Cleopatra’s Needle with Part of Alexandria taken from the North by “drawn on stone by from a sketch by Capt. Head.” Source: Eastern and Egyptian Scenery. 1833. Hathi Trust Digital Library online version of a copy in the Getty Research Institute: https://victorianweb.org/graphics/head/15.html
Original book "Eastern and Egyptian scenery, ruins, &c. : accompanied with descriptive notes, maps, and plans, illustrative of a journey from India to Europe : followed by an outline of an overland route, statistical remarks, &c. intended to shew the advantage and practicability of steam navigation from England to India" by Charles Franklin Head. Online version by the Getty Research Institute; the Cleopatra's Needle image is on page 106 of 150: https://archive.org/details/gri_33125008597177/page/n105/mode/1up
The Pyramids of the Cold Section 29: the Obelisk and the rising Benben-Osiris stone
In summary: we've seen that the whole idea regarding the operation of the Great Pyramid of Giza is about the endless sequential cycle of pressurization of the inclined well waters by the fall of a composite impactor, and that this impactor had been glorified and deified into the two most important ancient Egyptian deities, Ra (the wooden "vessel" and floating part) and Osiris (the granite stone nested inside the wooden part and which gave all its power and force to the impactor).
We'll see in this section that this endless cycle of rising a granite stone into the air is precisely what the Obelisk is all about: the Benben stone, which is the pointing end of the Obelisk, often covered with gold or electrum, is a representation of what I've been calling the "Osiris stone".
Both stones are rising from the water: the Osiris stone is rising from the inclined well waters and the Benben stone is rising from the primordial waters before Creation. That is the confirmation that what ancient Egyptians called "Creation" was only really about the creation of the evaporative cold, or for what reason this cold was produced (Solvay process or not).
We'll see that if the Obelisk is also associated with Sun god Ra, it is because the endless cycle of the impactor's operating also looked like the endless cycle of the day. In other words, the Sun is the ultimate metaphor of the impactor. And when the impactor finally emerged inside the Grand Gallery (the day) from the dark waters of the well (the night) thanks to its wooden floating part Ra, this was seen as the Rebirth of Ra.
We'll also see that by associating herself with Isis, Cleopatra (the daughter of Isis) with the two Obelisks named after her, wanted to be seen as the powerful One who metaphorically was successfully rising the Benben stone (what I've been calling the "Osiris stone") at the very top of the Obelisk, hence getting the impactor ready for a new cycle to begin.
Finally, we'll see that this rising stone thing was one way or another the origin of the Coronation stone, (the "Stone of Destiny, or stone of Scone), that had been used for hundreds of years by Scottish monarchs and which will also be used by Charles III on Saturday, 6 May 2023 for his own Coronation. The Coronation of Charles III will also be his "elevation", so to speak. Charles III will rise as a King.
29.01 The petrified Sunbeam academic explanation of the Obelisk
The academic explanation of the Obelisk is that it is a glorification of the light coming from the Sun, deified into Sun god Ra; and the fact that the Obelisk structure is pointing towards the Sun, doesn't seem to be important at all, even if it results in pointing towards the exact opposite direction of what should be.
If the Obelisk is supposed to be a "petrified" beam of light from the Sun, it normally should point towards the ground, not the opposite; but the "logical" way of thinking isn't what seems to interest Egyptology, like we've already seen many times.
And yet, the "logical and systematic" scientific approach of the ancient Egyptian religion is sufficient to understand it in its entirety as well as in the Obelisk explanation itself. If the structure is pointing to the sky and if the Benben stone at its top is known to be the "rising" stone that emerged from primordial waters, there is actually very little work to do: the Obelisk is just that, the glorification of a stone which emerged from water.
Knowing that the Obelisk is also a glorification of Sun god Ra, it is only natural Egyptologists had failed to find the link between Ra and the rising stone; in this context, there probably wasn't better explanation than the petrified ray of light from the Sun.
The thing is that now, we know better; and in particular we know that the whole operation of the Great Pyramid was depending on one single piece of equipment: the impactor and its nested granite ballast block, the Osiris stone, which endlessly "crashed" into the inclined well waters before getting hauled back out of the well and start another ascension to the top of the Grand Gallery, just like the Sun during the day.
The Obelisk is simply that: the glorification of the endless cycle of ascension of the impactor, and its endless "rebirth" from the primordial waters of "creation"; except that "creation" is all about the production of the evaporative cold.
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.
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We'll see in this Section that just like the Memphis Triad is representing the creation of evaporative cold by associating three deities who were the deifications of pressurized water (Ptah) + pressurized dry warm air (Sekhmet) + the fog nozzle of the Great Pyramid of Giza (Nefertem, see previous Section 27), the Elephantine Triad is all about the glorification of the operation of a biosand filter. The ram-headed "Great Potter" water god Khnum is the deification of this biosand filter: the ram metaphor is about the rammed earthed used by a potter into a mold; just like earth (sand) is used into a sand filter. Family biosand filter photograph from: https://wiki.lowtechlab.org/wiki/Water_-_Biosand_Filter#
The Pyramids of the Cold Section 28 • Hapi and the Elephantine Triad deification of the biosand filter
In summary: this Section will correct a wrong interpretation of god of the Nile Hapi I've been doing for the last past months, saying that the water used to power up the Great Pyramid was coming from the Nile. If every single ancient Egyptian deity is nothing but a metaphorical glorification of scientific knowledge and accomplishment, there is no reason for Hapi to be different: the water circulating inside the Pyramid wasn't coming from the Nile, but its meandering movement inside the structure would have make it looked like the Nile meandering through the whole Egypt. This is why the Great Pyramid had been associated with Egypt itself, and why the Lower and Upper Pyramid had been glorified into Lower and Upper Egypt.
On that matter, I have no other choice but to switched back to my first assumption that rainwater was used instead of water from the Nile. If ancient Egyptians would have used water from the Nile, they would have no problem supplying about 200 liters of water every 15 minutes or so, and they wouldn't have needed the King's chamber. That chamber was the mandatory collecting tank required in every single rainwater harvesting system.
We'll see that the annual inundation god of the Nile Hapi wasn't the One releasing its own waters from his cave, but that it took the combined goddesses Satis and Anuket to accomplish the release of the waters. If these two goddesses were part of the Elephantine Triad along with god Khnum, it is because this extremely important water god was the beneficiary of these waters, and because this god who is "molding" lives from earth is also really about earth: water god Khnum is the deification of the biosand filter, like the one which is still in place today in the Bent Pyramid, but which nobody is talking about, and which is not even represented in "official" draws of the internal layout of this Pyramid.
We'll see that because of his true nature, Khnum is indeed associated with drinking water, even if as a biosand filter his real function in the Great Pyramid was only to provide softened water with high microbial stability for the evaporative cooling process.
Finally, we'll see that ancient Egyptians used in Satis and Anuket the exact same active and inactive aspects in their metaphorical representation of the water supplying valve of a biosand filter: when Satis is described as "running like an arrow" and releasing Hapi's waters, Anuket is described as a "vagina" and is showing water plumes other her head.
The temples of the ancient island of Philae, now rebuilt on the Island of Agilkia; the red arrow is pointing to the Hadrian's Gate where is located the relief showing Hapi in his cave. Image by Gérard Ducher: "In the 1960s, every building was dismantled, and transported to the nearby island of Agilkia, situated on higher ground some 500 m away": https://commons.wikimedia.org/w/index.php?curid=503180
Hadrian's Gate photograph: http://www.temples-egypte.net/philae/porteHadrien.html
28.01 The Elephantine Triad deciphering starts with Hapi's representation in the Isis Temple of Philae
We'll see in this Section that just like the Memphis Triad is representing the creation of evaporative cold by associating three deities who were the deifications of the pressurized water creation (Ptah) + pressurized dry warm air (Sekhmet) + a fog nozzle (Nefertem, see previous Section 27), the Elephantine Triad is all about the glorification of the operation of a biosand filter (Khnum), and the control of its water supply with active Satis "who runs like an arrow" and inactive Anuket "who looks like a vagina".
But to understand the Elephantine Triad, we first need to get back to Hapi, the god of the annual inundation of the Nile, and we'll start with his representation in the northern wall of the Hadrian's Gate, just next to Philae's Isis temple, now on the island of Agilkia.
http://www.temples-egypte.net/philae/hadrien/paroiNord/registreMilieu.html
28.02 Hapi and his cave are at ground level, not underwater
Academic interpretations of the relief showing Hapi pouring water in a "cave" or "cavern", at the small Isis temple at Philae, which is a unique and extraordinary artistic representation of this god, is that he is supposed to be underwater and somehow "creating" the waters of the inundation of the Nile.
But it just can't be right, because as seen on the above image of the scene, the cave and the entire structure of piled up blocks above it, are in the exact same level than all the other gods in human shape: Hapi is at ground level, he is not underground or underwater. Both Hapi and his cave are at ground level.
"Hapi (Ancient Egyptian: ḥʿpy) was the god of the annual flooding of the Nile in ancient Egyptian religion." https://en.wikipedia.org/wiki/Hapi_(Nile_god)
28.03 Hapi's cave being "under the Sun" confirms the idea that it is not underwater, nor it is underground
This idea that Hapi's cave is not located underground or underwater, is reinforced by some ancient Egyptian texts which are saying that Hapi lives in a cave "never seen by anyone" and that this cave is "under the sun"; but if the cave is under the sun, it clearly means that the cave is not underground nor it is underwater.
If it has to be pointed out the fact that the cave cannot be seen by anyone, it is actually suggesting that it normally shouldn't be that way: no none would have to say that an underwater cave wouldn't be seen by anybody, it is just what is expected from such a cave.
If it is clearly specified that the cave cannot be seen by anybody, it is not a cave, but some kind of structure specifically designed so that nobody would ever have to see or to get in.
"Hapi lives in the distant south, in a cave never seen by anyone under the sun and pours the water of the Nile from her/his carafes." http://egyiptom.freeweb.hu/english/gods_hapi.html
28.04 The artificial design of Hapi's cave
What is very surprising about this draw that have been made of the relief, except the fact that it is inverted, is how badly the shape of the snake is rendered: it is like the author wanted to transform the very peculiar and artificial original shape of the snake into a completely dull and natural rounded shape. But maybe it was made by accident, and there was no intention to hide or disguise anything; the fact that the drawing is inverted should reinforce this idea.
But the fact is that if you look closely to the shape of the snake, hence the shape of Hapi's cave, you simply can't miss the artificial design of the whole thing.
Very poorly and inverted draw of the relief, reproduced in "The Project Gutenberg EBook of History Of Egypt, Chaldæa, Syria, Babylonia, and Assyria, Volume 1 (of 12), by G. Maspero: Reproduced from a bas-relief in the small temple of Philae, built by Rajan and his successors. […]. By a mistake of the modern copyist's, his drawing faces the wrong way." https://www.gutenberg.org/files/19400/19400-h/19400-h.htm
28.05 Hapi's cave is a representation of the King's chamber of the Great Pyramid of Giza
If Hapi's cave does look artificial in the original relief, it is because the "cave" is actually really artificial: the cave is a construction, a structure made by man, and which is under piled up blocks of rock. That man made structure "cave", which is filled up with water is nothing else than the King's chamber of the Great Pyramid: the artificial shape of the cave is mimicking the original design of the chamber, in particular the little passage that leads to it, and the piled up blocks of the relief are mimicking the blocks set onto the King's chamber, whether they are about the piled up granite beams of the "relieving chambers" or a representation of the limestone blocks of the pyramid itself. In summary, Hapi's cave is the main water tank of the Great Pyramid: it is a representation of the King's chamber.
Because the Great Pyramid wasn't finished at the time of its operation and the presence of a temporary more or less flat roof, the Gantenbrink's Doors were real hatches opening to the exterior of the pyramid. Gantenbrink's Doors were real "doors".
28.06 The Gantenbrink's Doors were hatches opening on the flat roof of the operating Great Pyramid
It has to be pointed out that at the time of the operation of the Great Pyramid for evaporative cold production, like I've said many times, the pyramid wasn't finished and there was what could be assimilated to a flat roof.
That flat roof explains that Hapi is described as being "under the Sun".
Many elements are pointing to the flat roof design of the Great Pyramid, when it was in operation. The elevation level of that flat roof was probably set by the Gantenbrink's Doors that would have been more like hatches that real "doors", and would coincide with the elevation level of the Lady Arbuthnot's chamber, where the granite walls of the "relieving" chambers are suddenly replaced by usual limestone blocks.
1 • The mysterious Gantenbrink's Doors closing the upper part of the Queen's chamber shafts
2 • The northern King's chamber shaft change of direction
3 • The walls of the Lady Arbuthnot's chamber which are made of limestone, while all the other walls of the "relieving chambers" are made of granite, just like all the beams of the floors and ceilings of these chambers.
Bent Pyramid internal layout by Franck Monnier: https://fr.m.wikipedia.org/wiki/Fichier:Bent_Pyramid_substructure_2.png
28.07 The flat roof design probably already used in Sneferu's Bent Pyramid
Actually the Great Pyramid would have looked like something close to the first half of the Bent Pyramid; and of course, the fact that this pyramid is "bent" in the first place, is most probably explained by the same necessity of using that "flat roof".
28.08 Hapi lives in the distant south and under the Sun
That flat roof also explains why Hapi was described as "living under the Sun": there probably was some kind of access to the Grand Gallery through something that might have resemble to a "central chimney" that would have allowed fresh air as well as the crewmembers of the Hauling beetle to get into the Gallery.
"Hapi lives in the distant south, in a cave never seen by anyone under the sun and pours the water of the Nile from her/his carafes." http://egyiptom.freeweb.hu/english/gods_hapi.html
The strange trajectory of the northern King's chamber shaft of the Great Pyramid of Giza.
Original images thanks to the Bibliothèque nationale de France. "Histoire de l'art égyptien d'après les monuments, depuis les temps les plus reculés jusqu'à la domination romaine" 1858-1879, by Émile Prisse d'Avennes (1807-1879). © Bibliothèque nationale de France, département Réserve des livres rares : http://passerelles.bnf.fr/grand/pas_2457.htm
28.09 Hapi's cave and its two spring holes are about the King's chamber and its two shaft openings
One of the most interesting parts of the mythology about Hapi is how were created the waters of the Nile: ancient Egyptians believed that inside their paradise, the "field of the blessed" in the underworld, was running a river which came from the heaven "in a mysterious way" and was filling Hapi's cave passing through two spring holes.
Like everything else, it is a very cute story which only originates in the Great Pyramid and in particular in the King's chamber itself. Because these two "subterranean channels" and two "spring holes" are simply about the northern and southern shafts of the chamber.
"...the Egyptians held of the origin of the Nile and the connection of its sources with the Egyptian paradise in the netherworld. According to these "the fields of the blessed" which is the Egyptian paradise, were encircled by "a river" (itru) that went forth from heaven. In a mysterious way that river reached the surface of the earth, through two spring holes below the first cataract between Elephantine and Philae and emerged as the Nile. This idea is pictorially represented in a relief in a small island near Philae, at the first cataract. Under a mass of rocks, the god of the Nile, Haapi, protected by a serpent, is pouring out of two vases in his hands, symbolising the two sources of the Nile. Thus the Nile was merely the earthly prolongation of the heavenly "river" (itru) and the two spring-holes beneath the cataract only marked the place where it came out to the surface."
(p. 165. "The Story of Paradise." Abraham S. Yahuda. The Accuracy of the Bible. London. William Heinemann. Ltd. 1934) http://www.bibleorigins.net/QwertyNileCavernSourceAswan.html
"This Nile in some mysterious way enters the earth and through subterranean channels eventually surfaces via two caverns or spring-holes near the last Nile cataract in the vicinity of Aswan (Greek Philae). The Nile then flows upon the earth's surface till it reaches the Mediterranean Sea where it magically rejoins the sky." http://www.bibleorigins.net/QwertyNileCavernSourceAswan.html
28.10 The northern (Hap-Meht) and southern (Hap-Reset) shafts of the King's chamber
Most probably these two northern and southern shafts are the origin of Hap-Reset (the god of the South Nile) and Hap-Meht (the god of the North Nile).
"...the Egyptians believed that the Nile rose in the First Cataract, the Qerti, or "Double Cavern," and the Nile of the South was to them that portion of the river which extended from Elephantine to a place some little distance north of the modern Asyut. The god of the South Nile has upon his head a cluster of lotus plants whilst he of the North Nile has a cluster of papyrus plants, the former is called HAP-RESET, and the latter HAP-MEHT. When the two forms of Hep or Hapi are indicated in a single figure, the god holds in his two hands the two plants, papyrys and lotus, or two vases, from which he was believed to pour out the two Niles...the source of the waters of the Nile-god was unknown." http://www.bibleorigins.net/QwertyNileCavernSourceAswan.html
28.11 Hapi is just another metaphor: the water used to power up the Pyramid certainly wasn't water from the Nile
We've already seen that ancient Egyptians assimilated the internal layout of the Great Pyramid into their Underworld, hence the famous "mysterious and secret cavern of the Underworld, where was performed the "sacred act of Hauling" (Section 11); but we've also seen that they assimilated that same layout into the whole Egypt country, hence the Upper and Lower Egypt which are corresponding respectively to the Upper and Lower Pyramid, based on the ground level that was the upper platform of the Gallery.
When it is mentioned that Hapi lives "in the distant south", it is not really about Egypt, but rather about the southern part of the Great Pyramid. Because the King's chamber was located in the distant south of the operating Pyramid, Hapi has been described as living in the distant South of Egypt.
And suddenly it struck me: if all ancient Egyptian gods are nothing but metaphors, why would Hapi be different?
And in my opinion, he is not: Hapi is just another metaphor. Let me put it this way: the waters of the Nile are just another metaphor. There is no water from the Nile getting inside the Pyramid; the water that was used, just looked like the Nile river meandering through Egypt country.
The problem is that I've made the exact same mistake than egyptologists are doing: I didn't really understood the metaphor about Hapi.
Just like there was no real hippopotamus at the bottom of the inclined well, there was not really water from the Nile in the Great Pyramid: the water used was just looking like the Nile, getting in the pyramid through the King's chamber shaft(s), then the chamber itself, the filter, the central gutter of the Gallery, the inclined well and finally the evaporative passage before being forced outside of the pyramid through the Queen's chamber shaft(s).
This "voyage" of meandering water in every parts of the pyramid is the reason why they used the Nile metaphor, but this is just a metaphor: in my opinion the water was simply rain water.
28.12 Nile water and salt deposits vs. rainwater harvesting
If water from the Nile would have been used, especially at the time of the annual inundation, it would have been charged with huge amounts of silt, that would have rapidly created silt deposits in the chamber: why would they have used water from the Nile?
And more importantly, why would they have needed a King chamber?
If only about 200 liters of water were needed every 15 minutes, and you have tens of thousands of workers available at any time, you wouldn't need a huge water tank this size.
The only reason for the King's chamber to have been built in the first place, is that they used rain water like I first thought at the beginning of the study (posts I've written just before "the Pyramids of the Cold").
If this is right, the King's chamber was nothing less than the main reservoir for the rainwater harvesting that took place on the flat roof of the Pyramid.
Relief of King Sobekhotep III (Dynast 13), at the Brooklyn Museum, showing the two goddesses Satis (on the left) and Anuket (on the right). "This relief depicts Sobekhotep III offering vessels to the goddesses Satis and Anukis (left and right, respectively). This was a common motif of temple decoration. The king, who theoretically conducts the cult’s rituals in every temple every day, offers to deities who in turn bless him and, through him, Egypt. Both goddesses extend to the king three “life” hieroglyphs (the ankh)." https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size4/77.194_SL1.jpg
28.13 Goddess Satis is the One "pouring Hapi out of his cave": Satis is releasing the waters
What is fascinating with Hapi and the waters of the Nile thing, is that the only representation of the god we have "in situation" is showing him in his cave, holding the two vases as representations of the two underwater rivers and the two spring holes, but that's it, there is nothing more: Hapi is simply represented in his cave and he stays in his cave.
In other words, Hapi's realm is that cave: the King's chamber.
And if it wasn't for another deity, goddess Satis, Hapi's waters would stay in the cave: Satis is the One who is "pouring" and releasing Hapi's waters.
“Satis the Great, the Lady of Sunu (Syene), the Eye of Ra, the Lady of the Sky, Queen of all the Gods, Rayt (/Raet, the female counterpart of Ra), the Great One in Senmet (Abaton, the highly sacred island of Osiris, located close to Philae), She Who pours Hapy (the Nile God) out of His cave, to give the Life to the Two Lands” https://www.facebook.com/AmentetNeferetEgyptianReligion/posts/sati-the-great-onethe-lady-of-sunu-syene-aswanthe-eye-of-rathe-lady-of-the-skyqu/3687454131283273/
Tap water draws showing the active part of the valve (the "stem") and the inactive part (the "seat"). "Compression valves, also known as multi-turn valves, are usually globe valves. They feature a stem with a rubber washer on the end, which is attached to the valve handle. When turned, the stem moves into the cavity of the valve, compressing the washer against the internal seat and forming a seal." https://www.plumbingsupply.com/compression-vs-quarter-turn-stops.html
28.14 Anuket was compared to a vagina and was known as "She Who embrace"
Anuket is another goddess in whom ancient Egyptians projected sexual metaphors about her true nature, i.e. the inactive part of the controlling valve of the King's chamber; probably the most accurate metaphor about Anuket is comparing her with a "vagina", but the reference to "embrace" or "suckling" are almost as good.
"Her name means “embrace” and may have originally referred the embrace of the waters of the inundation. She was also depicted suckling the pharaoh during the New Kingdom, and became a goddess of lust during later periods. In this form, she gained association with cowrie shells, which resemble the vagina. The Festival of Anuket was held when the inundation began. People threw coins, gold, jewelry, and precious gifts into the Nile to please the goddess." https://ancientegyptonline.co.uk/anuket/
28.15 The Anuket "vagina" pierced by the Satis "running arrow"
Once you have deciphered Satis and Anuket separately, it becomes easy to understand the way they were supposed to interact: Satis "running like an arrow" was supposed to "pierce" into the Anuket "vagina"; and that is the perfect metaphoric representation of the functioning of a stem and seat system valve.
"Her name was originally written with the hieroglyph for a linen garment's shoulder knot (S29); this was later replaced by Anuket's animal hide pierced by an arrow (F29). She was also known by epithets, such as "Mistress of Elephantine" and "She Who Runs Like an Arrow", thought to refer to the flowing river current." https://en.wikipedia.org/wiki/Satis_(goddess)
Left image: 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
Right image: Bent Pyramid of Sneferu at Dahshur, Western part of the Horizontal Passage with Portcullis, thanks to the ISIDA Project, Research Society on Ancient Artifacts: https://isida-project.ucoz.com/egypt_2012/dashur_bnt_corridor.htm#fw
28.16 The sand filter of the Bent Pyramid is perfectly showing the Satis and Anuket "run like an arrow" metaphor
I just don't know if the sand filter of Sneferu's Bent Pyramid was a biosand filter, or if it wasn't designed to be operated with a biofilm layer, but it is hard not to see it, even if the "official draws" of this pyramid, made by CNRS engineer Franck Monnier (both in 2007 and in 2016), are not showing it.
Image courtesy of ISIDA project: https://isida-project.org/egypt_2012/dashur_bent/corridor_w/p1160851.jpg
28.17 Satis "Who runs like an arrow" + Anuket "Who looks like a vagina" = the release of Hapi's water
Now, this Section is really getting interesting. We've seen that Hapi represents water which is imprisoned inside a structure which is the King's chamber of the Great Pyramid, and that this is goddess Satis of the Elephantine Triad who is the one actually releasing these waters.
We also know that not only Satis is said to be releasing the waters contained in Hapi's cave, but she is also described as "running like an arrow".
I don't know about you, but when I hear this, I immediately think of the functioning of a valve, with its moving part which is controlling the flow of water getting out of a water tank.
If you've already seen previous Sections about Isis and Nephthys, Wadjet and Nekhbet, or Osiris himself who was seen both as the "Great inert", "asleep" and "lethargic", and as the one who gave all his energy, force and power to Ra (Section 27.02), you are already familiar with the fact that ancient Egyptians loved to emphasize both active and inactive ways of describing things.
In a valve, you do have both active and inactive parts; and this dual vision of the functioning of a valve, with the mobile part and the fixed part, has been glorified into the two goddesses of the Elephantine Triad, Satis and Anuket.
If Satis is the active part "Who runs like an arrow" of the releasing valve of the waters of the King's chamber, her counterpart Anuket "Who looks like a vagina" is about the inactive part: the one through which is passing the flow of water.
"The exact pronunciation of Egyptian is often uncertain since vowels were not recorded until a very late period. In transcription, the goddess's name also appears as Setis, Sati, Setet, Satet, Satit, and Sathit. Derived from sṯ, meaning "eject", "shoot", "pour", or "throw", her name can be variously translated as "She who Shoots" or "She who Pours" depending on which of her roles is being emphasized." https://en.wikipedia.org/wiki/Satis_(goddess)
"Her name was originally written with the hieroglyph for a linen garment's shoulder knot (S29); this was later replaced by Anuket's animal hide pierced by an arrow (F29). She was also known by epithets, such as "Mistress of Elephantine" and "She Who Runs Like an Arrow", thought to refer to the flowing river current." https://en.wikipedia.org/wiki/Satis_(goddess)
"Vue axonométrique de la chambre supérieure de la pyramide rhomboïdale" by Franck Monnier, CNRS Paris (2016 and 2007): https://www.researchgate.net/figure/The-upper-system_fig4_303024616
Right image: https://fr.wikipedia.org/wiki/Pyramide_rhombo%C3%AFdale
28.18 The forgotten representation of the filter in the Bent pyramid by French CNRS engineer Franck Monnier
The fact that Franck Monnier decided not to draw the filter, isn't unfortunately the first time that the CNRS (the French National Scientific Research Center) engineer took some liberties with archeological interpretations: in Section 14 about the Red Pyramid and the Solvay process, we've already seen that the limestone kiln of the so-called burial chamber, had also suffered the same fate, and that instead of accurately drawing the chamber like it is with the burnt blocks arranged in concentric circles and forming a deep cavity into the floor, Mr. Monnier preferred to reinvent a whole new and flat floor with perfect straight alignments.
I was gonna make some more comments, but who cares; and most of all, what could have Mr. Monnier done different?
Egyptologists simply can't deviate from the official story telling; if they do, they would most certainly lose their accreditations and working visas, or whatever other special authorization one have to get from the local authorities. So, I don't think Franck Monnier, nor any other egyptologist is to blame in the process.
The ancient Egyptian gods and goddesses family tree (last updated November 16, 2022).
The water that powered up the Great Pyramid wasn't coming from the Nile: rainwater harvesting would have allowed to collect enough water into the King's chamber during the appropriate season, and wait until the air would dry enough before using that water before engaging into the evaporative cooling process, also at the appropriate season.
28.19 The First and Second Cataracts are referring to the Sarcophagus input and output "valves"
We've seen that Satis and Anuket are the deifications of the King's chamber releasing valve; but this valve which could have been another portcullis just like the one in the Bent Pyramid, wasn't set in the chamber or just next to it: the first valve, the Satis/Anuket valve was right on top of the biosand filter Sarcophagus of the Great Pyramid.
But there was to be a second valve, one which released the filtered water out of the filter, out of Khnum.
We've also already seen that ancient Egyptians have associated pretty much everything of the Great Pyramid's internal layout with Egypt itself; so we shouldn't be surprised that Satis and Anuket are directly associated with the First Cataract of the Nile, when Khnum is associated with the Second Cataract.
The "First and Second Cataracts" associated with the Elephantine Triad are referring to the input and output valves of the biosand filter Sarcophagus of the Great Pyramid of Egypt.
About rock inscriptions from the Second Cataract forts, Semna and Kumma (Epigraphic Study by Elsa Yvanez. The Sudan National Museum): "A potentially more interesting aspect of the Semna and Kumma corpus is the regular mentioning of local gods. The expression “local gods of Nubia” is even employed in one inscription. Satet “mistress of Eléphantine” is invocated one time, which attest the presence of this goddess of the First Cataract further south. The Nubian god Dedun, related to the inundation, is also mentioned twice. As for the divinised form of the king Senusret III, it represents about 10 % of the religious invocations. The cult of Senusret III in Nubia seems to have developed shortly after his death, as one of the main heritage of the important action of this king in the region (Tallet 2005: 73). But first and foremost, the main god of the Second Cataract was without question Khnum. Invocations to this deity represent about 50 % of the total corpus of private inscriptions from Semna-Kumma. Originally, Khnum was honoured in Elephantine, where he was the warden of the Nile sources and responsible for the river inundations. Because the cataracts were often religiously associated with the sources of the Nile, it seems logical to find Khnum revered at the Second Cataract, mouth of the Nile and entrance door of the river to Egyptian territory."
"Rock Inscriptions from Semna and Kumma, Epigraphic Study by Elsa Yvanez." The Sudan National Museum. Page 13: https://www.sfdas.com/IMG/pdf/rock-inscrip28e2.pdf
Draw of the goddess Anuket by Jeff Dahl: https://en.wikipedia.org/wiki/Anuket#/media/File:Anuket.svg
Emblem of Anuket, discovered in the Satis temple at Elephantine, currently at the Louvre Museum "Emblème d'Anouket, -1295 / -1186(?) XIXe dynastie. Lieu de découverte : Cachette (Éléphantine->Temple de Satet)": https://collections.louvre.fr/en/ark:/53355/cl010007003
Bes amulet from the Metropolitan Museum of Art, New-York: https://www.metmuseum.org/art/collection/search/548299
28.20 Anuket's "plumes" are water plumes (just like Bes)
If active Satis can be compared to the moving stem of a modern valve, inactive Anuket "Who looks like a vagina" would be the cavity of the valve.
In other words, when Satis was moved, water could pass through Anuket; and this is why Anuket has plumes on the head: just like Bes (the wedging block that protected the dormant drain hole of the inclined well), Anuket has been represented with water plumes other the head.
"Sobekhotep III worshipping Satet (left) and Anuket (right). The central hole was made when the relief was used as a grinding stone, long after the original carving. Now on display at the Brooklyn Museum". Photograph by Keith Schengili-Roberts: https://en.wikipedia.org/wiki/Sobekhotep_III
Water tap from: https://www.wonkeedonkeetools.co.uk/tap-reseaters/what-is-a-tap-reseater
28.21 The central hole on the Brooklyn Museum relief was (most probably) for a water tap
It is said about the relief of King Sobekhotep III, that "the central hole was made when the relief was used as a grinding stone, long after the original carving". But apart from the hole itself, there is no other part damaged; would it be possible it was really used as a "grinding stone"?
Could this hole rather be explained by the true meaning of the scene, i.e. the distribution of water?
Personally, I would think that this relief was actually the plaque in which was installed a water tap, with a water tank right behind it, or a simple water pipe.
After all, if both Satis and Anuket are responsible for releasing Hapi's water, and Sobekhotep III is presenting water jars, the only missing part is the water tap so the Sobekhotep III can fill up his jars.
Draw of Khnum by Jeff Dahl: https://en.wikipedia.org/wiki/Khnum#/media/File:Khnum.svg
Ram fighting on Wikimedia Commons thanks to Brahim Djelloul Mustapha: https://commons.wikimedia.org/wiki/Category:Ram_fighting
28.22 The Elephantine Triad: Khnum + Satis + Anuket
We've seen that both Satis and Anuket were the deifications of the valve which controlled the release of the water that was in the King's chamber water tank; but these two deities aren't generally separated from another water god, Khnum, the main deity of the Elephantine Triad and one of the most important gods of all times in ancient Egypt.
Khnum was so important that the full name of pharaoh Khufu, was actually Khnum-Khufu.
28.23 Khnum and the ramming metaphor is about earth ramming
I didn't know what to think of Khnum for a very long time, because of his ram head: for me, the ram metaphor was about the impactor ramming into the inclined well waters, but obviously, Khnum didn't fit the profile of any aspect of the impactor.
Khnum is a water god, and water ramming into water didn't make any sense.
But then, I remembered the mistake I've been doing about snakes: at the beginning of the study I thought they were only the glorification of the pressurized water like Apep or Atum, but I know now that ancient Egyptians used every single particular aspect of every animal they could to represent metaphorically every single aspect of their work.
In other words, one single animal can be used not only in one but in many ways: snakes can be about water, air (Sekhmet, previous Section 27.05) or ropes (Wadjet, Section 25.11).
The thing is that the ram metaphor used with Khnum, is kind of a hybrid one: it really is about ramming, but it is not about the water.
The ram metaphor about Khnum is about ramming the earth, and it is because Khnum is the deification of the biosand filter of the Great Pyramid.
A sand filter, or a biosand filter, is after all nothing less than a "earth filter", where earth, sand and gravels are carefully put into the filter "box".
From a distance both sand and biosand filters look the same, the only difference is that the biosand filter does have a thin layer of living microorganisms which are feeding with most of pathogens that may be present in the water to be filtered. This living layer makes a great difference in the operating of a evaporative cooling system because it reduces drastically the risk of contamination, and makes the entire process way safer than what would do a simple softening sand filter.
28.24 The rammed earth metaphor and the sand of a sand filter
We've seen that this is Satis who is supposed to let the waters of the Nile out of Hapi's cave, but the control of the flood doesn't stop with Satis; there is another "guardian of the flood", and that is Khnum: "The guardian of this flood was Khnemu, and it was he who kept the doors that held it in, and who drew back the bolts at the proper time."
Khnum was a water god because the biosand filter is producing drinking quality water: the ram metaphor is about rammed earth used by a potter into a mold. This is why Khnum was called the "Great Potter".
The earth used by the Great Potter Khnum is actually about the sand of the filter, inside its mold.
"On being told that its waters, the source of all good things, came from a double cavern, which was compared to twin breasts, the king decided to visit the Nile god who watched over the river and emerged at the time of the flood. The gatekeeper of the flood was Khnum God, who guarded the doors that kept the water in and then, at the right moment, threw open the doors to let the floods loose on the land." https://www.egy-king.com/2021/08/egyptian-god-of-water-khnum.html
The Auroville Earth Institute (AVEI) is a non-profit organization specializing in the research, development, promotion and transfer of earth-based building technologies, among the most cost effective, low carbon, low embodied energy solutions for sustainable development. https://www.earth-auroville.com/sre_foundations_en.php
The Auroville Earth Institute (AVEI) is a non-profit organization specializing in the research, development, promotion and transfer of earth-based building technologies, among the most cost effective, low carbon, low embodied energy solutions for sustainable development. https://www.earth-auroville.com/sre_foundations_en.php
28.25 Rammed Earth requires 70% sand in the soil, and 30% of clay
"Rammed earth, building material made by compacting certain soils, used by many civilizations. The most durable of the earth-building forms, rammed earth may be used for making building blocks or for constructing whole walls in place, layer by layer. In making building blocks, the soil is rammed into a box-shaped mold. In building up whole walls, two wooden planks separated by a spacer bolt are used as a form, and the earth is rammed into this in layers; when the form is filled, it is removed and superimposed on the top of the wall and more earth is rammed in until the desired height is reached. Ironheaded rammers, roller-mounted forms, pneumatic rammers, and hydraulic, mass-production block presses have been used. The soil used must be high in sand and low in clay, 70 percent and 30 percent being the usual proportions. About 10 percent water is added in modern practice. Good compressive strength is characteristic of rammed earth." https://www.britannica.com/technology/rammed-earth
Ancient Egyptian water god Khnum as Cnouphis-Nilus (Jupiter-Nilus, Dieu Nil), N372.2, at the Brooklyn Museum. Draw by Léon-Jean-Joseph Dubois: https://en.wikipedia.org/wiki/Khnum#/media/File:Cnouphis-Nilus_(Jupiter-Nilus,_Dieu_Nil),_N372.2.jpg
"Ram Pokherai drinks clean water from his family's biosand filter. Clean water helps children stay healthy, which means they are less likely to need time away from school, so their education improves. Providing clean water has important knock-on effects." Courtesy of Editorial, Humanitarian & Travel Photographer Gavin Gough : https://www.gavingough.com/clean-water-in-rural-nepal
Images from this assignment are being used to raise awareness of the important work that Centre for Affordable Water and Sanitation Technology, CAWST is doing, providing the resources and education required for reliable clean water supplies in rural areas. https://www.cawst.org/
28.26 Khnum is indeed associated with potable potent water
Not only Khnum ensured that the "right amount of silt" was released in the Waters of the Nile during the inundation [1], which can be interpreted as the right amount of sand and its proper layout inside the filter, but it turns out that Khnum is indeed associated with drinking water [2].
