with rebirth came to associate it also with Osiris. In quoting from the Book of the Dead, Wallis Budge quotes a passage that reads, "I go in like the Hawk, and I come forth like the Bennu, the Morning Star (i.e., the planet Venus) of Ra; I am the Bennu which is in Heliopolis" and he goes on to say that the scholion on this passage expressly informs us that the Benu is Osiris. In essence, the Benu was considered a manifestation of the resurrected Osiris. […]  Sometimes, it was also depicted wearing the Atef Crown in its aspect as Osiris".  http://www.touregypt.net/featurestories/benu.htm

"I go in like the Hawk… and I come forth like the Bennu." is probably one of the most important excepts of all ancient Egyptian texts that we need for their deciphering.

• The high-speed descent of the impactor has been associated with the Hawk, (Section 23.36 to 23.39), because of its characteristic hunting stoop (high-speed drive reaching 320 km/h, 200 mph) used for hard-hitting hunting tactics: "I go in like the Hawk…"

• The slow and painstaking hauling process to rise the impactor from the well to the top of the Grand Gallery has been associated with the Heron, the Bennu bird, because of the laborious way it is taking flight from water: "… and I come forth like the Bennu."

• Right in between the fast descent and the painstaking ascent of the impactor, is the magnificent moment when it is coming back to the surface, it is when Ra (the "visible" wooden impactor) emerges from the darkness of the inclined waters, carrying Osiris (the granite stone) inside his own body.

That moment is the resurrection of Osiris: "In essence, the Benu was considered a manifestation of the resurrected Osiris".

29.07  Operating diagram of the impactor's Hauling inside the Grand Gallery of the Great Pyramid (P4)

The other diagrams of the entire operating cycle of the Grand Gallery (P1 to P8) are available in Section 27 (the Memphis Triad)

29.08  When Ra becomes merged with Osiris, the Great "inert", "asleep" and "lethargic" Osiris, but who at the same time gives all his "force", "ramming power" and "energy" to Ra

The fact that Osiris is nothing but the glorification of what was the weight of the impactor, its ballast so to speak, is actually perfectly explaining one of his epithets: Osiris was seen as the "Great inert".

About Osiris' epithets: "The egyptologist W. Budge counts no less than forty of them. The Egyptians, always obsessed by their desire to reject death by any means, use metaphors or more or less explicit circumlocution to speak of Osiris and his state. The various Books of the Dead teem with them. One notices that the God never dead, he is asleep, he is apathetic, he is lethargic, etc. Here are some examples: "the great inert", "the king of those who are not", "the Lord of the living", "the master of eternity", "the one who governs Ro-Setau", "the first of the westerners".  https://www.osirisnet.net/dieux/osiris/e_osiris_01.htm

 I need to point out that this "inert", "asleep" and "lethargic" Osiris, is the exact same one than the Osiris who is giving all his force, all his power and all his "ramming" energy to Ra: "Ra at this time becomes merged with Osiris, the judge of the dead, and Osiris is seen as the “corpse” and Ra as the “soul” of the single deity Ra-Osiris."   https://www.worldhistory.org/Ra_(Egyptian_God)/

"Osiris' soul, or rather his Ba, was occasionally worshipped in its own right, almost as if it were a distinct god […] This aspect of Osiris was referred to as Banebdjedet. […] As Banebdjed, Osiris was given epithets such as Lord of the Sky and Life of the (sun god) Ra. Ba does not mean "soul" in the western sense, and has to do with power, reputation, force of character, especially in the case of a god. […] Since the ba was associated with power, and also happened to be a word for ram in Egyptian, Banebdjed was depicted as a ram, or as Ram-headed."   https://en.wikipedia.org/wiki/Osiris (in the "Ram god" section).

