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

Scene from the astronomical ceiling of the Hypostyle Hall of the Dendera Temple of Hathor at Lunet (Lunet is the ancient Egyptian name of Dendera), showing 'goddess of the sky' Nut with her entire body made of water, as indicated by the very large blue water ripple signs on her body. Photographs thanks to Kairoinfo4U :  https://www.flickr.com/photos/manna4u/9293995463/in/photostream/ and https://www.flickr.com/photos/manna4u/9293856443/in/photostream/

Image of the water ripple sign on top of Apep, from the wall relief of Apep, temple of Edfu, Egypt thanks to Remith

 

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

Many clues in the following representations are actually clearly suggesting that Nut is all about water :

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

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

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

 

Papyrus mythologique de Tanytamon, Egyptien 172. Bibliothèque nationale de France, département des manuscrits (color and luminosity modified on gimp) : https://gallica.bnf.fr/ark:/12148/btv1b8304598h

 

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

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

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

 

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

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

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

They are just missing the water.

 

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

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

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

 

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

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

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

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

 

If you do think about water you understand that :

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

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

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

 

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

 

The goddess Nut, in theTemple of Hathor at Dendera. Thanks to Hamerani on Wikimedia Commons : https://commons.wikimedia.org/wiki/File:Temple_of_Hathor_at_Dendera._The_goddess_Nut.jpg

 

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

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

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

 

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

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

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

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

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

 

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

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

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

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

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

 

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

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

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

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

 

3.09  The water cycle of the evaporative cooling

Not only ancient Egyptians represented the creation of the evaporative cooling in the famous Dendera Light reliefs in the Hathor temple, but they also represented the theoretical part of the process in the famous scene showing Geb, Nut and Shu.

This scene is reproducing the water cycle from its liquid form (GEB) to its evaporated form (NUT) that is sustained by the dry warm air (SHU).

 

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

According to Wikipedia's page on Tefnut, 'tfn' means 'to spit : "Literally translating as "That Water",[2] the name Tefnut has been linked to the verb 'tfn' meaning 'to spit'[3] and versions of the creation myth say that Ra (or Atum) spat her out and her name was written as a mouth spitting in late texts [4]". Source : https://en.wikipedia.org/wiki/Tefnut

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

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

 

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

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

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

 

3.12  The theoretical evaporative process of the cold production

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

We've already seen in the first post about the Dendera Light (June 5th 2021), that ancient Egyptians loved to show and explain what they were doing, in their own way of course : they've represented a snake spitting out its venom on one side of a relief, and just next to it, they've represented the Dendera Light with the same snake inside the bulb, and by doing so they were saying that the Dendera Light was created by the venom of the snake, as a metaphor of the spat water getting out of the fog nozzle, under pressure and in the form of microdroplets.

 

3.13  The sociological modern drama interpretation of Geb and Nut

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

 

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

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

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

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

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

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

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

 

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

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

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

 

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

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

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

This reference to the sound that would have created the pressurized water passing through the fog nozzle, isn't the first one we've seen about the functioning of the nozzle, and that was personified into god Nefertem (Section 1.17).

 

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

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

 

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

 

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

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

 

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

Diagram of the Great Pyramid of Egypt in operation, before the shutdown procedure and the draining of the inclined well.

 

3.17  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).

 

© 2022 Copyright milleetunetasses.com. All rights reserved.

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

 

4.01  The polygonal arrangement of the blocks of the ascending passage

These blocks are displaying an interlocking layout revealing that the passage was also under a lot of longitudinal forces. If the girdle stones were set to counteract transversal forces passing through the ascending passage (from the inside to the outside of the well), the interlocking layout of the blocks reveals that the passage was also under strong longitudinal forces (from the top to the bottom of the well, and reverse).

 

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

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

 

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

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

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

 

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

 

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

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

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

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

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

 

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

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

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

 

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

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

More on the Bes and Taweret blocks as well as the draining of the inclined well triggered from the grotto, in Section 6 to 9.