The only way that the waters of the inundation of the Nile could be associated with drinking water, is that you somehow purify that water. It means that Khnum is really about water filtration.
[1]: "The Egyptians believed that he was the guardian of the source of the Nile who was originally a Nile god, but who became a helper of Hapi. His role changed from river god to the one who made sure that the right amount of silt was released into the water during the inundation. In working with the silt, the very soil that the ancient Egyptian potters used, he became the great potter who not only molded men and women, but who molded the gods themselves and the world." http://www.touregypt.net/featurestories/khnum.htm
[2]: There is an excerpt that is talking about the fact that Khnum is not associated with any kind of water, but with potable water. Source: Ember Elektra http://chthonickore.blogspot.com/2020/07/hes-magic-man.html
"His [Khnum] name in hieroglyphics also points to his early role as a water god. In hieroglyphics "Khnum" is written with a "water jug" pictogram representing the phonogram ẖnm (khnum).
As a primeval god, this water jug is a symbol of greater importance than it may first appear. Remember the heavens themselves were described and imagined as water/s and the gods were shown traveling these "waters" in barques. The Milky Way was sometimes described as the "Nile in the sky." So the dramas that played out in the sky with the sun and stars were reflective and analogous of happenings below on earth. Just as the importance of the fertile fresh waters of the Nile were known to the Egyptians to be essential for abundance and life, so too, the gift of water from heaven was understood as it pertained to the spiritual life and provided life and health to the body.
Not all water/drink is equal, however. Water can be stagnant or fresh. The best water is that which is the cause of health, fertility, rejuvenation, and life. This water of life or living water is a gift. Khnum represented the powers of these potent regenerative waters of life supplied to the world in the form of this vessel or pot.
Potent is from Latin potentem (nominative potens) "powerful," present participle of *potere "be powerful, able, capable." Khnum was most definitely then a Potere (powerful) Potter and pater ("father" in Latin) of the gods and humans. The ultimate PIE root of potent is said to be *poti- "powerful; lord".
These potent waters are most potable as well. Potable is not immediately and obviously connected to this concept of "potent" itself. It comes from a word meaning "to drink". Potable is from Old French potable (14c.), and directly from Late Latin potabillis "drinkable," from Latin potare "to drink" (from PIE root *po(i)- "to drink").
We see a noun form of the word potare "to drink" used here in the Vulgate, caro enim mea vere est cibus et sanguis meus vere est potus [for my flesh is true food and my blood is true drink.] John 6:56
It's not crazy to think that these concepts are somehow related, however, namely the symbol of the potent potter, i.e., a pot (of sorts), and what is in the pot, i.e., drink (potus); potent, pot, potable. Khnum is a Poti (Powerful Lord) of the powerful/potent potus (drink).
The etymology of the word "pot" is said to be of uncertain origin, however. Nevertheless the concept of pot (a thing which holds liquid/drink) and drink (potare/potus) in this case are easily related in their association with this god (Khnum). The fact that the Divine Potter is intimately connected to both a vessel (pot) and water (and remember the hieroglyph for water [three wavy lines] also can have the meaning "to drink") lead to the consideration that the word "pot" and certain words for drink might ultimately be connected to the notion of things related to this powerful/potent god." http://chthonickore.blogspot.com/2020/07/hes-magic-man.html
28.27 The distinction between "potable" and "drinking" water
It is also interesting to note that if "potent" is about "potable" water, it doesn't imply that this water is meant to be "drinking" water: it is just saying that you can drink it; and that its purity is so good that you can drink it, even if it is not supposed to be drunk at all. And that is the perfect description of the quality of the water produced by the biosand filter of the Great Pyramid.
Granite shrines "boxes" in the Temple of Khnum, Elephantine island (Aswan): http://www.sacredsitesjourneys.com/Egypt-PhotoGallery-3.htm
28.28 The Elephantine granite "shrines"
The proof that Khnum and all the Elephantine island were about the glorification of the operation of a (bio)sand filter is in the famous granite boxes, or "shrines" which were copying the granite Sarcophagus of the Great Pyramid. The pointy end is probably referring to the active Satis "running like an arrow" reference.
Very interesting video, with people inside one of the granite boxes that is about 2 meters deep: https://www.youtube.com/watch?v=fhWiUad1gOQ
28.29 When Khufu becomes Khnum-Khufu... and Khafre becomes Ra-Khafre
One of the difficult parts of deciphering ancient Egyptian gods and deities, is that everything happened over many years and generations of experimental work, step after step, starting (most probably) with the very first Dynasty, or even before that. The Great Pyramid concentrates most of these deities, because she was (most probably) the final outcome of the whole thing; but some of them are very old deities, and Khnum is one of them.
Most probably Khnum, was at the very beginning referring to a "simple" sand filter, that became other the years a biosand filter when the functioning of the biofilm of living microorganisms would have been mastered.
What is interesting is that Khufu's full name was actually Khnum-Khufu; and if you add this to the (bio?) sand filter of his father's Bent Pyramid, a possible scenario is that this added part of Khufu's name would be a simple reference to the latest innovation of his time, i.e. the latest innovation of his father's.
So, when Khnum-Khufu build his Great Pyramid after having mastered the floating composite impactor operation Ra, his own son Khafre will add this Ra name to his own, and become known as Ra-Khafre.
"Khnum (Khenmew, Khnemu, Khenmu, Chnum), from the Egyptian 'unite', 'join' or 'build', was an ancient deity of fertility, water and the great potter who created children and their ka at their conception. He was mentioned in the pyramid texts and the pyramid builder Khufu's name was actually 'Khnum-Khufu' meaning 'Khnum is his Protector'. His cult was popular before the cult of Re eclipsed it. The next pyramid builders were his son and grandson who added 'Re' to their names - Khafra and Menkaura. Khnum was possibly even a predynastic god. The Egyptians believed that he was the guardian of the source of the Nile who was originally a Nile god, but who became a helper of Hapi. His role changed from river god to the one who made sure that the right amount of silt was released into the water during the inundation. In working with the silt, the very soil that the ancient Egyptian potters used, he became the great potter who not only molded men and women, but who molded the gods themselves and the world." http://www.touregypt.net/featurestories/khnum.htm
"Khufu's name was dedicated to the god Khnum, which might point to an increase of Khnum's popularity and religious importance. In fact, several royal and religious titles introduced at this time may point out that Egyptian pharaohs sought to accentuate their divine origin and status by dedicating their official cartouche names to certain deities. Khufu may have viewed himself as a divine creator, a role that was already given to Khnum, the god of creation and growth. As a consequence, the king connected Khnum's name with his own. Khufu's full name (Khnum-khufu) means "Khnum protect me". While modern Egyptological pronunciation renders his name as Khufu, at the time of his reign his name was probably pronounced as Kha(w)yafwi(y), and during the Hellenized era, Khewaf(w). [...] "The pharaoh officially used two versions of his birth name: Khnum-khuf and Khufu. The first (complete) version clearly exhibits Khufu's religious loyalty to Khnum, the second (shorter) version does not. It is unknown as to why the king would use a shortened name version since it hides the name of Khnum and the king's name connection to this god. It might be possible though, that the short name wasn't meant to be connected to any god at all." https://en.wikipedia.org/wiki/Khufu
Elephant spraying water at the Sanctuary for Rescued Elephants in Pattaya, Thailand: https://www.pattayaelephantsanctuary.org/gallery/
Desert elephant (Loxodonta africana) spraying sand on herself while guarding her sleeping baby. She has covered the baby with a branch. Damaraland, Namibia. Photograph by Charles J. Sharp: https://fr.wikipedia.org/wiki/%C3%89l%C3%A9phant_du_d%C3%A9sert#/media/Fichier:Desert_elephant_(Loxodonta_africana)_spraying_sand.jpg
28.30 The Elephant metaphor is about both water and earth
Many hypothesis are trying to explain why the Elephant has been associated with the Khnum, Satis and Anuket Triad by naming Elephantine Island just like it is; but when you know that this Triad is all about a sand filter, that is purifying water, simply using earth, the elephant metaphor becomes perfect because an elephant spraying water or earth on himself is without any doubt the first image that comes to mind about an elephant.
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 the "Mysterious Cavern of the Sacred act of Towing". Last updated November, 18.
More on the Dendera Light in Section 2: the evaporative cooling process and the Dendera Light
28.31 Is the Solvay process just a fad?
I must admit that this whole ancient Egyptian deities deciphering thing has become kind of a "supreme game" that I really enjoy, maybe because it is a way to get as close as possible to the true nature of ancient Egyptian themselves; but I have a major problem: until today, I've found no real indisputable clue that the evaporative cold was created to cool down chemical manufacturing of sodium carbonate natron. I've found not a single god or goddess directly referring to the Solvay process.
I'm not saying I have to invalidate this part of the study, because maybe it is right under my eyes and I just don't see it, or maybe this part simply didn't get the same treatment than the evaporative cold.
One of the keys of the study is the dual active and inactive "philosophy" that ancient Egyptians loved to oppose, in some ways; maybe they did that in a broader scale by glorifying everything about Physics (how was produced the cold) and nothing about Chemistry, like this part was the real end game which nobody could ever understand in any way.
In every single temple, there was a place where only the highest ranking priests were allowed to go, maybe this sacred place was all about Chemistry.
Source: https://i.pinimg.com/originals/65/fe/f0/65fef06826d4663ed468653119a370b9.jpg
28.32 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.
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Memphis, literally "White Walls", was the first capital of Egypt following its unification by the pharaoh Menes. The people of Memphis believed that their god Ptah, at the heart of the Memphis Triad was the most ancient and pre-eminent of all the gods. Ptah was seen as the creator of all the other gods and he was called the "heart and tongue" of the Ennead.
Pharaoh Ramsses III (on the right) and the three gods of the Memphis Triad: Nefertem (on the left), Sekhmet (center) and Ptah, facing Ramesses III: https://commons.wikimedia.org/wiki/File:Ramses_III_and_the_Memphis_gods.jpg
The Pyramids of the Cold Section 27: the Memphis evaporative cold Triad air inflated snake
In summary : we've seen that the Great Pyramid of Egypt was meant to create evaporative cold using the power of water, and that there are a lot of elements supporting this idea in the internal layout of the pyramid itself, in particular regarding the massive girdle stones in which had been hollowed out the entire lower part of the "ascending passage" inclined well.
But evaporative cooling simply doesn't work if there is just creation of a fog of microdroplets of filtered water: you also need air, a lot of "fresh" dry air. Each and every cycle of the operation of the pyramid had to supply both water and air to the horizontal passage.
Unfortunately, because air is so easy to move, there isn't any element still in the pyramid that seems to have been involved in this matter: every part that supplied dry air to the cooling passage, was simply made out of wood and it have been removed at the end of the operating period of the pyramid, once the well has been drained.
But it doesn't mean there isn't any other way to start reconstructing that dry air supply system, because without a fixed wooden caisson, inside which the impactor would have been operated, and which would have been exactly extending the inclined well inside the Grand Gallery itself, no air at all would have been able to be used: the fall of the impactor absolutely had to happen in a closed structure to produce and use pressurized air.
We also know that this central wooden caisson had to have a hatch on its lower part so that one of the crewmembers of the Hauling beetle could reattach the impactor with its hauling rope after its fall. In this Section, we'll see that like every other part of the Great Pyramid's operation, this Hatch has been glorified into an ancient Egyptian deity: the cat goddess Bastet.
We'll also see that her counterpart sister Sekhmet is the representation of the pressurized air itself, and that when Bastet was holding the pressure inside the caisson, some air would eventually be able to pass through the seals of the Hatch, making the air hiss and whistle, and the Hatch itself to vibrate, explaining why Bastet is often represented holding a sistrum musical instrument.
Bastet's sistrum is about the whistling air just like the Isis and Nephthys Lamentations are about the squeaking noises that ropes are making under tension (and the water dropping from the wet ropes).
Also we'll see that Hathor was the glorification of the Hauling beetle, at the end of its operating cycle, when the structure would have reached back the top of the Grand Gallery after its job had been done. When Hathor is holding a sistrum, it is this time about the noise and agitation that occurred at this very special moment of the operating cycle, in particular it is then that the crewmembers shift change would have been done, resulting in what could be described as the "total chaos" side of goddess Hathor.
Finally we'll see that the Memphis Triad, which is gathering Sekhmet, Ptah and Nefertem deities, is simply summarizing the production of the evaporative cold by associating pressurized air (Sekhmet), with pressurized water (Ptah) and the fog nozzle (Nefertem). Ptah was the deification of the inclined well of the Great Pyramid which functioned like a living and functioning heart, and Ptah was indeed described as "the heart of the Ennead".
The crewmembers are pulling down the Hauling gantry beetle backwards for maximum power efficiency. 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.
27.01 The operating cycle of the Grand Gallery (side view): Position 4
• 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, the Hauling beetle is now Mehet-Weret and the Beetle's rope drives are now Wadjet.
27.02 The Great "inert", "asleep" and "lethargic" Osiris... but who gives all his "force", "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".
Also, another name of Osiris is Wenennefer, which means "the one that remains perfect", and it probably is referring to the fact that the Osiris stone was hidden and fully protected inside the wooden impactor.
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 circumlacation 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".
As Wenennefer, which means "the one that remains perfect" […]." 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).
"Ptah, in the form of a mummified man (except for arms and face) standing on the symbol for Ma'at, holding a scepter or staff that bears the combined ankh-djed-was symbols" and drawing of the Creation god Ptah by Jeff Dahl on Wikipedia: https://en.wikipedia.org/wiki/Ptah
Photograph from tomb KV 11 of Ramesses III, side chamber, image # 21076 by Matjaz Kacicnik, courtesy of ARCE, American Research Center in Egypt in partnership with the American University in Cairo Egyptology Department: https://thebanmappingproject.com/images/21076jpg
Nefertem Emblem, inventory number N 5118 © Musée du Louvre / Christian Décamps: https://collections.louvre.fr/ark:/53355/cl010008518
27.03 The 1st deity of the Memphis Triad is Ptah: the representation of the inclined well of the Great Pyramid of Egypt. It is known that Ptah was seen as a living and functioning "heart"... just like the inclined well was the Heart of the Great Pyramid
We've already seen in previous Sections that if ancient Egyptians were so obsessed about the Heart, it was only because the inclined well of the Great Pyramid, which is today called "(first) ascending passage", was seen as a living and functioning heart, pressurizing water and ejecting, or "spiting" some of it through the Junction imprint into the evaporative cooling passage. We've also seen that this well has been glorified and deified into god Ptah, one of the three deities of the Memphis Triad.
It is then not a surprise to read in the following excerpt, that Ptah was indeed seen as the "heart and tongue" of the Ennead: the heart and tongue metaphors are about pressurizing water and spiting droplets of that water.
"The people of Memphis believed that their god Ptah was the most ancient and pre-eminent of all the gods. Ptah was seen as the creator of all the other gods […] He was called the "heart and tongue" of the Ennead." http://www.egyptianmyths.net/memphis.htm
"During the Old Kingdom, Memphis became the capital of Ancient Egypt for more than eight consecutive dynasties. The city reached a peak of prestige under the Sixth Dynasty as a centre for the worship of Ptah, the god of creation and artworks. The alabaster sphinx that guards the Temple of Ptah serves as a memorial of the city's former power and prestige. The Memphis triad, consisting of the creator god Ptah, his consort Sekhmet, and their son Nefertem, formed the main focus of worship in the city." https://en.wikipedia.org/wiki/Memphis,_Egypt#:~:text=The%20Memphis%20triad%2C%20consisting%20of,of%20worship%20in%20the%20city
27.04 Ptah's plastered blue hair and the bandage constraints
We've seen that if Ptah has been seen as the god of craftsmen, it is because of the extreme complexity of the inclined well layout, including the massive face to face girdle stones of its lower part, the three massive granite blocks (the granite "plugs"), including the Taweret block and its wedging block Bes, but also the very elaborate polygonal arrangements of the other blocks, in a very intricate and complex way.
The representations of Ptah are fascinating, because they are perfectly showing some of the most important characteristics of what Ptah is really all about: the inclined well of the Great Pyramid.
• First: his hair is both painted in a vivid water blue color, and appears plastered like if he was getting out of a swim
• Second: Ptah is represented mummified just like Osiris, and for the exact same reason. The bandages in which Osiris is wrapped into in so many representations, are both metaphorical and very real: the Osiris stone was most probably completely wrapped in tissue or linen so that she didn't move a fraction of an inch inside the hollowed out cavity of the wooden cradle of the impactor.
But from the outside, it would have looked like Osiris was constraint not by the wooden cradle, but by the bandages themselves.
When Ptah is represented mummified, it is for the exact same reason: the constraint; even if this time it is Ptah himself (as the inclined well), who is responsible for the constraint. It is the inclined well which is resisting the pressure when the impactor rams into its waters. Ptah is the one who is performing the restraint.
Draw of goddess Sekhmet by Jeff Dahl: https://en.wikipedia.org/wiki/Sekhmet
Snake Inflation by DoodleDan86: https://www.deviantart.com/doodledan86/art/Snake-Inflation-Pencil-Drawing-2015-788697049
A dust devil in Arizona: https://www.nasa.gov/images/content/122739main_dust_devil_june_10.jpg
27.05 The 2nd deity of the Memphis Triad is Sekhmet: the deification of air being compressed and pressurized inside the central caisson of the Gallery, before being ejected from it towards the evaporative cooling passage
The most important thing about Sekhmet's representations is the emblem she has over the head, the one described by egyptologists as one of many representations of the Sun.
In fact, it is pretty simple: every time there is a disc in ancient Egyptian art, it has to be about the Sun, or sometimes about the moon; and every time, there will be a plausible explanation for it. I have no doubt that here again, egyptologists came up with another explanation for the "Sun inside the snake" representation.
Egyptologists seem to think that everything about ancient Egyptian art and religion has to be taken literally, and that is the most profound mistake. This is a mistake which started with the very first attempts to decipher ancient Egypt in the early 1800's, and it is tremendously damaging for the comprehension of this ancient civilization, because everything has to be taken metaphorically: the art, the myths and the gods.
The metaphor about the inflated snake of Sekhmet's emblem, is actually so "modern" so to speak, that I'm wondering why nobody has already deciphered it, because we've all seen this metaphor hundreds of times in cartoons: it is just a balloon animal, who is ready to explode because there is too much air inside him.
The fact that the Dendera Light is made of liquid water that transforms itself in a magical way, is exactly what are describing ancient Egyptians themselves : [About the snake inside the Dendera Light Bulb] "The field surrounding Ra’s snake form is referred to in ancient Egyptian literature as protective magical energy in liquid form that all gods and pharaohs possess (Faulkner 1970*)." https://ahotcupofjoe.net/2016/11/dendera-light-bulb-and-bagdad-battery-nonsense/
*I'm not sure, but the excerpt might be from "The ancient Egyptian book of the dead / translated by Raymond O. Faulkner ; edited by Carol Andrews, 1972."
The Dendera Light relief in the Hathor temple, photographed by Kairoinfo4U and posted on flickr: https://www.flickr.com/photos/manna4u/14525094039/in/photostream/
Lotus seed head image thanks to Dinkum: https://commons.wikimedia.org/wiki/File:Nelumbo_nucifera_%28fruit%29.JPG
27.06 The third deity of the Memphis Triad is Nefertem: the glorification of the fog nozzle of the Great Pyramid, and who had been described as "the beautiful One who closes" or "One who does not close"
The emblem of Nefertem is the lotus flower, but like everything else, the flower is just another metaphor: it isn't the flower in which ancient Egyptians were interested in, it is the lotus seed head that resembles to a shower head and which has been used to represent the functioning of the fog nozzle; and because the functioning of the fog nozzle wasn't continuous, but on the contrary based on a sequential process because of the Hauling cycle that could have been taken about 15 minutes, maybe a little more, Nefertem was described as "the beautiful One who closes" or "One who does not close".
"Close or not close" is not a bad epithet for what was really representing Nefertem: the fog nozzle of the horizontal cooling passage was actually nothing else than a huge water tap that transformed pressurized water from the inclined well (the "primal waters") into a mist of microdroplets of liquid water. There was no valve though, just the fall of the impactor inside the grand gallery of the Great Pyramid that turned the nozzle on, every 15 minutes and for maybe just a few seconds.
From Wikipedia: "Nefertem, possibly "beautiful one who closes" or "one who does not close", (also spelled Nefertum or Nefer-temu) was, in Egyptian mythology, originally a lotus flower at the creation of the world, who had arisen from the primal waters". https://en.wikipedia.org/wiki/Nefertem
On the so famous reliefs of Dendera showing the Dendera lights, what has been described as a "womb" or as "real electric lamps" by some people, is actually the fog of microdroplets after the pressurized water has come through the fog nozzle (please, read Section 2 for more on the Dendera lights).
Nefertem is the metaphoric representation of the fog nozzle; i.e. the deification of the lotus seed head.
27.07 The combined deities of the Memphis Triad are like a perfect metaphoric diagram of evaporative cold production
To summarize the evaporative cooling process, you only need three elements:
1 • the pressurized water that is gonna be transformed into the fog of microdroplets, and which is coming from the inclined well, deified into Ptah (the god of craftsmen)
2 • the pressurized air that would renew the moist air of the previous cycle in the evaporative passage, and which had been deified into goddess Sekhmet
3 • the fog nozzle which is the one mixing them both and producing the fog, and which had been deified into Nefertem (the god of the "Lotus flower")
In other words, the Memphis Triad, by associating Ptah, Sekhmet and Nefertem, is the glorification of the "experimental" approach of the evaporative cooling process.
Original image of Rameses II flanked by Ptah (left) and Sekhmet (right), as a representation of the Memphis Triad (Sekhmet + Ptah + Nefertem), thanks to Daniel Mayer: https://commons.wikimedia.org/wiki/File:Egyptian_Museum_-_Statue_in_front_of_trio_of_figures.JPG
27.08 The real family tree of some of the major ancient Egyptian deities
The ankh symbol is the representation of the evaporative cold itself. The process is controlled by the basic laws of physics which are regulating the equilibrium between the liquid and evaporated form of water: that is what Maat is all about.
27.09 The "masturbatory Hand of Atum" is the Hauling beetle, endlessly moving up and down the Grand Gallery, with the impactor constantly "penetrating its body"
What is extraordinary with ancient Egyptians is that they didn't seem to have any difficulty using sexual metaphors when it was necessary; and of course, the ejection of a small amount of pressurized water from the well and the endless criss-cross movements of the impactor within the Hauling beetle structure gave them the opportunity to play with such metaphoric representations: whether we are talking about the endless up and down "sliding and penetrating movements" of the Beetle in the Gallery, or about masturbation and intercourse, they all end up with some kind of "ejaculation" of pressurized liquid.
We've already seen that Atum was precisely the representation of this small amount of water that was endlessly produced by the fall of the impactor. It could have been about 200 liters of pressurized water that would have been transformed into a fog of microdroplets, every 15 minutes or so.
We've also seen in previous Section 26.25 that the biosand filter Sarcophagus was indeed able to supply precisely this amount of water, with its 1.3464 m² of internal surface: in theory, the Sarcophagus could have been able to supply 201.96 liters of filtered water every 15 minutes.
So if Atum is the representation of these 201.96 liters of pressurized filtered water, and that the "Creation" process is about the production of the evaporative cold, then the description of Atum masturbating whit his Hand, is all about what produced this pressurized water: the Hand of Atum is the Hauling beetle, endlessly moving up and down the Grand Gallery of the Great Pyramid.
"The process of creation was said to have begun when Atum masturbated, or copulated with himself, to produce the deities Shu and Tefnut, thus beginning the process of creation. The hand he used in this act was personified as a goddess, the Hand of Atum. She (the Hand), was equated with Hathor or Iusaaset and Nebethetepet, two other, more minor goddesses. The earliest texts to mention them seem to treat Iusaaset and Nebethetepet as two names for a single goddess, but after the time of the Middle Kingdom (c. 2000–1700 BC) they were treated as separate, although similar, deities. The name "Iusaaset" means something resembling "She who grows as she comes" and "Nebethetepet" means "Lady of the Field of Offerings'" https://en.wikipedia.org/wiki/Iusaaset
27.10 Hathor, Nebethetepet and Iusaaset are all "masturbatory Hands of Atum" and they all are deifications of the Beetle
The above excerpt is also telling is that the Hand of Atum has been represented into three goddesses: Nebethetepet, Iusaaset and Hathor. It means that the three of them are representations of the Hauling beetle. Just like for the ropes of the Gallery, ancient Egyptians didn't just represent the Beetle in one deity, they've represented it in many ways, depending on its position in the Gallery, and its different aspects: its wooden structure or its endless up and down movement in the Gallery.
House altar: Akhenaten, Nefertiti and three of their daughters under the Radiant Aton. State Museums in Berlin, Egyptian Museum and Papyrus Collection / Margarete Büsing: https://recherche.smb.museum/detail/607132
27.11 The Memphis Triad vs. Akhenaten's divine Triad
The Memphis Triad deciphering is also precious for a better understanding of what really wanted to achieve the heretic pharaoh Akhenaten: by replacing the Memphis Triad which was all about the glorification of the experimental accomplishments in the Great Pyramid, with his own divine Triad with Nefertiti and the Aten, Akhenaten wanted to transform the experimental glorification of the evaporative cooling into a more theoretical glorification of the process.
Akhenaten represented himself into Shu (the god of dry and warm air), while Nefertiti represented herself into Tefnut (the goddess of water in spat form, as 'tef' means 'to spit').
The most important thing, though is that they still worshiped the creation of the cold; and it is this cold that they offer to the Aten Sun, who by the way is just here to represent Heat, and nothing else: ancient Egyptians didn't really care about the Sun, nor they really cared about scarabs, falcons, cats, hippopotamus, snakes, bulls, cows, crocodiles, etc. The Sun and all these animals were only metaphors.
27.12 The theorization of the evaporative cooling process attempt by Akhenaten and Nefertiti
What Akhenaten and Nefertiti had really done, is stop worshiping the original "experimental approach" of the creation of the cold, instead they used the "theoretical approach" by worshiping Shu (Akhenaten represented himself into the god of dry and warm air Shu), and Tefnut (Nefertiti represented herself into the goddess of water in a spat form, Tefnut).
"During the “Aten heresy” led by Akhenaten, Shu, and Tefnut remained popular with the apparently monotheistic pharaoh. The pharaoh and his queen (Nefertiti) were depicted as the personification of Shu and Tefnut emphasising their divinity. As the Aten represented the sun disk, the solar aspect of Shu and his link with the pharaoh apparently prevented Shu from being proscribed along with Amun and the other gods." https://ancientegyptonline.co.uk/shu/
"Even on the pharaoh's own stone sarcophagus, images of Nefertiti replaced those of traditional goddesses. Akhenaten, by associating himself with Shu and the Aten, and Nefertiti with Tefnut, had effectively presented himself and his family as living gods." https://www.worldhistory.org/article/1110/the-art-of-the-amarna-period/
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.
27.13 The operating cycle of the Grand Gallery • Position 1
• The impactor has been hauled up to the top of the Grand Gallery and is ready to be released: a new cycle begins
Just like the 3 ropes of the Grand Gallery have been deified into many goddesses, depending on each part of their operating cycle, the Hauling beetle have also been deified multiple times. Hathor is the Beetle that had been brought back up at the very top of the Grand Gallery. In this position, the impactor was perfectly covered and nested in between the western and eastern Beetles, it would have looked like the Beetle was "protecting", "nursing" even "milking" Horus and Ra. This is why Hathor is described as the "Temple of Horus", "House of Horus" and the "Mother of Ra".
"Hathor (Ancient Egyptian: ḥwt-ḥr, lit. 'House of Horus', A) was a major goddess in ancient Egyptian religion who played a wide variety of roles. As a sky deity, she was the mother or consort of the sky god Horus and the sun god Ra." https://en.wikipedia.org/wiki/Hathor
The Beetle has also been represented into Khepri, who is referring to its wooden structure in Acacia: Khepri is about the wooden gantry.
27.14 Bastet was only opened to reconnect the Isis rope with the floating impactor
Everyone knows Isis, but it is not even close to be the real name of the goddess, because it is a Greek name.
Ancient Egyptian name for Isis, is Aset; and what is very interesting is that Bastet is actually named after her: Bastet means the Ba of Aset. But it is most of all saying that the two of them, Isis and Bastet had a very close connection; and that connection is that the Bastet Hatch was only opened so that the Isis impactor's Hauling rope could have been reattached to the impactor floating in the well.
"The Greeks […] called the goddess […] Bast ba'Aset (Soul of Isis) which would be the literal translation of her name with the addition of the second 'T' to denote the feminine (Aset being among the Egyptian names for Isis*). https://www.worldhistory.org/Bastet/
*Isis is actually a Greek name for the Egyptian goddess Aset
27.15 Is Bastet's mouth the missing mouth of Medjed?
We've seen in previous Section 26 about the smiter deity called Medjed, that if both his nose and mouth were invisible, it was because Medjed represents the impactor, hidden inside the central wooden caisson, and I've associated Medjed's missing mouth with the mouth of the well; but maybe it was not the well's mouth, but Bastet's mouth instead.
The key hole shaped base of the figurine from the Louvre, is the key, so to speak; because a key hole is probably the best metaphor that ancient Egyptians could have used to emphasize the fact that a door, or a hatch would have to stay closed, no matter what. Because of this key hole and the cat flap metaphor, we can assume that Bastet is about a closed hatch that stays closed, no matter what.
Figurine of the cat goddess Bastet, Musée du Louvre / Christian Décamps: https://collections.louvre.fr/ark:/53355/cl010006514#
A traditional keyhole for a warded lock, thanks to Thegreenj: https://en.wikipedia.org/wiki/Lock_and_key#/media/File:Wardedlock.jpg
27.16 Cat representations of Bastet are about the cat door: the cat metaphor is about a cat flap "hatch"
We've just seen who really was representing the destructive lioness goddess Sekhmet, now we are gonna find out about her gentle sister, the cat goddess Bastet.
It is well documented that both Sekhmet and Bastet are two sides of the same goddess; but this isn't right: they are not exactly about the same thing. But the confusion is understandable, because they actually really are indissociable.
To be more exact, Sekhmet cannot exist without Bastet, because Bastet was the deification of the Hatch of the central wooden caisson of the Grand Gallery. Bastet let the fresh new air get inside the caisson, and once the impactor had been released, Bastet is also the one who forced the pressurized air Sekhmet, to stay inside the caisson.
Bastet is the Hatch of the caisson, hence she has been seen as a cat door, and she has been glorified into a cat goddess. The cat metaphor is about a cat flap.
I've read a couple times people trying to explain that if ancient Egyptians worshiped cats as protectors of their homes, it was because "cats really protected homes from snakes, mice, of other rodents", but seriously did anyone ever get a cat thinking about protecting his home?
From personal experience, the only one thing that a cat is really doing, is killing everything he can outside the house, like birds, mice and rabbits and then get them back to you right at the entry of the house.
Ancient Egyptians only worshiped cats because of the Great Pyramid: the central caisson's Hatch controlled the entry of the air, and prevented it from getting out. The cat worship is about protecting your home, because it was the function of the caisson's Hatch.
The Museum of Egyptian Antiquities in Tahrir Square Cairo (visited October 2016). Cosmetic Jar with Lions, Hunting Scenes and Captives; from KV62, Valley of the Kings. New Kingdom, Dynasty 18, reign of Tutankhamun, c. 1334-1325 BCE. Acc. No.: JE62119. Photos of Ancient Egyptian artifacts and places, taken by Margaret Lucy Patterson of Tales from the Two Lands: https://photos.talesfromthetwolands.org/picture.php?/625/categories
27.17 The lid of Tutankhamun's alabaster cosmetic jar is just another locked hatch
This metaphoric glorification of Bastet, as the representation of a closed hatch, has been used on the above alabaster cosmetic jar from the tomb of Tutankhamun: the lioness Bastet, is represented resting onto the lid of the jar, because the lid is nothing else that a special kind of hatch.
Ancient Egyptians loved to show what they did, but they hid everything underneath metaphors and tortuous mind games on the construction of the scenes they were representing.
For example, we've already seen that there is no such a thing as "the barque of Ra": Ra is the barque; Ra is the wooden part of the impactor.
The same way, there is no such a thing as the lioness goddess Bastet standing on the lid of the alabaster jar: Bastet is the lid, because Bastet is the Hatch.
27.18 The "Soul of Isis" goddess Bastet
The understanding of Bastet have been particularly difficult, because it first implied that was assumed as certain that the central wooden caisson of the Grand Gallery was a real thing, even if there is no remaining trace of it, and second because the metaphor used by ancient Egyptians about the cat was somehow unexpected: the cat metaphor of goddess Bastet is not really about the cat herself, but the litle door "hatch" that a cat is using to pass through the door of your home.
The cat metaphor is about a cat flap, or a cat door as you wish. Of course it is not really about the door of a home, the cat metaphor is about a hatch, the very one which had to be installed at the bottom of the central wooden caisson, so that the impactor could have been reconnected to its hauling rope once it was floating inside the inclined well after the impact with its waters.
In other words, it means that the cat goddess Bastet is the deification of that Hatch.
"Bastet is the Egyptian goddess of the home, domesticity, women's secrets, cats, fertility, and childbirth. She protected the home from evil spirits and disease, especially diseases associated with women and children. As with many deities in Egyptian religion, she also played a role in the afterlife. […] She is sometimes depicted as a guide and helper to the dead although this was not one of her primary duties. She was the daughter of the sun god Ra and is associated with the concept of the Eye of Ra (the all-seeing eye) and the Distant Goddess (a female deity who leaves Ra and returns to bring transformation). Bastet was one of the most popular deities of ancient Egypt as she was the protector of everyone's home and family." https://www.worldhistory.org/Bastet/
Bastet was the sister of Sekhmet, the wife of Ptah, and one of the most popular deities of ancient Egypt as she was the protector of everyone's home and family" https://egyptianmuseum.org/deities-Bastet
"Sekhmet was depicted with the body of a woman with a lion head wearing a sun disk. She was seen as the protector of the pharaohs and led them in warfare. When she was in a calmer state she would take the form of the household cat goddess Bastet. https://egyptianmuseum.org/deities-sekhmet
"The Greeks […] called the goddess […] Bast ba'Aset (Soul of Isis) which would be the literal translation of her name with the addition of the second 'T' to denote the feminine (Aset being among the Egyptian names for Isis*). https://www.worldhistory.org/Bastet/
*Isis is actually a Greek name for the Egyptian goddess Aset
Wooden coffin for a cat shaped as a cat, from the Brooklyn Museum. "It is made from several pieces of wood, joined with wooden dowels. The main joins appear to run lengthwise in the center of the coffin, splitting the coffin into two halves. A cat mummy was inserted inside, the coffin assembled and then the gesso and layer of dark material (paint?) was applied, affectively sealing the wood assembly seams. The coffin was constructed to be inserted into a wooden base. The base is made from a single piece of wood and has hollow areas carved out to accept the mortise like joins at the undersides of the feet at both the front and rear of the cat. The tail of the cat is carved from three pieces of wood that have been doweled into the top of the base. In looking at the x-radiographs taken, the mummy inside appears to have the cat positioned so that the front legs are up and bent as opposed to long and crossed over the body as is seen on other cat mummies. On the coffin, there is a roughened depression at the top of this cat's head." https://www.brooklynmuseum.org/opencollection/objects/118450
Cat flaps from Four Paws Doors: http://www.fourpawsdoors.co.uk/jobs-in-2017---2018.html
27.19 The wooden coffin shape as a cat from the Brooklyn Museum
The wooden coffin for a cat shaped as a cat, from the Brooklyn Museum (above image), is a perfect illustration of the real meaning of the cat in ancient Egyptian religion: "It is made from several pieces of wood, joined with wooden dowels. The main joins appear to run lengthwise in the center of the coffin, splitting the coffin into two halves".
The structure of the coffin is probably mimicking the structure of the original central wooden caisson itself and it is possible that the "dark material (paint?)" mentioned by the museum is directly referring to some kind of protective material that had been applied on the caisson against humidity and pressurized air, like some kind of resin or tar.
A typical modern padlock and its keys, on Wikipedia: https://en.wikipedia.org/wiki/Lock_and_key#/media/File:Solex_99_30_padlock_with_keys_(DSCF2659).jpg
27.20 The ancient Egyptian key hole metaphor of a locked door... or hatch
The key hole shaped base of the figurine from the Louvre, is the key, so to speak; because a key hole is probably the best metaphor that ancient Egyptians could have used to emphasize the fact that a door, or a hatch would have to stay closed, no matter what.
Because of this key hole and the cat flap metaphor, we can assume that Bastet is about a closed hatch that stays closed, no matter what.