Painting of Cleopatra by John William Waterhouse (1849–1917): https://fr.m.wikipedia.org/wiki/Fichier:Cleopatra_-_John_William_Waterhouse.jpg

One of the two Obelisks named after Cleopatra, the Cleopatra's Needles. Here is the one that is in New-York today, photographed in 1880 by Gorringe, Henry H. (Henry Honeychurch), 1841-1885: https://en.wikipedia.org/wiki/Cleopatra%27s_Needles#/media/File:Artotypes_of_the_removal_transport_and_erection_of_Cleopatras_Needle_from_Egypt_to_the_Metropolitan_Museum_in_New_York_in_Egyptian_obelisks_Plate_no_I.jpg

29.09  Cleopatra hidden inside a rolled carpet is only a metaphor of the rolled Isis rope

Now, listen carefully because it is getting completely crazy. Some of the most important things we know about Cleopatra are:

• The fact that she referred to herself as the daughter of Isis

• The two Obelisks named after her: Cleopatra's Needles

• The famous scene of Cleopatra emerging from an unrolled rug, popularized by playwright George Bernard Shaw

And the crazy thing is that they all are connected, because of Isis.

Of course, the Obelisks are the glorification of Ra, and as we've just seen, also the glorification of Osiris through the Benben stone and the Bennu bird Heron; but the Osiris stone isn't risen by pure magic, the stone and the impactor are hauled by the Hauling beetle and that is the central Hauling rope deified into Isis which is transferring all the Beetle's power to the impactor.

In other words, this is Isis who is rising the Osiris stone, and the Benben stone by definition. The Obelisk is also the glorification of Isis, and this is why Cleopatra, daughter of Isis, built her Needle Obelisks.

And it doesn't stop here, because in Cleopatra's play and movie, she is supposed to be hidden inside a rolled carpet, and even if it is said that this is only a pure "tweaked account" for "dramatic effect", I strongly disagree: the whole "Cleopatra hidden in the rolled carpet" thing is way too close to be a perfect metaphor of the rolled Isis Hauling rope not to be true.

I said this part is crazy, but isn't it also beautiful? In my opinion, the way the true original nature of the Isis Hauling central rope still survives in Cleopatra's "rolled carpet" scene in our modern culture, is nearly as beautiful as the way the inclined well of the Great Pyramid still survives in our modern representation of the heart's shape.

Cleopatra's rug metaphor is absolutely perfect, because the same way Cleopatra is "revealed" by unrolling the rug, the Isis rope was also "revealed" by unrolling the Nephthys rope. Anyway, thank you Cleopatra, your highness!

More on Isis in Section 23: the impactor Ra and the squeaky Isis Hauling rope

"The famous scene of Cleopatra emerging from an unrolled rug, popularized by playwright George Bernard Shaw, is based on an ancient account but tweaked for dramatic effect. The anecdote is one example of many contrasts between this famous queen’s image and her life as we know it today. In truth, Cleopatra enlisted the services of a trusted servant to carry her, bundled in dirty laundry, past palace guards and into Julius Caesar’s presence."  Bob Bianchi, Fondation Gandur pour l’Art, Genève: https://www.arce.org/resource/cleopatra-great-last-power-ptolemaic-dynasty

Here is an excerpt about the plot of the play: " Cleopatra emerges from the palace, shows little interest in the carpets, and expresses a desire to visit Caesar at the lighthouse. The sentinel tells her she is a prisoner and orders her back inside the palace. Cleopatra is enraged, and Apollodorus, as her champion, engages in swordplay with the sentinel. A centurion intervenes and avers Cleopatra will not be allowed outside the palace until Caesar gives the order. She is sent back to the palace, where she may select a carpet for delivery to Caesar. Apollodorus, who is not a prisoner, will deliver it since he is free to travel in areas behind the Roman lines. He hires a small boat, with a single boatmen, for the purpose. The porters leave the palace bearing a rolled carpet. They complain about its weight, but only Ftatateeta [Cleopatra's nurse], suffering paroxysms of anxiety, knows that Cleopatra is hidden in the bundle."  https://en.wikipedia.org/wiki/Caesar_and_Cleopatra_(play)

"Heron taking flight, trailing a little water with its feet", North Norfolk, May 2015. Photographed by Shieladixon: https://commons.wikimedia.org/wiki/File:Heron_taking_flight.jpg

29.10  The Bennu bird indeed really is Osiris according to the Book of the Dead

The slow and painstaking hauling process to rise the impactor from the waters of the well to the top of the Grand Gallery has been associated with the Heron, the Bennu bird, because of the laborious way it is taking flight from any kinds of waters: "… and I come forth like the Bennu."