 

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

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

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

 

4.04  The breach opening for the shutdown procedure of the pyramid

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

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

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

 

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

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

 

 

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

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

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

 

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

 

4.06  The only known photograph of the Junction imprint ?

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

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

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

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

 

Diagram of the Great Pyramid of Egypt in operation, before the shutdown procedure and the draining of the inclined well.

 

4.07  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).

 

© 2022 Copyright milleetunetasses.com. All rights reserved.

Wall relief of Apep cut into pieces, temple of Edfu (author : Rémih, on Wikipedia). Serpent artifacts from the Louvre Museum, with the body of the snake taking the shape of the "water ripple" hieroglyph sign. Inventory number E4851. https://collections.louvre.fr/en/ark:/53355/cl010038229

 

5.03  [Snake = Water]  2 • The snake "water ripple" hieroglyph shaped body

The snake artifact E4851 from the Louvre Museum, is showing a unique design : the tail of the snake is nothing else than a continuous succession of "water ripple" signs, clearly highly suggesting that the snake is actually made of water.

Most probably, the "water ripple" sign and the representation of Apep with multiple cuts, as shown on the wall relief left photograph above, together, one above each over, is actually representing the same thing : the "water ripple" sign is the representation of Apep being cut, over and over again.

 

5.04  [Snake = Water]  3 •  The boats sailing onto snakes

As seen on the representation of Seth attacking Apep (below image), the body of Apep is actually fully supporting the barque. Apep is painted in blue, and his body is also suggesting the waves : the barque is sailing onto the snake representation of Apep.

 

5.05  The Great Serpent of the Underworld Apep

The work on the inclined well and its water turned out to be like no other part of the theory, because this time, pretty much everything is perfectly described metaphorically in ancient Egyptian texts mentioning Apep, the Great Serpent god of Chaos of the Underworld.

The text in italic with the mention (WHF), comes from Joshua J. Mark, and can be find in the World History Foundation Encyclopedia (Canada) ; and from the Wikipedia's page on Apep (Wikipedia).

 

Apep (also Apophis) was the Great Serpent ancient Egyptian god of Chaos (isfet) that reigned over the Underworld and fought sun and creator god Ra in his solar barque (also solar barge), in endless fights, night after night. Image from Wikimedia Commons, author : Soutekh67

 

5.06  The Apep (Apophis) myth is completely inverted and doesn't make any sense

The myth about the Great Serpent Apep, god of Chaos of the Underworld and Sun god Ra, actually doesn't make any sense if you really think it through.

A proper and convincing story, would have been to say that Sun god Ra would fight the Great Serpent Apep (Apophis) during the day, he is the Sun god after all, and he would have kill the snake just before dusk. Then Apep would resurrect during the night (he is supposed to live in the Underworld after all) and restart the fighting cycle with Ra, at dawn.

But the actual myth is the exact opposite of that : Ra is fighting Apep during the night, and Apep resurrects during day light.

The myth about Apophis the Great Serpent only makes sense if you have the real backstory of the operating cycle of the grand gallery and the inclined well of the Great Pyramid of Khufu.

 

5.07  The Apep myth is the representation of the inclined well operating

The key element of the evaporative cold production was the ascending passage : it was flooded and every 15 to 20 minutes, its waters were pressurized by the fall of the impactor, operated from the grand gallery. Every time it got pressurized, a small amount of its waters were ejected into the horizontal passage where the fog nozzle(s) was (were) set to create the fog of microdroplets that would evaporate and cool the air.

 

5.08  The Great Serpent Apep of the Underworld is a metaphor of the pressurized Waters of the inclined well

I've been looking for evidence of the reality of the flooded inclined well and its water for quite a while now, until I really started to work on Apophis (Apep), the famous Snake of the Underworld.