27.21 The link between Bastet and Nefertem is "perfume and smells" which are all about the air
The fact that Bastet is all about the air is also explaining her association with god of "perfume and smells" Nefertem, whom we've already seen is actually the deification of the fog nozzle of the horizontal passage.
The metaphor, making Nefertem the god of perfume is really all about the air, and the perfume itself is actually the evaporative cooled air.
"Bastet, however, was also sometimes linked with the god of perfume and sweet smells, Nefertum, who was thought to be her son and this further links the meaning of her name to the ointment jar. The most obvious understanding would be that, originally, the name meant something like She of the Ointment Jar (Ubaste) and the Greeks changed the meaning to Soul of Isis as they associated her with the most popular goddess in Egypt. Even so, scholars have come to no agreement on the meaning of her name." https://www.worldhistory.org/Bastet/
NASA artist's rendering of a microburst. "The air moves in a downward motion until the surface. It then spreads outward in all directions. The wind regime in a microburst is opposite to that of a tornado": https://en.wikipedia.org/wiki/Downburst#/media/File:Microburstnasa.JPG
27.22 The destructive aspect of pressurized air Sekhmet
This is precisely because Sekhmet is the glorification of the pressurized air, that she has been described has a ferocious deity, associated with violence and war. Sekhmet had accumulated all the power of the impactor, and if all her energy would have to be released, it would have destroy everything around her.
A perfect modern metaphor about Sekhmet would be about the severe damages caused by powerful winds, like "downbursts": "a downburst is a strong downward and outward gushing wind system that emanates from a point source above and blows radially" https://en.wikipedia.org/wiki/Downburst
"Sekhmet was the daughter of the sun god, Ra, and was among the more important of the goddesses who acted as the vengeful manifestation of Ra's power, the Eye of Ra. Sekhmet was said to breathe fire, and the hot winds of the desert were likened to her breath. She was also believed to cause plagues (which were called as her servants or messengers) although she was also called upon to ward off disease". https://en.wikipedia.org/wiki/Sekhmet
27.23 Sekhmet's breath was like "hot winds that blew from the desert": Sekhmet is indeed all about warm dry air
Once you've accepted the fact that everything in ancient Egyptian myths and religion are only metaphors, it becomes quite a game to decipher these metaphors.
One of them, that concerns Sekhmet is about blood: Sekhmet had a "unquenchable thirst for blood". But because in the same following excerpt, Sekhmet is also associated with "hot winds that blew from the desert", it is pretty easy to understand that the blood is actually a metaphor of the water.
Sekhmet's unquenchable thirst for blood is actually about her thirst for water, because she is all about dry warm air, and because her destiny was to be coupled with spat form of water. This is exactly what Akhenaten wanted to be associated with by representing himself into the god of dry warm air Shu and Nefertiti as the goddess of spat water.
"The myths go on to state that whenever she breathed out, fire came out. Her breath was like the hot winds that blew from the desert. […] In one incident, it was believed that Ra had gotten frustrated with mankind’s insolence and transgressions against the principles of Ma’at. The sun god unleashed Sekhmet (The Destroyer of Rebellion) upon the earth in order to teach humanity a painful lesson. The myth goes on to say that Sekhmet killed every one of Ra’s conspirators, leaving the land of Egypt in a pool of blood. Such was her unquenchable thirst for blood that Ra feared she would kill every living soul in Egypt." https://www.worldhistoryedu.com/sekhmet-myth-and-powers/
Collapsed home in Mena, Arkansas USA. Damages caused by a EF3 tornado on April 9, 2009 (3 fatalities and 30 injuries): https://commons.wikimedia.org/wiki/File:Mena_tornado_damage.jpg
27.24 The destructive Sekhmet high winds
I have to admit I am particularly happy to have understood Sekhmet, because where I'm living here in Brittany, high winds are a major problem; most of French people think the main inconvenience is the rain, but it is a misunderstanding of the region: wind is the problem; like it is at this very moment, with wind gusts at about 60 km/h.
But now, that I can call these wind gusts by their (ancient Egyptian) name, even if I'm not a religious person, I feel way better! Instead of being mad because of this (not so much) high winds, I'm just saying to myself: "Hello Sekhmet, how is it going? I hope you're not gonna stay too long, but until then, have a good day and please, don't get too much exited right!"
But we'll see how I will react when there is gonna be a 100 km/h Sekhmet in the next coming weeks… I even may become religious, and by myself a Sekhmet statue!
27.25 The seated and standing Sekhmet statues
A good metaphor we can use to represent Sekhmet, is the bicycle pump; because the first consequence of the fall of the impactor was the pressurization of the air imprisoned inside the central caisson, and the fact that this air would have been forced into the evaporative cooling passage.
It would have result in the creation of kind of a high wind inside the very structure of the Great Pyramid. This internal high wind was absolutely indispensable for the cooling process to occur because of the problem generated by the moist air of the previous cycle (most probably this air would have had a 100% humidity rate).
And I think that this internal high wind is explaining both the seated and standing statues of Sekhmet: the goddess has become associated with the high winds ancient Egyptians had to face in real life. The seated statues of Sekhmet would represent the calm, appeased and settling down winds, while the standing statues would represent the winds rising up and becoming dangerous and destructive.
We can imagine all kind of scenarios regarding the worship of the statues, but there is one thing that is puzzling, and it is about the fact that hundreds of them have been used, apparently in only two locations: the Mortuary Temple/Complex of Amenhotep III at Kom el Heittan and the Temple of Mut at Karnak.
"The origin of the Sekhmet statues was during the reign of Amenhotep III dynasty 18 (ca 1390-1352 BC). There have been more than six hundred statues that have been recovered from Egypt. Most of these Sekhmet statues were created under Amenhotep III. Sekhmet statues have been found at Amenhotep III Mortuary Temple/Complex at Kom el Heittan on the Theban West Bank and at the Temple of Mut at Karnak on the east bank of the Nile River at Thebes. Sekhmet statues can still be found and traced back to Amenhotep III. The Sekhmet statues are a part of his massive statuary program. Amenhotep III hoped that the Sekhmet statues would heal him from illness and bring him good fortune for the year. This is why there were so many Sekhmet statues being built and at such a fast pace. We can tell Amenhotep III favored the Sekhmet goddess since he used her statues so much for ritual practices. Many scholars believe that there were a total of 730 statues built which is two statues for everyday of the year." https://en.wikipedia.org/wiki/Sekhmet_statues
Four black granite statues of the goddess Sakhmet [=Sekhmet], all originally from Thebes, at the Temple of Mut. From the reign of Amenophis III, circa 1400 BCE: https://en.wikipedia.org/wiki/Sekhmet_statues#/media/File:FourStatuesOfGoddessSakhmet-FrontalView-BritishMuseum-August19-08.jpg
A medieval wind rose: https://en.wikipedia.org/wiki/Wind_rose
27.26 The Sekhmet statues were (most probably) arranged into a wind rose
It is said that scholars believe that 730 statues were built, because it represents twice the numbers of days in a year.
"Many scholars believe that there were a total of 730 statues built which is two statues for everyday of the year." https://en.wikipedia.org/wiki/Sekhmet_statues
I'm suggesting something else, because there is absolutely no reason what so ever that would explain why ancient Egyptians would have needed one statue of Sekhmet for every single day of the year, and they wouldn't have needed the same thing for every other deity.
Now that we know that Sekhmet is about the wind, there is something that is coming to mind right away: the wind rose, and its 360 degrees. Let's say that all, or most of the Sekhmet statues were dispatched into 2 locations, it would have needed 360 x 2 = 720 statues to reproduce the design of the wind rose.
The problem now would be to determine if the Sekhmet wind rose would have been created for worship or scientific purposes; and maybe probably for both reasons.
It would make more sense though, that the 720 Sekhmet statues would all be together at the same site, each seated statue paired with a standing statue.
Let's say that some wind would come from the north-east region, priests would come to the appropriate pair of Sekhmet statue and pray for the standing statue to get back to the seated statue, and let the wind calm down. Of course this is purely hypothetical.
27.27 The Sekhmet statues were (most probably) indeed all at the same place and arranged in some kind of "celestial" map
This idea that the Sekhmet statues were indeed all at the same place at the same time and arranged in a wind rose pattern, is reinforced by the following excerpt coming from the Metropolitan Museum:
"It was long thought that the king himself had erected statues in both places, but today many scholars believe that originally the statues all stood at the Kom el Heitan mortuary temple. There they formed part of Amenhotep’s massive statuary program. The Sakhmet statues have convincingly been shown to have constituted a "litany in stone" that appeased the goddess and invoked her not to use her negative powers, thereby delivering the king from illness and evil for a year. Based on our understanding of the litany, there may originally have been 730 statues, one seated and one standing for each day of the year. Moreover, it has been theorized they were arranged, along with other divine statues, across the giant courts at Kom el Heitan to form a vast celestial map that served as the king's eternal ritual calendar."
https://www.metmuseum.org/art/collection/search/544484
You'll note that the MET is mentioning the term "celestial map", which would require like every other map, some kind of wind rose.
"The Rhind Mathematical Papyrus is probably a mathematics textbook, used by scribes to learn to solve particular mathematical problems by writing down appropriate examples. The text includes eighty-four problems with tables of divisions, multiplications, and handling of fractions; and geometry, including volumes and areas." Excerpt from The British Museum data sheet. The Rhind Mathematical Papyrus at the British Museum: https://www.britishmuseum.org/collection/object/Y_EA10057
Compass directions and bearings: https://scoutwiki.scouts.org.za/wiki/Compass#/media/File:Compass_directions_and_bearings.png
27.28 The ancient Egyptian mathematics and the wind rose
It looks like there is no final answer to the question about who came up with the idea of dividing a circle into 360 degrees, which a wind rose is all about: some people are praising the Mesopotamians, the Babylonians or the ancient Egyptians themselves.
" The Mesopotamians passed their base-60 numerical system to the ancient Egyptians, who used it to divide a circle into 360 degrees, Mary Blocksma writes in her book Reading the Numbers. The 360-degree circle worked out great: The Egyptians loved perfect triangles, and exactly six of them fit into a circle. Therefore, six triangular slices of 60 degrees each made for a sensible 360-degree dissection of a circle. The Egyptians, who invented the degree symbol, also came up with the first calendar based on a 360-day year, which is only off by 5.25 days. Since then, the 360-degree circle has more than stood the test of time, it has made its mark on time itself: When time was first recorded on the face of a circle, it was an easy leap to divide hours into 60 minutes and minutes into 60 seconds." https://www.popsci.com/scitech/article/2002-02/who-determined-circle-should-be-divided-360-degrees/
What is certain is that not only did the Egyptians invent the 24 hours in a day concept: https://www.scientificamerican.com/article/experts-time-division-days-hours-minutes/#:~:text=Hipparchus%2C%20whose%20work%20primarily%20took,varying%20hours%20for%20many%20centuries, but they also invented the 365 days calendar: "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." https://en.wikipedia.org/wiki/Egyptian_calendar
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.
27.29 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.
27.30 The re-establishment of Maat by the union of Sekhmet (dry air of the caisson) and Ptah (water in the well)
Maat is one of the most beautiful metaphors of all, because she is the goddess of balance and harmony. It is a very cute story; but the real meaning of Maat is all about science: Maat is about the equilibrium which rules every basic scientific process, whether it is in physics or in chemistry.
My guess is that when Maat is used by ancient Egyptians, it is most of the time directly referring to the equilibrium of the evaporation process of water, when the liquid form (deified into god Geb) is transforming itself into the evaporated form (deified into the goddess Nut).
This is why "[The union of Sekhmet and Ptah] created Nefertum and so re-established Ma’at."
"In one version of the myth, Ptah is the first thing she sees upon awakening and she instantly falls in love with him. Their union (creation and destruction) created Nefertum (healing) and so re-established Ma’at." https://ancientegyptonline.co.uk/sekhmet/
The fact that Maat's emblem is the same feather as her brother's (Shu, the god of dry warm air), indicates that the equilibrium is all about the air. Maat is the glorification of the capacity of the air to charge itself with water: it is about dry air becoming moist air by accumulating humidity.
27.31 The question of knowing if the pressurized air really got inside the well
This question is fundamental, and I still can't answer it, even if in the following excerpt, it is said that "Ptah is the first thing she [Sekhmet] sees upon awakening and she instantly falls in love with him".
Because, Sekhmet is pressurized air and Ptah the inclined well, it clearly suggests that the air was indeed getting into the well. But I really have a problem with that, because the efficiency of the evaporative cooling process is entirely depending on the dryness of the air that is injected in the system: the dryer the air, the more water you can force into it and the colder it is gonna get.
I can't imagine that this same air would have first to get inside the water of the well, before passing through the fog nozzle, but maybe it wouldn't affect the air dryness that much, I don't know.
This is why I've implemented in previous draws, some hollowed out slots in the junction ramp. But then, it would mean that the space directly underneath the ramp would have been connected with the Grand Gallery by these slots… unless the impactor somehow covered these slots after the impact; but without a 3D model reconstruction of the area, it is very difficult to imagine a credible reconstitution at that point.
"In one version of the myth, Ptah is the first thing she sees upon awakening and she instantly falls in love with him. Their union (creation and destruction) created Nefertum (healing) and so re-established Ma’at." https://ancientegyptonline.co.uk/sekhmet/
Diving drawing : https://www.mobilesport.ch/plongeon/plongeon-basics-chute/
Backstroke swimming technique : https://commons.wikimedia.org/wiki/File:Backstroke_(PSF).png
27.32 The ancient Egyptian glorification of the evaporation process of water...
The Geb, Shu and Nut scene is all about the theoretical concept on which is based the evaporative cooling process: the infinite cycle of transformation of water from its liquid form to its evaporated form. The evaporation itself consists in forcing liquid water to be sustained and supported by dry warm air. Shu (precisely the god of dry warm air) is not "separating" Geb and Nut: Shu is supporting Nut. Nut is humidity in the air. More on Geb, Shu and Nut in Section 3
"Synthetic diagram of the functioning of a storm, with the representation of a gust capable of generating a new lift and propagating this storm to the left": https://www.encyclopedie-environnement.org/en/air-en/thunderstorms-electricity-in-the-air/
27.33 And its use in "gusty winds" Sekhmet seen as the "daughter of Geb, and Nut" searching for "blood"
Of course, the interpretations of Geb (water in liquid form) and Nut (evaporated water) are wrong on the above excerpt, but because we know now that Sekhmet is the deification of high winds, we understand the original ancient Egyptian belief: high winds which can be very destructive, indeed are born from the interactions between liquid and evaporated water.
"Sekhmet whose name means: “She who is powerful” or “the One who loves Ma’at” was […] created from the fire of the sun god Ra’s eye when he looked upon Earth. Ra created her as a weapon to destroy humans for their disobedience to him and for not living in accordance with the principles of Ma’at. Sometimes she is seen as the daughter of Geb (earth), and Nut (the sky)." https://egyptianmuseum.org/deities-sekhmet
"The myths go on to state that whenever she breathed out, fire came out. Her breath was like the hot winds that blew from the desert. […] In one incident, it was believed that Ra had gotten frustrated with mankind’s insolence and transgressions against the principles of Ma’at. The sun god unleashed Sekhmet (The Destroyer of Rebellion) upon the earth in order to teach humanity a painful lesson. The myth goes on to say that Sekhmet killed every one of Ra’s conspirators, leaving the land of Egypt in a pool of blood. Such was her unquenchable thirst for blood that Ra feared she would kill every living soul in Egypt." https://www.worldhistoryedu.com/sekhmet-myth-and-powers/
Of course, in the above excerpt, the "unquenchable thirst for blood" isn't at all really about blood: blood is another metaphor used to refer to water.
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.
27.34 The operating cycle of the Grand Gallery • Position 3
• The impactor is inside the inclined well and its Hauling rope has been released in the wooden caisson for its reattachment. The Beetle has become Hathor: the Distant Goddess
The impactor's Hauling rope has become Hatmehit and the Hatch is opened for one man to reattach Hatmehit with the floating impactor.
The idea that Hatmehit was the representation of a rope that was supposed to be reconnected with the impactor is probably the meaning of the hole that the figures of Hatmehit have directly in their heads: that hole was meant for the rope itself.
Draw of goddess Hatmehit by Jeff Dahl. Hatmehit figures: https://www.ecured.cu/Hatmehyt_(diosa_egipcia)#/media/File:Hatmehyt.jpg
https://www.trocadero.com/stores/explorer/items/1383416 and https://www.thierrydemaigret.com/lot/13797/2579392
27.35 Hatmehit is about the impactor's Hauling rope, just like Isis or Nephthys
Many references about Hatmehit are pointing to the same conclusion: Hatmehit is another name for the impactor's Hauling rope, the one which have been called Isis and Nephthys.
In particular, it is known that Isis, Nephthys and Hatmehit are all "searching for the body of Osiris", who is the impactor floating in the inclined well waters. It means that the three of them are all together about the same impactor's Hauling rope: "There is one note of a Nephthys-Hatmehit in a hieratic papyrus Book of Hours. Additionally, Herman de Meulenaere argues that due to Hatmehit's epithets describing her as one of the parties who search for the body of Osiris that pointed to a connection with Nephthys as well". https://en.wikipedia.org/wiki/Hatmehit
27.36 Hatmehit is the impactor's Hauling rope that was fishing the impactor out of the well
If goddess Hatmehit's emblem is a fish, it is because she is the deification of the impactor's Hauling rope in a very particular moment of the operating cycle of the Grand Gallery: the recovery of the impactor from the waters of the inclined well. Figures of Hatmehit also have a hole pierced in the head of the goddess, because she was "fishing the impactor out of the well".
"Hatmehyt was a fish-goddess worshipped in the Delta, particularly in the northeast at Mendes. The fish as a divinity is comparatively rare in the Egyptian pantheon, but Hatmehyt's name means "she who is in front of the fishes" […] At Mendes, in a district for which the ancient standard was the fish symbol indicating that Hatmehyt was the senior deity in terms of residence there, her cult becomes subordinated to that of the ram-god Banebdjedet - interpreted after his arrival as her consort." http://www.touregypt.net/godsofegypt/hatmehyt.htm
27.37 When the Hatmehit rope is becoming the Isis impactor's Hauling rope
We've seen that Isis is the rope actually involved in the act of towing the impactor (the active rope), when Nephthys is the same rope, but inactive, completely coiled upon the axle beam and disconnected with the impactor.
This part is crucial, because it is unimaginable that the impactor would be released into the slope of the Gallery, if it was still connected with the towing rope: the central rope absolutely had to be disconnected before the release of the impactor; hence the necessity to have the Bastet Hatch at the bottom of the central caisson, to reconnect the rope with the impactor.
It means that there is here another part of the operating cycle of the rope: the rope that is descending inside the central wooden caisson after the impactor had rammed into the waters of the well.
Hatmehit is about this part of the operating cycle; it is about the reattachment of the towing rope with the impactor. In other words, Hatmehit is about the birth (so to speak) of Isis.
When it is known that "Isis would begin to take the role of Hatmehit", it is actually all about the opposite: it is Hatmehit who is supposed to become Isis: "In earlier periods, Hatmehit was considered her own goddess. However from the Third Intermediate Period onwards, Isis would begin to take the role of Hatmehit in the local cult, with Hatmehit being considered a form of Isis particular to Mendes." https://en.wikipedia.org/wiki/Hatmehit
"Mehet-Weret is described as being the mother of Ra and that she was responsible for raising the sun [Ra] into the sky every day." It means that Mehet-Weret is the glorification of the active Hauling beetle, really accomplishing the sacred act of hauling the impactor.
At this point, the hatch is opened to let the air fill the caisson with fresh air that will replace the moist air of the evaporative passage.
27.38 The operating cycle of the Grand Gallery • Position 4
• 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, the Hauling beetle is now Mehet-Weret and the Beetle's rope drives are now Wadjet.
Mehet-Weret in the tomb of Irynefer at Deir el-Medina (TT290), in front of goddess Nut. Photograph thanks to kairoinfo4u: https://www.flickr.com/photos/manna4u/11433106165/in/photostream/
27.39 Hathor isn't the Hauling beetle actually performing the act of towing: it was Mehet-Weret
I've already mentioned in previous Sections, the fact that Hathor was a representation of the Hauling beetle, but I was wrong in the way I've presented it, saying that the Beetle was Hathor and that both of them were the deification of the Beetle really towing the impactor.
The cow goddess Hathor is actually just one out of many representations of the Beetle: Egyptians did the same thing with the Beetle that what we've already seen with the ropes. It didn't matter if there was only one hauling rope for the impactor, this rope had been deified at least three times in Isis, Nephthys and Hatmehit (and maybe there is or there are other representation(s) of this rope that I still didn't get).
Until today, I thought Hathor was the "active" Hauling beetle, really accomplishing the act of towing; and that was a mistake: Mehet-Weret is the deification of the active Beetle.
27.40 Mehet-Weret is the active Beetle performing the act of towing the impactor
When it is said that Mehet-Weret was responsible for "raising Sun god Ra into the sky every day", we simply have the answer to who was the deification of the active towing Hauling beetle; and it was her Mehet-Weret, because Ra is the impactor.
"Mehet-Weret was responsible for raising the sun into the sky every day." […] "Mehet-Weret is described as being the mother of Ra, the ancient Egyptian solar deity. As the Goddess of Creation, she gives birth to the sun every day and is the reason the world isn't in the dark. In her physical description, she is described as having a sun disk between her horns; in typical motherly fashion, she protects her son Ra and keeps him close to her." https://en.wikipedia.org/wiki/Mehet-Weret
The Hauling beetle Mehet-Weret has done her duty: the impactor has been brought back at the top of the Grand Gallery.
27.41 The operating cycle of the Grand Gallery • Position 5
• The Hauling process is finished: the impactor and the Hauling beetle are in complete opposing positions
At this point, the Bastet Hatch has to be closed again so that the air could be pressurized and sent to the evaporative passage.
All the tension on the impactor's Hauling rope has to be transferred to the quick release system, probably set on the caisson, and the Hauling beetle needs to get brought back up to the top of the Grand Gallery, before the next cycle can begin.
The Hauling beetle's lateral ropes are probably disconnected with the Beetle so that its movement isn't hindered by them (hypothetical).
27.42 The operating cycle of the Grand Gallery • Position 6
• The Hauling beetle is being brought back up to the top of the Gallery to securely lock the impactor before its release
Hathor the "Distant goddess" is progressively becoming Hathor. Everything is starting to get ready for the next Hauling cycle.
Ancient Egyptians believed that "the process of creation was said to have begun when Atum masturbated, or copulated with himself, to produce the deities Shu and Tefnut, thus beginning the process of creation. The hand he used in this act was personified as a goddess, the Hand of Atum [which was] equated with Hathor or Iusaaset and Nebethetepet".
This sexual metaphor of "the Hand of Atum" is perfectly depicting the continuous and simultaneous relative movement of the impactor inside the Hauling beetle, that was endlessly "passing through" or "penetrating" the Beetle… and resulting in the ejection of pressurized liquid: the about 200 liters of pressurized water that endlessly, all day long, were creating the evaporative cold in the horizontal passage.
27.43 The operating cycle of the Grand Gallery • Position 7
• The Beetle is progressively covering the impactor and becomes Iusaaset (the wooden structure aspect of the gantry)
The Beetle also becomes Nebethetepet (this time it is about the sexual metaphor about the penetration movement of the impactor).
27.44 Nebethetepet is about the penetrating movement of the impactor "inside" the wooden structure Iusaaset
What seems to be the most significant aspect of Nebethetepet, the "Satisfied Lady" is her "sexual" side, as in her epithet of "Mistress" that is used in Mistress of Offerings, Mistress of Hetepet and Mistress of the uterus and Mistress of the Vulva.
It could indicate that Nebethetepet was the vision of the Hauling beetle in movement towards the impactor, and that the metaphor used in her case is about the sexual intercourse, when the impactor was cycle after cycle endlessly "penetrating" inside the wooden structure that would have appear like two opened legs over the impactor.
It would mean that the Hauling beetle could have been called Nebethetepet only when the gantry was slowly closing to the impactor Horus the child, who was "waiting" for the Beetle at the top of the Gallery, at the very end of every cycle.
"Nebet-hetepet (nb.t-ḥtp.t) is an ancient Egyptian goddess. Her name means "Lady of the Offerings" or "Satisfied Lady". She was worshipped in Heliopolis as a female counterpart of Atum. She personified Atum's hand, the female principle of creation, and could also be a title for Hathor, but aside from that had little significance." https://en.wikipedia.org/wiki/Nebethetepet
"Iusâas is also known as Nebet-Hetepet, ‘Mistress of Hetepet’, a cult site in the vicinity of Heliopolis. This epithet also, however, has the meaning of ‘Mistress of the Vulva’ as well as ‘Mistress of Offerings’, thereby expressing a conception of divine offerings as that which brings forth the latent potency of the Gods into generative expression. The epithet Nebet-Hetepet is frequently borne by Hathor as well, who is the Goddess of sexual satisfaction in a broader sense. Iusâas and Nebet-Hetepet sometimes appear to be distinct Goddesses; closer investigation, however, tends to reveal that when the distinction between Iusâas and Nebet-Hetepet is genuine, it is because it is Hathor to whom the epithet ‘Nebet-Hetepet’ is being ascribed (Vandier 1964-66)." https://henadology.wordpress.com/theology/netjeru/iusaas/
"The cult of Iusaas was associated with that of another heliopolitan goddess: Nebet-Hetepet. There are also several suggestions regarding her name: Lady of contentment; Mistress of Offering; or simply "Misteress of Hetepet". Troy explains that Htpt is generally determined by the water-filled well which is found in Hmt, woman and wife. Accordingly, it is related to the female reproductive organs. It also might betranslated as "uterus", which is considered a place of rest, Htp. Hence, Nebet-Hetepet could mean Mistress of the uterus." Goddess Iusaas (A study about her iconography and her religious role in Ancient Egypt), by Dina Ezz El-Din: https://www.academia.edu/43571020/Goddess_Iusaas_A_study_about_her_iconography_and_her_religious_role_in_Ancient_Egypt
Ra-Horakhty and Hathor in the tomb of Nefertari, QV66, in the Valley of the Queens. Photograph by kairoinfo4u: https://www.flickr.com/photos/manna4u/33976926276/in/photostream/
Book of the Dead of Hunefer (Hw-nfr) frame 3, at the British Museum: https://www.britishmuseum.org/collection/object/Y_EA9901-3
27.45 The Hauling gestures performed by Hathor, Isis and Nephthys
If goddess Hathor is reproducing the exact same gesture on Horus-Ra than Isis and Nephthys on Osiris, it is because the meaning is the same. Isis and Nephthys are representations of the rope which hauled the impactor to the top of the Grand Gallery (all the impactor's weight was in the Osiris stone); and Hathor is the wooden gantry structure, the Hauling beetle which hauled the Horus composite structure of the impactor, including the wooden cradle float: Ra.
27.46 When falcon headed Ra-Horakhty as the deification of the impactor is represented creating the pressurized air inflated snake of Sekhmet, right over his head
An interesting point to note on the Ra-Horakhty deity, who is representing the impactor in its "visible" nature (Ra is the wooden part of the impactor and Horus the entire composite structure), is that:
• he is not wrapped in bandages like Osiris is (Osiris was actually really wrapped in linen or tissue inside his hollowed out cavity "House of Osiris"), on the contrary he is depicted with a falcon's head referring to the speed and energy of the impactor
• he has above the head the same inflated snake that Sekhmet has, and that is to show that during his dive/fall into the slope of the Gallery, the impactor was the one which created the pressurized air
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
27.47 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.
27.48 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 and brought life to the people."
The god sent by Ra (who is the impactor), to find Hathor (the Hauling beetle) to reassemble them both is precisely the Hatmehit rope.
In the following excerpts, many parts are gonna ring a bell if you've already worked your way through all the Pyramids of the Cold Sections 23 and the more recent ones, which are little by little deciphering the metaphoric representations of the ropes of the Grand Gallery.
All excerpts are from https://en.wikipedia.org/wiki/Hatmehit
• Isis, Nephthys and Hatmehit are all "searching for the body of Osiris" (they are all together about the impactor's Hauling rope): "There is one note of a Nephthys-Hatmehit in a hieratic papyrus Book of Hours. Additionally, Herman de Meulenaere argues that due to Hatmehit's epithets describing her as one of the parties who search for the body of Osiris that pointed to a connection with Nephthys as well".
• "Hatmehit being considered a form of Isis": "In earlier periods, Hatmehit was considered her own goddess. However from the Third Intermediate Period onwards, Isis would begin to take the role of Hatmehit in the local cult, with Hatmehit being considered a form of Isis particular to Mendes. This was prompted by the growing association between Banebdjedet and Osiris, with Banebdjedet being considered the ba of Osiris. This is also evidenced by her epithets "She who looks for (the members of) her brother on the flow" and "The excellent Sister of He who wakes healthy (=Osiris)".
and: "The Dendera temple complex contains the most evidence of the connection between Isis and Hatmehit, where Isis is referred to explicitly as Hatmehit on two occasions. The first is on the wall of the mysterious hall in a series of inscriptions about Isis visiting the various nomes. When they get to Nome 16 of Lower Egypt it states: "The king of Upper and Lower Egypt, the son of Ra comes to you, Isis the great, the mother of the god, mistress of Iatdi. He brings you to the capital of the Mendesian nome carrying his possessions, it garnishes your chapel, you are Hatmehit, sovereign in Mendes, who seeks (the members of) her brother on the flow."
• Hatmehit's connection with Banebdjedet: "As the connection between Isis and Hatmehit became stronger, eventually Isis was shown as part of the Mendesian triad without necessarily being explicitly identified as Hatmehit. For example, a stela from Mendes from the reign of Iuput II depicts an offering being given to a triad of Banebdjedet, Isis the Great, and Harpocrates. Another stela depicts Ptolemy II Philadelphus making an offering to the deified Arsinoe II, the ram of Mendes, Banebdjedet the ba of Osiris, and a figure with the inscription "Isis the Great Hatmehit".
• Hatmehit's connection with Hathor and Mehet-Weret: "Hatmehit is considered by some Egyptologists to be connected with Hathor. Hathor is one of the oldest deities of Egypt who also went by the name Mehet-Weret, meaning "great flood". This may possibly be due to being seen as a remnant of the primal waters of creation from which all things arose. Other goddesses associated with the primal waters of creation are Mut and Naunet."
27.49 The operating cycle of the Grand Gallery • Position 8
• The impactor has been hauled up to the top of the Grand Gallery and is ready to be released into the slope
A new cycle can begin; back to Position 1.
27.50 Iusaaset: the wooden Acacia Structure of the Hauling beetle that looked like a scarab
If many aspects of Nebethetepet are about the movement of the Hauling beetle, Iusaaset is on the contrary all about its structure that resembled to a scarab beetle: not only Iusaaset is described with a scarab beetle on her head, but she is also directly associated with the Acacia tree.
But because Iusaaset is also about the movement of the impactor inside the structure, it means that Iusaaset is the Hauling beetle approaching the top of the Grand Gallery and the impactor itself: the more the structure is approaching the impactor and the top platform, the bigger it looks from the platform.
"The process of creation was said to have begun when Atum masturbated, or copulated with himself, to produce the deities Shu and Tefnut, thus beginning the process of creation. The hand he used in this act was personified as a goddess, the Hand of Atum. She was equated with Hathor or Iusaaset and Nebethetepet, two other, more minor goddesses.[4] The earliest texts to mention them seem to treat Iusaaset and Nebethetepet as two names for a single goddess, but after the time of the Middle Kingdom (c. 2000–1700 BC) they were treated as separate, although similar, deities. The name "Iusaaset" means something resembling "She who grows as she comes" and "Nebethetepet" means "Lady of the Field of Offerings" https://en.wikipedia.org/wiki/Iusaaset
"Iusaaset is a primordial goddess in Ancient Egyptian religion, a feminine counterpart to the male creator deity Atum. Iusaaset was depicted as a woman with a scarab beetle on her head."
"Iusaaset was associated with the acacia tree and acacias stood at the sanctuary dedicated to Iusaaset at Heliopolis."
"In very ancient times she was seen as “the great one who comes forth” https://iseumsanctuary.com/2022/02/14/goddess-of-the-tree-of-life/
"In Ancient Egyptian art, Iusaaset appears as a woman wearing the horned vulture crown with the uraeus and the solar disk in it, and she carries an ankh in one hand and a scepter in the other. The Egyptian vulture, most sacred to the ancient Egyptians and symbolizing Nekhbet, one of the Two Ladies protecting Egypt, was thought to reproduce though parthenogenesis also. This association might be the basis for the similar view about the motherhood of Iusaaset. The vultures also were considered extremely good mothers. The horns, the uraeus, and the solar disk make a religious connection to Bat and Hathor."
https://religion.fandom.com/wiki/Iusaaset
27.51 The shift change chaos because of Hathor and the 8 "dead" crewmembers
The P8 position in the operating cycle of the Grand Gallery was certainly the moment when a shift change could have been proceeded. And that could be the origin of the "troublesome" side of Hathor: it is only when the Hauling beetle was at the very top of the Grand Gallery, locked and secured, that any shift change could have occurred.
It means that the entire team of the 8 crewmembers would have to get out of the gantry, to be replaced by a brand new team; and I can only imagine the chaos it would cause. The "chaos in the human world", created by Hathor is probably all about this shift change.
From a certain point of view, the 8 crewmembers leaving their posts, could also have been seen as "dead", just like we all are after a very intense physical activity. The 8 leaving crewmembers certainly didn't say "oh, kill me now", but they were probably quite dead anyway!
"Myth of the Heavenly Cow" by Nadine Guilhou tells the story of a separate goddess that is related to Mehet-Weret who is named Hathor. Hathor is seen as more troublesome than Mehet-Weret, because she creates chaos in the human world. The title of the story of the “Myth of the Heavenly Cow” is also known as “The Destruction of Mankind” because Hathor was sent to kill the rebels who acted against the sun god Ra and his plans to rearrange the cosmos. While Hathor is the bloodthirsty warrior cow, focused on the destruction of humankind, Mehet-Weret is responsible for creating some of the most basic needs for humankind: sun and water." https://en.wikipedia.org/wiki/Mehet-Weret
Hypostyle hall of the Temple of Hathor at Dendera, by A. Parrot: https://en.wikipedia.org/wiki/Hathor#/media/File:Dendera_hypostyle_hall_crosswise.jpg
Sistrum with Image of Hathor on Handle at the Michael C. Carlos Museum, Emory’s Atlanta campus: https://collections.carlos.emory.edu/objects/13693/sistrum-with-image-of-hathor-on-handle
Sistrum of the Chantress Tapenu at the Metropolitan Museum of Art, New-York: https://www.metmuseum.org/art/collection/search/553814
27.52 The sistrum also stands for the agitation and noises caused by the Hauling beetle shift change
If Hathor is represented at the very top of a column capital, it is because she is the deification of the Hauling beetle of the Great Pyramid when it reached the top of the Grand Gallery, underneath the top platform and ready for a shift change.
Hathor is the goddess of Chaos, precisely because of this shift change that would made a lot of agitation and noises.
The sistrums with Hathor's head on them are simply recreating, or recalling these noises caused by the shift changes.
It is also very interesting to note that about 90% of sistrum have three horizontal wires, sometimes taking the aspect of snakes. We've seen that snakes, not only were representations of water but also stood for ropes.
It would make the sistrum a complete reproduction of the Hauling beetle, with the three ropes of the Gallery and Hathor as the Beetle itself.
When there is a fourth horizontal wire, it is sometimes clearly set separately from the three other ones, which are arranged in some kind of a cluster, and it should represent the axle beam, maybe.
27.53 The operating diagram of the Great Pyramid of Egypt for evaporative cold production
The Great Pyramid is what ancient Egyptians glorified into the Underworld, where was the "Mysterious Cavern of the Sacred act of Towing".
27.54 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.
27.55 Everything about ancient Egyptian "art" and "religion" is entirely metaphoric
I guess that we've all been collectively "conditioned" not to think anymore regarding ancient Egypt; because if you take the "ancient Egyptian" context out of consideration, everybody will see a limestone kiln in what is called the "funerary chamber" of the Red Pyramid; everybody will see perfect heart shape representation in the "sema tawy symbols" and everybody will see a snake balloon ready to explode on Sekhmet's head.