The impactor getting back to the surface of the inclined well, explains both the "resurrection of Osiris" and Ra's rebirth.

"The bird was primarily associated with Atum and Re, but inevitably, its connection with rebirth came to associate it also with Osiris. In quoting from the Book of the Dead, Wallis Budge quotes a passage that reads, "I go in like the Hawk, and I come forth like the Bennu, the Morning Star (i.e., the planet Venus) of Ra; I am the Bennu which is in Heliopolis" and he goes on to say that the scholion on this passage expressly informs us that the Benu is Osiris. In essence, the Benu was considered a manifestation of the resurrected Osiris. […]  Sometimes, it was also depicted wearing the Atef Crown in its aspect as Osiris".  http://www.touregypt.net/featurestories/benu.htm

"I go in like the Hawk… and I come forth like the Bennu." is probably one of the most important excepts of all ancient Egyptian texts that we need for their deciphering, and it is all about the operation of the impactor of the Great Pyramid of Giza.  http://www.touregypt.net/featurestories/benu.htm

29.11  Sun god Ra's perfect metaphor of the endless cycle of operation of the impactor

Sun god Ra is finally exactly like god of the Nile Hapi and all the other ancient Egyptian deities: just another metaphor; and a very good one, since everybody thinks for more than 200 years now, that Egyptians simply worshiped the Sun, assuming they had seen in the Sun some kind of magical demonstration of the gods.

But it doesn't fit what ancient Egyptians really were: you don't worship something you understand to perfection, and this is exactly what they've done with the Sun; they have perfectly mastered the Sun.

In particular, it is the ancient Egyptians who built the entire way we are using today to place ourselves into time: Egyptians invented the 365 days in a year, and the 24 hours in a day system.

The Sun didn't have any mystery at all for them, they used the Sun as a tool to rhythm their lives; they certainly wouldn't have worship a simple tool, instead they used the tool in another way, a metaphoric way.

Sun god Ra is the ultimate metaphor of the impactor's operating: when the impactor finally emerged inside the Grand Gallery (the day) from the dark waters of the inclined well (the night) thanks to its wooden floating part Ra, this was seen as the Rebirth of Ra, and he could then start a new ascent, before settling down and reborn again and again…

"The ancient Egyptian calendar – a civil calendar – was a solar calendar with a 365-day year. The year consisted of three seasons of 120 days each, plus an intercalary month of five epagomenal days treated as outside of the year proper. Each season was divided into four months of 30 days. These twelve months were initially numbered within each season but came to also be known by the names of their principal festivals."  https://en.wikipedia.org/wiki/Egyptian_calendar

"Despite Herodotus's attribution of the invention of the sundial to the Babylonians in 430 BCE, the earliest known sundials were simple gnomons of Egyptian origin invented around 3500 BCE. More complex devices were developed over time, the earliest surviving one is a limestone sundial that dates back to 1500 BCE, discovered in the Valley of the Kings in 2013. It was found in a housing area of construction workers and its division of daytime into 12 parts was possibly used to measure work hours." https://en.wikipedia.org/wiki/History_of_timekeeping_devices_in_Egypt

Parts of the day diagram, edited from https://grammar.tips/grammar-tips/parts-of-the-day/

29.12  The part of the Obelisk underneath the Benben stone pyramidion literally doesn't stand for anything

What needs to be pointed out, is that if we know a lot of things about the pyramidion Benben stone, and in particular the fact that this pointed part was most of the time, or every time covered with gold or electrum, and unless I'm mistaken, nothing is known about the part underneath that stone and it had never been documented that it was covered with gold or anything else for that matter.