First of all, I must admit I should have known better and find out about Apep way sooner, because I've already found out about another snake : the Dendera snake.

On the Dendera reliefs, the snake represents the way that water, coming from the inclined well of the theory, is transformed into a fog of microdroplets of liquid water. That water evaporates and cool the air.

The Dendera snake is a small snake, and it is a small amount of water coming from the inclined well. Well, guess what metaphor ancient Egyptians used to represent the inclined well water : yep, a big snake.

 

The small Dendera snake is a portion of the big Apep snake, so how did they represent that portion : they cut a piece of the big snake. Once again here, everything is nothing else than metaphors. There is no snake and no killing or slaying of the snake : they just represented the fact that maybe about a few hundred liters of water from the pressurized well was injected into the horizontal evaporative cooling passage.

Like for the explanation of the knives of the Dendera reliefs, the knife used here on the Great Serpent Apep is also metaphoric. The knife isn't here to kill the snake, it doesn't even really mean cut. The knife, like in Dendera, means separate.

A small quantity of water had to be separated from the rest and injected, through the Nefertem pipe to the Horus fog nozzle of the horizontal cooling passage.

 

The Underworld (the Duat) represents the entire interior layout of the Great Pyramid

The primordial waters Nu (Nun, Nunet) represent the waters of the inclined well

The Great Serpent Apep (Apophis) represents the water of the inclined well pressurized by the impactor.

The solar barque represents the impactor (correction : it is only the wooden part of the impactor, Section 21).

The night and day cycle represents the impactor operating cycle (in and out of the well).

The overthrowing of Apep is the ejection of a small amount of pressurized water from the well towards the horizontal cooling passage, and the recovery of the impactor from the well.

 

Left : Great Pyramid of Khufu at Giza, entry to the the ascending passage (inclined well), viewed from the grand gallery. Top and center : Egyptian god Ra in his solar barque, by Ausir. Top right : wall relief of Apep, temple of Edfu (author : Rémih, on Wikipedia). Bottom right image from Wikimedia Commons, author : Soutekh67

 

5.09  Djoser's "Refreshment of the Gods" Pyramid

The fact that the Great Pyramid of Khufu was producing cold in its Lower part, shouldn't surprise anyone : the very first pyramid built for pharaoh Djoser by Imhotep, was called "the refreshment of the gods' pyramid". Pharaohs were trying for decades to master the manufacturing of the purest mineral form of natron by the Solvay process, and it required a very efficient cooling system.

 

The work on the inclined well and its water turned out to be like no other part of the theory, because this time, pretty much everything is perfectly described metaphorically in ancient Egyptian texts mentioning Apep, the Great Serpent god of Chaos of the Underworld.

The text in italic with the mention (WHF), comes from Joshua J. Mark, and can be find in the World History Foundation Encyclopedia (Canada) ; and from the Wikipedia's page on Apep (Wikipedia).

 

5.10  Apep (Apophis) is the metaphor of the pressurized water of the inclined well (from the primordial still waters)

Ancient Egyptians used an impactor that was endlessly lifted to the top of the grand gallery and then released into the steep slope of the central gutter to gain speed and energy before it hit the waters of the inclined well and pressurizes it. It is possible that the cycle took about 15 to 20 minutes (most probably 15 minutes, Section 21) : the time needed by the crew of the grand gallery, to lift the impactor back up from the water of the inclined well to the top of the gallery. This cycle would have been realized all day long, for weeks, months, who knows…

(WHF): "No matter how many times Apophis was defeated and killed, he always rose again to life and attacked the sun god's boat. The most powerful gods and goddesses would defeat the serpent in the course of every night, but during the day, as the sun god sailed slowly across the sky, Apophis regenerated and was ready again by dusk to resume the war".

My comments : in the Apep Myth, the cycle doesn't take 15 or 20 minutes but an entire day ; that is because, from the impactor point of view, when it got inside the inclined well, it was night ; and when it got out of it, and reached the gallery, day light came back again.