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Medjed is an ancient Egyptian god mentioned in the Book of the Dead, who is described as the "Smiter" (le "Cogneur", le "Frappeur"). Because of his ghost-like portrayal in some illustrations on the Greenfield papyrus (without any mouth or nose), Medjed has earned great popularity in modern Japanese culture, including as a character in video games and anime. Medjed is "invisible" and can't be seen, though belonging to the "House of Osiris". Draw of Medjed by Di (they-them) at https://commons.wikimedia.org/wiki/File:Medjed.svg
The Pyramids of the Cold Section 26: the sacred Tree of Life wooden caisson and the Smiter nobody can see
In summary: I didn't really think I would be able to find any evidence supporting the idea discussed in previous Sections 24 and 25, that the Eyes of Horus are actually all about the missing parts of Horus' face. If the nose and the mouth of Horus are missing, it is only because they are metaphorical representations of the impactor and the opening of the inclined well of the Great Pyramid of Giza. More importantly if these elements are both missing, it is because they were completely hidden inside the wooden fixed caisson of the Grand Gallery, when the Great Pyramid was in operation.
When the act of towing was performed in the Grand Gallery, or when the impactor was released into the slope so that it could ram into the inclined well waters, no one could have seen them: the impactor and the "mouth" of the well were invisible.
But I was wrong: ancient Egyptians really did represent the exact same face, showing only the eyes, and with the nose and the mouth missing. They represented this in a late and very obscure deity, named Medjed, described as "the Smiter", an ancient Egyptian god commanding Hapi, hence the waters from the Nile, and who belonged to "the House of Osiris". Medjed was also "invisible": he couldn't be seen by anybody.
In other words, Medjed is a perfect representation of what I've been describing in this study: the operation of an impactor that would have been completely invisible when ramming into waters originating in the Nile river, because moving inside a wooden fixed caisson. An impactor which would have had all its ramming power nested into the Osiris granite stone.
Medjed is a representation of the impactor; another one, just like the Apis bull or Horus the elder, but this time it is not just about the force and energy of the bull, nor it is about the speed of a flying falcon: this time, Medjed is all about the impact itself and the fact that he, as the deification of the impactor of the Great Pyramid couldn't be seen.
In this Section, we'll learn more about the fixed caisson, and in particular that it had been deified like everything else related to the operation of the Great Pyramid: the caisson of the Grand Gallery is the Tree of Life. This is why Isis, who is the deification of the impactor's Hauling rope (the One who is "saving" Osiris, the central rope), is known to be the goddess of the Acacia Tree of Life: because, when Isis and the impactor were connected to each other during the Hauling process, they were both moving inside the caisson.
Isis is the Lady of the Acacia Tree of Life because as a rope, she was relentlessly moving inside the wooden caisson of the Grand Gallery.
Talking about trees, we'll also see some representations that have been made of the Sarcophagus of the Great Pyramid, when it was operated as a biosand "earth" filter for water softening and microbial treatment that was necessary to reduce salt encrustations during the evaporative cooling process. The palm Trees in the famous "drinking water" and "kissing the earth" scenes in the tombs of Irynefer and Pashedu, are metaphoric representations of the operating of the Sarcophagus that produced drinking water at a very slow rate, just like the palm tree does.
Sheet 76 of the Book of the Dead of Nestanebetisheru, known as the "Greenfield Papyrus". 950 BCE to 930 BCE, 21st or 22nd Dynasty. Picture courtesy of the British Museum, but not available as of today: https://www.britishmuseum.org/collection/object/Y_EA10554-76
26.01 Medjed is the "Smiter": the ancient Egyptian version of what I've been calling the "impactor"
We've seen in previous Sections that the impactor has been deified in many very different representations, each one of them focusing on one or some of its particular aspects (Sections 23 and 24):
• The hawk or falcon (Horus) is about the speed acquired during the descent
• The Apis bull is about the force and the water projections both frontwards and backwards
• The ram's horns are about the impact itself, the ramming
Medjed, as the "Smiter" is also evidently about the ramming but with the "invisible" and "unseen" touch that is due to the central fixed wooden caisson. We'll see further in this Section that this wooden caisson had been deified into the Tree of Life, and that if Isis is represented many times inside the Tree, visible or "invisible", it is because Isis is the representation of the impactor's Hauling rope.
Just like Medjed, Isis was moving inside the fixed caisson; and just like Medjed, Isis could also have been invisible.
"Spell 17 of the Book of the Dead mentions, amongst many other obscure gods, one Medjed (meaning "The Smiter"), in the following line: "I know the name of that Smiter among them, who belongs to the House of Osiris, who shoots with his eye, yet is unseen." https://en.wikipedia.org/wiki/Medjed
"E.A. Wallis Budge translated the corresponding passage in the New Kingdom Papyri, known as the "Theban Recension of the Book of the Dead" as follows: I know the being Mātchet [Medjed] who is among them in the House of Osiris, shooting rays of light from [his] eye, but who himself is unseen. He goeth round about heaven robed in the flame of his mouth, commanding Hāpi, but remaining himself unseen." https://en.wikipedia.org/wiki/Medjed
26.02 The "Smiter" Medjed impactor ramming into the waters of the well
During the entire process of Hauling, the impactor had been seen as Horus the child, just waiting to grow and release all the potential energy mostly nested into the Osiris stone. Horus the child becomes Horus the elder at the exact moment of its release: Horus "the Elder" is the deification of the impactor of the Great Pyramid gaining speed and energy into the steep slope of the Gallery.
In some ways, the "unseen Smiter" Medjed deity, could be described as the deification of Horus the elder at the exact moment of the impact with the waters of the well.
Sheet 12 of the Book of the Dead of Nestanebetisheru, known as the "Greenfield Papyrus". 950 BCE to 930 BCE, 21st or 22nd Dynasty. Picture courtesy of the British Museum (©Trustees of the British Museum): https://www.britishmuseum.org/collection/object/Y_EA10554-12
26.03 The Medjed deity in the Greenfield Papyrus
Following excerpts (adapted), are from "Medjed: from Ancient Egypt to Japanese Pop Culture", by Rodrigo B. Salvador (Staatliches Museum für Naturkunde Stuttgart. Stuttgart, Baden-Württemberg, Germany), a very interesting article on Medjed that I strongly recommend: https://jgeekstudies.org/2017/08/15/medjed-from-ancient-egypt-to-japanese-pop-culture/
"The main source of knowledge on Medjed is the so-called “Greenfield Papyrus”, where he appears twice. If the name of the papyrus seems a little awkward, that is because it is common for ancient Egyptian artifacts (especially papyri) to be named after the collector who owned it during the heyday of Egyptomania. In this case, this particular papyrus belonged to Mrs. Edith M. Greenfield, who donated it to the British Museum in 1910. The curator’s comments on the online collection of the British Museum summarizes it nicely:
“The ‘Greenfield Papyrus’ is one of the longest and most beautifully illustrated manuscripts of the ‘Book of the Dead’ to have survived. Originally, over thirty-seven metres in length, it is now cut into ninety-six separate sheets mounted between glass. It was made for a woman named Nestanebisheru, the daughter of the high priest of Amun Pinedjem II. As a member of the ruling elite at Thebes, she was provided with funerary equipment of very high quality. Many of the spells included on her papyrus are illustrated with small vignettes, and besides these there are several large illustrations depicting important scenes.” British Museum (2017)
The Greenfield Papyrus dates from the historical period known as New Kingdom, possibly from the end of the 21st Dynasty or the beginning of the 22nd, around 950–930 BCE (British Museum, 2017)."
Banebdjedet wielding a scepter of the Was-sceptre, Djed, and Ankh. From the Tomb of Mentuherkhepeshef in the Valley of the Kings. Photograph thanks to kairoinfo4u: https://www.flickr.com/photos/manna4u/3331554556/in/photostream/
Ram fighting on Wikimedia Commons thanks to Brahim Djelloul Mustapha: https://commons.wikimedia.org/wiki/Category:Ram_fighting
26.04 Medjed the Smiter is having all his force because of Osiris as Ram-headed Banebdjedet
Osiris as Ram-headed Banebdjedet is "the One who is giving Life, Power and Force to Ra"… and it is all about impact ramming. "Throughout the day, Ra sailed across the sky in his barge and then descended down into the underworld at night. The sun barge now transformed into the evening barge known as the Ship of a Million Souls […] 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."
Medjed is described as the "Smiter" and "belongs to the House of Osiris" because of the Ram-headed Banebdjedet.
26.05 Medjed's "House of Osiris" is the hollowed out cavity of the wooden impactor to accommodate the Osiris stone
The part mentioning the fact that Medjed "the Smiter" belongs to the House of Osiris is priceless, because it is talking about the cavity in which is perfectly nested the Osiris stone.
The House of Osiris, is actually not a very difficult metaphor to decipher, because it is simply referring to the location where is standing Osiris; and we already know that Osiris, as the Osiris granite stone, was perfectly nested inside the wooden part of the impactor. Most probably the lower end of the wooden cradle had been hollowed out so that the granite stone would perfectly fit in.
It means that this hollowed out cavity inside the wooden part of the impactor, which is Ra, is the "House of Osiris".
It also means that Medjed is a particular aspect of Osiris: it is about its capacity to hit and smite, first the air then the inclined well waters. Medjed is taking all his smiting force and energy into the Osiris stone.
26.06 The linen mummy bandages origin in the Osiris stone protection wrappings
I've already mentioned the fact that the linen mummy wrappings or bandages, were originating in this particular assembly of the granite stone with the wooden cradle.
I didn't take into consideration the fact that the impactor was endlessly immerged into water, and that consequently the interior of the wooden cradle would have been exposed to constant humidity; it would have obliged to completely wrap the Osiris stone into thick layers of linen, just so it didn't move and damage the hollowed out cavity. Wet granite is very slippery.
Detail of the sheet 76 of the Book of the Dead of Nestanebetisheru, known as the "Greenfield Papyrus": https://en.wikipedia.org/wiki/Medjed
26.07 The release of the impactor: when Horus the child is becoming Horus the elder
On this draw, is represented the entire sequence of the release of the impactor, from its locked position at the top of the Grand Gallery. The famous "worshiping" gesture is only about pushing and putting the Osiris stone "Smiter" into motion, and the birds on the left side of the image are the demonstration of the successful release: the bird is first walking on the ground, before taking off into the sky.
In other words, the scene is describing the moment where Horus the child becomes Horus the elder: when the impactor is gaining speed and energy into the slope of the Grand Gallery.
26.08 The representation of Medjed, first resisting the push
The scene is particularly interesting, because it first shows Medjed resisting the push: his feet are in opposition with the direction of the push; but when the bird is taking off, the bird goes in the same direction than the push.
Relief in the tomb of Paschedu, Deir el-Medina, Egypt, Luxor West-Bank, photographed by kairoinfo4u: https://www.flickr.com/photos/manna4u/430887106/in/album-72157600016963557/
26.09 The House of Osiris is actually represented right under our eyes, on the throne of Osiris itself
On this relief, nothing about Osiris is static: everything is in motion. In Section 1, it is explained that the character on the left is pushing and putting the Osiris stone into motion: the part of the throne of Osiris, without any decoration, is mimicking the hollowed cavity of the Osiris stone (mark 3 is the "House of Osiris"). In Section 2, Osiris is depicted descending down the steep slope of the hill (which is the Grand Gallery) on his throne (which is actually his own "House"), and smiting into the waters of the well, also represented at his feet.
26.10 The Hauling of the impactor of the Great Pyramid of Egypt (Horus the child, also Horus the younger)
Implementation of the Acacia Tree of Life as the fixed central wooden caisson of the Grand Gallery, and the House of Osiris as the hollowed out cavity where was nested the Osiris stone, inside the wooden cradle part of the impactor.
Thutmose III (as a child) suckled by his mother Isis (also "Iset"), who "is represented into a Sycomore Tree".
https://fr.wikipedia.org/wiki/Divinit%C3%A9s_%C3%A9gyptiennes#/media/Fichier:Maler_der_Grabkammer_des_Thutmosis_III._001.jpg
and https://commons.wikimedia.org/wiki/File:Thutmose_III_and_family.jpg
26.11 Isis isn't the goddess of "the Tree", nor she is represented "onto" a Tree: Isis is the goddess "inside" the Tree
Goddess Isis, either represented into an Acacia-Sycomore Tree or as the Tree herself, is the glorification of the impactor's Hauling rope which was endlessly moving inside the fixed wooden caisson of the Grand Gallery.
Isis is represented inside the Tree because as the Hauling rope, she was inside the wooden caisson.
When just the Tree is depicted, it is because just like Medjed "the Smiter" who can't be seen because he was the impactor hidden inside the fixed caisson, Isis was also hidden and invisible inside the caisson.
26.12 Wadjet and Nekhbet weren't hidden in the fixed caisson
It is worth noting, that contrary to the central Isis rope, the two lateral ropes which transmitted the power of the Hauling beetle to the axle beam drive shaft were not inside the caisson: these ropes were always visible, on both ramps of the Gallery.
26.13 The Hauling of the impactor (Horus the child, also Horus the younger)
It is only after the release of the impactor, that Horus the younger becomes Horus the Elder, and start gaining speed and energy into the slope, until the impact with the waters of the well when Horus becomes Medjed "the Smiter". Both the impactor and Isis were moving inside the fixed caisson, this is why Isis is known as the Lady of the Acacia Tree of Life: the fixed wooden caisson is the Tree of Life.
26.14 Isis and Nephthys were together called the Two Acacia Shonti Goddesses
"While the acacia is associated with a number of Egyptian Deities, it has specific associations with Isis and Her family. A particular acacia—simply called The Acacia, or Shondj—was sacred to Her. The Goddess Shontet, the Acacia Goddess Who took part in the Osirian resurrection rites at Djedu (Mendes), was considered to be a form of Isis. And Isis and Nephthys together were called the Two Shonti Goddesses, that is, the Two Acacia Goddesses." https://isiopolis.com/2015/07/12/isis-the-acacia-goddess/
Relief of Ramesses II represented into the Ished Tree of Life in the temple of Derr, Amada. Rock temple of the 19th Dynasty, Lake Nasser in April 2008 (edited image). Original photograph thanks to Rivertay07 on flickr: https://www.flickr.com/photos/rivertay/2493217074/in/set-72157604899322576/
26.15 The Tree of Life is the wooden fixed caisson of the Grand Gallery
We've seen that Ptah is the deification of the inclined well layout, and that his hollow scepter is another representation of the well (Section 23).
The red arrows on the above image are pointing to the delimitation between the Tree of Life and Ptah's hollow scepter, and what needs to be seen, is that the Tree of Life is perfectly delimited by the scepter.
The message is that they are both side by side: when the Tree of Life ends, the well starts. What it means is that the Tree of Life is the fixed caisson that perfectly extended the inclined well, right inside the Grand Gallery.
26.16 Ramesses II after successfully having done his job in the Grand Gallery is "passing on the baton" to Ptah
One way of deciphering the above scene between Ramesses II and Ptah, would be to use the "passing on the baton " metaphor, because this is exactly what is happening. Ramesses II is proclaiming that the job that needed to be done inside the Tree of Life wooden caisson was successful: the impactor and its Osiris stone had been hauled to the top of the Grand Gallery and released into the slope; now it is Ptah's responsibility to do his own job by letting the pressurized air pass through him and produce the pressurized water at the moment of the impact with his waters.
By being represented inside the Tree of Life, Ramesses II is identifying himself with all the gods who were involved in the representation of the impactor and its operation.
In other words, Ramesses II is identifying himself with the operating cycle of the impactor inside the central caisson.
26.17 Isis, Horus and Osiris all together in the Acacia tree... as well as Ramesses II
"In the story of the “Contendings of Horus and Set,” Isis, in the form of Her sacred bird, flies into the branches of Her holy acacia after tricking Set into condemning His own attempts to usurp the rightful rule of Horus, Isis’ son. In some tales, the acacia is the tree that magically grew up around the body of Osiris when His sarcophagus washed up on the shores of Byblos. He is called “the One in the Tree” and “the Solitary One in the Acacia.” In the Pyramid Texts, Horus, “comes forth from the acacia tree.” https://isiopolis.com/2015/07/12/isis-the-acacia-goddess/
Statue of god Ptah, photographed by kairoinfo4u: https://www.flickr.com/photos/manna4u/26774477850/in/photostream/
"Ptah, in the form of a mummified man (except for arms and face) standing on the symbol for Ma'at, holding a scepter or staff that bears the combined ankh-djed-was symbols" and drawing of the Creation god Ptah by Jeff Dahl on Wikipedia: https://en.wikipedia.org/wiki/Ptah
Photograph from tomb KV 11 of Ramesses III, side chamber, image # 21076 by Matjaz Kacicnik, courtesy of ARCE, American Research Center in Egypt in partnership with the American University in Cairo Egyptology Department: https://thebanmappingproject.com/images/21076jpg
26.18 Ptah's hollow scepter is a representation of the inclined well itself
In the above image and in most of his representations, Ptah is holding a blue and yellow scepter or staff that bears the combined ankh, djed and was symbols.
This blue and yellow 'staff' is actually the representation of the inclined well of the pyramid, and the reason why the ankh, djed and was symbols seem to be nested into that 'staff' is only to indicate that it is hollow : the 'staff' is the inclined well and the dotted blue line is about the movement of water .
The representation of the well held by Ptah is always in a perfect vertical position, but its true nature is shown in the tomb of Ramesses III : it has pretty much the same slope than the Grand Gallery/ascending passage layout.
More on the ancient Egyptian god of Creation Ptah, in previous Section 21 (Tibetan Prayer Wheels) and Section 22 (Thor and Norse mythology)
26.19 The impactor (still "Horus the child") ready to be released into the slope of the Grand Gallery
For the recovery of the impactor, one or two men had to get inside the fixed caisson to reattach the Isis Hauling rope, and start a whole new Hauling cycle towards the upper part of the Grand Gallery. The caisson had to have at least one hatch at the bottom of the Gallery.
26.20 The crucial role of the central fixed caisson for fresh air supply of the evaporative cooling passage
It is important to keep in mind that without the fixed caisson, the evaporative cooling couldn't have worked: you need both softened water with microbial stability and fresh renewed air to get the humidity out of the system in between two cycles. Without the central fixed caisson, there wouldn't be any fresh air supply possible.
The pintle hook hypothesis would perfectly explain the "opening of the mouth" ritual.
26.21 The cry for help for the release of the Isis rope and the recovery of the impactor (Horus the child)
The following excerpt is fantastic, really, because it is talking about the exact moment when the impactor had done its job and is now floating (more or less) on the surface of the inclined well waters.
Because before being released into the slope, the impactor had to be disconnected with the Isis Hauling rope to preserve its structural integrity and reduce at the maximum its length, once inside the well, someone had to open a hatch at the very bottom of the Tree of Life fixed caisson, and reattach the Isis rope which had at this point been gently sliding down inside the empty caisson.
Listen to this, it is beautiful: the "doorkeepers at the Temple of the Holy Acacia Tree" are the crewmembers standing at the bottom of the Grand Gallery, next to the caisson; maybe two of them needed to get inside the caisson and had to open one or two hatches when they heard the impactor popping up at the surface of the well, that is them "hearing Horus crying in pain"; then they shout in the Grand Gallery so that probably the team leader of the crew can release the Isis rope inside the caisson (that is the "send a cry to the heavens for help")… because Isis (the Hauling rope) is at the other end of the Gallery, away from its impactor. Beautiful!
"In one of the poison-curing spells that include the legend of “Isis & the Seven Scorpions,” when Horus is stung and cries out in pain, it is the doorkeepers at the Temple of the Holy Acacia Tree who hear Him and send a cry to the heavens for help, since Isis is away making libations for Osiris." https://isiopolis.com/2015/07/12/isis-the-acacia-goddess/
Photograph from the tomb of Pashedu, thanks to kairoinfo4u: https://www.flickr.com/photos/manna4u/11402798564/in/photostream/
The coffer of the Great Pyramid of Khufu : "Great Pyramid Passages" Volume 1, Plate CXXV page 250, by John and Morton Edgar in 1910 : https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n259/mode/1up
26.22 The Palm Tree is another kind of "Tree of Life", one which is giving "drinking" water out of the earth
There is no direct link between the central fixed wooden caisson "Tree of Life" of the Grand Gallery which was supplying fresh new air to the evaporative cooling passage and the palm trees, but I guess this Section could be seen as the "Tree Section", so to speak.
26.23 The "drinking water" or "kissing the earth" interpretations are both correct: they are about earth filtration
The famous scene showing Irynefer "drinking from a pool of cool and fresh water", or Pashedu "kissing the earth" are actually both about the sarcophagus of the Great Pyramid, his broken piece at a corner, and of course its function in the Pyramid, that is indicated by the palm tree.
The palm tree is giving us the solution to understand the "drinking scene": the tree isn't in front or behind Irynefer or Pashedu, nor it is below or on top of "the pool of drinking water". The palm tree "is" the pool of water.
To be exact, the palm tree is a metaphor of how was produced the cool and fresh drinking water that looks like getting out of the earth itself: it is about the slow process of getting drinking water out of a palm tree…or out of a biosand "earth" filter.
We've already seen in Section 18 that the Sarcophagus of the Great Pyramid of Khufu, was precisely a biosand filter, and this is why these two scenes are represented here in the tombs of Irynefer and Pashedu: they both are glorifying representations of the crucial role of the Sarcophagus in the operation of the Great Pyramid.
On the Irynefer scene, we can even see that the artist had implemented the broken piece of the filter, on what looks like the "left side" of the filter.
Photograph from the tomb of Irynefer, thanks to kairoinfo4u: https://www.flickr.com/photos/manna4u/11433332256/in/photostream/
26.24 The drinking water produced by the Sarcophagus was not to be drunk: it was water treatment
The catch is that the sarcophagus was producing drinking water, but it was not to be consumed, there is another metaphor here.
There are actually to main reasons why there had to be a biosand filter in the Great Pyramid, and both are about the evaporative process; because if you use untreated water for the process, there is gonna be two problems: first there will be microorganism proliferation, and second there will be very important salt deposits.
The biosand filter that was the sarcophagus took care of both problems in one single step: the microorganism layer at the surface of the filter sterilized the water and the slow sand filtration got the minerals susceptible to deposit, away.
Irynefer and Pashedu are simply demonstrating that they could drink the water "right from the earth", because the water was actually coming from the earth.
I've been using the term "biosand filter" for some time now (please read Section 18 about the Sarcophagus), but there is actually another term used for the process, and it is simply "earth filtration for drinking water".
In short, about these two scenes showing Irynefer and Pashedu, some people are explaining that they are either "drinking water" or "kissing the earth"; it turns out they are doing both things at the same time, because they are drinking water literally out of the earth due to the slow biosand filtration process of the sarcophagus
The sarcophagus of the Great Pyramid of Giza, was a biosand filter originally operated in the little room located between the antechamber and the entry to the Grand Gallery. The water treatment by biosand filtration was to control scale, corrosion, and microbiological growth within the evaporative cooling process.
"Ram Pokherai drinks clean water from his family's biosand filter. Clean water helps children stay healthy, which means they are less likely to need time away from school, so their education improves. Providing clean water has important knock-on effects." Courtesy of Editorial, Humanitarian & Travel Photographer Gavin Gough : https://www.gavingough.com/clean-water-in-rural-nepal
Images from this assignment are being used to raise awareness of the important work that Centre for Affordable Water and Sanitation Technology, CAWST is doing, providing the resources and education required for reliable clean water supplies in rural areas. https://www.cawst.org/
26.25 The sarcophagus produced about 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 microbiologically 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 world wide."
26.26 No night shift for the cold production
Also from ACF, we learn that the filter had to have a pause period, up to 12 hours, every day. It means that the sarcophagus, and the entire cooling process couldn't have been in operation during this period.
Of course, this resting period occurred at night and the cold production only could have happened during the day.
"The biosand filter is most effective and efficient when operated intermittently and consistently. A recommended pause period is 6 to 12 hours with a minimum of 1 hour and a maximum of 48 hours. The pause period is important because it allows time for the microorganisms in the biolayer to consume the pathogens in the water. As the pathogens are consumed, the flow rate through the filter may be restored. If the pause period is extended for too long, the microorganisms will eventually consume all of the nutrients and pathogens and then eventually die off. This will reduce the removal efficiency of the filter when it is used again."
Irynefer "drinking fresh and cool water" under a palm tree is actually probably depicted accomplishing the maintenance of the original biosand earth filter that really was the Sarcophagus of the Great Pyramid of Giza. The filter produced drinking water used as softened water with microbial stability for the evaporative cooling process.
26.27 Irynefer's inverted right hand indicates a movement of the hand from left to right
There is also something weird about Irynefer's right hand: the thumb of this hand is clearly the thumb of the left hand. Irynefer's right arm is actually supporting his left hand, and in my opinion it is a way of indicating the movement of the hand, from left to right.
The scene is not static: Irynefer is bent over the filter, and he is agitating his hand in the water at the surface.
26.28 The best biosand filter maintenance method is the Surface Agitation method
The idea that Irynefer and Pashedu are both represented servicing a biosand filter is precisely this "weird" left hand on the right arm, that indicates the movement of the hand; the exact movement that needs to be done with the hand when using the Surface Agitation method for realizing the maintenance of such Biosand filters.
"Over time, the pore opening between the sand grains will become clogged with sediment. As a result, the water flow rate through the filter will slow down. To clean the filter, the surface of the sand must be agitated to resuspend the sediment in the standing water. The dirty water can be removed using a small container. The process can be repeated as many times as necessary to regain the desired flow rate. After cleaning, it will take the biolayer up to a week to reestablish itself and return the removal efficiency to its previous level." https://www.actionagainsthunger.org/sites/default/files/publications/Biosand_and_ceramic_filters_training_manual_02.2010.pdf
"The authors recommend using the surface agitation method for filter maintenance, as this method was associated with higher removal rates of thermotolerant coliforms and turbidity [in the filtered water]." https://www.purewaterfortheworld.org/wp-content/uploads/2015/10/Singer-et-al-2017-BSFSurfaceMaintenance.pdf
26.29 Were Irynefer and Pashedu involved in the operation and/or the research on biosand earth filters?
Because both Irynefer and Pashedu were foremen, and probably with a very high position among craftsmen, because of the magnificence of their tombs, I would tend to say that in the "drinking water" and "kissing the earth scene", they are actually both represented accomplishing the maintenance of a biosand filter.
Maybe they are even depicted on the original biosand earth filter that was the Sarcophagus of the Great Pyramid of Giza, even if they never were directly involved in this particular filter. It would be like an honorary distinction.
Even if I disagree with the conclusion of the study from which the following excerpts are coming from, I strongly recommend you have a look at it, because there is a lot of very good material in it. The study is "Kissing the earth’ scene in Pashedu Tomb", by Doha M Sami Abdel Hamid (Journal of Association of Arab Universities for Tourism and Hospitality), and is actually about both the Irynefer and Pashedu scenes: https://jaauth.journals.ekb.eg/article_53832_f93c00895e949195df9292d38c5b775f.pdf
"Pashedu was a foreman at the beginning of the 19th Dynasty. He had the titles: “Servant in the Place of Truth on the west of Thebes”, “Scribe in the place of truth”.
"The community at Deir el-Medina consisted of the workers and craftsmen who were employed in the construction of the New Kingdom royal tombs, Maspero suggests that the workers of Deir el-Medina were a kind of religious community who maintained the cults of kings who were buried at Thebes. Royal tomb artisans throughout the Egyptian new Kingdom considered Deir el- Medina as their eternal home."
“Kissing the earth scene” in Pashedu tomb was probably represented in order to show a kind of pray or an act of obeisance or adoration, accompanied by spell of chapter 62 of the book of the dead “chapter for drinking the water in the Necropolis”. In spite of the presence of chapter 62, Pashedu was not probably kneeling in purpose of drinking because it's not familiar to drink in a such way, but he was kneeling in order to kiss the holy earth of the underworld or kissing the water of the underworld , that's why the scene was decorated and accompanied by the chapter 62, chapter of drinking water."
"Irynefer beard the title: "servant in the place of truth" during Ramses II's reign. His tomb is one of the better preserved tombs of Deir El Medina, and one of the most colorful of the tombs of the craftsmen. The scene is very similar to Pashedu's scene, this scene is located at the top of the eastern wall near to the entrance, where Irynefer is kneeling before a Dome-palm tree, or a palm-tree according to Porter and Moss, drinking from a pool of fresh water, spell for "drinking water in the necropolis", from chapter 62 of the Book of the Dead."
"Deir El-Medina tombs were characterized by this kneeling down under a dom-palm tree scenes, which were not represented in Valley of the Kings scenes. Although spells from the book of the dead were represented on walls of valley of the Kings tombs, the scene of “kissing the earth” or “drinking water” was not seen on Kings private tombs."
Photographs from : https://wiki.lowtechlab.org/wiki/Water_-_Biosand_Filter#
26.30 The up to one-half inch thick salt incrustation in the Queen's chamber & Horizontal passage
Despite the softening treatment realized by the biosand filter Sarcophagus, and just like nowadays, the evaporative cooling process produced limescale: salt encrustation.
The salt encrustation inside the Great Pyramid has been mainly documented in the Queen's chamber, where it could have been up to one-half-inch thick in some places, 1.3 centimeter, and in the horizontal passage, but also in a smaller extent in the lower part of the Grand Gallery and in the ascending passage.
It is crucial to note that there was absolutely no salt encrustation documented anywhere else in the Great Pyramid: its distribution is perfectly explained by the evaporative process and the particular layout of the junction between the Grand Gallery, the ascending and horizontal passages.
The following excerpt is from "Great Pyramid Passages Vol 1, 1910 edition" by John and Morton Edgar, paragraph ref. 584, page 293 : https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n301/mode/2up
Paragraph. ref. 584 : "Following these uniform sets of 15 stones, are two long stones in each course, averaging about six feet in length, after which each wall is built in one course only, apparently as far at least as the drop in the floor of the passage ; but beyond this, on to the Queen's Chamber, the very thick and hard incrustation of salt which entirely covers the walls of this passage, made it impossible for us to locate the joints with any certainty. This salt incrustation is peculiar to the Horizontal Passage and Queen's Chamber, although a little of it may also be seen on the walls of the First* Ascending Passage."
* For some authors, the first ascending passage starts at the granite plugs and ends with the start of the Grand Gallery, the second ascending passage.
Excerpt from "The pyramids and temples of Gizeh" by Petrie, W. M. Flinders (William Matthew Flinders), Sir, 1853-1942 : "The size of the chamber (after allowing suitably in each part for the incrustation of salt) is on an average 205 85 wide, and 226*47 long, 184*47 high on N. and S. walls, and 245*1 high to the top of the roof ridge on E. and W. walls." https://archive.org/details/cu31924012038927/page/n103/mode/2up
26.31 Salt encrustation is the signature of the evaporative cooling process... even nowadays
Of course, the salt encrustation in evaporative cooling systems is not about table salt NaCl, but primarily calcium carbonate CaCO3 also called calcium scale, or limescale.
With most of the pyramid built with limestone, this is not a surprise that limescale would have been a major problem.
From "Evaporative Cooler : Self Salt Clean", by Mohammed Ali Bahobail from the Department of Architecture and Building Sciences, College of Architecture and Planning, King Saud University, a Public university in Riyadh, Saudi Arabia : "Evaporative coolers are relatively economical, less expensive to install and to operate. They are consuming less electricity than a refrigerated unit, and they do not need an expert to maintain. In addition, evaporative coolers provide the building with a fresh humid air. However, evaporative coolers have some disadvantages; one of them is the deposited salt. Water usually has a high percentage of mineral. The evaporative mechanism will leave mineral deposits on the pads and interior of the cooler. This cumulative mineral will close the porous of the wetted pads and damage them and will participate to corrosion of the cooler frame."
The work made by Mohammed Ali Bahobail is about coolers designed with wetted pads where water is circulating, there is no fog of microdroplets, but the principle is the same and the deposited salt problem is the same.
https://cap.ksu.edu.sa/sites/cap.ksu.edu.sa/files/imce_images/jap_ksu_jan2013_e1_0.pdf
26.32 The 1998 salt encrustations cleaning
Unfortunately, the salt deposits have been removed since the first explorers of the pyramid reported its presence, most likely when the chamber was cleaned by Zahi Hawass in 1998 :
Zahi Hawass (Director General of the Giza Pyramids, between 1987 and 2002) : "Each visitor produces nearly an ounce of moisture with a high saline content through their breath and perspiration. This results in the accumulation of salt, which leeches into the limestone and plaster and gradually causes them to crumble into powder. So, in 1998, we spent 12 months cleaning the salt."
Excerpt from https://www.world-archaeology.com/features/pyramids-excavation-and-preservation/
Mr Hawass is obviously blaming tourists for the salt encrustations in the Queen's chamber, but when the first explorers of the pyramid discovered these encrustations, there wasn't any tourist at all visiting the pyramid. The remark of Mr Hawass, is pretty funny though : did we ever had to periodically close down limestone built churches, cathedrals or any other pyramid or building made of this material (I guess in Mr Hawass' mind, limestone is a key element of the salt deposits in the Great Pyramid), just to remove the salt? Be that as it may, salt deposits were only documented in the Grand Gallery in its lower part (most probably just around the junction with the horizontal and ascending passages); did tourists stop breathing passed this point, and did they climb the gallery and visit the King's chamber in total apnea ? Were they offered respiratory masks ?
The cleaning of the salt deposits is actually a real drama, because before 1998 it was still possible to know exactly at what temperature the Queen's chamber was cooled down, simply by analyzing the crystalline structure of the deposits, the size and shape of the crystals.
26.33 The original operating location of the Biosand filter Sarcophagus
If the Sarcophagus is without any decoration or hieroglyphic sign, if it is not even polished but instead completely hammered down on all its upper part, it is because it had been "uprooted" from its original location between the antechamber and the entry to the Grand Gallery. With access to the water of the King chamber, the Sarcophagus was a biosand "earth" filter for softening and microbial treatment of the water used to power up the Pyramid and create the evaporative cold in the horizontal passage.
More on the Sarcophagus in Section 18.
26.34 Operating diagram of the Great Pyramid of Egypt for evaporative cold production of a Solvay or Solvay-like process
The Great Pyramid has been designed for the cooling of chemical manufacturing of sodium carbonate (natron) and sodium bicarbonate. Last updated: Octobre 7, 2022.
"There were about 1,000 graphemes in the Old Kingdom period, reduced to around 750 to 850 in the classical language of the Middle Kingdom, but inflated to the order of some 5,000 signs in the Ptolemaic period. Antonio Loprieno, Ancient Egyptian: A Linguistic Introduction (Cambridge: Cambridge UP, 1995)." In "Notes and references" at https://en.wikipedia.org/wiki/Egyptian_hieroglyphs
26.35 Ancient Egyptians maybe really called Medjed "the impactor"
At this point I need one more time to emphasize the fact that despite what every egyptologist is claiming, we do not understand the full meaning of every single hieroglyph; and for one particular reason: if you are wrong in the overall context of what you are trying to decipher, you will get wrong translations.
The entire process of deciphering ancient Egyptian hieroglyphs is based on the discovery of the Rosetta stone, a stele which was erected after the coronation of King Ptolemy V and was inscribed with a decree that established the divine cult of the new ruler, in three languages: the top and middle texts are in Ancient Egyptian using hieroglyphic and Demotic scripts respectively, while the bottom is in Ancient Greek. https://en.wikipedia.org/wiki/Rosetta_Stone
This gave to Champollion the opportunity to start deciphering the hieroglyphic text, but the context was political.
And the problem is that most of the important texts about ancient Egypt are directly referring to the scientific knowledge and technological accomplishments of the time; whether it occurred in temples, mastabas or great pyramids.
Ancient Egyptian temples were temples of knowledge, temples of learning and temples of experimentations.
At the time of the Old Kingdom, it was about 1000 different signs that were used, but I'm not sure it includes every variants of each sign; but I'm sure it doesn't include the color in which it had been painted, or if it was written from left to right or from right to left.
Anyway, I don't understand why 1000 different hieroglyphs were used in the Old Kingdom, and more than 5000 in the Ptolemaic period, if these signs were just about consonant syllables (as an extremely quick summary of the writing deciphering, I know). On the above screen shot from Wikipedia, it is explained that ancient Egyptians (mostly) used hieroglyphic signs to determine consonants like "st", "wsjr" or "htm"; and that each individual or combined sign just wasn't meaningful at all. At least when we are reading modern rebus, we do care for the meaning of each sign.
Maybe Medjed wasn't called the "Smiter", but really "the impactor".
Tomb of Pashedu TT3 at Deir el-Medina, thanks to kairoinfo4u : https://www.flickr.com/photos/manna4u/11403232974/in/photostream/
26.36 The ancient Egyptian worshiping posture is about pushing and putting the Osiris stone into motion
A better look at the true original meaning of the ancient Egyptian "worshiping posture": the little character is facing the Osiris stone, and what he is really doing is participating in putting this stone, the one that powered up the Great Pyramid, into motion.