The reason is simple: if the Obelisk was a petrified ray of light, the entire structure would be covered with a shinny material, not just the top end; but because this whole lower part (maybe about 95% of the entire mass of the Obelisk) is just here so that the Benben stone would stay up in the air, it simply literally doesn't stand for anything but air.

Why would anyone cover air with gold or anything else?

Osiris has been identified with Fertility and Agriculture, because hidden in his wooden cradle coffin, he would have looked like a seed, just waiting for germination. "Epigeal vs. hypogeal germination", by Kat1992: https://en.wikipedia.org/wiki/Epigeal_germination. Ancient Egyptian god Osiris by Jeff Dahl: https://en.wikipedia.org/wiki/Osiris#/media/File:Standing_Osiris_edit1.svg

29.13  The resurrection of Osiris as the god of fertility and agriculture: the seed metaphor

If we try to imagine how ancient Egyptians could have seen Osiris, completely invisible because hidden inside the wooden coffin and constantly thrown and immersed into the waters of the inclined well, it could have been seen like a seed that would have been just planted into the soil and regularly watered.

Just like the seed contains all the force of the future plant, Osiris contains all the power of the impactor.

Hidden in the wooden cradle Ra, Osiris would have been associated with a well watered seed, just planted into the soil, preparing itself for germination, and Osiris would have become the god of fertility and agriculture.

Germinating beds of Osiris at the Metropolitan Museum of Art, New-York. "Beginning in Dynasty 18, beds were made on which soil was molded into the shape of the god of regeneration and ruler of the dead, Osiris. Thickly sown with grain and kept moist until the grain sprouted and grew, then left to dry again, these figures were created as part of a ritual carried out in association with the Osirian Festival of Khoiak. They magically expressed the concept of life springing from death, symbolizing the resurrection of Osiris. https://www.metmuseum.org/art/collection/search/553820

29.14  The resurrection of Osiris and his germinating beds

The germinating wooden beds of Osiris, or bricks of Osiris,  are the perfect illustration of the Seed metaphor used for Osiris to make him the god of fertility and agriculture. Not only the shape of Osiris is perfectly respected in order to duplicate the original granite stone perfectly nested into the wooden cradle, but the endless cycle of the impactor inside the inclined well, then outside the well, is also duplicated: first you keep the seeds moist until germination, and then you let the sprouted grain dry.

It is important to note that the goal is not to let grow the grain: as soon as the grain has sprouted, it will die because it will be left to dry.

Obelisk marking the graves of Knoxville railroad magnate Charles McClung McGhee (1828–1907) and family at Old Gray Cemetery in Knoxville, Tennessee, USA. Photographed by Brian Stansberry: https://en.wikipedia.org/wiki/Old_Gray_Cemetery

Islamic cemetery in Sarajevo, by Tiia Monto: https://fr.m.wikipedia.org/wiki/Fichier:Islamic_cemetery_in_Sarajevo.jpg

29.15  The resurrection of Osiris and the headstone Obelisks in cemeteries

This association of the resurrected Osiris with the Obelisk and the Bennu bird, ("Benu was considered a manifestation of the resurrected Osiris"), is also priceless because it explains perfectly both the germinating beds of Osiris and the so many Obelisks that have been erected as headstones and grave markers in European and Islamic cemeteries.

Clearly these Obelisks can't be explained by the academic vision: how could they be related to a "petrified ray of Sunlight" ?

"In Egyptian mythology, the obelisk symbolized the sun god Ra, and during the religious reformation of Akhenaten it was said to have been a petrified ray of the Aten, the sundisk."  https://en.wikipedia.org/wiki/Obelisk

"In France and other European countries, monuments to the dead, such as headstones and grave markers, were very often given a form of obelisks, but they are of more modest size. The practice is also still widespread in the Islamic world."  https://en.wikipedia.org/wiki/Obelisk

29.16  The operating diagram of the Great Pyramid of Egypt for evaporative cold production

The Great Pyramid internal layout is what ancient Egyptians glorified into the Underworld, where was located the "Mysterious Cavern of the Sacred act of Towing". No modification since 2022, November 18.