In Apep myth, when they talk about night and day, that is actually depicting the operating cycle of the grand gallery.

 

5.11  Nu are the primordial still waters of the inclined well, before being hit by the impactor

From Wikipedia : "Nu (also Nenu, Nunu, Nun), feminine Naunet (also Nunut, Nuit, Nent, Nunet), is the deification of the primordial watery abyss in the Hermopolitan Ogdoad cosmogony of ancient Egyptian religion."

"The name is paralleled with nen "inactivity" in a play of words in, "I raised them up from out of the watery mass [nu], out of inactivity [nen]". The name has also been compared to the Coptic noun "abyss; deep".

 

5.12  The Solar Barque (Solar Barge) is the impactor

Of course, the Apophis Myth doesn't mention any impactor, but it is right there : it is the barque (or the barge), because to get the impactor moving they got to constantly pour water inside the fixed wooden caisson of the central gutter.

On some images, we see that the barque is actually sustained by the Great Serpent. It is called the Solar Barque, because again, the grand gallery was considered as Day, whereas the inclined well was considered as the (Underworld) Night.

(WHF): "The sun was Ra's great barge which sailed through the sky from dawn to dusk and then descended into the underworld."

(WHF): "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."

Correction : 21 we'll see that only the wooden part of the impactor was actually seen as a boat. The wooden part was only the vessel for the granite weight that had been glorified into Osiris (Section 21).

 

5.13  Apep god of Chaos : the impactor descent and crash

Over time I think it will be possible to evaluate how fast was moving the impactor, but one thing that will be very hard to reproduce or evaluate is the sound of the impactor fall, and the extreme deafening noise at the moment of the impact with the waters of the well. Especially with the grand gallery acting like a huge resonance chamber.

Of course, the descent and the crash into the well, would also have caused the structure to tremble.

(Wikipedia): "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."

(WHF): "Apophis is associated with earthquakes, thunder, darkness, storms, and death."

 

The Sycamore tree putting its weight upon Apep and pressurizing the waters of the inclined well.

Overthrowing of Apep in the Theban Tomb TT359, located in Deir el-Medina, part of the Theban Necropolis. It is the burial place of the ancient Egyptian workman Inherkhau, who was Foreman of the Lord of the Two Lands in the Place of Truth during the reigns of Ramesses III and Ramesses IV (Wikipedia). Image thanks to kairoinfo4u, on flickr

 

5.14  [Pressurization of the inclined well] 1 • The Sycamore tree is putting all its weight upon Apep

The sycamore fig tree that appears with Apep has raised some problem until I stopped thinking about it in a "static" way and completely disconnected from the cutting made by the cat on the left part of the image.

We've seen that Apep is a metaphor of the inclined well waters, and that it's cutting is a representation of the small amount of pressurized water getting out of the well.

On this image, the cut is made right in front of our eyes : it means that the well is pressurized. The presence of the sycamore fig tree has to tell us what is causing the pressurization.

1 • If we look closely, the trunk of the fig tree seems to be completely surrounded by the body of the snake, and nearly absorbed by it. The snake (the water) is all around the trunk : the sycamore tree is immersed into the water.

2 • Also, it almost looks like Apep had been punched down by the tree and he is held down on the ground like fighters would do. The weight of the trunk is constraining the body of the snake : that is the representation of the pressurization of the water.

The trunk of the sycamore is a metaphor of the impactor getting inside the inclined well (represented by the body of the snake) and pressurizing the well.

The sycamore fig tree is the impactor.

 

5.15  The interlocked fibers of the Sycamore wood Ficus sycomorus* ("Sycomore") and its high hit resistance : "the sycamore wood is one of the toughest that exists in the timber market, according to hits, weather and time."

Knowing that the sycamore fig tree was a representation of the impactor, we now have to ask ourselves if that impactor was made from sycamore fig wood or if this is another metaphor.