26.37 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.
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We've already seen that falcon headed god of the "sky" Horus was the deification of the composite impactor of the Great Pyramid, and that he was depicted as a falcon because of its high speed diving. To understand the above image of Horus, we need to reverse the apparent meaning: this is the Shen ring which is holding Horus: the Shen ring is a representation of the tow hook of the impactor, and the "sticky frog" goddess Heqet is the one which is connecting the Hauling rope with the tow hook.
The Pyramids of the Cold Section 25 • Two Ladies and the Shen tow ring
In summary: we've seen in previous Sections, that Isis and Nephthys were the deifications of the operating cycle of the impactor's Hauling rope of the Great Pyramid, and that while Isis is referring to the act of towing itself (the active part of the cycle), Nephthys on the other hand, is referring to the inactive part of the cycle, with the rope completely coiled around the axle beam and disconnected with the impactor when this one was resting in a locked position at the top of the Grand Gallery, just waiting to be released into the slope.
Isis and Nephthys are the glorifications of the exact same rope, and this is why they've been called "the Twin Sisters". In this Section, we'll see that if the two other ancient Egyptian goddesses Wadjet and Nekhbet, had been called "the Two Ladies", it is because they were both the deifications of the two other hauling ropes of the Grand Gallery: the ropes which transferred the power of the Hauling beetle to the axle beam making it a veritable power-transmitting rope drive.
We'll see that Wadjet was the deification of the two rope drives that really transmitted the power of the Hauling beetle, while Nekhbet was the deification of the exact same ropes, but resting all around the axle beam, in a coiled position. Wadjet and Nekhbet are not about particular individual ropes, they are about the active or inactive operating part of the cycle: Nekhbet is the inactive and resting side of Wadjet.
Not only the Two Ladies Wadjet and Nekhbet are describing the dual active and inactive parts of the operating cycle of the Hauling beetle's ropes, just like the Twin Sisters are doing with the impactor's Hauling rope, but they are also defining the separation that ancient Egyptians have made between the Upper part of the Great Pyramid and its Lower part. When Wadjet is described as the matron of Lower Egypt and Nekhbet the matron of Upper Egypt, the real hidden meaning is actually all about the differentiation of what can be called "Lower Pyramid" and "Upper Pyramid". The separation between the two of them, is the floor defined by the huge block that is the top platform of the Grand Gallery: everything on that level or higher in the Great Pyramid is the Upper Pyramid and the origin of Upper Egypt, when everything underneath the platform, starting with the realm of the Hauling beetle, is Lower Pyramid, and the origin of Lower Egypt.
Just like when ancient Egyptians are talking about their hearts, they only have in mind the Heart of the Great Pyramid (the inclined well that functioned just like a real living heart); when they are talking about Upper and Lower Egypt, they are actually referring to the operating of the Great Pyramid and in particular of its driving ropes, constantly hauling in Lower Pyramid and resting in Upper Pyramid.
The impactor of the Great Pyramid of Egypt, being hauled up to the top of the Grand Gallery by the Hauling beetle. The Two Ladies Wadjet and Nekhbet are both the deifications of the two lateral ropes, but only Wadjet is about the rope drives which transmitted the power of the Beetle to the axle beam drive shaft.
In this position, the impactor had been deified into Horus the child, Horus the infant or Horus the younger, ready to be released into the slope of the Grand Gallery. Of course, the impactor is not really visible like shown on the draw: the impactor, as well as the opening of the inclined well are completely hidden inside the fixed wooden caisson that is perfectly extending the inclined well into the Gallery.
25.01 The impactor of the Great Pyramid, as Horus the child being hauled by the Beetle
We know for sure that when being hauled by the Beetle, the impactor Horus was already seen as Horus the child (also Horus the younger, or Horus the infant), because of the following excerpt: "Wadjet was said to be the nurse of the infant god Horus. With the help of his mother Isis, they protected Horus from his treacherous uncle, Set" https://en.wikipedia.org/wiki/Wadjet
Wadjet being the nurse of the infant god Horus, (also Horus the younger or Horus the child) is referring to the exact same operating phase of the Grand Gallery: the hauling of the impactor. It is also the same phase that is depicted when Isis (the impactor's Hauling rope), is saving Osiris from the Great Serpent Apep (the pressurized waters of the inclined well): Osiris is simply part of Horus, the composite impactor.
The goddesses Isis (left) and Nephthys (right), on the foot of the outer coffin of the mummy of Ankh-Wennefer, Washington State History Museum. Photo by Joe Mabel (Isis): https://commons.wikimedia.org/wiki/File:Ankh-Wennefer_07.jpg
25.02 Isis and Nephthys are grabbing the Shen ring because they are representations of the impactor's Hauling rope
Isis and Nephthys are the deification of the same rope; the one which was directly connected to the impactor and performed the act of towing (Isis, the active rope), or which was completely coiled around the axle beam (Nephthys, the inactive disconnected rope).
Here, the "twin-sisters" Hauling rope is depicted reaching for the Shen ring: the representation of the tow hook of the impactor.
Please note that because of the fact that Isis is the active representation of the Hauling rope and Nephthys its inactive and disconnected representation, the Isis' Shen ring (left image) is actually really touching the "floor" on the painting, when Nephthys' Shen ring isn't touching anything.
"The Goddess Isis, and the Goddess Nekhbet are often shown kneeling, with their hands resting upon a shenu." […] The Hawk (Horus), and the Vulture (Goddess Mut) have the shenu in their talons, wings outstretched, over the scene portrayed. https://en.wikipedia.org/wiki/Shen_ring
More on Isis, Nephthys, the "lamentations of Isis and Nephthys" and Seshat in Section 23.17
Ancient Egyptian god Horus in his form of sacred falcon "spreading his wings in protection" and holding the Shen ring. Watercolor copy of a painted scene showing the Horus falcon from the mortuary temple of Queen Hatshepsut at Deir el-Bahri, 1895, by Howard Carter (1874-1939). © Griffith Institute, University of Oxford: http://www.griffith.ox.ac.uk/gri/4GI_wd_opening_page.html
25.03 Both Isis and Wadjet were "protecting" the impactor Horus: they are both about the ropes of the Grand Gallery
"Wadjet, the "Green One" is an ancient Egyptian goddess known to the Greek world as Uto or Buto among other renderings including Wedjat, Uadjet, and Udjo. [...] Wadjet was said to be the nurse of the infant god Horus. With the help of his mother Isis, they protected Horus from his treacherous uncle, Set, when they took refuge in the swamps of the Nile Delta" https://en.wikipedia.org/wiki/Wadjet
"With the help of his mother Isis, they protected Horus from his treacherous uncle, Seth": that phrase alone not only is the confirmation that Isis was protecting both the Osiris stone and the entire composite impactor (Horus = Ra + the Osiris stone), but it also means that Wadjet was deeply involved into the operating of that impactor.
25.04 The Two Ladies Beetle's Hauling ropes are transforming the axle beam into a drive shaft
The fact that both Isis and Wadjet were known to protect and defend Horus is priceless, because it is the clue to understand Wadjet, perfectly.
We've seen that if Isis was the one protecting and saving Osiris from the Great Serpent Apep, it is because Isis was the glorification of the impactor's Hauling rope, the rope which was recovering the impactor from the waters of the inclined well, on each cycle.
But the impactor's Hauling rope Isis isn't moved by itself: the power comes from the Hauling beetle and the axle beam. We already know that the axle beam has been glorified into Aker, so the only missing deification of the system has to be the ropes which were transmitting the power of the Hauling beetle to the axle beam.
These two ropes, the Beetle's Hauling ropes are transforming the axle beam into a drive shaft, and they are the ones which had been deified into the Two Ladies, Wadjet and Nekhbet.
Wadjet illustration with bow, from Pantheon Egyptien by Leon Jean Joseph Dubois, courtesy of rawpixel
Piece of papyrus rope which was discovered at the ancient Egyptian stone quarry of Tura in Egypt. Royal Albert Memorial Museum & Art Gallery, Exeter City Council: https://rammcollections.org.uk/object/85-1999-1/
25.05 Wadjet was made of papyrus and as a rope, she "coiled upon the head of Ra"
If Wadjet's name means "the papyrus colored one" and if she is represented holding a bow in the above image, it is because Wadjet is the deification of the rope drives of the Hauling beetle of the Great Pyramid.
The bow is only another metaphor about the ropes, tension and potential energy.
"Her name mean "papyrus-colored one", as wadj is the ancient Egyptian word for the color green (in reference to the color of the papyrus plant) and the et is an indication of her gender. Its hieroglyphs differ from those of the Green Crown (Red Crown) of Lower Egypt only by the determinative, which in the case of the crown was a picture of the Green Crown and, in the case of the goddess, a rearing cobra. […]
Eventually, Wadjet was claimed as the patron goddess and protector of the whole of Lower Egypt and became associated with Nekhbet, depicted as a white vulture, who held the same title in Upper Egypt. When the two parts of Egypt were joined together, there was no merger of the deities as often occurred, both beliefs were retained and became known, euphemistically, as the two ladies, who were the protectors of unified Egypt. After the unification the image of Nekhbet joined Wadjet on the crown, thereafter shown as part of the uraeus." […]
Depicted as an Egyptian cobra she became confused with Renenutet, whose identity eventually merged with hers. As patron and protector, later Wadjet often was shown coiled upon the head of Ra, who much later became the Egyptian chief deity".
https://www.crystalinks.com/wadjet.html
Pharaoh Ptolemy VIII between the goddesses Wadjet (symbolizing upper Egypt) and Nekhbet (symbolizing lower Egypt). Relief on wall of Temple of Edfu, Egypt. Olaf Tausch: https://fr.m.wikipedia.org/wiki/Fichier:Edfu_Tempel_42.jpg
25.06 Wadjet is the glorifying deification of the rope drives of the Hauling beetle
But just like Isis and Nephthys, there is a catch, neither Wadjet or Nekhbet are representing one particular rope or the other. Wadjet is referring to both of the active Hauling ropes: Wadjet is the glorifying deification of the rope drives, both of them. On the other hand, Nekhbet is referring to the exact same ropes, but they can't be seen as rope drives anymore, because they are the ropes completely coiled around the axle beam. Nekhbet cannot be associated with the axle beam as a drive shaft: Nekhbet is the inactive and resting side of Wadjet.
25.07 Wadjet was also the nurse of Horus the child (Horus the younger)
And because "Wadjet was said to be the nurse of the infant god Horus", it also confirms the idea that when being towed, the impactor was already seen as Horus the child (the infant, also Horus the younger). And it makes perfect sense: the Hauling of the impactor is fully associated with the youth of Horus, and he only becomes "adult" when released into the slope of the Gallery, growing speed and energy.
"Wadjet was said to be the nurse of the infant god Horus. With the help of his mother Isis, they protected Horus from his treacherous uncle, Set" https://en.wikipedia.org/wiki/Wadjet
"On the lintel above the entry to the next chamber is an image of the vulture goddess Nekhbet. Her name appears twice, at either end of outstretched wings. In her claws she holds the symbol of protection, the "shen-sign". Tomb of Nefertari, QV66, Valley of the Queens". Photographed by kairoinfo4u: https://www.flickr.com/photos/manna4u/34032213746/in/photostream/
25.08 Isis, Nephthys, Horus... and now Nekhbet associated with the Shen ring
We've seen that both Isis and Nephthys were reaching to grab the Shen ring, that Seshat (who is simply a particular aspect of Nephthys) is also holding it at the end of her rope, and that Horus is carrying it in his claws. Here, it is also explained that Nekhbet is also supposed to carry the ring.
"The shen ring is most often seen carried by the falcon god Horus, but was also carried by the vulture goddess Nekhbet. It was used as early as the Third Dynasty where it can be seen in the reliefs from Djoser's Step Pyramid complex". https://en.wikipedia.org/wiki/Shen_ring
25.09 Nekhbet's name written twice and the names are mirroring each other
Like Horus, the vulture goddess Nekhbet is represented "holding" the Shen ring; but again, it is the Shen ring which is holding Nekhbet.
Goddess Nekhbet is the deification of the two Hauling ropes which were directly connected to the Hauling beetle, and because there were two of them, the name of Nekhbet appears twice on the above relief, at either end of her outstretched wings. The names mirrored each other, because there was a left leg (the western half-Hauling beetle's rope) and a right leg (the eastern half-Hauling Beetle's rope).
"Nekhbet/Wadjet illustration from Pantheon Égyptien by Leon Jean Joseph Dubois": https://en.wikipedia.org/wiki/Wadjet#/media/File:Illustration_from_Pantheon_Egyptien_by_Leon_Jean_Joseph_Dubois,_digitally_enhanced_by_rawpixel-com_88.jpg
Edited image of Horus and Wadjet (center) appearing on a carved wall in the Hatshepsut Temple at Luxor. "On the wall of the Mortuary Temple of Hatshepsut at Luxor, there are two images of Wadjet: one of her as the uraeus with her head through an ankh and another where she precedes a Horus hawk wearing the pschent, representing the pharaoh whom she protects. Original image (on the right) of Steve F-E-Cameron: https://en.wikipedia.org/wiki/Wadjet#/media/File:S_F-E-CAMERON_Hatshepsut_Hawk.JPG
25.10 Wadjet/Nekhbet in the "pushing the Osiris stone" position
Because Wadjet and Nekhbet are the deifications of the Beetle's Hauling rope, they are represented here with the arms raised, in the "usual worshiping" position that we've discussed about in previous Section 24: the real meaning of the scene is that Wadjet/Nekhbet is in the "pushing the Osiris stone" position, because they represent the ropes transmitting the power of the Beetle which was the one Hauling the impactor Horus.
25.11 First mea culpa: snakes are not only about water, they can also be metaphoric representations of ropes
This is the first error I've committed that I can correct in this Section: snakes in ancient Egyptian "religion" are not all about the water, some are also about the ropes. Snakes and ropes can indeed be often confounded.
Wadjet is the first deity I know of, who has been associated with snakes as a metaphoric representation of the ropes of the Grand Gallery: she is often represented as a cobra, winding like a rope, around what is described as the Solar disc, but which is more probably a cross section of the axle beam.
The vocabulary associated with Wadjet, like "coiled" or "entwined", is often identical to the one used to described the operating of ropes.
Also it looks like the first depictions of Wadjet as a cobra appeared as early as the Predynastic era. It doesn't mean that everything I've wrote so far is wrong because it is way earlier than the Great Pyramid, it simply means that ancient Egyptians used Hauling beetles as a power source, a very long time before the Pyramid (please read previous Section 23.41 on that matter).
"Sometimes she (Wadjet) was depicted as a woman with two snake heads […] Wadjet was depicted as a cobra. As patron and protector, later Wadjet often was shown coiled upon the head of Ra." https://en.wikipedia.org/wiki/Wadjet
" Another early depiction of Wadjet is as a cobra entwined around a papyrus stem, beginning in the Predynastic era (prior to 3100 B.C.) and it is thought to be the first image that shows a snake entwined around a staff symbol." https://en.wikipedia.org/wiki/Wadjet
The three ropes of the Grand Gallery, fully coiled around the "inactive" axle beam (which was not a drive shaft at this point of the operating cycle). If Nephthys had to be disconnected, it is still unclear to me if the two lateral Nekhbet ropes had to be disconnected as well, or if their operating didn't required this extra step.
Image of the "big step" of the Grand Gallery's top platform, in "Great Pyramid Passages" Volume 1, 1910 edition, by John and Morton Edgar, plate CXVI, paragraph 473 page 238: https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n247/mode/1up
Datas of the massive top platform single block, from "The pyramids and temples of Gizeh", by Petrie, W. M. Flinders (William Matthew Flinders), Sir, 1853-1942. Publication date 1883, Section 47, page 75: https://archive.org/details/cu31924012038927/page/n113/mode/2up
25.12 2nd mea culpa: it is Nekhbet and the drive shaft who are defining the limit between Upper and Lower Great Pyramid
The following excerpts are the absolute key points for the understanding of Wadjet and Nekhbet, and it also gives me the opportunity to correct an important inaccuracy about my interpretation of where was located the "floor level" that defined the Upper and Lower part of the Great Pyramid from the ancient Egyptian point of view, an which are the real meaning of what we call today "Upper and Lower Egypt".
"Nekhbet (also spelt Nekhebit) is an early predynastic local goddess in Egyptian mythology, who was the patron of the city of Nekheb (her name meaning of Nekheb). Ultimately, she became the patron of Upper Egypt and one of the two patron deities for all of Ancient Egypt when it was unified."
"Wadjet was said to be the matron and protector of Lower Egypt, and upon unification with Upper Egypt, the joint protector and patron of all of Egypt." Both images at https://en.wikipedia.org/wiki/Wadjet
I've been assuming that this floor level was defined by the Lady Arbuthnot's chamber, where if I'm correct, would have been operated the (hypothetical) Solvay chambers that needed to be fed with the evaporative cold (previous Sections).
But obviously, I was wrong; because it is clearly said that:
1 • Nekhbet was the "patron of Upper Egypt" and one of the two patron deities of the "unified Egypt"
2 • Wadjet was the "matron of Lower Egypt" and one of the two patron deities of the "unified Egypt"
What it means is that this is Nekhbet who is defining the "floor level", in other words: the top platform of the Grand Gallery and everything which was set on its level, is part of the Upper part of the Pyramid, and part of Upper Egypt.
The unification of Upper and Lower Egypt, is the glorification of these two parts of the pyramid, functioning together and combining their strengths; it is about the power of the drive shaft axle beam accumulating and giving back all its power to the impactor.
In this hauled position, the impactor was already seen as Horus the child, Horus the infant or Horus the younger. Of course, the impactor is not really visible like shown on the draw: the impactor, as well as the opening of the inclined well are completely hidden inside the fixed wooden caisson that is perfectly extending the inclined well into the Gallery.
25.13 The main difference between the Twin Sister ropes and the Two Lady ropes
The difficult part about the Two Ladies, is that they are actually intertwined metaphors.
While Isis and Nephthys are called Twin Sisters, because they are representing the same rope, Wadjet and Nekhbet are called together "Two Ladies" because there actually really was two ropes; when at the same time, their individual names are referring to a complete different metaphor: their joint active or resting action in the operating cycle.
Just like the Twin Sisters Isis and Nephthys are the deification of the impactor's Hauling rope, the Two Ladies are the deification of the two other ropes of the Gallery: the Beetle's Hauling ropes. Wadjet represent the ropes under tension and active (the rope drives), while Nekhbet is about the same ropes resting onto the axle beam, and inactive.
"With the help of his mother Isis, they (Wadjet and Nekhbet) protected Horus from his treacherous uncle, Seth".
25.14 The ancient Egyptian well known principle of "inactivity or repose"
I was pretty surprised to see with Nekhbet, another example of the "inactive and resting" deification of a rope, just like the inactive Nephthys is to the active Isis rope drive; but then really by accident, I happened to stumble upon this exact same principle of the duality between the active and inactive vision of one single same thing, and it is the principle of "inactivity or repose", mentioned in Wikipedia's page on goddess Amunet, the counterpart of Amun, the god who was the deification of the fog of microdroplets of liquid water which evaporated and created the cold.
The question is why did they feel like showing both active and inactive sides, and why did they decided to glorify this idea by pairing so many gods and goddesses. Maybe it is a metaphysical aspect of their civilization, but maybe it is another metaphor; if so, it could simply refer to the fact that each crewmember of the Hauling beetle had his perfect counterpart on the other side of the Beetle, or that the operating of the Pyramid was sequential, resulting in an endless cycle. But this is purely hypothetical.
About goddess Amunet: "Her name, jmnt, is a feminine noun that means "The Hidden One". She is a member of the Ogdoad of Hermopolis, who represented aspects of the primeval existence before the creation: Amunet was paired with Amun—whose name also means "The Hidden One", with a masculine ending (jmn)—within this divine group, from the earliest known documentation. Such pairing of deities is characteristic of the religious concepts of the ancient Egyptians. In early concepts known as the Ogdoad, the primeval deity group to which they belonged as "Night" (or as the determinative D41 meaning "to halt, stop, deny", suggesting the principle of inactivity or repose), was composed of four balanced couples of deities or deified primeval concepts.
Speculation exists that Amunet may have been conceived by later theologians as a complement to Amun, rather than being an independent deity originally, however, the Pyramid Texts, the earliest known religious texts of Ancient Egypt, mention "the beneficent shadow of Amun and Amunet": O Amun and Amunet! You pair of the gods, who joined the gods with their shadow." https://en.wikipedia.org/wiki/Amunet
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
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
25.15 The awakening of Osiris is the moment when the impactor is released: when Horus the child becomes Horus the elder
Anyway, this principle of "inactivity or repose" is the reason why Horus is either described as Horus the younger or Horus the elder. Horus the younger is all about this principle, the completely inactive impactor when being hauled to the top of the Gallery, or already in place in its starting locked position, ready to move from the "inactive or repose" state to its active state, gaining speed and energy, like a man, and becoming Horus the elder.
This principle is also the reason of the "death bed of Osiris": on this "bed", Osiris is simply accompanying Horus the younger in the Hauling process, and just like Horus becomes Horus the elder after the release of the impactor, Osiris becomes represented into a speeding falcon, gaining speed and energy as well, and this is the awakening of Osiris.
The vulture goddess Nekhbet, in the tomb of Nefertari, QV66, Valley of the Queens". Photographed by kairoinfo4u: https://www.flickr.com/photos/manna4u/34032213746/in/photostream/
25.16 The hidden coiled ropes of Nekhbet in the tomb of Nefertari
The funny thing about this representation of Nekhbet, is that the artist didn't really try very hard to hide the fact that Nekhbet was all about two ropes, one on the left and one on the right, and completely coiled around their axle beam.
The two fully coiled Nekhbet ropes are right there, before our very eyes, hidden under the feathers!
25.17 The metaphor of the vulture extending his very large wings onto the beam
The representation of Nekhbet in the tomb of Nefertari is extraordinary, because at some point the feathers of the vulture are replaced by vertical stripes in a vibrant bright orange color and that look like perfect representations of natural coiled ropes.
The vulture metaphor is particularly interesting, and it has probably been chosen because the two ropes were spread at both ends of the axle beam, like a vulture extending his very large wings onto the beam, and waiting for its prey.
The Hauling beetle was the start of the entire evaporative cooling process that occurred in the Great Pyramid of Giza.
25.18 Main ancient Egyptian gods involved in the glorification of the operating of the Great Pyramid of Egypt
The Hauling beetle was the start of the entire evaporative cooling process that occurred in the Great Pyramid: its power was transmitted to the impactor via the two Wadjet rope drives, towards the axle beam drive shaft, and finally to the impactor via the Isis impactor's Hauling rope.
Australian green tree frog climbing a tree: https://www.wikiwand.com/en/Australian_green_tree_frog
25.19 The sticky tongue of the frog as a metaphorical representation of a rope's hook
Pretty much in every new Section, I stumble upon a new metaphor that really gets to me, and becomes my new favorite one; but sincerely, what are the chances that we can find a metaphor cuter than this one!
Because, what I've called the "little sticky frog" is the cutest metaphor of all (so far!), and she is all about attaching and connecting things together. This is why the little frog is right between the Seshat's rope and the Shen ring.
This little frog appears here on the representation of Seshat, the goddess of Builders and Architecture. By extension Seshat is also the goddess of ropes: she is known for her "stretching the cord" ceremony (Section 23.18).
"As Lady of Builders, one of Seshat’s main functions is to lay out the boundaries for new buildings, especially temples, via the ceremony of “stretching the cord,” which was a method of using a cord or rope to measure out straight foundations for a building." https://isiopolis.com/2014/07/13/oh-yes-more-nephthys/
This image (a) and right side of previous image (d), courtesy of "Frogs use a viscoelastic tongue and non-Newtonian saliva to catch prey" by Alexis C. Noel, Hao-Yuan Guo, Mark Mandica and David L. Hu (School of Mechanical Engineering and School of Biology at the Georgia Institute of Technology, Atlanta; and the Atlanta Botanical Garden). Published by the Royal Society, J. R. Soc. Interface 14: 20160764: https://royalsocietypublishing.org/doi/pdf/10.1098/rsif.2016.0764
25.20 Both the sticky little frog and the Shen ring are representations of a rope attachment "tow hook"
Of course, the question is to understand the meaning of the little frog which is put onto the Shen ring. And in my opinion, both the little frog and the Shen ring have the exact same meaning; the only difference is that they are resulting in two different visions of the same thing, just like what I've already discussed in the Dendera Section: there is the "theoretical" point of view, and the "experimental" point of view.
If Seshat is by extension the goddess of ropes, what she is holding is a rope; and what is at the end of the rope is its connecting apparatus: it is the tow hook, and the Shen ring is the experimental vision of this tow hook; a solid ring that anyone can grab. It doesn't mean that the real tow apparatus looked close to the Shen ring, it is simply an easy metaphor.
The little frog, on the other hand, is a tricky metaphor of the same tow apparatus, because it is about its function, its theoretical vision: it is about the idea itself of attaching and connecting things together. The rope has simply been compared to the tongue of the frog, and to its sticky end.
The Shen ring and the sticky little frog are both representations of the tow hook of a rope.
Ancient Egyptian representation of a loose clamp : EG-ZM2426 (3.2 x 3.8 x 1.3 cm) and : EG-ZM2425 (locked clamp) (3.5 x 3.6 x 1.6 cm) from the Rijksmuseum van Oudheden in Leiden. Material : faience.
Forged coupling with mounting base from Hebei Ximai Machinery Equipment
25.21 Seshat and the modern forged coupling with mounting base: sticky little frog Heqet is the coupling handle
In this representation of Seshat, who is simply a particular aspect of goddess Nephthys, both the little frog and the Shen ring are a perfect copy of what is called today a forged coupling with mounting base. The coupling is actually designed into 2 parts, and the one which is so interesting is the locking handle: this is this very coupling handle that is representing the sticky little frog Heqet.
A ram headed bird representing the ba of Ra with Shen rings in his grasp. Photograph by Rama: https://en.wikipedia.org/wiki/Shen_ring#/media/File:Ram-headed_falcon_amulet-E_80-IMG_2503-with_reflection-gradient.jpg
25.22 Ra holding the Shen rings in a ram headed bird representation
There aren't many Egyptian gods associated with the Shen ring: Horus, Isis, Nephthys, Seshat (an aspect of Nephthys), Nekhbet… and Ra.
Ra was the wooden part of the impactor, it allowed the impactor to be operated, with most probably a pintle hook on the structure.
The only ancient Egyptian gods associated with the Shen ring are because they were the deifications of the Hauling process, that required ropes and tow hooks attachment equipments.
In this position, the impactor had been deified into Horus the child, Horus the infant or Horus the younger, ready to be released into the slope of the Grand Gallery. Of course, the impactor is not really visible like shown on the draw: the impactor, as well as the opening of the inclined well are completely hidden inside the fixed wooden caisson that is perfectly extending the inclined well into the Gallery.
25.23 Shen rings are tow hook representations
There were 3 Hauling ropes in the Grand Gallery of the Great Pyramid of Giza: the most important of all was the one actually hauling the Horus impactor (Horus = the Ra wooden cradle + the Osiris stone), but the Hauling gantry itself also had to be connected with the axle beam by 2 additional lateral ropes, one on each ramp of the Gallery.
Because these 3 ropes had to be disconnected at the end of each cycle (for the impactor's rope) or probably only at the end of each working day (for the 2 lateral ropes), there had to be specific connecting equipments that would have allow easy, secure and quick operating: there had to be tow hooks.
The Shen ring is the representation of these "tow hooks"
Military pintle hook (left) and lunette ring: https://en.wikipedia.org/wiki/Tow_hitch
25.24 The Pintle hook and Lunette ring set up hypothesis suggested by the Opening of the mouth ritual
This part is only to try visualizing what kind of towing equipment was installed inside the Grand Gallery: what the hauling ropes really looked like, what kind of attaching "heads" they got and what kind of tow hook, or tow hitch could have been used.
Because of the opening of the mouth ceremony, and for the very little I know about the "real life" towing subject, I would consider at first glance, the "pintle hook" as the most promising hypothesis.
Just like the opening of the mouth, the pintle hook has 2 jaws that need to be opened and separated from each other; and more importantly, this kind of apparatus is used today for heavy equipment towing, apparently mostly in the military.
If this hypothesis is genuine, the pintle hooks and their massive jaws could have been placed onto the massive equipments of the Gallery: the two half-Beetles and the impactor.
The three ropes' heads would have had a hard eye splice "lunette ring", and would have engaged in a locked position with the jaws of the pintle hooks.
One pintle hook would have been set onto the impactor, and two others onto the half-Hauling beetles.
The Hauling beetle would also have an additional lunette ring in the middle of the structure, and it would have been used to lock the impactor in its starting position at the top of the Gallery.
"A lunette ring is a type of trailer hitch that works in combination with a pintle hook on the tow vehicle. A pintle hook and lunette ring make a more secure coupling, desirable on rough terrain, compared to ball-type trailer hitches. It is commonly seen in towing applications in agriculture, industry, and the military." https://en.wikipedia.org/wiki/Tow_hitch
The operating diagram of the Great Pyramid of Egypt for evaporative cold production (the Great Pyramid is the ancient Egyptian Underworld).
25.25 The floor level of the Great Pyramid, delimiting Upper and Lower Pyramid/Egypt
Nekhbet is defining the "floor level" of the Great Pyramid: in other words: the top platform of the Grand Gallery and everything which was set on its level, is part of the Upper part of the Pyramid, and part of Upper Egypt.
The unification of Upper and Lower Egypt, is the glorification of these two parts of the pyramid, functioning together and combining their strengths; it is about the power of the drive shaft axle beam accumulating and giving back all its power to the impactor.
25.26 The Third Eye is about the Osiris stone, the third part of the Triad in which had been deified the impactor, but no one could have ever seen because hidden inside the wooden cradle
We've already seen in previous Section 24, that the Eyes of Horus were glorifying representations of the two half-Hauling beetles of the Grand Gallery, because the fixed caisson was hiding both the impactor and the entry of the inclined well.
Because Ra (the wooden part of the impactor) and Horus (the composite assembly of the wooden part with the Osiris stone) were both visible if you take the fixed caisson out of play, they both had Eyes named after them: the Eye of Horus and the Eye of Ra.
But because the Osiris stone was nested and hidden inside the wooden cradle (Ra), Osiris was not visible at all to anyone; and that is the origin of the Third Eye: an invisible Eye no one could ever seen, because it was hidden inside Horus' "head".
25.27 The pointing finger metaphor of the Third Eye marking
When Hindus are marking the Third Eye between the eyes with paint, they are actually pointing to the inside of the head, exactly like we are pointing a finger to our temple to signify that something is either good or bad inside our head.
The Third Eye is about the Osiris stone, nested inside the wooden impactor; it is about the Third ancient Egyptian god who was just like Ra and Horus, the deifying representation of the impactor of the Great Pyramid, but no one could have ever seen.
A Cambodian Shiva head showing a third eye: https://en.wikipedia.org/wiki/Third_eye#/media/File:Shiva_Musée_Guimet_22971.jpg
More on the Hindu mythology and the complete reinterpretation of the operating of the Great Pyramid of Egypt, in Section 19
25.28 The Eye of Horus and the Eye of Ra
Please read previous Section 24 for the explanation of the Eyes of Horus and the missing parts of Horus' face due to the presence of the fixed wooden caisson of the Grand Gallery.
25.29 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.
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If Osiris is the ancient Egyptian god of resurrection, the after-life, fertility and agriculture, it is all explained by the fact that Osiris was the deification of the "power source" of the Great Pyramid of Egypt. Osiris was the One who gave all his ramming power to the impactor: he is the One who created the evaporative cold by pressurizing water and he is the One who is using this water on the Paschedu relief to cool down what really looks like limestone kilns in operation.
The hypothesis that the evaporative cold was created for "industrial" cooling of a Solvay process, could be valid.
On the above relief from the tomb of Paschedu, Osiris doesn't just look like he is descending down a steep slope of a hill, he really is: Osiris is the deification of the granite stone that was inserted inside the impactor of the Great Pyramid of Egypt. And if his throne looks like it is put onto water, it is because his throne and himself (the wooden cradle and the granite stone) really are going into the water.
Relief in the tomb of Paschedu, Deir el-Medina, Egypt, Luxor West-Bank, photographed by kairoinfo4u: https://www.flickr.com/photos/manna4u/430887106/in/album-72157600016963557/
Section 24 • The Osiris' seed and Horus' opening of the mouth
In summary: the one thing I'm referring to the most in this study is probably the impactor of the Great Pyramid of Egypt, and even if in Section 23, we've seen that Sun god Ra "who got all his force and all his power from Osiris", was the deification of its wooden part, the cradle which was both the vessel and the float for the Osiris stone, I was still missing how the entire impactor unit, resulting of the assembly of these two components had been deified in. In this Section, we'll see that it was the "god of the Sky" Horus who have been the glorifying representation of what I've been calling the "impactor" for months now.
The operating of the impactor inside the Grand Gallery, its endless cycle of hauling and releasing into the steep slope, had been represented and glorified into numerous myths and symbols like the Eye of Horus. The hidden meaning of the Eyes of Horus, is not in the Eyes themselves: it is in the missing parts of the face. It is about the wooden fixed caisson that is hiding both the impactor and the mouth of the inclined well; it is about Horus being the impactor itself and about the two half-Hauling beetles being the Eyes of Horus, set on both sides of the impactor.
We'll see that the Eye of Horus also had an additional meaning and that it is about the reason of why ancient Egyptians have gone to so much trouble to create evaporative cold: the overheating of the Solvay manufacturing of the mummification salt natron.
We'll see that the composite impactor of the Great Pyramid, had been deified into two different gods: Horus the child (Horus the younger) and Horus the elder. Just like the twin sisters Isis and Nephthys, Horus the elder and Horus the child are representing the impactor in two different positions into its operating cycle: Horus the elder is the impactor released into the slope of the Gallery, when Horus the child, waiting to grow is representing the impactor in its locked position at the top of the Grand Gallery, just waiting to grow speed and energy.
Finally, we'll see that the famous opening of the mouth ceremony is referring to the mechanism which released the impactor into the steep slope of the Gallery, transforming Horus the child into fastest animal on earth falcon headed god of the sky Horus.
Any discrepancy with previous Section 16, also about Horus, should be disregarded in favor of this new Section.
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
24.01 Osiris and the seed metaphor
In previous Section 23, I've suggested that if Osiris was represented with a green color face, it was because the granite stone he was the deification of, was made of green granite. But this is most probably wrong, because Osiris doesn't just have a green color face: he is also the god of fertility and agriculture.
The green color can't be the explanation for this, but if we take a few steps back and 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.
24.02 The impactor of the Great Pyramid of Egypt, being hauled up by the Hauling beetle to the top of the Grand Gallery
Side view (adapted) of the impactor of the Great Pyramid of Egypt, being hauled up by the Hauling beetle, to the top of the Grand Gallery. Of course, the impactor is not really visible like shown on the draw: the impactor is hidden inside the fixed wooden caisson.
24.03 Osiris "Banebdjedet" merging with Ra and giving him all his force and power
Not only the germinating beds of Osiris is a perfect reinterpretation of the composite original design of the impactor, but the idea itself of Osiris merging with Ra, and giving to him all his force and power is already perfectly known, in one of Osiris' aspect: Banebdjedet (also "Banebdjed").
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 ("Ram god" section)
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." https://www.metmuseum.org/art/collection/search/553820
24.04 The reproduction of the impactor's cycle in and out of the well: keeping the grain moist, then left to dry
The germinating wooden beds of Osiris, or bricks of Osiris, are particularly interesting, because 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.
Osiris-Nepra (E. A Wallis Budge), with wheat growing from his body. From a bas-relief at Philae: https://en.wikipedia.org/wiki/Osiris
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
24.05 The cooling of the limestone kilns and the flails pointing backwards and downwards
Amazingly, these two above images are about the same thing: the water that is pushed ahead of the impactor and backwards in gigantic plumes. Even if the vast majority of the flail representations are very stylized, there are some "street-artist" versions in the open desert, and they are crystal clear: flails are about using water.
We've seen that the Apis bull (just like Horus) is the deification of the impactor, projecting waves of water in front of him and gigantic plumes of water backwards, because the impactor is moving into the fixed caisson where water is running into it (probably constantly).
As the glorification of the granite stone from which the impactor gained all his power and all his ramming force, Osiris is represented here doing the exact same thing. The flail pointing backwards and downwards is easy to understand, but the frontwards wave isn't.
The context here is the cooling of the kilns; there is no frontwards wave represented, but it is here, cooling down the kilns on the right.