King Edward's Chair, Westminster Abbey, England; by Kjetil Bjørnsrud: https://commons.wikimedia.org/wiki/File:SanktEdvardsstol_westminster.jpg

The Stone of Scone in the Coronation Chair at Westminster Abbey (photo c. 1875 – c. 1885), Cornell University Library @ Flickr Commons: https://upload.wikimedia.org/wikipedia/commons/4/44/Coronation_Chair_with_Stone_of_Scone%2C_Westminster_Abbey_%283611549960%29.jpg

29.17  The Stone of Destiny

Now, this is getting very interesting, because we 're gonna find out why the coronation of Charles III, which will take place Saturday, 6 May 2023, will require a 152 kg stone inserted inside the Coronation chair itself.

This stone, the "Destiny stone", also the "Stone of Scone*", often referred to in England as "The Coronation Stone", is an oblong block of red sandstone that has been used for centuries in the coronation of the monarchs of Scotland. It is also known as Jacob's Pillow Stone and the Tanist Stone, and as clach-na-cinneamhain in Scottish Gaelic. Source: https://en.wikipedia.org/wiki/Stone_of_Scone

*Historically, the artefact was kept at the now-ruined Scone Abbey in Scone, near Perth, Scotland.

Monarchs used to sit on the Stone of Scone itself until a wooden platform was added to the Coronation Chair in the 17th century. Its size is 26 inches (66 cm) by 16.7 inches (42 cm) by 10.5 inches (26.7 cm) and its weight is approximately 335 lb (152 kg). A roughly incised cross is on one surface, and an iron ring at each end aids with transport. In 1996, the British Government decided to return the stone to Scotland, when not in use at coronations, and it was transported to Edinburgh Castle, where it is now kept with the Scottish Crown Jewels.

29.18  The Stone of Destiny and the Egyptian Coronation ceremonies

The Stone of Destiny is an oblong block of red sandstone and usually refers to the Scottish coronation stone as residing in the monastery of Scone. The possible connection between the two is interesting as the Ben-ben stone in Heliopolis also played a role in the Egyptian coronation ceremonies."  https://www.landofpyramids.org/ben-ben-stone.htm

29.19  The Stone of Scone's uncertain history

There are so many theories and legends existing about the stone's history prior to its placement in Scone, that it is fair to say we don't know nothing about it.

"One story concerns Fergus, son of Erc, the first King of the Scots (r. c.  498 – 501) in Scotland, whose transport of the Stone from Ireland to Argyll, where he was crowned on it, was recorded in a 15th-century chronicle. Some versions identify the stone brought by Fergus with the Lia Fáil (Irish for "stone of destiny") used at Tara for inaugurating the High Kings of Ireland. Other traditions contend that the Lia Fáil remains at Tara. (Inis Fáil, "The Island of Destiny", is one of the traditional names of Ireland.) Other legends place the origins of the Stone in Biblical times and identify it as the Stone of Jacob, taken by Jacob from Bethel while on the way to Haran (Genesis 28:10–22). This very same Stone of Jacob was then supposedly taken to ancient Ireland by the prophet Jeremiah."

"Contradicting these legends, geologists have proven that the stone taken by Edward I of England to Westminster is a "lower Old Red Sandstone", which was quarried in the vicinity of Scone. Doubts over the authenticity of the stone at Westminster have existed for a long time: a blog post by retired Scottish academic and writer of historical fiction, Marie MacPherson, shows that they date back at least two hundred years."

The only thing we know for sure is that the tradition in which Monarchs used to sit on a very particular stone, apparently red in color, is both extremely ancient and originating in the northern part of Great Britain, whether it is coming from Scotland or Ireland.