From the Majofesa website, about Ficus sycomorus* : "The sycamore wood is one of the toughest that exists in the timber market, according to hits, weather and time. It even acquired a sacred value thanks to its durability, as the Pharaohs and the most powerful men of the Ancient Egypt wanted their sarcophagi was built with this material to be preserved better and longer. It was believed that in time their mummies would reach a sacred aspect."

"The sycamore wood is heavy, moderately hard and strong. Its fiber is straight, occasionally wavy, and the grain is fine and uniform. The sycamore wood is easy to work because of its linked fibers, which allow breaking and cutting it easily. It supports very well the gluing, screwing and nailing, and the finish is usually great. Sycamore has a fine and even texture that is very similar to maple."

"The grain is interlocked."

In other words, the Sycamore would have been a perfect candidate for the purpose of the impactor : its interlocking fibers make this wood very hit resistant.

*Ficus sycomorus, not to be confused with unrelated trees. From Wikipedia : "The term sycamore spelled with an A has also been used for unrelated trees: the Great Maple, Acer pseudoplatanus, or plane trees, Platanus. The spelling "sycomore", with an O rather than an A as the second vowel is, if used, specific to Ficus sycomorus."

 

The pressurization of the waters of the well by the legs and paws metaphors.

Image on the left : the snake god Nehebkau (also spelled Nehebu-Kau), Spell 87 from the Book of The Dead. https://en.wikipedia.org/wiki/Nehebkau. Center : The Spearing of Apep (From the Papyrus of Nekhtu-Amen).

 

5.16  [Pressurization of the inclined well] 2 • The legs onto or under the snake

It is the same kind of association with the legs and the snakes : legs are also referring to the weight that is putting pressure upon snakes (upon water), whether they are onto the snake, or under the snake, like with Nehebkau (above).

It is amazing and fascinating to see that logic can be completely forgotten and different pieces of the puzzle voluntarily misplaced. This treachery obviously has the only intent to give us misleads. The positions of the legs under the snake and the Sycomore tree just next to Apep instead of onto Apep, in many representations are precisely that : misleads.

One could try to decipher the serpent walking on human legs, forever, he'll never understand the trick : the real meaning of the legs are about pressure upon something. Legs should be represented onto the serpent like on the second above image, not the opposite.

 

The restraining of the Great Serpent Apep is a metaphor of the containment of the pressurized waters of the inclined well of the Great Pyramid of Giza.

The restraining of Apep in the above relief from Ramesses KV19 tomb, is another representation of the containment of the inclined well pressurized waters. Once pressurized and contained into the well, a small amount of the "powered" waters can be redirected towards the evaporative cooling passage.

 

5.17  The restraining of Apep is the representation of the containment of the inclined well pressurized waters

We've seen that the Great Serpent Apep was a metaphor of the inclined well waters and that the fall of the impactor into the well pressurized it. The forces at play were so high that not only it was at the origin of some of the more impressive parts of the fights between Ra and Apep (the thunder noises, the rumble and trembling, etc.), but it also put the well on tremendous structural forces. That was the mission of the girdle stones : maintain the structural integrity of the well.

So, when we are looking at the restraint of the Great Serpent Apep, on the above image from Ramesses KV19 tomb, we are looking at the representation of the water that was restrained inside the well. The ropes are representations of the restraint, and the red elements in a inverted U shape, are the girdle stones : the upper girdles are actually 2 U-shaped half girdles stacked on top of each other. 

 

5.18  Apep worship is a gradual process of dismemberment and disposal, with water references

From Wikipedia : "In an annual rite called the Banishing of Chaos, priests would build an effigy of Apep that was thought to contain all of the evil and darkness in Egypt, and burn it to protect everyone from Apep's evil for another year. The Egyptian priests had a detailed guide to fighting Apep, referred to as The Books of Overthrowing Apep (or the Book of Apophis, in Greek)."