24.06 The fundamental difference between Horus and the Apis bull
We'll see in the next paragraphs, that Horus and the Apis bull (as well as every single over bull deity, prior to the impactor of the Great Pyramid) are the exact same thing, with just one difference: just like the difference between Isis and Nephthys (both the deification of the impactor's Hauling rope) is about a very specific part of the operating cycle of the rope (active Hauling rope/disconnected rope), Apis is simply the Horus impactor (Ra + Osiris), but in action.
Horus is more like a still-life vision of the impactor, when the Apis bull is describing him at full speed, running for the inclined well waters.
The impactor of the Great Pyramid of Egypt, gaining speed and energy into the steep slope of the Grand Gallery. Of course, the impactor is not really visible like shown on the draw: the impactor is hidden inside the fixed wooden caisson. Isis and Nephthys are both representations of the impactor's Hauling rope. Nephthys was only the deification of the rope, inactive and disconnected with the impactor when this one was securely in a locked position at the top of the Grand Gallery. At this very particular point of the operating cycle, the impactor has been glorified into Horus the child, waiting to grow into an adult because waiting to grow speed and energy after its release. Nephthys cannot be associated with another form of Horus.
24.07 Horus Contendings with Seth
The key point to understand who really was Horus and which part of the glorification process he was involved in, is to understand who, or what was he really endlessly fighting in the Osiris' myth describing his Contendings with Seth.
We've already seen this exact same idea of endless fights between two deities: it was Ra fighting the Great Serpent Apep in the Underworld, on his Solar barque. And we've seen that it was the glorifying representation of the endless sequential pressurization of the inclined well waters by the impactor of the Great Pyramid.
So, what is Horus all about, if it isn't about pressurization of water? Well, Seth is the answer, and we'll see that he is all about the air: Seth is the (pressurized) air pushed by the impactor inside the fixed caisson.
Another way of saying that is that Horus (the impactor unit) was fighting Seth (the pressurized air).
24.08 The boat of Horus made of wood but painted to resemble and act like a stone
The following excerpt is the key point to understand both Horus and Seth. Because their fight can't be about the waters of the well (that is represented into the Ra and Apep myth), it can only be about the air that is slowing down the fall of the impactor inside the fixed caisson: "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."
The "boat made of wood" is the wooden cradle; and if Seth is all about the air, as we've already seen in the Seth's animal, it means that the boat made of wood but "painted to resemble to stone" is fighting the air: it is a wooden boat (a wooden cradle), but because it is painted to resemble stone, it also acts like a stone.
I had some trouble exactly figure this part out, because personally I would have described the design of the impactor: I would have say "it is a stone, painted to resemble wood". I didn't understand first that ancient Egyptians only focused here on the function. Most metaphors used to describe the operating of the Great Pyramid, are about the function, the role and not the design.
What ancient Egyptians did glorify is the fact that it was an impactor made of wood but acted ("painted") like it was made of stone.
"Throughout the day, Ra sailed across the sky in his barge and then descended down into the underworld at night […] 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)/
Seth and Shu draws by Jeff Dahl and the Seth animal Sha, after an original by E. A. Wallis Budgeat https://en.wikipedia.org/wiki/Set_(deity) and https://en.wikipedia.org/wiki/Shu_(Egyptian_god)
24.09 Seth and the Seth animal (Sha) are the deifications of some sort of air
"In art, Set is usually depicted as an enigmatic creature referred to by Egyptologists as the Set animal, a beast not identified with any known animal, although it could be seen as a resembling an aardvark, an African wild dog, a donkey, a hyena, a jackal, a pig, an antelope, a giraffe, an okapi, a saluki, or a fennec fox. The animal has a downward curving snout; long ears with squared-off ends; a thin, forked tail with sprouted fur tufts in an inverted arrow shape."
I really never thought I would be able to decipher Sha, the so enigmatic animal which represents Seth, but as soon as you think of the air, everything clarifies itself. If the Seth animal is depicted with gigantic nose and ears, as well as an inverted arrow shaped tail with fletchings, it is because of the air: the air that is passing through the nose, the air that is supporting the sounds, and the air that is supporting the flight of the arrow.
24.10 The names similarity between Seth, Sha and Shu
The Seth animal Sha, being the representation of the air, also explains the similarity of their names with the name of the god of dry and warm air Shu. More on Shu and Tefnut in Section 3
I also have to point out that egyptologists can't say the vowels when they are deciphering hieroglyphic texts. Seth, Sha and Shu looks already pretty similar, but their real original pronunciations were most probably even closer.
• Seth comes from the ancient Egyptian 'swth'. Seth on Wikipedia: /sɛt/; Egyptological: Sutekh - swtẖ ~ stẖ
• Sha, the Seth Animal: I've found no reference on his Egyptian name. I'm only questioning if it wouldn't be something like 'sh'.
• Shu comes from the ancient Egyptian 'sw'. Shu on Wikipedia: Shu (Egyptian šw)
Seth, "attacking" or "spearing" the Great Serpent Apep from the front of the Solar barque of Sun god Ra.
24.11 The inclined well is first hit by pressurized air: Seth, at the front of the impactor's Solar barque
On the above image, this is Seth, "attacking" or "spearing" the Great Serpent Apep from the front of the Solar barque of Sun god Ra. Because we know that the Solar barque and Ra are both glorifications of the impactor, it means that Seth, positioned at the front of the barque, and going in contact with the waters of the well (Apep = the waters), is actually representing the air that is pushed by the impactor during its fall.
It is pressurized air that is first "attacking" the Great Serpent Apep and the waters of the inclined well, and only just a moment before these same waters are pressurized themselves by the fall of the impactor ramming into them.
There are 2 sequences of pressurization occurring in the inclined well, and there are 2 pressurizes waves getting out of it towards the fog nozzle: first the pressurized air that allows a much more efficient evaporative process in the horizontal passage (more air in the same volume, means you can force more water in that volume: hence, you create more cold), and second the pressurized water transformed into microdroplets that are evaporating in pressurized air.
24.12 The great spear of Seth piercing Apep is about the Junction imprint "piercing" the well
We've already seen that Apep is a representation of the pressurized waters of the well due to the ramming of the impactor; but in the following excerpt, we have the description of the impact itself, with "the boat of Ra" (i.e. the wooden cradle) trapped in Apep's massive coils".
The ejection of the pressurized water is referred to as flooding waters, but more importantly there is also Seth "piercing the side of Apep with a great spear". In my opinion, this piercing is about the Junction imprint: the little hole without which nothing could have ever gotten out of the inclined well.
"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/
24.13 The pressurized air forced into the well is causing intense rumbling into the entire structure
Most certainly, the reference to Apep causing the Underworld to "rumble" during his fights with Sun god Ra (the wooden part of the impactor), is referring to the pressurized air of the fixed caisson, forced into the well before getting out of it through the Junction imprint. It would have looked and sound like boiling water.
"It was thought that his (Apep, also Apophis) terrifying roar would cause the underworld to rumble." https://en.wikipedia.org/wiki/Apep
Ancient Egyptian myth excerpts involving Horus, Ra, Seth, Osiris and Apep.
24.14 Not only Seth is all about Air, he is also a key metaphor regarding the operating of the impactor and the inclined well
The Osiris myth, one of the most popular myth in ancient Egypt, is the most important of all, because it is revealing it is Seth who was responsible for Osiris to lay down in a casket that fits his body perfectly, and for throwing Osiris into the Nile.
Of course, it is only a metaphor: what it really means is that Seth is some way involved in the operating of the "Osiris casket". In other words, Seth is directly referring to the operating of the impactor of the Great Pyramid, and the fact that at some point, it was simply thrown into water coming from the Nile.
"The story of Horus comes out of the Osiris Myth which was one of the most popular in ancient Egypt and gave rise to the Cult of Isis. This story begins shortly after the creation of the world when Osiris and Isis ruled over a paradise they created. When men and women were born from the tears of Atum (Ra) they were uncivilized and barbaric. Osiris taught them culture, religious observances to honor the gods, and the art of agriculture. The people were all equal at this time, men and women, owing to the gifts of Isis which were dispensed to all. Food was plentiful and there was no want or need unfulfilled.
Osiris' brother, Set, grew jealous of him and this envy turned to hatred when Set discovered that his wife, Nephthys, had transformed herself into the likeness of Isis and seduced Osiris. Set was not angry with Nephthys, however, but focused his revenge on his brother, "The Beautiful One", who had presented a temptation too strong for Nepthys to resist. Set tricked Osiris into laying down in a casket he had made to his brother's exact specifications and, once Osiris was inside, Set slammed the lid on and threw the box into the Nile.
The casket floated down the river to eventually lodge in a tamarisk tree by the shores of Byblos where the king and queen admired its beauty and sweet scent and had it cut down for a pillar in their court." https://www.worldhistory.org/Horus/
24.15 The impactor of the Great Pyramid of Egypt, being hauled up by the Hauling beetle to the top of the Grand Gallery
Top view (adapted) of the impactor of the Great Pyramid of Egypt, being hauled up by the Hauling beetle, to the top of the Grand Gallery. Of course, the impactor is not really visible like shown on the draw: the impactor is hidden inside the fixed wooden caisson.
The representations of the Eye of Horus and the Eye of Ra: https://commons.wikimedia.org/wiki/File:Eye_of_Ra.svg
24.16 The fixed caisson of the Grand Gallery is the one hiding the missing parts of Horus' face: only the Eyes are visible
The "Eye of Horus" is known by everybody, but there are actually two eyes mentioned: there is the left eye and the right eye. Nothing fancy, just regular eyes. The problem is that what we know for sure about ancient Egyptians is that they were very thorough with the way they were building things or creating masterpieces of art.
So, if they were drawing eyes everywhere, and only the eyes of the face, it is only because the other parts of the face are hidden. What I mean is that just like the hidden meaning of the hieroglyphic signs, or the real hidden meaning behind their obsession for the Heart (a metaphor of the functioning of the inclined well), the representations of the Eyes of Horus are incomplete: you need the key to "see" the entire picture; and the key in that matter is the fixed wooden caisson of the Grand Gallery.
Because of the caisson which is imperative to use the air moved by the fall of the impactor, both the impactor and the opening of the inclined well were hidden.
And because we are talking about the Eyes of Horus, the missing parts of the face are about Horus' face.
The hidden impactor, in the middle of the face is Horus himself.
"Egyptians believed that the "Eye of Horus" and the "Eye of Ra" traversed the sky when he, Horus as a falcon, flew across it." https://en.wikipedia.org/wiki/Horus
Here, the metaphor is about the Hauling beetles, descending the Grand Gallery of the Pyramid, when at the same time, the impactor was hauled up; and most of all, it is about the fall of the impactor itself, Horus who like a falcon, flew across the left and right Eyes (the eastern and western half-Hauling Beetles).
The impactor of the Great Pyramid, ready to be released into the slope of the Grand Gallery. Of course, the impactor is not really visible like shown on the draw: the impactor is hidden inside the fixed wooden caisson. More on Isis (the active impactor's Hauling rope) and Nephthys (the inactive and disconnected impactor's Hauling rope), in previous Section 23
24.17 Nephthys also serves as the nursemaid and watchful guardian of Horus the child (Horus the younger)
I was wondering why ancient Egyptians had to create Nephthys, the deification of the Hauling rope of the impactor, completely coiled around the axle beam, and disconnected with the impactor, and Horus the child is maybe the answer. Because when the impactor was in its starting locked position at the top of the Gallery, it was Nephthys who was just next to him; hence the following excerpt: "It is Nephthys who assists Isis in gathering and mourning the dismembered portions of the body of Osiris after his murder by the envious Set. Nephthys also serves as the nursemaid and watchful guardian of the infant Horus." https://en.wikipedia.org/wiki/Nephthys
Figure of Horus the child at the Saint Louis Art Museum: https://www.slam.org/collection/objects/27044/
and at the Walters Art Museum: https://art.thewalters.org/detail/22710/horus-the-child-4/
24.18 The sidelock of Horus is a real sidelock mechanism made for the release of the impactor
Egyptologists called "sidelock" what is represented on the head of Horus the child, because of its resemblance with the sidelock mechanism used in firearms. The thing is that this time, they were right: it really is the representation of the mechanism that triggered the release of the impactor. Horus the child is the impactor, locked on top of the Gallery, waiting to grow speed and energy.
If you look closely to the above figure of Horus the child, you'll see that their interpretation of the sidelock, as being hair, isn't very satisfying: the "hair" sidelock really doesn't look like it is coming from the real hair of Horus, which is hidden under his head covering. There is also a strange circular area onto the sidelocks (red arrows) that are almost present on every single figure I've been looking at; maybe it is kind of a button of some sort.
I was wondering where the mechanism that was triggered to release the impactor would have been set on the top platform of the gallery; but looking at the draw I've made, I'm wondering if the sidelock couldn't have been positioned right onto the Hauling beetle itself.
Figure of Horus the child, at the Metropolitan Museum of Art, New-York: https://www.metmuseum.org/art/collection/search/570699
A flintlock mechanism, (French lock design), very similar to a sidelock, by Engineer comp geek: https://simple.wikipedia.org/wiki/Flintlock
24.19 Horus the child is the impactor in its locked position at the top of the Gallery, waiting to be released and grow speed and energy
We've seen that Horus was the deification of the impactor unit, but the explanation of Horus the child is another piece of work: Horus the child is about the initial position of the impactor, just before its release.
The whole point of the impactor is to gain speed and energy in the slope of the Grand Gallery, but if you want to represent it in its starting position, before the release, you can't use Horus as we know it, because he is all about speed and energy. There is no Horus yet, but you can use another metaphor: Horus as child, because in this child is present all his future energy, just waiting to be released. Horus the child is about the energy potentially residing in himself.
Horus the child is the impactor, locked in its starting position and ready to be released.
The Tomb of Menna, Theban Tomb TT69 in Sheikh Abd el-Qurna, part of the Theban Necropolis on the west bank of the Nile, Luxor. Menna was Scribe of the Fields of the Lord of the Two Lands in the 18th dynasty. Photographed by kairoinfo4u: https://www.flickr.com/photos/manna4u/14001055450/in/photostream/
24.20 The opening of the mouth is about the mechanism which triggered the release of the impactor
When I started to look attentively at the sidelock on Horus' head, I first thought "weird, it looks like a fish is stuck on his head"; and the little " button" which appears on the upper part of the sidelock kind of looks like an eye, the eye of the fish. Then I let it go for a while, but I started to realize that if Horus the child was pointing his mouth with a finger, what if this was related to the "opening of the mouth"?
Horus' mouth is closed, and he's pointing to it like he was saying "see, my mouth is closed, completely close, I'm a good kid". But we also know what he is also representing: the impactor locked in its starting position before its release.
It should mean that all of the above is connected: the sidelock, the mouth, the impactor's locked position, and the opening of the mouth.
I think the opening of the mouth is describing the release of the impactor. Probably the sidelock end had a small weight that triggered the opening of some kind of jaw: the opening of the mouth. In the above image of the tomb of Menna, the Peseshkaf does look like it is forming a jaw with the "beard" .
24.21 The opening of the mouth actually is really supposed to "split, divide or separate" (two) things from each others
What is really interesting is that just after this thought, I saw the following excerpt about the opening of the mouth, where it clearly states that this ritual is about separating things, and not really opening the mouth of anybody; it is even mentioning separating two things from each others: " Translating literally as "opening of the mouth," the Egyptian terms for the ritual are wpt-r and um-r. According to Ann Macy Roth, the verb wpi connotes an opening that splits, divides or separates: "it can be used, for example, to describe the separation of two combatants, the dividing of time, or even an analysis or determination of the truth."
https://en.wikipedia.org/wiki/Opening_of_the_mouth_ceremony
24.22 The "awaken" reference to mimick the "inactive" impactor, waiting to be released
"During the funeral, the procession would make its way to the tomb. At the entrance to the tomb the Sem Priest would fall into a trance, and then be symbolically woken by the other priests. The sem Priest would announce; “I have seen my father in all his forms” and the other priests would respond by calling on the Sem Priest to take the place of Horus and protect his father Osiris (the deceased). […] At this point the statues of the deceased would also be awoken so that they could receive offerings for the deceased. Then the lector priest would bring the foreleg of the sacrificed calf (which was similar in shape to the adze used in the ritual) to the mummy." https://ancientegyptonline.co.uk/openingofthemouth/
24.23 The Peseshkaf is shaped like the tail of a fish
And back to our fish, about the instrument used for the opening of the mouth: "Peseshkaf is an instrument used for this ritual, psš (“an instrument for Opening of the mouth”) + k?f (“obsidian”). This instrument was made of stone and shaped like the tail of a fish." https://en.wikipedia.org/wiki/Opening_of_the_mouth_ceremony
On load mechanism: http://ajishnavigator.blogspot.com/2011/06/on-load-off-load-release-mechanism-of.html
Free Fall lifeboat release: https://www.marineinsight.com/maritime-law/types-of-lifeboat-release-mechanisms-solas-requirements-for-lifeboats/
24.24 The Quick Release system of the impactor vs. the Free Fall life boat release
The impactor of the Great Pyramid had to be released from the top of the Grand Gallery, using some kind of Quick Release mechanism. Maybe what is done today with the Free Fall life boat release systems, can point towards the original ancient Egyptian solution.
I'm thinking that part of the mechanism was set onto the Hauling beetle, while the other part was set onto the impactor itself. Most probably the impactor already had a ring, so that it could have been hauled out of the well with a crook before the Isis Hauling rope could have been connected with it, and start the hauling process.
It would mean that the part that was set onto the Hauling beetle would have been a second crook, and this is this crook that would have been needed to unhook with the ring of the impactor for its release.
24.25 The Great Pyramid of Egypt in operation for evaporative cold production
The operating diagram of the Great Pyramid of Egypt. Last updated 2022, September 21.
The Egyptian "worshiping posture" with the characteristic hand gesture is about pushing the Osiris stone, down the slope of the Gallery.
24.26 The characteristic Egyptian "worshiping" posture is about pushing and putting the Osiris stone in motion
What is incredible about the relief in the tomb of Paschedu, at Deir el-Medina, is that it allows us to understand this so particular gesture that ancient Egyptians are showing in their characteristic worshiping posture: if they have their hands just like we would do if we want to push something, it is because they really are pushing something themselves!
Here it is shown that they are pushing the Osiris stone.
We've seen that it is this stone which has been deified into Osiris, and because we also know that "Osiris as Ram-headed Banebdjedet is "the One who is giving Life, Power and Force to Ra", we can assume that the "pushing the Osiris stone" gesture is an attempt to "participate" in some ways into the travel of Ra in his Solar barque; an attempt to keep the impactor moving and creating the evaporative cold.
24.27 Diagram of the gods involved into the operating of the Great Pyramid of Egypt for evaporative cold production
Each and every one of these gods are deifications of either theoretical knowledge or experimental achievements that occurred in the Great Pyramid.
A river baptism in North Carolina at the turn of the 20th century. Full-immersion (submersion) baptism continues to be a common practice in many African-American Christian congregations today. https://en.wikipedia.org/wiki/Baptism#/media/File:River_baptism_in_New_Bern.jpg
24.28 It is possible that [Ra, Osiris and Horus] are the origin of the Christian Trinity and Baptism into water
I'm sure many will find very close similarities between what was realized inside the Grand Gallery, and some religious beliefs, like resurrection of the Christ and the Baptism ritual.
Because, one way of summarizing what we know of the operating of the impactor of the Great Pyramid, in just a few words, is that the three gods who were the glorification of the impactor: Ra, Osiris and Horus, were all together, the three of them constantly immersed into the waters of the well; and every time they would rise again from these waters and reborn again, until the next cycle begins.
These three ancient Egyptian gods, immersing themselves before being reborn, sounds very similar with the Christian Baptism ritual and the doctrine of the Trinity: "the three consubstantial gods".
"Baptism […] is a form of ritual purification—a characteristic of many religions throughout time and geography. In Christianity, it is a Christian sacrament of admission and adoption, almost invariably with the use of water. It may be performed by sprinkling or pouring water on the head, or by immersing in water either partially or completely, traditionally three times, once for each person of the Trinity." https://en.wikipedia.org/wiki/Baptism
"The Christian doctrine of the Trinity […] defines one God existing in three coequal, coeternal, consubstantial divine persons…" https://en.wikipedia.org/wiki/Trinity
Femmes en Haïk and Haïk porté par des femmes à Alger by Mus52: https://fr.wikipedia.org/wiki/Ha%C3%AFk_(v%C3%AAtement)
24.29 It is possible that the Haïk is originating in the Eyes of Horus (highly hypothetical)
Finally, this idea of hiding completely one's face and showing only the eyes, is reminding me of the Haïk, the traditional women's garment that is worn in the Maghreb region and that only let the eyes of the women visible.
Is it possible that the Eyes of Horus would be the origin of the Haïk? If it is, it would mean that the Haïk would be originating in the attempt to reproduce the missing parts of Horus' face, so that only the eyes are visible.
24.30 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.
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If Sun god Ra was described as the creator of everything in ancient Egyptian religion, it is only because Ra was the metaphoric representation of the piece of equipment that gave life to the Great Pyramid of Egypt: Sun god Ra is the wooden impactor of the inclined well of the pyramid. But because the impactor's weight would be too light if it was only made of wood, a granite stone, that had been glorified into Osiris, was inserted into this wooden float.
These 2 images only seem about Osiris alone, but they are both about Osiris (the stone of the impactor) and Ra (the impactor itself). On the left : Osiris is represented in his "awakening" position which is actually his "high-speed skeleton" position, and Ra is the "sledge". On the right : Osiris is represented in a "dead" position which is actually his "hauled" position; and Ra (the impactor) is right underneath him, in a light-brown color coffin. This light-brown coffin is the impactor, it is a representation of Ra in its original wooden coffin shape.
Also, the "Bed" on which is resting Osiris, is not a real bed : it is the representation of the Hauling Beetle, "floating" over the impactor.
Le réveil d'Osiris (the Awakening of Osiris) at the Exposition Osiris, Institut du Monde Arabe, by Jean-Pierre Dalbéra
'Osiris on his Funeral Bed', Egyptian Museum, Cairo (JE32090); Photo: Christoph Gerigk © Franck Goddio / Hilti Foundation. Saint Louis Art Museum: https://www.slam.org/audio/sunken-cities/
The Pyramids of the Cold Section 23 • The complete operating of the Sun god Ra impactor of the Great Pyramid of Egypt
In summary : the ancient Egyptian myth about Sun god Ra on his barque, endlessly sailing through the Underworld, day after day and fighting the Great Serpent Apep every single night without ever killing him, is nothing less than a metaphorical description of the endless cycle of operating of the impactor of the Great Pyramid of Egypt. During its entire operating period, the impactor was relentlessly ramming into the inclined well waters, to produce pressurized water and evaporative cold production through a fog nozzle.
In the Osiris myth, the trick for its understanding is that there is no Ra sailing on a barque. Ra is the barque. Ra is the impactor of the Great Pyramid.
To be more specific, and because we know that Ra was supposed to "merge" with Osiris in the Underworld, and that it was Osiris who would give to Ra all his force and all his power, Ra is the representation of the wooden coffin of the impactor, and Osiris the representation of the granite stone that was lodged inside that coffin. The Osiris stone was the weight, the ballast stone in which the impactor Ra gained all his power.
If Isis is described as the One who is saving Osiris in the Osiris myth, it is because Isis is representing the Hauling rope of the impactor: she is getting Osiris out of the waters of the well. And if Isis' twin sister Nephthys is described as "below the earth and invisible" when Isis is "above the earth and manifest", it is because Nephthys is that exact same rope, but completely coiled around the axle beam. Isis and Nephthys aren't twin sisters: they are the same thing; they are simply representing the same rope at two different times in its operating cycle.
Isis is the active Hauling rope and Nephthys is the inactive rope fully resting around its axle beam and disconnected with the impactor.
23.01 Sun god Ra isn't about the Sun : he is all about water
The first thing you learn about ancient Egyptians is that they worshiped the sun, and that Ra was the glorification of this sun. Egyptologists are very clear, everything is about the sun, hence Sun god Ra.
What I've discovered is that not only ancient Egyptians didn't care at all about the sun, but that pretty much their entire religion is actually about water; not just plain water, but the water from the Nile which powered up the Great Pyramid.
Ancient Egyptians used the (softened) water from the Nile (Section 18 about the sarcophagus) as a lubricant for the Hauling Beetle and the impactor in the Grand Gallery and as the inclined well waters that got pressurized and created evaporative cold in the horizontal passage.
Ancient Egyptians even described the water cycle between liquid water and evaporated water with the Geb and Nut deities. Everything or almost everything in ancient Egyptian 'religion' is directly or indirectly referring to water.
Ra isn't about the Sun: Ra is (indirectly) about water; Ra is the glorification of the impactor of the inclined well of the Great Pyramid of Giza.
House altar: Akhenaten, Nefertiti and three of their daughters under the Radiant Aton. State Museums in Berlin, Egyptian Museum and Papyrus Collection / Margarete Büsing: https://recherche.smb.museum/detail/607132
23.02 The Heat of Sun god Ra is the reason why ancient Egyptians would have worshipped the Sun
This idea that ancient Egyptians only referred to the sun because of the Heat it is generating is actually well known : "The Eye of Ra also represents the destructive aspect of Ra's power: the heat of the sun" https://en.wikipedia.org/wiki/Eye_of_Ra
The Heat of the Sun, is also what the Akhenaten and Aten scene is all about : the light beams are about Heat, not light.
23.03 The Sun metaphor and the operating cycle of the impactor in and out of the well
I've always wondered why egyptologists were so eager to talk about the sun, and if ancient Egyptian themselves really talked about it or if it was another incorrect interpretation from the early 1800's.
We've seen in the 'Weighing of the Heart' Section 20, that ancient Egyptians couldn't stop talking about the Heart, but only because it was referring to the Heart of the Great Pyramid, the masterpiece of engineering that was the inclined well. The Heart was nothing but another metaphor.
So maybe it is the exact same thing with the Sun : the Sun would be just another metaphor.
23.04 The evaporative cold Ankh symbol is given by Akhenaten to Aten, through the nose : it is about cold air
Actually we've already seen in the Akhenaten Section 17, that the Sun actually really had been one on these metaphors : the Sun is simply representing the Heat. If at the end of every single ray of light there is a hand, it is because it is not about light in the first place : the hands are for touching, and you don't 'feel' the light on your body, but you do feel the warmth of the Sun of your body.
The Aten is just a metaphoric representation of the Heat, and what Akhenaten is giving to the Aten Sun is the Ankh symbol : the symbol for the evaporative cold. Because the evaporative cold is nothing but cold air, Akhenaten is giving the Ankh symbol of the cold, through the nose. The nose is made for the air.
But this is a metaphor from the 18th Dynasty, and from a King who apparently didn't want to worship every single god from the past; Akhenaten wanted to be remembered as the one who created the cold : he wanted to replace the ancient gods so to speak.
So, if ancient Egyptians really were worshipping some kind of Sun god, and in some ways the endless day and night cycles, it could simply come from the endless operating cycle of the impactor.
When the impactor was inside the inclined well waters, ancient Egyptians described it like it was Night; and when the impactor was back in the Grand Gallery, it was Day again.
The retrieving of the floating impactor from the waters of the well would have marked the beginning of a new day in the voyage in the afterlife of the deceased; and the entering in the waters would have marked dusk, the beginning of the night in the afterlife.
"As this deity, Ra confers with Osiris on the deepest of levels, perhaps confirming which souls have been rightly justified before transporting them, and then traveling on through the underworld darkness toward the dawn of paradise. As the barge rolls through the underworld, it is attacked by the serpent Apophis who tries to kill Ra and prevent the sunrise. The gods onboard fight the serpent off with the help of the justified dead while, on earth, the living encourage the defenders through ritual ceremonies, channeling positive energies to strengthen those on board. Every night Apophis attacks, and every night he is defeated. Ra and his crew sail on toward dawn, the justified dead are delivered to their destination, and the sunrise was then seen as the sign that Ra was again victorious, and the Egyptians would see another day."
https://www.worldhistory.org/Ra_%28Egyptian_God%29/
23.05 The scientific metaphoric representations of the ancient Egyptian gods
Every single ancient Egyptian god is only a metaphor, and they all are about a particular aspect of the scientific research program they've started probably with the very first Dynasty. Most of these gods are directly referring to how was created evaporative cold in the horizontal passage and how was this process based on.
For example, gods like Shu, Geb and Tefnut are a perfect representation of the evaporation of water from liquid water, and the fact that this evaporative process was supported by Shu, the god of dry and warm air.
23.06 The impactor ramming into the inclined well waters (Nun) to produce pressurized water (Apep)
I've already talked about the distinction that has to be made between the waters of the well before the pressurization and the pressurized waters strictly speaking.
The 'plain still' waters had been glorified into what have been called the primordial waters of Nun, while the pressurized waters had been represented into the Great Serpent Apep (also Apophis).
This passage talks about how Atum created everything in human form out of the chaos: "At the beginning of time, when there was nothing but chaos, the sun-god existed alone in the watery mass of Nun which filled the universe. "I am Atum when he was alone in Nun, I am Ra when he dawned, when he began to rule that which he had made."
Once the well is pressurized, a small amount of that water is ejected into the horizontal cooling passage, and that is Atum : about 200 liters of pressurized water which every 15 minutes or so passes through the fog nozzle to create a fog of microdroplets of liquid water. This very particular form of water had been glorified into goddess Tefnut (Tef, or 'tf', meaning to spit, Section 5).
"He (Ra) created Shu, god of air, and the goddess of moisture, Tefnut."
The above excerpt is by the way, another confirmation that the purpose of the impactor was not limited to produce pressurized water, just like the "awakening" Osiris figure already have suggested it (previous Section 21).
If Ra is the one creating Shu, the god of dry and warm air, it is because the fall of the impactor is taking place inside a fixed wooden caisson that was perfectly extending the inclined well, probably to the top of the Grand Gallery. https://en.wikipedia.org/wiki/Ra
23.07 The Primeval Hill on which Ra is creating Shu and Tefnut is the Grand Gallery
"On a Primeval hill, Ra created out of himself the first gods, Shu (Dryness and Air), and his partner Tefnut (Humidity), who would engender other gods to complete the Cosmos: Geb the Earth god and Nut the Sky goddess. " https://www.arce.org/resource/ra-creator-god-ancient-egypt
Everyone would have most probably recognized in the "Primeval Hill", the steep slope of the Grand Gallery, precisely where the impactor Ra was operated. More on Nut and Tefnut in Section 3
23.08 Ra as Atum and the Creation process out of Water
Also from Arce : "Before creation, according to Egyptian mythology, only Darkness embraced the Primeval Ocean out of which life would come. When the breath of life was strong and ready, the entity called Atum decided it was time for Creation to begin. An island emerged from the water to support this divinity, who manifested itself in the form of Ra, the sun god of Egypt."
This particular phrase "When the breath of life was strong and ready, the entity called Atum decided it was time for Creation to begin" could be another confirmation that before the well was pressurized, the fall of the impactor first pushed air in front of him. The fixed wooden caisson in which was moving the impactor would have function exactly like a bicycle pump and would have pressurized the evaporative cooling passage with the air of the caisson, before the pressurization of the inclined well waters.
Atum, originating from the well and being the one metaphorical god just before creation could happen, is the "small amount of pressurized water", maybe about 200 liters, that were ejected from the well every 15 minutes or so, towards the fog nozzle.
"Ra was believed to have created all forms of life by calling them into existence by uttering their secret names. In some accounts humans were created from Ra's tears and sweat."
"According to one myth the first portion of Earth came into being when the sun god summoned it out of the watery mass of Nun."
"Ra was thought to travel on the Atet, two solar barques called the Mandjet (the Boat of Millions of Years) or morning-boat and the Mesektet or evening-boat. These boats took him on his journey through the sky and the Duat – twelve hours of night which is also the literal underworld of Egypt. While Ra was on the Mesektet, he was in his ram-headed form." https://en.wikipedia.org/wiki/Ra
There are genuine links between all ancient Egyptian gods, but they are not about family lineage. Nobody is the grandmother or the mother or the sister of anybody : every single god from ancient Egypt is a metaphor, and nothing else. Most of them were either 'born' with the Great Pyramid (like Taweret and Bes who were referring to the draining of the well, an event which most probably didn't happened before, except in necessary trials), or the pyramid just 'revealed' them, because the Great Pyramid was the outcome of 80 years of technological research (like the gods who are referring to the operating of the Hauling beetle or the impactor which already had to be used before the Great Pyramid in other locations).
23.09 The imbroglio of gods relationships vs. their truly genuine meaning
It will be probably impossible to determine who, between ancient Egyptians themselves of egyptologists from the 19th century, are responsible for the extreme imbroglio regarding all these gods.
But when Nut is described as both Ra's grandmother and mother, and as the goddess of the sky and the stars when her emblem and everything else about her is about water, then it is probably a good indicator that the academic understanding of Nut, as a good example out of many, might be a little off course.
"According to the Pyramid Texts, Ra (as Atum) emerged from the waters of Nun as a benben stone (an obelisk-like pillar). He then spat forth Shu (air) and Tefnut (moisture), and Tefnut in turn gave birth to Geb (earth) and Nut (sky). Ra tried to separate Geb and Nut by placing Shu between them and decreed that Nut could not give birth on any day of the calendar. […]It was thought that Ra “died” or was swallowed by Nut every evening as the sun dipped below the horizon. He travelled through the world of the dead by night and was then reborn in the morning (making Nut both his granddaughter and his mother). At sunset he was linked to Horakhty (Horus on the Horizon) and Atum, and at dawn he was linked to the scarab beetle, Khepri (“the Emerging One”) and Nefertum." https://ancientegyptonline.co.uk/ra/
"Atum-Ra (or Ra-Atum) was another composite deity formed from two completely separate deities; however, Ra shared more similarities with Atum than with Amun. Atum was more closely linked with the sun, and was also a creator god of the Ennead. Both Ra and Atum were regarded as the father of the deities and pharaohs and were widely worshiped. In older myths, Atum was the creator of Tefnut and Shu, and he was born from the ocean Nun." https://en.wikipedia.org/wiki/Ra
The metaphorical use of the Great Serpent of the Underworld Apep, as a representation of the inclined well pressurized waters, being contained by the girdle stones of the inclined well.
23.10 The snake metaphor for the water used to power up the Great Pyramid
The idea that ancient Egyptians worshiped the Nile river because it fertilized the banks of the river is wrong : they worshiped the Nile because they used its water to power up the Great Pyramid, and every single other site dedicated to science before that.
Even today, almost every significant industrial site is located either next to a major river or directly along sea shore; and the funny thing is that most of the time, the water is used for industrial cooling.
Ancient Egyptians did the exact same thing, and they did it way long before the state of the art Great Pyramid. We know it for sure, because maybe the first metaphor used by Egyptians was the snake metaphor : every single snake representations (in the scientific "religious" context) are about the water from the Nile, and it had been used for a very long time : "The oldest deity known in Egypt was Wadjet, the Egyptian cobra, whose cult never was eclipsed in Ancient Egyptian religion." https://religion.fandom.com/wiki/Isis
Relief from KV 17, the tomb of Sety I. Photograph thanks to kairoinfo4u and posted on flickr
23.11 The Great Serpent Apep is a metaphor of the pressurized waters of the inclined well
The Great Serpent Apep is one of these snake metaphors representing the water from the Nile, and it is about the pressurized waters of the inclined well, being contained by the well: the "restraining of Apep" is the containment of the pressurized waters of the well by the upper girdle gtones.
More on Apep and the Water metaphor in Section 5
In the following excerpt, Ra is linked with Atum and Nut. To understand the real link between them, please look back at the diagram in paragraph 23.08
"Apophis, the god of chaos (isfet), was an enormous serpent who attempted to stop the sun-boat's journey every night by consuming it or by stopping it in its tracks with a hypnotic stare. During the evening, the Egyptians believed that Ra set as Atum or in the form of a ram. The night boat would carry him through the underworld and back towards the east in preparation for his rebirth. These myths of Ra represented the sun rising as the rebirth of the sun by the sky-goddess Nut."