"The Stone of Scone (Gaelic: Lia Fail), also known as the Stone of Destiny or Coronation Stone, is a block of sandstone associated with the coronation ceremonies of the medieval monarchs of Scotland. These ceremonies were held at Scone, a prehistoric site in Perthshire, although the precise use of the stone is not known. In a deliberate act of political propaganda, the Stone of Scone was removed from Scotland by Edward I of England (r. 1272-1307) who made it a part of the English Coronation Chair in Westminster Abbey. The stone was finally returned to Scotland in 1996 and now resides in Edinburgh Castle."  https://www.worldhistory.org/Stone_of_Scone/

Guests from Overseas (1901) by Nicholas Roerich, depicting a Viking raid: https://en.wikipedia.org/wiki/Viking_expansion#/media/File:Nicholas_Roerich,_Guests_from_Overseas.jpg

Map of the kingdom of Mann and the Isles, nearly the end of eleventh century and showing the Norse colonization in Scotland: https://en.wikipedia.org/wiki/Viking_expansion#/media/File:Kingdom_of_Mann_and_the_Isles-en.svg

29.20 The (hypothetical) Norse origin of the Coronation stone

If I have no doubt on the interpretation of the Benben stone and the Coronation stone, there is one point which is still uncertain, and it is "how" the whole thing about the rising stone of the Great Pyramid got to Scotland (or Ireland if it is the origin of the Stone of Scone).

What we can find on the internet is that this is a real stone that came to Scotland from Israel and passing through Egypt, but I have some doubt that anyone would bother to travel such a long distance with such a heavy stone. It is something I can understand for a small and light stone, but the Coronation stone is about 152 kg; would the "sentimental" value of that stone overcome the difficulty of the trip? Maybe, actually.

But I have another suggestion, and it really is just a suggestion: there is no stone coming from Israel and passing through Egypt, but instead the idea of the stone and coming directly from Egypt.

In my opinion, it is not by accident that the Coronation "elevation" stone has come up in Scotland, because we've already seen in Section 22 "Thor and the Mist of Cold from the Well of Hvergelmir", that the entire Norse mythology has been constructed on the operation of the Great Pyramid, and in particular that Thor and his magical hammer was nothing else than the reinterpretation of the impactor. At the time, I didn't know about the ancient Egyptian god Medjed "the Smiter" (le "cogneur", le "frappeur"), associated with both Osiris and Hapi, but now we can say that Thor is the Norse version of Medjed.

The key here, is the Viking expansion that allowed them to be in contact with ancient Egyptians, and the Scandinavian Scotland when Vikings and Norse settlers colonised part of Scotland from the 8th to the 15th centuries.

I may be wrong, but the Norse origin of the Coronation stone is way more likely than the academic explanation, and you can agree on that only if you accept the real purpose of the Great Pyramid, and the fact that the Norse god Thor endlessly hammering down a great Serpent in water, or the Norse fog of cold coming from a magical well are all mythology replicas originating in ancient Egypt.

"Viking expansion was the historical movement which led Norse explorers, traders and warriors, the latter known in modern scholarship as Vikings, to sail most of the North Atlantic, reaching south as far as North Africa and east as far as Russia, and through the Mediterranean as far as Constantinople and the Middle East, acting as looters, traders, colonists and mercenaries."  https://en.wikipedia.org/wiki/Viking_expansion

"Scandinavian Scotland was the period from the 8th to the 15th centuries during which Vikings and Norse settlers, mainly Norwegians and to a lesser extent other Scandinavians, and their descendants colonised parts of what is now the periphery of modern Scotland."  https://en.wikipedia.org/wiki/Scandinavian_Scotland

"The ladders to Heaven (figure 24). Angels seen ascending and descending the ladder between Heaven and Earth. This is said to be a symbolic representation of the Bishop Oliver King’s vision of the western front that he saw in a dream. However, this was a ruse created by Sir John Harington to raise funds for Bath Abbey’s roof a century after the Bishop’s death." Photograph by by ‘Deyemi Akande, 2016 H. Allen Brooks Travelling Fellow: https://www.sah.org/community/sah-blog/sah-blog/2017/10/13/winchester-s-william-walker