"The chapters described a gradual process of dismemberment and disposal, and include : Spitting Upon Apep / Defiling Apep with the Left Foot / Taking a Lance to Smite Apep / Fettering Apep / Taking a Knife to Smite Apep / Putting Fire Upon Apep".

 

My interpretation is that the rituals practiced by the worshippers of Apep, once a year, were reproducing the operating cycles of the inclined well pressurization : it started with giving water to Apep (the "Spitting upon Apep"), then putting him under pressure, like with the sycamore metaphor on the Tomb of Inherkau TT359 ("Defiling Apep with the left foot"), then restraining him ("Fettering Apep") and finally watching him cut into tiny pieces in the form of flying sparks as a metaphor of the small amount of pressurized water ejected from the well on every cycle ("Putting fire Upon Apep").

It also probably is a reference to the high heat of the Solvay towers that would have been associated with fire. The water made cold was created to cool down the "Solvay fire".

Please note that " Taking a Lance to Smite Apep" appears twice. The first one is most probably referring to the cutting of Apep into equal size pieces, while the second one is referring to "coughing up all that Apep had swallowed".

Also, the rituals are described as "a gradual process of dismemberment and disposal".

 

The multiple cutting of Apep is a representation of the multiple ejection of a small amount of pressurized water from the inclined well, towards the evaporative cooling passage.

The otherthrowing of Apep. Image on the left comes from Tomb TT335 of the sculptor Nakhtamon. On the right :  wall relief of Apep, temple of Edfu (author : Rémih, on Wikipedia).

 

5.19  The cutting of the Great Serpent Apep in equal length segments of 14.6 meters

It is clear on the above images that the goal was not to kill the Great Serpent Apep, but to cut it in equal length segments. The cut is precisely made the same way we would do ourselves today, when we want to cut a string with a knife: we make a loop and make the cut vertically, from the top down.

Also, on the right image, the sign above the serpent, is the Egyptian "water ripple" hieroglyph (U+13216, Gardiner N35).

(Wikipedia): "Apep was seen as a giant snake or serpent leading to such titles as Serpent from the Nile and Evil Dragon. Some elaborations said that he stretched 16 yards in length and had a head made of flint".

Maybe this data is genuine and the pipe that was inside the inclined well, was 16 yards in length (14.6 meters). This pipe was filled up with water and the energy from the impactor ejected that water towards the fog nozzle. If we can find out the diameter of this pipe, we would know exactly how much of this water was used at every cycle.

 

The ancient Egyptian Mehen "board games" showing coiled snakes cut into equal size pieces, are representations of the endless ejection of a small amount of pressurized water from the well.

 

5.20  The Mehen game boards are representations of the Great Serpent Apep cut into equal size pieces

This multiple times cutting of the Great Serpent Apep into equal length pieces, is exactly what is depicting the famous ancient Egyptian Mehen board game.

Wikipedia : "Mehen is a board game which was played in ancient Egypt. The game was named in reference to Mehen, a snake deity in ancient Egyptian religion."

 

It is interesting to see that some of these Mehen artifacts also show the head of a goose, that is once again an animal that can attack snakes.

Another interesting question, would be to know why isn't it a cat or a cat's paw that is joined to the artifact, but a goose. Is the fact that the goose is a farm animal important?

From 5 Farm Animals That Kill Snakes : "Geese may appear to be gentle and harmless, but they are among the type of farm animals that kill snakes. When the need arises, a goose loses all of its gentle nature and turns fierce. Countless times, geese have been seen overpowering small snakes by killing them. Scenarios like this often occur when the snakes try to attack the offspring of the goose. In the course of trying to protect its offspring, a goose can end up killing a snake."