"Apep, also called Apophis, was the god of chaos and Ra's arch-enemy. He was said to lie just below the horizon line, trying to devour Ra as Ra traveled through the underworld." https://en.wikipedia.org/wiki/Ra
Sun god Ra on his Solar barque with Set fighting Apep, the Great Serpent of the Underworld: https://www.mygodpictures.com/apep-and-seth-imageapep-and-seth-image/
Original image of the draw: "Représentation de la barque solaire de Rê tirée par des chacals et des serpent. L'embarcation est attaquée par le serpent Apophis mais ce dernier est transpercé par Seth". Papyrus funéraire de Hérouben. Soutekh67 on Wikipedia: https://fr.wikipedia.org/wiki/Fichier:Barque_solaire_contre_Apopi.jpg
23.12 The Osiris myth is about the "killing" of the Great Serpent Apep: it is about the power over water
We've seen that snakes were only representations of the water used to power up the Great Pyramid, so when Ra and the Great Serpent Apep are fighting against each other in the Underworld, it means that Ra is actually "fighting" with water in the pyramid. The whole Osiris myth is actually based on the operating of the Great Pyramid and the endless cycle of Hauling the Beetle gantry to the top of the Grand Gallery and it release into the steep slope to pressurize the inclined well waters.
23.13 Ra and Osiris had to merge together in the Underworld to accomplish their task
I was talking about the impactor, over and over again for about a year and a half now, and it was right under my nose since the very beginning : just like I've missed Osiris, I've also missed Ra. Of course, I've already understood that Ra's barque, the Solar boat, was the glorification of the impactor (Section 11, 'The Hauling Cavern of the Underworld') but I couldn't figure out what exactly was Ra representing; it could have been anything, but I think I got confused by the academic vision of Ra, and particularly about his Solar barque; because there is not such a thing as Ra's Solar barque. Ra is the barque; Ra is the vessel that is carrying the Osiris stone through the Underworld. Ra is the impactor of the Great Pyramid.
One thing we know about Ra, is that "When Ra was in the underworld, he merged with Osiris..." and because we already know that the Underworld is the internal layout of the Great Pyramid and that Osiris is the granite stone that was inside the impactor, it means that Ra is the wooden impactor itself.
"Throughout the day, Ra sailed across the sky in his barge and then descended down into the underworld at night. The sun barge now transformed into the evening barge known as the Ship of a Million Souls which picked up the newly arrived and justified dead to bring them to the paradise of the Field of Reeds. 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."
"As this deity, Ra confers with Osiris on the deepest of levels, perhaps confirming which souls have been rightly justified before transporting them, and then traveling on through the underworld darkness toward the dawn of paradise. As the barge rolls through the underworld, it is attacked by the serpent Apophis who tries to kill Ra and prevent the sunrise. The gods onboard fight the serpent off with the help of the justified dead while, on earth, the living encourage the defenders through ritual ceremonies, channeling positive energies to strengthen those on board. Every night Apophis attacks, and every night he is defeated. Ra and his crew sail on toward dawn, the justified dead are delivered to their destination, and the sunrise was then seen as the sign that Ra was again victorious, and the Egyptians would see another day." https://www.worldhistory.org/Ra_(Egyptian_God)/
Sun god Ra and Osiris are both glorifying representations of the two parts that constituted the impactor of the Great Pyramid of Egypt.
23.14 Ra is the impactor vessel for the Osiris granite stone
We've seen that in the ancient Egyptian religion, everything is nothing but metaphors and the Underworld isn't different; it is absolutely not just a metaphysical idea : the Underworld is very real, it is the glorification of the internal layout of the Great Pyramid. The King's chamber, the Grand Gallery, the inclined well, the evaporative cooling passage and the Queen's chamber, they all together constitute the ancient Egyptian Underworld.
One particular phrase from the last excerpt is exceptional, and is explaining the role of both deities in the single deity Ra-Osiris: "Ra at this times 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."
This phrase can be easily understood simply by replacing the term "soul" by "vessel". Ra is the vessel for the "corpse" of Osiris. Translated, it means that Osiris is the one who has to be moved, by using the Ra "vessel".
Ra is the wooden "vessel" impactor for the Osiris granite stone.
Exceptional 3D Model of the "Osiris Death Bed" from Abydos, courtesy of danderson4 on Sketchfab.
"The god Osiris lying on his death and resurrection bed. Discovered by Amélineau in the late 19th century in the tomb of First Dynasty Pharaoh Djer in the royal cemetery at Abydos known as Umm el-Qa’ab. This tomb while originally dated to the First Dynasty, later becomes attributed as the tomb of Osiris. It has been suggested that the sculpture was added to the tomb in the late Middle Kingdom / Second Intermediate Period.
The artifact is of black basalt and represents the god Osiris mummified and wearing the White Crown of Upper Egypt, lying upon a lion headed bed. At the head and feet Osiris is protected by four falcons representing his son Horus and perched above him is the goddess Isis depicted as a Kite.
Photographed when the artifact was in the exhibit “Egypt’s Sunken Cities” at the Minneapolis Institute of Art, November 10, 2018." https://sketchfab.com/3d-models/osiris-death-bed-from-abydos-cdeee4ba154e420b8221dcc56752ae3d
23.15 The Death Bed of Osiris and the eight front finger paws
Because the "Bed of Osiris" is actually a representation of the Hauling beetle of the Great Pyramid, and because this wooden gantry was the assembly of two "half-beetles", one on the eastern ramp and the other on the western ramp, the front paws of the Bed are doubled: the left paw of the Lion have eight fingers and the right paw have eight fingers as well. There are even separating lines on the legs.
Remarkably, these eight finger paws are beautifully echoing the eight crewmembers of the Beetle.
Male Lion Paw, by Jonathan Griffiths: https://www.flickr.com/photos/37047946@N07/3469978681/
Isis, left, and Nephthys stand by as Anubis embalms the deceased, in the Theban Tomb 335 (Nakhtamun), thirteenth century BCE. By ShillukinUSA: https://en.wikipedia.org/wiki/Isis#/media/File:ThebanTomb335.png
23.16 Isis and Nephthys are the Ones saving both Ra and Osiris from the Great Serpent Apep
We've already seen that the Sokar deity was representing the latch bolts of the Grand Gallery that enabled the sequential hauling of the impactor, one step at a time; and we've also seen that Aker represented both the axle beam and its holders (Section 11); but there is even more to find out about the operating of the impactor : Isis and Nephthys were the representation of the impactor's Hauling rope.
In the Osiris myth, these two goddesses are the ones saving Osiris from the Great Serpent Apep; it means that they are the ones who are getting Osiris out of the waters of the inclined well. Of course, the myth is only mentioning Osiris, because in the single Ra-Osiris deity, Ra was only considered as the "soul", while Osiris was the "corpse".
Isis and Nephthys actually gave life back to both of them, Ra (the wooden impactor) and Osiris (the granite stone).
"It is Nephthys who assists Isis in gathering and mourning the dismembered portions of the body of Osiris after his murder by the envious Set. Nephthys also serves as the nursemaid and watchful guardian of the infant Horus." https://en.wikipedia.org/wiki/Nephthys
"Nephthys or Nebet-Het in ancient Egyptian was a goddess in ancient Egyptian religion. A member of the Great Ennead of Heliopolis in Egyptian mythology, she was a daughter of Nut and Geb. Nephthys was typically paired with her sister Isis in funerary rites because of their role as protectors of the mummy and the god Osiris and as the sister-wife of Set." https://en.wikipedia.org/wiki/Nephthys
If Isis is described as the wife of Osiris, the one who at the very end of the myth is giving life back to him, and if there are many sexual metaphors about Isis and Osiris copulating, it is because, as the metaphorical representation of the central rope (the impactor's Hauling rope); Isis and Osiris were constantly uncoupled (for the release of the impactor) and reassembled (to get the impactor back to the top of the Gallery).
"Isis, who is Osiris's wife as well as his sister, is his queen. Set kills Osiris and, in several versions of the story, dismembers his corpse. Isis and Nephthys, along with other deities such as Anubis, search for the pieces of their brother's body and reassemble it. […] Finally, Isis restores breath and life to Osiris's body and copulates with him." https://en.wikipedia.org/wiki/Isis
In the next paragraphs, we'll see why both twin sisters Isis and Nephthys were actually one single deity representing the impactor's Hauling rope, and why on the above image from Nakhtamun Theban tomb 335, Isis is at Osiris' feet and obviously pushing the Osiris' Bed, while Nephthys is standing still at Osiris' head.
The twin sister goddesses Isis on the left, and Nephthys on the right. Draws by Jeff Dahl on Wikipedia.
Original ropes discovered in the Kheops Solar boat pit. Photograph by Jon Bodsworth: https://en.wikipedia.org/wiki/Khufu_ship
23.17 One of the names of Nephthys is Seshat
The question now is to know what these twin sisters are really representing, and it is Nephthys who is giving the answer, because she is all about ropes.
Most of the time, Nephthys and Seshat are considered two different deities, but this is incorrect: Seshat is only one particular aspect of Nephthys. Seshat is one of the names of Nephthys:
"As early as the Pyramid Texts (the oldest ones date from 2400-2300 BCE), Nephthys is said to have “collected all your members for you in this Her name of Seshat, Lady of Builders.” (Pyramid Texts, Utterance 364)": https://isiopolis.com/2014/07/13/oh-yes-more-nephthys/
"In utterance 364, Nephthys, identified with Seshat, “Lady of Builders,” has collected the limbs of Osiris/the deceased": https://henadology.wordpress.com/theology/netjeru/nephthys/
"Nephthys has been treated here in some detail, foe Seshat proves to have been one of her forms. The Pyramid Texts, par.616, speak of Nephthys 'in this her name of Seshat, Mistress of Builders', and the late inscriptions again record Seshat as a form of Nephthys". Source Sage journals at https://journals.sagepub.com/doi/abs/10.1177/030751334002600105?journalCode=egaa
23.18 Seshat (and her "stretching the cord" ceremony) and Nephthys (and her "Tresses") are about ropes
Probably a good interpretation of the couple constituted of Nephthys and Seshat, would be to identify Nephthys as the 'mythological' aspect of what was really represented into Seshat: the ropes.
"As Lady of Builders, one of Seshat’s main functions is to lay out the boundaries for new buildings, especially temples, via the ceremony of “stretching the cord,” which was a method of using a cord or rope to measure out straight foundations for a building." https://isiopolis.com/2014/07/13/oh-yes-more-nephthys/
This "stretching the cord" ceremony of Seshat, echoes one of the most famous attributes of Nephthys: her "tresses".
The "tresses of Nephthys" are the ropes used by her own Seshat "technical" aspect of herself.
23.19 Isis is the impactor's Hauling rope getting Osiris out of the waters of the well
The reason why both Isis and Nephthys are holding a Wadj scepter representing the stem of papyrus, from which ancient ropes were made of, is because they are both representations of ropes; and because Nephthys was the twin sister or Isis, it also means that Isis is representing a rope.
And it makes perfect sense: if Isis is the One who is giving life back to Osiris and to the impactor Ra, by getting them both out of the inclined well waters, it is because Isis is the impactor's Hauling rope.
Book of the Dead of Hunefer (Hw-nfr) frame 3, at the British Museum: https://www.britishmuseum.org/collection/object/Y_EA9901-3
23.20 The Nephthys mystery: which rope(s) is she referring to?
I first thought that Nephthys, the twin sister of Isis, was representing the two other ropes of the Grand Gallery: the ones directly connecting the Hauling beetle with the axle beam. At first glance, it looked satisfying. But actually, nothing about Nephthys is supporting this idea. Everything about her is so mysterious:
"When in a dyad with Isis, Nephthys is decidedly the “darker” one. The Pyramid Texts advise the king to “descend with Nephthys” in the Barque of the Night, but arise with Isis in the Barque of the Day."
"Later he says that Nephthys is what is “below the earth and invisible” in contrast with Isis Who “is above the earth and manifest.”
"The one being reborn is to “throw off the tresses of Nephthys” like he throws off his mummy wrappings at his rebirth".
https://isiopolis.com/2014/07/13/oh-yes-more-nephthys/
I really tried to make Nephthys the representation of these two lateral Beetle's Hauling ropes, but in vain. And suddenly, I got it: like the Barque of Ra, which is simply Ra himself; there is no such thing as Isis and her twin sister Nephthys: they are both representing the same thing, they are both about the same rope.
Isis and Nephthys are both glorifying representations of the impactor's Hauling rope, and the difference between the two of them, is that they are not representing the rope in the same moment in its operating cycle.
Because we know that Isis is saving Osiris, meaning she is getting the impactor out of the well, it is pretty easy to understand her : Isis is the typical representation of a Hauling rope that anybody could imagine.
In the following excerpt, Isis is even described "travelling among humans". This phrase looks pretty insignificant, but it is not : because Isis was the impactor's Hauling rope that was set into the central gutter of the Gallery, Isis was indeed literally "travelling" among the crewmembers of the Hauling Beetle.
"In some texts, Isis travels among humans and must seek their help". https://en.wikipedia.org/wiki/Isis
23.21 Isis and Nephthys are the same impactor's Hauling rope: the active one; and the inactive one, coiled around the axle beam
The problem is with Nephthys. When Isis is described as "above the earth and manifest", Nephthys is described as "invisible".
"Later he says that Nephthys is what is “below the earth and invisible” in contrast with Isis Who “is above the earth and manifest.” https://isiopolis.com/2014/07/13/oh-yes-more-nephthys/
There is even this following excerpt that I find so interesting: "The one being reborn is to “throw off the tresses of Nephthys” like he throws off his mummy wrappings at his rebirth".
"The one being reborn is to “throw off the tresses of Nephthys” is actually price less, because it is talking about throwing off the rope so that one can reborn.
Once the impactor has been hauled to the top of the Gallery, I've suggested that it would have been disconnected with its rope before being released into the steep slope. At that exact moment, the Isis Hauling rope is completely wound around the axle beam, and then they had to disconnect the rope with the impactor.
23.22 Beheaded Isis and the release of the impactor, freed from the Hauling rope
Another way of saying that, is that they had to cut off Isis' head: "Isis continues to assist her son when he challenges Set to claim the kingship that Set has usurped […] as when Horus beheads Isis and she replaces her original head with that of a cow—an origin myth explaining the cow-horn headdress that Isis wears". https://en.wikipedia.org/wiki/Isis
It is also mentioned that the original head of Isis is replaced with the head of a cow, and it is directly referring to the act of towing itself : the cow is suggesting the towing (Hathor herself, as a representation of the Hauling beetle, is depicted into a cow goddess).
"Mooring lines are used when arriving or leaving a berth. One of the most important competent crew skills is to know how to handle and tie mooring lines securely and safely": https://www.safe-skipper.com/competent-crew-skills-mooring-lines/
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
23.23 The squeaky mooring lines metaphor of the so famous "Lamentations of Isis and Nephthys"
Everything about the Osiris' festival is about the recreation of the operating of the Grand Gallery, and maybe the most important part of it is the famous "Lamentations of Isis and Nephthys".
Here, on the coast of Brittany France, boats are everywhere and most of the time moored at quayside, with the mooring ropes making all kind of sounds because of the high winds. Some people can say they are just squeaky and creaky dock lines, but others would say they are singing!
The "Lamentations of Isis and Nephthys" are simply, but beautifully reproducing the squeaky mooring sounds of the Isis impactor's Hauling rope. How's that for beautiful!
"she (Nephthys) certainly figured as a goddess of great importance in the annual rites conducted, wherein two chosen females or priestesses played the roles of Isis and Nephthys and performed the elaborate "Lamentations of Isis and Nephthys".
"Her magical skills were similar to those of Isis and some scholars see her as Isis' mirror image, Nephthys' darkness balancing Isis' light, and they are frequently pictured together as twin sisters. In the city of Heliopolis Nephthys and Isis were represented by two virgin priestesses at festivals who would recite the famous Lamentations of Isis and Nepthys at the Osiris' festival. The Lamentations is a long narrative poem recreating the moment Isis and Nephthys worked together to revive the god Osiris and bring him back to life. Her symbols are the hawk and the temple and the sycamore tree, one of the more popular trees depicted in inscriptions from the Egyptian Book of the Dead. Prayers were offered to Nephthys at twilight for protection and also to aid her as she struggled with her husband Set to defend the Boat of Ra (the sun god) from the serpent Apophis as it made its journey through the realms of night." https://www.worldhistory.org/Nephthys/
23.24 The multi-strand rope deterioration due to the squeaking internal friction
For someone who never had to sleep on a small boat moored at the quayside, the squeaking and creaking noises caused by multi-strands ropes could be easily seen as quite meaningless: everybody likes to have a walk along quayside. But if you do want to sleep on the boats, you will quickly change your mind: there is nothing more annoying that these squeaky noises.
But more important, these noises are also a sign that the ropes are deteriorating, from the inside; and this is maybe the reason why ancient Egyptians were so concerned about these noises, and the reason of the Isis and Nephthys Lamentations.
"The "squeak" frequently comes from the strands of line rubbing against one another as they stretch and retract. The process generates internal friction that heats the line up, causes the strands to expand slightly, increases the friction, etc. etc. etc. Several research studies that line failures are frequently caused by internal heating rather than chafe, particularly when lines are run through plastic tubing that prevents water getting to the line and acting as a coolant."
Post by svHyLyte, at: https://www.sailnet.com/threads/squeaking-and-creaking-of-docklines-and-fenders.46595/
23.25 Isis is indeed also known as the "Great Mooring Post"
The fact is that this "mooring" metaphor about Isis, is actually perfectly documented in ancient Egyptian literature: "Isis is not just about rebirth and sunrise. She is also the Great Mooring Post". https://isiopolis12.rssing.com/chan-10218340/all_p4.html
Also, a very detailed study "When Isis "Moored" Osiris", by L. D. Graham - JEOL. 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
If you want to have an idea of how the "Lamentations of Isis and Nephthys" sounded like, please listen to this short YouTube video : https://www.youtube.com/watch?v=ehVjrNqfVvc
Tape measure, by William Warby on flickr: https://www.flickr.com/photos/wwarby/4915969081
How a tape measure works: Why it is retractable? by Mift H: https://www.fullyinstrumented.com/how-a-tape-measure-works/
23.26 The Seshat/Nephthys ancient Egyptian goddess of architects… and the modern Self-Retracting Tape Measure
Once in a while throughout my study about ancient Egypt, I stumble upon a little jewel that I particularly enjoy; and there is one right there with the Nephthys glorification of the impactor's Hauling rope completely coiled around the axle beam.
Nowadays, if anyone on earth would have to metaphorically describe one more time everything that happened in the Great Pyramid, like ancient Egyptians did 4500 years ago, I doubt that a deity would be created to represent the impactor's rope, not Hauling anything, simply resting on her axle beam. I'm sure it would be completely disregarded.
Egyptians didn't, and they even used this particular aspect of the operating cycle to create what is still today the emblem of any architect in the world: a measuring tape!
In some way, we can even go further into the metaphor, because if you really think it through, the functioning of the axle beam/impactor's Hauling rope unit, was a perfect match with a very modern self-retracting tape measure.
In modern tape measures, it is the spring mechanism that is retracting the tape; in the Great Pyramid, it was the Hauling beetle that was retracting the impactor's rope and the latch bolts that were having the role of the modern lock button of the tape.
"How a tape measure works are basically not rocket science. It only depends on its two major features: lock and spring mechanism. The lock button behaves to stop the tape from retracting when you extend it. The spring mechanism plays as the automatic roller to retract the tape." https://www.fullyinstrumented.com/how-a-tape-measure-works/
Technical draw of a rope: https://en.wikipedia.org/wiki/Rope
Seven strand hemp rope: https://www.corderie-lorenzi.fr/en/elementor-3554/
23.27 The seven strand structure of the impactor's Hauling rope
Most probably, Seshat's emblem is a technical representation of the Hauling rope's structure: the rope would have had 7 strands.
The curious shape on top of the 7-pointed green emblem would be how ancient Egyptians have drawn our modern curly brackets: they are explaining that the 7 strands were combined to form one single rope.
"As Lady of Builders, one of Seshat’s main functions is to lay out the boundaries for new buildings, especially temples, via the ceremony of “stretching the cord,” which was a method of using a cord or rope to measure out straight foundations for a building." https://isiopolis.com/2014/07/13/oh-yes-more-nephthys/
The impactor of the Great Pyramid, ready to be released into the slope of the Grand Gallery. Of course, the impactor is not really visible like shown on the draw: the impactor is hidden inside the fixed wooden caisson.
The top platform of the Grand Gallery has a very specific design, because it is actually made of one single giant block that goes way after the south wall of the gallery towards the antechamber: the block is way bigger than what we can see of it, exactly like it is for the girdle stones of the inclined well.
The southern part of the block was under tremendous charge, due to the enormous above structure weight, that perfectly anchored the block. This particular design was necessary to resist the huge structural stress induced by the endless operating of both the Hauling beetle and the impactor.
Charles Rigano mentioned : "The single block forming the Step does not stop at the Gallery wall but extends an additional 66 inches* into the Ante Chamber".
* For Petrie, it was 64.90 inches. Source : The pyramids and temples of Gizeh. Antechamber and passages, section 47 (page 75). Petrie, W. M. Flinders (William Matthew Flinders), Sir, 1853-1942. https://archive.org/details/cu31924012038927/page/n113/mode/2up
23.28 Aker is the glorification of the axle beam, the one who "bends and imprisons the coils of the snake"
It is known that the name Aker means "(one) who bends", and it is conceivable to imagine that the axle beam would indeed bend a lot. We've already seen that the beam was most probably made of Tamarix wood which is very resistant to tension.
That reference to the bending of Aker is easy to apprehend, and probably the reference to the imprisoned coils of the snake is simply referring to the winding of the ropes on the axle beam.
"More importantly, he imprisons the coils of the snake, Apophis (Apep), after it is hacked to pieces by Isis, and Aker could, along his back, provide a secure passage for the sun-god's boat as it traveled from west to east during the hours of the night." http://www.touregypt.net/godsofegypt/aker.htm
"The name Aker means '(one) who bends'". https://ancientegyptonline.co.uk/aker/
God Aker (Akeru, plural), drawing by Jeff Dahl : https://fr.wikipedia.org/wiki/Aker#/media/Fichier:Aker.svg
23.29 The "grasp of the Akeru" and the hazardous work reference about the winding of the ropes
Until now, we haven't discussed at all about the danger that were facing the crewmembers of the wooden beetle scarab. When they were inside the gantry, they most probably didn't risk anything : their work would have been excruciating but not that dangerous.
I suggested the idea that when the impactor was at the top of the gallery, ready to be released in the slope, the crewmembers first had to get the wooden gantry lifted back up as well, so that the entire crew would most probably be on the top platform just before releasing the impactor.
I also suggested that one crewmember on each ramp was on the top platform, hauling the ropes of the gantry while the 4 other crewmen, on each ramp, were pushing the beetle back up.
During these two phases of operating, crewmen would have been close to the axle beam while the ropes would have been winded on, and they would certainly have fear the danger of their hands being grasped by the ropes winding on the axle :
"Later the Egyptian priests created magical spells to protect ordinary mortals from the grasp of the Akeru, the primeval, lion earth gods." https://www.landofpyramids.org/aker.htm
"There was also a more threatening side to Aker that can be seen when he is pluralized as Akeru in the form of multiple earth gods. In passages from the Pyramid Texts, the Akeru are said not to seize the monarch, but later there is a general hope for everyone to escape the grasp of the earth gods." http://www.touregypt.net/godsofegypt/aker.htm
More on Aker, in Section 11 "The Hidden Hauling Cavern of the Underworld"
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
23.30 The Apis Bull is a representation of the impactor speeding in the Grand Gallery
I've been confused a long time about cows and bulls' meaning in the ancient Egyptian religion, probably because both have horns, and I associated them both with the ramming impactor.
But they are really different, even if they are complementary : while Bulls are about the power of the impactor, cows are about the power of the hauling.
Maybe the most beautiful representation of the impactor Bull I know of, is the one on the above image by the French illustrator Léon-Jean-Joseph Dubois. I'm sure the scene looks cute, even if you don't know what it is all about; the Bull is magnificent and the snake as well. The whole image is perfect, there is both balance and power; ancient Egyptian illustrators really knew what they were doing.
But if you understand it, the scene is like exploding to your eyes; it becomes like a 3D image and even a 3D movie; because the scene is about a "raging" Bull speeding and projecting water all around him.
The Apis Bull is a metaphor, a representation of the impactor speeding within the slope of the Grand Gallery after its release. We've seen that the impactor was moving inside a fixed caisson that perfectly extended the inclined well inside the Gallery; and for the impactor to move, water had to be poured in the caisson, so that it could slide in the caisson.
It means that water was pushed ahead of the impactor, creating a wave in front of it; but it also means that water was projected behind its path, creating huge splashes like cars would do on a wet road, or like the boats of water coasters would do.
23.31 The Flail is all about projected water and with a directional arrow
Because the impactor is moving onto wooden boards covered with water to reduce the friction, water is violently pushed forward in front of Apis' front hooves : both hooves are pushing the snake's body forward. But water is also projected backwards, creating fabulous plumes of water in the path of the speeding impactor : the flail is these plumes of water, and if it looks "broken", it is only an artistic rendering of the idea of water projected backwards. The flail is exactly like a directional arrow, pointing towards where the water is coming from and in which direction it is projected to.
Relief at Wadi Hammamat showing that the flail symbol is all about water. Middle Kingdom Dynasty 11, Nebhepetre Mentuhotep II. Photographed by kairoinfo4u: https://www.flickr.com/photos/manna4u/25932728632/in/photostream/
Stone relief at Wadi Hammamat, Dynasty 17 by kairoinfo4u: https://www.flickr.com/photos/manna4u/25999304796/in/photostream/
Wooden coffin-shape base of a Ptah-Sokar-Osiris figure, at the Metropolitan Museum of Art, New-York. 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
23.32 The wooden coffin made to fit Osiris exactly and thrown into the Nile
We've already seen in the Osiris myth (Section 21), that Osiris was the granite stone lodged inside the wooden impactor of the Great Pyramid :
"In the Osiris myth, Osiris was killed by Set by being tricked into a coffin made to fit Osiris exactly. Set then had the coffin with the now deceased Osiris flung into the Nile." https://en.wikipedia.org/wiki/Djed
In this excerpt, the mention of the Nile is of course referring to the waters of the inclined well which were indeed waters from the Nile. In some ways, the impactor was thrown into 'the Nile'.
On the above image of a Ptah-Sokar-Osiris figure at the MET, what is interesting to note is not really the hollowed cavity in which the human figure is normally inserted in, but the area all around this cavity : if there is no hieroglyphic text all around the cavity in a perfect rectangular shape, it is because what really is depicted is the original shape of the Osiris stone cavity
23.33 The "sacred chest containing a small golden coffer" in Osiris' worship are replicating the impactor's design
It is mentioned that, in honor of Osiris, "ceremonies were performed inside the temples by priests. Plutarch mentions that […] two days after the beginning of the festival "the priests bring forth a sacred chest containing a small golden coffer". https://en.wikipedia.org/wiki/Osiris
The sacred chest containing a small golden coffin is the representation of the impactor containing the Osiris stone.
Bronze seated figure of Imhotep at the British Museum: https://www.britishmuseum.org/collection/object/Y_EA40666
23.34 The boat race and the dual wooden and stone composite design of the impactor
The inspiration of the boat race in the next excerpt is clearly the dual composite design of the impactor, both in wood and in stone. Most probably the stone is made of granite, as this rock is the most valuable and the most shock resistant.
"… the other gods were getting tired from over eighty years of fighting and challenges. 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. Set's boat, being made of heavy stone, sank, but Horus' did not. Horus then won the race, and Set stepped down and officially gave Horus the throne of Egypt." https://en.wikipedia.org/wiki/Horus
We'll talk later on about these 80 years of 'challenge' in paragraph 23.34
23.35 The 'creator of everything' god Ra
I really got confused about Sun god Ra, because of his Solar barque. I knew that this barque, the Solar boat or Solar barge was representing the endless cycle of the impactor's operation inside the Grand Gallery, but I've always wondered who really was Ra representing himself; until I realized that they was no such thing as Ra and his Solar barque: Ra is the barque. Ra is the impactor, the one piece of equipment of the Great Pyramid that pressurized the inclined well and the one piece of equipment that created the evaporative cold, because of the power of the Osiris stone.
In other words, Ra was the primary god who created everything :
"Ra (Re) was the primary name of the sun god of Ancient Egypt. He was often considered to be the King of the Gods and thus the patron of the pharaoh and one of the central gods of the Egyptian pantheon. He was also described as the creator of everything." https://ancientegyptonline.co.uk/ra/
Banebdjedet wielding a scepter of the Was-sceptre, Djed, and Ankh. From the Tomb of Mentuherkhepeshef in the Valley of the Kings. Photograph thanks to kairoinfo4u: https://www.flickr.com/photos/manna4u/3331554556/in/photostream/
23.36 Osiris as Ram-headed Banebdjedet is the one who is giving life, power and force to Ra
The idea that Osiris (i.e. the granite stone weight), 'merged' with Ra in the Underworld (i.e. who was inserted into Ra, the impactor), and that it is him, Osiris who actually gave all his force and power to Sun god Ra (i.e.his potential energy), is actually perfectly depicted into Banebdjed, the soul of Osiris, or rather his Ba which had been associated with the ram.
And there is the ramming metaphor I've been using all along. The power of Ra comes from the power of Osiris, and it is about the force and the power of a ram : both Ra and Osiris were ramming into the inclined well waters.
"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." Osiris "Ram god": https://en.wikipedia.org/wiki/Osiris
Ram fighting on Wikimedia Commons thanks to Brahim Djelloul Mustapha: https://commons.wikimedia.org/wiki/Category:Ram_fighting
Le réveil d'Osiris (the Awakening of Osiris) at the Exposition Osiris, Institut du Monde Arabe, by Denis and Gautier Poupeau
Skeleton infographic by the International Bobsleigh and Skeleton Federation: https://www.ibsf.org/en/our-sports/skeleton-info-graphics
23.37 The force and power that Osiris is giving to Ra is all about his high-speed 'skeleton position'
If you don't know what really was representing Osiris, there is very little chance that you can understand his 'awakening' face-down and head-first riding position. But if you know that Osiris was a metaphoric glorification of the stone weight that was giving speed and energy to Ra, the impactor that was ramming into the inclined well of the Great Pyramid, then you can understand his very peculiar 'skeleton position' and why he also has rams' horns.
The Osiris granite weight was the one which gave speed and energy to the wooden impactor, but this Osiris stone couldn't have been operated without the wooden impactor : there had to be a 'vessel' for the Osiris stone. The wooden impactor, Ra was this vessel.
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. 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/
23.38 The high-speed that Osiris is giving to Ra is all about the force of impact ramming
If Ra is represented into a falcon, it is because of its high 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. The below images are coming from a video where a prairie falcon is hitting a duck at about 90 km/h. On the right image, the falcon is long gone but the duck is already dead : the impact alone killed it.
Prairie falcons are famous for their hard-hitting hunting tactics. Here a wild juvenile female finishes off a drake mallard with a high-speed headshot. Analysis of the video tells us she's moving close to 90km/h when she hits the mallard. Prairie falcons frequently employ this hunting method when dealing with field-feeding waterfowl. The duck is heavier and stronger, therefore the ground struggle is minimized when the smaller falcon delivers a knockout punch. Screenshots from a video posted by falcorusticolus77 on YouTube (contains shocking images): https://www.youtube.com/watch?v=73OvZ_l35Sw
23.39 The impactor ramming into the inclined well waters (Nun) to produce pressurized water (Apep)
I've already talked about the distinction that has to be made between the waters of the well before the pressurization and the pressurized waters strictly speaking.
The 'plain still' waters had been glorified into what have been called the primordial waters of Nun, while the pressurized waters had been represented into the Great Serpent Apep (also Apophis).
"At the beginning of time, when there was nothing but chaos, the sun-god existed alone in the watery mass of Nun which filled the universe. "I am Atum when he was alone in Nun, I am Ra when he dawned, when he began to rule that which he had made. This passage talks about how Atum created everything in human form out of the chaos."
Once the well is pressurized, a small amount of that water is ejected into the horizontal cooling passage, and that is Atum : about 200 liters of pressurized water which every 15 minutes or so passes through the fog nozzle to create a fog of microdroplets of liquid water. This very particular form of water had been glorified into goddess Tefnut (Tef, or 'tf', meaning to spit, Section 5).
"He (Ra) created Shu, god of air, and the goddess of moisture, Tefnut." https://en.wikipedia.org/wiki/Ra
The above excerpt is by the way, another confirmation that the purpose of the impactor was not limited to produce pressurized water, just like the "awakening" Osiris figure already have suggested it (previous Section 21).
If Ra is the one creating Shu, the god of dry and warm air, it is because the fall of the impactor is taking place inside a fixed wooden caisson that was perfectly extending the inclined well, probably to the top of the Grand Gallery.
Khepri, an ancient Egyptian deity often represented with the head of a beetle. Based on New Kingdom tomb paintings and drawn by Jeff Dahl: https://en.wikipedia.org/wiki/Khepri
Image of the dung beetle, thanks to Kay-africa
23.40 The reattachment of the impactor with the Hauling Beetle "at the twelfth hour"
In the day and night metaphoric representation of the operating cycle of the impactor, it is interesting to note that at the twelfth hour, Ra is "reborn as the scarab Khepri" : this is the beginning of a new cycle of Hauling and releasing the impactor.
And this is amazing, because not only it is the description of the impactor being retrieved from the waters of the well, but it is also describing its reattachment with the Hauling Beetle.
When I started to call the Hauling gantry, the Hauling "Beetle" it was only because it would have move backwards down the Grand Gallery, like a scarab does when he is pushing his dung ball; but here this is the confirmation that the Scarab amulets are representations of that Hauling gantry.
"The worship of the Egyptian God Ra was at its peak during the New Kingdom. Many of the tombs in the Valley of the Kings (dating from this period) included depictions of Ra’s journey through the underworld over twelve “hours” or stages. In the fifth hour, Ra dies and is reunited with Osiris in the underworld, but in the twelfth hour he is reborn as the scarab (Khepri)." https://ancientegyptonline.co.uk/ra/
Egyptian Old Kingdom Dynasties: https://discoveringegypt.com/ancient-egyptian-kings-queens/egyptian-old-kingdom-dynasties/
23.41 The 80 years of mythological trials vs. the 78 years of the great pyramids Era (Djoser to Khufu)
One of the most interesting question that would have to be resolved in the future, will be to determine, as much as possible, whose pharaoh was responsible for every step of scientific and technological discoveries which ended up with the masterpiece of engineering that is the Great Pyramid of Giza.
We can assume that it all started with the very first Dynasty, but it is legitimate to say that everything could really have gotten serious with pharaoh Djoser, from the Third Dynasty, and the construction of the first real pyramid, the Step Pyramid.
Djoser would be the pharaoh who started the most ambitious technological research program since the beginning of what we can call the Engineer Pharaohs' Era; and probably what triggered this acceleration in the research could have been the quest for the mastering of the Solvay process for natron manufacturing.
But, the one pharaoh who really massively invested in the program was Sneferu with his 3 pyramids. Most probably, Sneferu is the one who also ended the research phase, and it is logical to imagine that it also was the end of his own reign around 2589 B.C.E.
Djoser's reign and the first pyramid started around 2667 B.C.E and Sneferu's reign ended up around 2589 B.C.E. That would be 78 years of research, that would have most probably been dedicated to the Solvay process alone.
Amazingly, there is a myth about Horus and Set, that is referring to 80 years of conflict, and 80 years of trials : "These contests go on for over 80 years and Ra continues to deny Horus his right to the throne […] In another version of the story, the trial lasts for 80 years until the frustrated gods turn to the wise goddess Neith, mediator of disputes, who rules in favor of Horus." https://www.worldhistory.org/Horus/
What are the chances that these 80 years of trials are or aren't referring to this 78 years of Egypt history from the beginning of Djoser's reign to the end of Sneferu's? Go figure…
But this would be a formidable confirmation that the Great Pyramid was just the next step : Sneferu finished the research program on the Solvay process, and Khufu would have taken over to put everything together in one single gigantic pyramid where the Solvay chambers would have been finally efficiently cooled down; exactly what couldn't have been achieved in the Red Pyramid (Section 14 and 15).
Of course, if we are interested in the total duration of the Engineer Pharaoh's Era, it would be 534 years from the beginning of Dynasty I, to the end of Khufu's reign (3100 B.C.E. to 2566 B.C.E.).
Diagram of the Great Pyramid of Egypt in operation for evaporative cold production, most probably for industrial cooling of Solvay process manufacturing of sodium carbonate (natron) and sodium bicarbonate
23.42 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.
Detail of an image from the ARCE (American Research Center in Egypt in partnership with the American University in Cairo Egyptology Department), in the tomb of Rameses III, KV 11: side chamber, right wall. Valley of the Kings, East Valley, West Bank, Luxor. Image #21077 by Matjaz Kacicnik, taken on December 2005 : https://thebanmappingproject.com/index.php/images/21077jpg
23.43 Ptah the patron of craftsmen and architects because of the inclined well design
As the representation of the inclined well of the Great Pyramid, the creator god Ptah has been identified with the patron of craftsmen and architects.