Images thanks to Brian Robert Marshall: https://commons.wikimedia.org/wiki/File:An_angel_on_the_way_up,_Bath_Abbey_west_elevation_-_geograph.org.uk_-_717346.jpg and https://commons.wikimedia.org/wiki/File:An_angel_on_the_way_down,_Bath_Abbey_west_elevation_-_geograph.org.uk_-_717347.jpg

29.21  The Stone of Destiny's ascending and descending angels onto the celestial Jacob's ladder to Heaven

The following excerpt is totally confirming the idea that the Coronation "Destiny" stone is all about the Osiris stone and its operation: " For a rather nondescript slab of sandstone, the Stone of Destiny comes with a remarkable baggage of myth and folklore. According to the legend, the stone was the very one which Jacob - the ancestor of the people of Israel - used as a pillow when he was in Bethel (a city north of Jerusalem) and experienced a vision of angels ascending and descending a celestial ladder to heaven."  https://www.worldhistory.org/Stone_of_Scone/

It is mentioned that the ancestors of the people of Israel experienced a vision of "ascending and descending angels" associated (in some ways) with the Stone of Destiny; and it is also mentioned a mysterious "celestial ladder" to Heaven.

It is a cute story, but don't you think it would be a beautiful metaphoric vision of the impactor's operation?

Because I just assume these angels had wings, right? Just like the Hawk (the descending impactor) and the Heron (the ascending impactor). Also, if you are an angel (with wings), why would you need a ladder?

But on the other way, wouldn't be a ladder with its numerous rungs be a perfect metaphor of the sequential and painstaking rising and hauling of the impactor, latch bolt after latch bolt for maybe about 10 to 15 minutes of hard work?

Jacob's Dream by William Blake (c. 1805, British Museum, London): https://en.wikipedia.org/wiki/Jacob%27s_Ladder#/media/File:Blake_jacobsladder.jpg

29.22  Another similarity between a modern monotheist religion and the ancient Egyptian religion

Jacob's Ladder isn't the first time in this study that I stumble on something which links the ancient Egyptian religion with modern ones: we've seen this in Section 24.28 and 24.29 (the Christian Trinity and Baptism into water and the Haïk, the traditional women's garment that is worn in the Maghreb region and that only let the eyes of the women visible).

This idea of a common history between these three modern religions, which would have their roots deeply anchored into the ancient Egyptian religion is absolutely not crazy, because not only Judaism, Christianity and Islam, worship the same god, but they also have all been unified until Abraham came into play, either in Egypt or on the way to Egypt (Abraham's Journey to Egypt).

"The three religions of Judaism, Christianity and Islam readily fit the definition of monotheism, which is to worship one god while denying the existence of other gods. But, the relationship of the three religions is closer than that: They claim to worship the same god. While Judaism gave that god a name, “Yahweh,” both Christianity and Islam simply refer to him as “God” -- in Arabic, Islam’s founding language, “Allah” means “The God.”

The three religions trace their origins back to Abraham, who, in Genesis, had humanity’s first relationship with God after the failures of Noah’s flood and the Tower of Babel. Judaism and Christianity trace their tie to Abraham through his son Isaac, and Islam traces it through his son Ishmael.

If Abraham represents a point at which the religions diverge, they are unified up to that moment. That unity goes back to Adam, the first human being, and his creation by God. Each of the three religions reveres Adam and honors him as the first person, centering key theological elements on God’s creation of humanity through Adam. God is the father of humanity and the father of each religion." By Paul V.M. Flesher

 https://www.uwyo.edu/uw/news/2016/09/uw-religion-today-the-three-monotheistic-religions-children-of-one-father.html#:~:text=The%20three%20religions%20of%20Judaism,the%20existence%20of%20other%20gods.

The Pyramids of the Cold

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Next Section 30: Crocodile god Sobek's fishing net