The well was the most advanced piece of equipment ever built, in some ways it could be compared to a modern engine cylinder, and the impactor to the piston of that engine. The structural integrity of the well was ensured by the 14 Girdle stones that probably are the biggest blocks of the pyramid, even bigger than the top platform of the Grand Gallery.
But this particular aspect of the engineering of the well was minor : there are only 3 girdles in the upper part of the well; and the impactor certainly didn't go much farther down.
All the other face to face Girdles at the bottom of the well were only there to ensure that the draining of the well wouldn't be jeopardized by the constraints supported by the structure. This part can be compared to modern reinforced concrete : nothing could have been allowed to move even an inch so that the Taweret block could free the drain hole. The Taweret block absolutely needed to slide freely towards the 'Savior' shock absorber granite plug #2.
Please, take just one minute to imagine the whole thing : the Bes block had to break under a precise amount of pressure to let the Taweret block slide with the water… then the tremendous sound when Taweret hits the Savior block… and the sound of all that water gushing out of the well into the Al-Ma'mun cavity.
No wonder Ptah had been identified with the patron of craftsmen and architects and was linked with Imhotep, sometimes himself represented on the Osiris' stone weight.
"Ptah (Ancient Egyptian: pth) is an ancient Egyptian deity, a creator god and patron of craftsmen and architects. In the triad of Memphis, he is the husband of Sekhmet and the father of Nefertem. He was also regarded as the father of the sage Imhotep."
Statue of god Ptah, photographed by kairoinfo4u: https://www.flickr.com/photos/manna4u/26774477850/in/photostream/
"Ptah, in the form of a mummified man (except for arms and face) standing on the symbol for Ma'at, holding a scepter or staff that bears the combined ankh-djed-was symbols" and drawing of the Creation god Ptah by Jeff Dahl on Wikipedia: https://en.wikipedia.org/wiki/Ptah
Photograph from tomb KV 11 of Ramesses III, side chamber, image # 21076 by Matjaz Kacicnik, courtesy of ARCE, American Research Center in Egypt in partnership with the American University in Cairo Egyptology Department: https://thebanmappingproject.com/images/21076jpg
More on the ancient Egyptian god of Creation Ptah, in previous Sections 21 (Tibetan Prayer Wheels) and Section 22 (Thor and Norse mythology)
23.44 Ptah's hollow scepter is the inclined well representation
In the above image and in most of his representations, Ptah is holding a blue and yellow scepter or staff that bears the combined ankh, djed and was symbols.
This blue and yellow 'staff' is actually the representation of the inclined well of the pyramid, and the reason why the ankh, djed and was symbols seem to be nested into that 'staff' is only to indicate that it is hollow : the 'staff' is the inclined well and the dotted blue line is about the movement of water .
The representation of the well held by Ptah is always in a perfect vertical position, but its true nature is shown in the tomb of Ramesses III : it has pretty much the same slope than the Grand Gallery/ascending passage layout.
23.45 The design of the fog nozzle of the Great Pyramid of Egypt
First suggestion of the design of the eleven mouth-holes fog nozzle of the Great Pyramid of Egypt, based on the eleven rivers from the well of Élivágar of the Norse mythology.
The ancient Egyptian Shabaka Stone which record the 'Memphite Theology' or creation myth, a text perhaps originally composed during the New Kingdom, in which Ptah is responsible for the creation of all things by means of the spoken word. The Shabaka Stone at the British Museum: https://www.britishmuseum.org/collection/object/Y_EA498
23.46 The ancient Egyptian Shabaka stone and the 11 lines
It really has to be pointed out that when ancient Egyptians used the term "creation", it isn't referring to the creation of the world. "Creation" is about the evaporative cold, created from the primordial waters of Nun, the waters of the well.
It means that creator god Ptah is about this creation of the cold, and that the Shabaka stone is also referring to that creation; if there are 11 lines separated from the central rectangular shape, it also has to refer to that creation.
23.47 Norse mythology vs. the operating of the Great Pyramid of Egypt
Everything in Norse mythology is a complete reinterpretation of the operating of the Great Pyramid of Egypt (previous Section 22).
23.48 The limits of the fog nozzle with 11 mouth-holes hypothesis
I strongly have to point out that the hypothesis of an eleven mouth-holes fog nozzle is clearly highly questionable, because it is only coming from the Norse Eleven Rivers coming out of the Well of Hvergelmir that are creating the mist of cold in Niflheim.
Anyway, the idea of flooding entirely the space at the entry of the ascending passage, just below the junction ramp Grand Gallery/Ascending Passage, could be a solid hypothesis, even it would rule out the idea of a central pipe, as represented on the Nefertem emblems at the Louvre Museum.
Nefertum at the Metropolitan Museum of Art, New-York: https://www.metmuseum.org/art/collection/search/551300
Nefertem Emblem, inventory number N 5118 © Musée du Louvre / Christian Décamps: https://collections.louvre.fr/ark:/53355/cl010008518
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Thor is a prominent god of Thunder in Germanic paganism who is wielding magical hammer, belt and gloves. In Norse mythology, Marvel comics and movies Thor is associated with lightning, thunder, storms, strength and the protection of mankind.
The image is representing Thor, hammering down the Great Midgard Serpent Jörmungandr with his great Hammer Mjollnir which had many marvelous qualities, including that of 'returning to the thrower like a boomerang'. Thor and the Midgard Serpent (1905) by Emil Doepler on Wikipedia, photographed and cropped by Haukurth : https://en.wikipedia.org/wiki/J%C3%B6rmungandr
The Pyramids of the Cold Section 22 : just like Hindu's, Norse mythology has its origins in the Great Pyramid of Egypt.
Thor, relentlessly hammering down the Great Serpent Jörmungandr in the 'Great Hall' of Bilskírnir of what had been described as the 'Largest building ever erected' and the 'mist of cold' originating from the 'Well' of Niflheim : all are referring to the Great Pyramid and its operating to create the magical evaporative cold.
It is absolutely impossible that two so different cultures as the ancient Egyptians and the Norsemen would have come up with the exact same myth about gods relentlessly fighting in a marine environment, a Great Serpent representing evil, thunder, rumble and earthquakes if they weren't connected one way or the other. That unique connection is the Great Pyramid, the 'Largest building ever erected' of the Norse mythology and the most advanced piece of equipment of the ancient times.
In summary : 4500 years ago, ancient Egyptians were operating the Great Pyramid to cool down chemical manufacturing of a Solvay process by creating pressurized water and evaporative cooling when the rest of the whole ancient World was still living in the stone age; no wonder it got hit hard and that myths started to appear all over this 'Old' rest of the World : it happened in New-Zealand, in Tibet, in Cambodia, all over the ancient Asia and it also happened in northern Europe with the Norsemen. Thor and the whole Norse mythology is originating in the operating of the Great Pyramid of Egypt and in its impactor relentlessly hammering down the inclined well waters.
What started a little more than a year and a half ago, as a simple pastime study on the Great Pyramid of Egypt has become something completely out of control, so to speak, and most of all, out of Egypt boundaries. We've already seen that what had been done in the pyramid had spread into all Asia and had been incorporated into the Churning of the Ocean Hindu myth, the Tibetan Prayer Wheels and the Haka ceremonial 'dance' performed by the Māori indigenous Polynesian people of mainland New Zealand.
But the spread wasn't contained in Asia either : everything about the operating of the Great Pyramid, the production of pressurized water resulting of the relentless hammering of the inclined well waters by the Osiris stone and the creation of evaporative cold fighting hellishly hot heatwaves coming from another realm, is actually the core of what we know today as the Norse mythology.
It is well known that the Norse expansion reached the Mediterranean sea and Northern Africa; it means that Norsemen either reached Egypt and the pyramids themselves or heard about them and about the Egyptian gods.
Either way, Norsemen just like Asian people, obviously got dazzled by what they've discovered and used all this amazing material to forge an all new mythology of their own, centered around a brand new god Thor relentlessly hammering down a Great Serpent into water and the idea of a mist of cold originating from a well and some 11 fountain-heads.
Modern interpretations of Thor in comics and movies are depicting him moving freely at his will, but it certainly doesn't come from the Norse mythology : Thor's land is described as the 'largest building ever erected' and it is inside this very building that Thor built what had been called 'the Great Hall of Bilskírnir'.
That is in this Great Hall of the 'largest building ever erected' that Thor endlessly burst forth in his goat-hauled chariot and fought the Great Serpent Jörmungandr while doing a fishing trip : the fight occurs into the waters.
Let me repeat this : the fight between Thor and the Great Serpent occurred inside the largest building ever erected and it also happened into the water. In one very particular myth, Thor also has a stone lodged inside his head and he is described as relentlessly hammering down the Great Serpent with his Hammer. Because it is a magical Hammer, it kept getting back to him after being released, over and over again.
If you've already read the previous Sections of 'The Pyramids of the Cold', and particularly last Section 21 about Osiris being the glorifying representation of the granite stone weight that was inserted inside the wooden 'coffin' impactor of the Great Pyramid, it should really sounds familiar by now : the Norse mythology is another complete reinterpretation of the operating of the Great Pyramid of Egypt.
Like for the Churning of the Ocean Hindu myth, Thor and his magical Hammer are originating in the operating of the inclined well of the Great Pyramid that was endlessly hammered down by the impactor; and everytime the impactor was released, the Hauling Beetle towed it back to its initial position, ready for another cycle : the impactor kept getting back into position.
The inclined well and the eleven members of the Grand Gallery's hauling team that were producing a fog of liquid water that evaporated and created evaporative cold, are actually referred to in another interesting part of the Norse mythology which is describing "an icy misty world called Niflheim, with a well from which eleven rivers flowed."
These 'eleven rivers flowing from a well' may not refer to the eleven crewmembers of the Hauling Beetle, instead it could mean that the fog nozzle that would have appear like a Lotus seed head, actually had eleven 'mouth holes'. In other words, it could mean that there were 11 fog nozzles set inside the evaporative cooling passage of the Great Pyramid: 11 mouth-holes.
Guests from Overseas (1901) by Nicholas Roerich, depicting a Viking raid : https://en.wikipedia.org/wiki/Viking_expansion
Rorik of Dorestad, the Viking ruler of Frisia between 839 and 875. "Teutonic Myth and Legend" : https://en.wikipedia.org/wiki/Frisian_freedom
22.02 The Viking expansion to North Africa, Arabia, Central Asia, Iran and the Caucasus
I understand that most people will think I'm gone completely crazy : I've already said that the Great Pyramid wasn't a tomb, but some kind of gigantic refrigerator and that this refrigerator made such an impression on the ancient World that the Hindus, the Tibetan and the Maoris in New-Zealand decided to appropriate the concept to make a brand new mythology of their own. And now, the Vikings !
The thing is that it really did happened this way; the Great Pyramid had influenced the entire ancient World and was the origin of dozens and dozens of myths in and outside Egyptian boundaries.
If you think that Vikings were way too far from Egypt to have been influenced in such a way, you are mistaken.
Most people think that the seas are barriers to expansion, but it actually is the opposite : seas are today, and were in the ancient World as well, extraordinary ways of communication. It was slower and more dangerous, but it was all there was. Norsemen 'discovered' America about 500 years before Christopher Columbus and they travelled as far as North Africa, Arabia and Central Asia.
"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
Viking raids and settlements from 793 to 1066 AD : https://i.imgur.com/5tOGYjX.png
"The well-known Harald Hardrada would also serve the Byzantine emperor in Palestine as well as raiding North Africa, the Middle East as far east as Armenia, and the island of Sicily in the 11th century, as recounted in his saga in Snorri Sturluson's Heimskringla."
"Evidence for Norse ventures into Arabia and Central Asia can be found in runestones erected in Scandinavia by the relatives of fallen Viking adventurers. Several of these refer to men who died in "Serkland".
"Ingvar the Far-Travelled led expeditions to Iran and the Caucasus between 1036 and 1042. His travels are recorded on the Ingvar runestones. […] Around 1036, Varangians appeared near the village of Bashi on the Rioni River, to establish a permanent[clarification needed] settlement of Vikings in Georgia. The Georgian Chronicles described them as 3,000 men who had traveled from Scandinavia through present-day Russia, rowing down the Dnieper River and across the Black Sea. King Bagrat IV welcomed them to Georgia and accepted some of them into the Georgian army; several hundred Vikings fought on Bagrat's side at the Battle of Sasireti in 1042."
"Meanwhile, in the Eastern Mediterranean the Norse (referred to as Rus') were viewed more as "merchant-warriors" who were primarily associated with trade and business." https://en.wikipedia.org/wiki/Viking_expansion
The mention 'the Great Hall' inside 'the Largest building ever erected' about Thor's land, has to be taken literally : the Great Pyramid of Egypt was indeed the Largest building ever erected; and Norsemen couldn't but know about it.
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/
22.02 Thor's 'Great Hall' in 'the Largest building ever erected' is the Grand Gallery of the Great Pyramid of Egypt
We've already seen that Hindu mythology was a lot more willing to describe what really was happening in the Great Pyramid than ancient Egyptian themselves, and this is the same thing here with the Norse mythology. The description of the land of Thor is mentioning the 'largest building ever erected' and a 'Great Hall in the sky' : the myth is talking about the Great Pyramid and the Grand Gallery that was so high that it looked like it was in the sky.
It is important to know that Norsemen travelled to the Mediterranean sea and that they either see the Great Pyramid themselves or they've been told about it. But knowing that in ancient times, Egypt was the center of the world, it is very hard to imagine that Norsemen didn't had the opportunity and the interest to go there for business.
They'd seen it and most probably they'd visited it as well : pharaohs of the time wouldn't have pass the occasion to show off and impress Norsemen with the Great Pyramid.
"Thrudvangar (‘Power Field’ or ‘Power Plain’) the land that belongs to Thor and his Hall Bliskirnir, is mentioned specifically by King Gylfi in the Gylfaginning, it is described as being the largest of buildings ever erected." https://asatruassembly.wordpress.com/2013/10/01/halls-of-the-norse-gods/
"Thor was thought to have ruled the sky from his land of Thrudvangar (“Power-Field” or “Plains of Strength”) where he built his great hall of Bilskírnir, a palace of 540 rooms." https://www.worldhistory.org/Thor/
The Great Serpent isn't spitting venom, but something that looks like air. My guess is that it really is air, but cold air and that is this cold air produced by the Great Serpent that is responsible for the ice/snow on the foreground of the image. Hammered down by Thor, the snake is producing cold.
22.03 Both Norse and Egyptian Great Serpents are causing thunder and rumble : they have the same origin
If in both cases, the fights with the Great Serpents are causing 'terrifying roars' and are associated with thunders and water Of course, it is because the descent of the impactor into the slope of the Grand Gallery would have cause a 'terrifying roar' because the crash into the waters of the well, would also have caused the structure to tremble and water from the well being projected like tides were created.
It is absolutely impossible that two so different cultures would have come up with the exact same myth about relentlessly fighting a Great Serpent representing evil, thunder, rumble and earthquakes if they weren't connected one way or the other. The connection is the Great Pyramid, the 'Largest building ever erected' of the Norse mythology.
• About Thor and the Norse Great Serpent Jörmungandr :
"Thor’s name was the Germanic word for thunder, and it was the thunderbolt that was represented by his hammer, the attribute most commonly associated with him.
"The majority of the tales featuring Thor, in fact, put him in conflict with a giant or with his nemesis the Midgard Serpent (Jörmungandr, the “huge monster”), a monstrous snake who coils and twists itself around the world"
"Thor is a prominent god in Germanic paganism. In Norse mythology, he is a hammer-wielding god associated with lightning, thunder, storms, sacred groves and trees…" https://en.wikipedia.org/wiki/Thor
" Thor is closely associated with water in many of the myths"
"Thor was said to burst forth from his great hall in his chariot, drawn by two male goats […] The roar of thunder was the rumble of Thor's chariot's wheels across the vault of the heavens and, in another story, he is credited with creating tides." https://www.worldhistory.org/Thor/
• About the ancient Egyptian Great Serpent Apep :
"It was thought that his terrifying roar would cause the underworld to rumble… Apep's movements were thought to cause earthquakes, and his battles with Set may have been meant to explain the origin of thunderstorms." https://en.wikipedia.org/wiki/Apep
"Apophis is associated with earthquakes, thunder, darkness, storms, and death."
"No matter how many times Apophis was defeated and killed, he always rose again to life and attacked the sun god's boat.
"The sun was Ra's great barge which sailed through the sky from dawn to dusk and then descended into the underworld."
"In a text known as the Book of Gates, the goddesses Isis, Neith, and Serket, assisted by other deities, capture Apophis and restrain him in nets held down by monkeys, the sons of Horus, and the great earth god Geb, where he is then chopped into pieces; the next night, though, the serpent is whole again and waiting for the barge of the sun when it enters the underworld." https://www.worldhistory.org/Apophis/
Draw of the fight between the ancient Egyptian god Set and Apep, the Great Serpent of the Underworld : https://www.mygodpictures.com/apep-and-seth-imageapep-and-seth-image/
Original image of the draw : "Représentation de la barque solaire de Rê tirée par des chacals et des serpent. L'embarcation est attaquée par le serpent Apophis mais ce dernier est transpercé par Seth". Papyrus funéraire de Hérouben. Soutekh67 on Wikipedia : https://fr.wikipedia.org/wiki/Fichier:Barque_solaire_contre_Apopi.jpg
22.04 The unbroken bones of the two goats of Thor's chariot in the Great Hall
In the following part of the myth, many things are pointing to the operating of the Hauling Beetle : the two goats because of the ramming metaphor and the fact that the Hauling Beetle was actually designed in two connected parts, one on the eastern ramp and the other one on the opposite western ramp; the unbroken bones that are referring to the wooden structure of the half-Beetles; the roar of thunder and the rumble of the chariot moving at high speed and creating tides because of the ramming of the impactor inside the waters of the inclined well; and the Great vaulted Hall to depict the Grand Gallery where the Hauling of the impactor was done.
"Thor was said to burst forth from his great hall in his chariot, drawn by two male goats – Tanngnjóstr (Tooth Gnasher) and Tanngrísnir (Snarl Tooth) – who could be killed and eaten by the god and then brought back to life the next day as long as their bones remained unbroken. The roar of thunder was the rumble of Thor's chariot's wheels across the vault of the heavens and, in another story, he is credited with creating tides." https://www.worldhistory.org/Thor/
"In the Osiris myth, Osiris was killed by Set by being tricked into a coffin made to fit Osiris exactly. Set then had the coffin with the now deceased Osiris flung into the Nile." https://en.wikipedia.org/wiki/Djed
"… the other gods were getting tired from over eighty years of fighting and challenges. 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. Set's boat, being made of heavy stone, sank, but Horus' did not. Horus then won the race, and Set stepped down and officially gave Horus the throne of Egypt." https://en.wikipedia.org/wiki/Horus
22.05 Thor can't use his magical Hammer without both the belt and two gloves : they are an inseparable unit
Everybody knows about Thor's magical Hammer that is every time getting back to him after the throw : it is a perfect metaphor of the functioning of the impactor, that came back to its initial position after each release from the top of the Grand Gallery.
We've seen that this impactor was moving inside the central gutter of the Gallery, and that the Hauling Beetle hauled it back to the upper part of the Gallery using a central rope. When the Beetle moved down the Gallery towards the entry of the inclined well, the central rope towed the impactor in response. The direction of rotation of the towing axle beam was maybe clockwise (previous Section).
That central rope is the second magical item of Thor : the belt of strength which doubled his strength when he wore it.
The last two magical items of Thor, the 'iron gloves' are most certainly the eastern and western connected half-Hauling Beetles.
"Thor had three magical items which helped him defend Asgard and Midgard: his hammer Mjollnir, his belt of strength Megingjörð (which doubled his strength when he wore it), and his great iron gloves which he needed to wield his hammer." https://www.worldhistory.org/Thor/
We still have to find what metaphors have been chosen to represent the axle beam and the latch bolts in the Norse mythology.
22.06 The incorrect posture of the Great Serpent : the 'bait' is not a real bait, it is the impactor's head
As suggested by the writing on the drawing of the Great Serpent Jörmungandr from a 17th-century Icelandic manuscript (top left corner text), we are obviously 'encouraged' to think that the Serpent is supposed to be in a vertical position, ready to eat the 'falling' bait.
But this is the academic vision of the scene; because at the same time, the position of his body is telling us the opposite : the Serpent is actually supposed to be represented in a very natural horizontal posture.
It means that the drawing's correct position is to be horizontal, and that this is no real bait.
Everything about Thor is regarding to the hammering/ramming/pounding of the impactor into the inclined well waters, and the horizontal position of the 'bait' is actually representing that impactor. The 'bait' is the head of an ox, because of the ramming metaphor into the inclined well waters.
The ox head 'bait' is the impactor's head (the stone in Thor's head) and the 'fishing leader' connected to it is the hauling rope of the impactor (Thor's magical belt).
22.07 The Fishing Trip Churning waters and the poison spewed by the hammered down Great Serpent
Because the Fishing trip in which Thor is 'trying to catch and kill the Great Serpent Jörmungandr, his name is pronounced Your-mun-gander (also given as Jormungand and meaning "huge monster" or "great beast"), is actually the Norse reinterpretation of the pressurization of the inclined well of the Great Pyramid, it no surprise that are appearing in the Fishing trip story, the two major elements of that pressurization : the head of the ox as a representation of the impactor (again, the same ramming metaphor) and the same 'churning waters' as the ones we've already discussed about in the 'Churning of the Ocean Hindu myth' Section 19
Churning water is precisely what was doing the impactor into the inclined well waters.
In the Fishing trip, is also represented metaphorically the small amount of pressurized water ejected from the well : Thor's Hammer (the hammering of the water) is causing the Great Serpent to spew poison from his mouth. The poison is the pressurized water.
"On a fishing trip which seems to begin innocently enough, Thor turns it into an expedition to catch and kill Jörmungandr. In this story […] Thor goes fishing on a large boat with the giant Hymir. When Hymir refuses to offer Thor any bait, the thunder god lops the head off Hymir’s largest ox and affixes it to his hook. […] Hymir and Thor wait in the boat, and just as Thor had hoped, Jörmungandr takes the bait. Thor hauls the serpent from the sea and reaches for his hammer to kill it while Jörmungandr spews poison from his mouth as he writhes on Thor’s hook. Thor draws the serpent closer in the churning waters, and the boat seems close to capsizing when Hymir, fearing for his life, leans forward and cuts Thor’s line. Jörmungandr dives beneath the surface and escapes" https://www.worldhistory.org/Jormungandr/
22.08 The release of the impactor and the central rope disconnection
It will be very challenging in the next following years to come as close as possible to the real operating of the Hauling Beetle and its fine relationship with the impactor, but there is one thing which I've already discussed a few times in previous Sections, and it is about the release of the impactor : I don’t see how the impactor would have gain speed and energy inside the central gutter of the Gallery (inside its wooden fixed caisson), with the central rope still attached.
In my opinion, the rope had to be disconnected with the impactor before its release, and it probably is what Hymir is referring to when he is "cutting Thor's Line" : "Thor draws the serpent closer in the churning waters, and the boat seems close to capsizing when Hymir, fearing for his life, leans forward and cuts Thor’s line."
Evaporative cooling applications webpage screenshot : AquaFog® from Jaybird Manufacturing Inc (Pennsylvania, USA)
22.09 Ginnungagap, where extreme Heat meets a mist of icy Cold is about the Queen's chamber of the Great Pyramid
The following excerpt is describing what was happening inside the Queen's chamber of the Great Pyramid (the 'Hidden chamber' of the ancient Egyptian Underworld).
Because the evaporative cold was created inside the horizontal passage and the overheating of the Solvay chemical reactions was in open air on the 'flat roof' of the unfinished Great Pyramid, the cold exchanger had to be located inside the Queen's chamber : the closest to where the cold was created and the farthest to where the heat was coming from.
Ginnungagap, the "Yawning Void", the place where "the heat of Muspelheim melted Niflheim’s frost" is a reinterpretation of the Queen's chamber.
"According to Norse cosmogony, the dawn of time was dominated by Ginnungagap—the “Yawning Void.” As time wore on, the fires of Muspelheim and the ices of Niflheim encroached on Ginnungagap. Slowly but surely, the heat of Muspelheim melted Niflheim’s frost, and the vapors coalesced into Ymir, the first giant. The melting ice also revealed a cow, Audumla, who nursed Ymir and fed on the salty blocks of ice." https://mythopedia.com/topics/muspelheim
22.10 The salty blocks of ice and the salt encrustations of the evaporative cooling process
The phrase "The melting ice also revealed a cow, Audumla, who nursed Ymir and fed on the salty blocks of ice." is outstanding, because it is talking about ice and salt.
We've seen in Section 1 "The evaporative cold", that the main problem of the process is the salt encrustations; but a question remains : when it is mentioning "ice", is it another metaphor of the "frosting cold", or could it be a genuine information?
I've already discussed the fact that ancient Egyptians didn't just mastered adiabatic evaporative cold, their process wasn't adiabatic at all : the air that was pushed by the fall of the impactor inside the fixed wooden caisson that perfectly 'extended' the inclined well, that air pressurized both the evaporative passage and the Queen's chamber.
If you pressurize the air, you have more air in the same volume and you can force more water into that air.
How more efficient it is in theory, and how cold could have really get the Queen's chamber, that is the question.
Here is a description of the fog of microdroplets after its creation, progressively moving forward into the horizontal passage and either created ice, or more probably salt deposits :
"According to the Prose Edda, a great time before the earth was made, Niflheim existed. Inside Niflheim was a well called Hvergelmir, from this well flowed numerous streams known as the Élivágar. After a time these streams had traveled sufficiently far from their source in Niflheim, that the venom that flowed within them hardened and turned to ice. When this ice eventually settled, rain rose up from it, and froze into rime. This ice then began to layer itself over the primordial void, Ginnungagap. This made the northern portion of Ginungagap thick with ice, and storms begin to form within." https://en.wikipedia.org/wiki/Muspelheim
Thor fishing for the Midgard Serpent in an illustration from an 18th-century Icelandic manuscript : https://en.wikipedia.org/wiki/J%C3%B6rmungandr#/media/File:Thor_and_Hymir.jpg
The creation of Brahma. In Vaishnava Puranic scriptures, Brahma emerges on a lotus from Vishnu's navel as Vishnu (Mahavishnu) creates the cosmic cycle. https://en.wikipedia.org/wiki/Brahma#/media/File:Sheshashayi_Vishnu.jpg
22.11 Jörmungandr's spewed venom is the pressurized water and is represented in multi-headed snakes
The relentless hammering down of the inclined well waters of the Great Pyramid produce indefinitely about 200 liters of pressurized water. The multi-headed serpents and the Mehen board games are a representation of this infinite sequential production of pressurized water.
I apologize in advance but I have to show the same images that I've already used many times about the representations of the sequential ejections of pressurized water used by ancient Egyptian themselves, and that we can also find today in the Hindu and Norse mythology.
This sequential ejection of about 200 liters of pressurized water is the key of everything : it results of the operating of the Hauling Beetle/impactor unit, and it is necessary to produce the fog (or mist) of micro droplets of liquid water that would evaporate and create the fog/mist of evaporative cold.
Ancient Egyptians used a very simple metaphor to represent this process : because the small amount of pressurized water originated into the inclined well, and because these pressurized waters had been represented into the Great Serpent Apep, then the small amount of pressurized water ejected from that well would be represented into small snakes.
In Egypt, this process about the multiple ejection of water had been represented essentially with the Great Mehen Serpent which is represented cut multiple times in tiny pieces; and in Hindu mythology we have the same Great Serpent on which Vishnu is sited on, showing multiple heads for the same reason.
In Norse mythology, the same metaphor is also used. In the above image of Thor hammering down the Great Serpent Jörmungandr, like in his Hindu counterpart, the Serpent is represented into the water, because he really is water. And because Thor is hammering him down, it means that the scene is about the pressurization of the waters of the well. This is why small snakes are getting out of Jörmungandr's mouth, just like the small snakes are getting out the Great Snake in the Hindu scene : the Great Serpent is being cut in multiple small snakes. A small amount of water is being ejected from the well.
The ancient Egyptian Shabaka Stone which record the 'Memphite Theology' or creation myth, a text perhaps originally composed during the New Kingdom, in which Ptah is responsible for the creation of all things by means of the spoken word. The Shabaka Stone at the British Museum : https://www.britishmuseum.org/collection/object/Y_EA498
22.12 The Well in the icy misty world from which eleven rivers flowed and the Egyptian Shabaka Stone
One of the most interesting part of the Norse mythology is concerning "an icy misty world called Niflheim, with a well from which eleven rivers flowed."
"In the beginning […] there was nothing but a giant void, probably filled with some kind of magic potential. Before our world was formed there existed an icy misty world called Niflheim, with a well from which eleven rivers flowed." https://www.worldhistory.org/Ymir/
The phrase, 'the icy misty world called Niflheim, with a well from which eleven rivers flowed', reminded me of one very particular strange stone from ancient Egypt, the Shabaka stone from the 25th Dynasty that is known to directly refer to the Creator god Ptah, the one Egyptian god who was the glorifying representation of the inclined well of the Great Pyramid (Section 21) : the Shabaka stone is showing a rectangular hole and eleven lines radiating from it.
Could the Norse myth about a well and eleven rivers refer to the Shabaka rectangular hole and eleven lines originating from it? Could it be another link between the Norse mythology and the ancient Egyptian religion?
"The Shabaka Stone, sometimes Shabaqo, is a relic incised with an ancient Egyptian religious text, which dates from the Twenty-fifth Dynasty of Egypt."
"The stela is around 137 centimetres (54 in) wide, with the left side height estimated at 91 centimetres (36 in) and the right side about 95 centimetres (37 in). The written surface is 132 centimetres (52 in) in width and on average, 66 centimetres (26 in) in height. The rectangular hole in the center is 12 by 14 centimetres (4.7 by 5.5 in), with eleven radiating lines ranging in length from 25 to 38 centimetres (9.8 to 15.0 in)." https://en.wikipedia.org/wiki/Shabaka_Stone
Norse mythology isn't really about the icy world of Niflheim (the 'realm of primordial cold' and the 'Home of Mist' where can be found the 'well of Hvergelmir') and the hellishly hot world of Muspelheim (hot and glowing land of fire, home to the fire giants), but it is really about the two of them fighting against each other in the 'Yawning Void' of Ginnungagap, the Norse reinterpretation of the Queen's chamber of the Great Pyramid of Egypt.
22.13 The heatwaves from Muspell fighting the Mist of Cold inside Ginnungagap
We've seen in Section 14 about the Red Pyramid, that the reason why evaporative cold was created inside the Great Pyramid, is probably because chemical manufacturing of sodium carbonate, using a Solvay or Solvay-like process was overheating (the very strong ammonia smell in the 'burial' limestone kiln chamber).
We've also seen in Section 19 "The Churning of the Ocean" that this idea of overheating that needed to be cooled down with water, was mentioned in this myth, probably the most important of all in Hindu mythology.
But Norse mythology is even way more explicit : " Another world was the elemental opposite, Muspell, hellishly hot […] the rivers of Niflheim froze and the ice piled up in the void, where the rime met the heatwaves from Muspell. As a result of the melting, the drops came together to shape a being, Ymir or Augelmir, the ancestor of the giants’ families. https://www.worldhistory.org/Ymir/
Maybe with a more in-depth study, it would be possible to sort out a lot of Norse mythology, but unfortunately it looks like everything had been completely mixed up : every single element of the operating of the pyramid is there, right under our eyes, but everything had been coated with brand new stories, borrowing a little here and a little there to create something unique and extremely hard to decipher.
Loki breaks free at the onset of Ragnarök (by Ernst H. Walther, 1897) : https://en.wikipedia.org/wiki/Ragnarok
An illustration of Lífþrasir and Líf (1895) by Lorenz Frølich : https://en.wikipedia.org/wiki/Lif_and_Lifprasir
Detail of Statue of the half-god Bes photographed by Sandstein. Limestone, Amanthus (Cyprus), Roman copy of the Archaic style. Istanbul Archaeological Museums, inv.no. 3317 T : https://commons.wikimedia.org/wiki/File:IAM_3317T_-_Statue_of_Bes.jpg
22.15 Ragnarök is the last fight between Thor and the Great Serpent Jörmungandr... and flooding
The following excerpt is crucial for the understanding of Thor fighting the Great Serpent Jörmungandr. When it is said that "Thor and Jörmungandr would meet one last time", it first means that they have fight many, many times before. In one particular text, it is said that each time Thor thought he had killed the Great Serpent, Jörmungandr actually survived and reappeared like nothing happened.
"Thor and Jörmungandr were fated to meet again during Ragnarök, the “fate of the gods” and the end of days for the Norse. According to the predictions offered by the völva narrator of the Völuspá (also in the Poetic Edda), the events of Ragnarök would begin when the serpent of Midgard released its tail from its mouth and wriggled onto dry land. There it would join its brother Fenrir, who would set the world aflame while Jörmungandr filled the air with poison. Thor and Jörmungandr would meet one last time, and while Thor was fated finally to kill his foe, he would sustain mortal wounds in the process. Thor would take nine steps after felling the serpent before succumbing to the serpent’s poison and dying". https://mythopedia.com/topics/thor
More on Ragnarök : https://norse-mythology.org/tales/ragnarok/
The Great Serpent never was killed, because he was made of the water from the King's chamber and the sarcophagus (biosand filter for water softening and micro-organism decontamination, Section 18) : at every cycle of about 15 minutes, about 200 liters of pressurized water from the well were redirected towards the evaporative cooling passage; but during the 15 minutes of hauling back the impactor to the top of the Gallery, the 200 liters of the ejected water would have been replaced through the central gutter.
The Great Serpents Apep and Jörmungandr never died… until the shutdown procedure and the draining of the well. This time, the Great Serpent would die and would never return.
22.16 Ragnarök is referring to the draining of the inclined well of the Great Pyramid
"In Norse mythology, Ragnarök is a series of events, including a great battle, foretelling the death of a number of great figures (including the gods Odin, Thor, Týr, Freyr, Heimdallr, and Loki), natural disasters and the submersion of the world in water". https://en.wikipedia.org/wiki/Ragnarok
I've described in Section 8, the entire sequence of events that triggered the draining of the well; the key element is that the impactor had been used one last time and that its release had been triggered from the grotto of the pyramid. But because the fixed caisson in the Gallery had to be flooded to increase the pressure on the Bes wedging block, the Osiris stone had to be freed from the wooden part of the impactor.
I think this is the reason why it is said that during Ragnarök, the draining of the inclined well of the Great Pyramid, both the Great Serpent Jörmungandr and Thor are killed.
22.17 The nine steps move of the impactor after hitting the Taweret Block during the draining of the well
The above excerpt is also mentioning that Thor 'had to take nine steps after felling the serpent' and that could be an amazing data.
Thor is the representation of the impactor, freed of the wooden float for its last voyage into the inclined well; and the felling of the Great Serpent is about the draining of the water of the well : the 200 liters of ejected pressurized water are not renewed anymore, the snake is dead. It means that Bes is broken and Taweret is freed to move and go rest onto the 'Savior' shock absorber granite plug #2.
So maybe the mention of the nine steps 'after felling the serpent' is about the distance travelled by Taweret between her initial position and the one she is having today.
The lower part of the inclined well of the Great Pyramid of Egypt and the Al-Ma'mun cavity, where the draining of its waters was realized before they were evacuated towards the subterranean chamber. The granite plug appearing on the image is the Taweret block.
Source of the image : Great Pyramid Passages and Chambers, Volume 1 (1910 edition). By John and Morton Edgar. Plate LXIV, page 166 : https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n174/mode/1up
Last update : September 5th, 2022. Implementation of Beset as the granite plug #1, the real plug of the well. Beset is unfortunately purely circumstantial. I couldn't find anything to validate the idea, but it is highly possible that this granite plug #1 and the Bes wedging block would have been given very similar names, because they had a very similar function : both blocks weren't supposed to move an inch during the entire operating period of the pyramid.
While the Osiris stone, the Taweret block and the shock-absorber Savior block were all designed to move at some point during the operating of the Great Pyramid, Bes and Beset were purely stationary blocks and they would have been given very similar names.
22.18 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 one single myth, but it doesn't originate from ancient Egypt : it is the "Churning of the Ocean" Hindu myth that produces the immortal nectar Amrita. The fact is that the endless churning of water that ends up with the production of an elixir that gives eternal life, is exactly what were doing ancient Egyptians in the inclined well : natron was the salt used for the mummification of pharaohs.
Natron gave eternal life to pharaohs, just like the Amrita (Section 19).
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