 

5.21  The link between Mehen artifacts and Apep cutting : water distribution

• The Ballas Mehen was found covering a pot…

Following excerpts are from : Ancient Egyptians at Play, Board Games across Borders. Walter Crist, Anne-Elizabeth Dunn-Vaturi , Alex de Voogt (Bloomsbury Egyptology)

"Of the few boards that have good archaeological provenance, the oldest comes from the late Naqada Tomb 19 at Ballas, now in the Ashmolean Museum (Petrie & Quibell 1896: 42), and dates to the end of the fourth millennium BCE (Rothöhler 1999: 11). Found covering a pot, it was likely a votive representation of a mehen board rather than one used for play, since it was only 10.5 cm in diameter (Kendall 2007: 37), but appears in the form of other full-sized game boards."

 

• And another one was most certainly also a jar lid

"Another mehen game without provenance, now in a private collection, may have been a jar lid much like the Ballas game as it is only 4.5 cm in diameter and unlikely to have been used for play considering it contains 336 very small spaces (Kendall 2007: 37). It depicts a coiled serpent, with a tail and head, much like the others already discussed, but with an important distinction: four holes* were drilled on different parts of the serpent and may have been filled with a colored paste or some kind of inlay, distinguishing those spaces from the others (Kendall 2007: 37)."

*Unfortunately, no picture of this particular Mehen artifact is available ; probably the position of these 4 additional holes could be of some interest.

 

5.22  Were any of the Mehen artifacts designed as game boards?

What we know for sure, is that some of the Mehen board games hadn't been designed to be played with, whether because they are too small, the segments too tiny, or for both of these reasons.

The question is : were any of the Mehen artifacts designed as game boards?

 

On the left image, Apep is cut into pieces with a knife by the great cat Mau (the Great Cat of Heliopolis) as a representation of Sun god Ra, image from kairoinfo4u on flickr : Tomb of Inherkau TT359. Second chamber, South wall 

 

5.23  The discontinuous high pressurized water injection towards the fog nozzle

When the impactor hits the water of the inclined well, it pressurizes it and a small amount of its water is then ejected from the well.

A small amount of the waters of the well is extracted from it, and that is the real meaning of the Great Serpent Apep being attacked by representations of Sun god Ra : nobody is trying to kill the snake, they are just cutting him into pieces, of equal lengths. 

 

(WHF): "Apophis is sometimes depicted as a coiled serpent but, often, as dismembered, being cut into pieces, or under attack. A famous depiction along these lines comes from Spell 17 of The Egyptian Book of the Dead in which the great cat Mau kills Apophis with a knife".

(WHF): "According to the most popular creation myth, the god Atum stood on the primordial mound, amidst the swirling waters of chaos, and began the work of creation".

My comments : the ejected water is then directed towards the fog nozzle of the horizontal passage, passing through the bottom platform of the gallery, most probably with water splashes everywhere, and the cold can now be created.

From this part, we can think that the "primordial mound" would then represent the bottom platform of the grand gallery.

 

Tomb KV9 of Ramses V-VI. Fourth corridor, decoration on left wall: ninth division of the Book of Gates. Photograph by R Prazeres, on Wikipedia

 

5.24  Another representation of the pressurization of the inclined well waters in KV9

This scene is also a representation of the pressurization of the inclined well. This time, this is not the impactor that is used to put weight on the body of the snake, but the characters themselves. Probably they are also meant to represent the cutting of the snake in equal length segments.

 

5.25  Apep and the combination of 4 different metaphors

In my opinion, the metaphors about Apep are the most striking of all the metaphor combinations used by ancient Egyptians I know of, and it is in 4 acts :

1 • The metaphor of the pressurization of the inclined well : the sycamore tree

2 • The metaphor of the pressurized waters : the Great Serpent Apep

3 • The metaphor of the pressurized waters containment : the restraining of Apep by the ropes (see farther below).

4 • The metaphor of a portion of the pressurized water injected into the cooling passage : the Great Serpent Apep cutting and the Mehen artifacts                

 

What all this metaphoric art is saying about the ancient Egyptian lost civilization is really admirable. I already had the utmost respect for the beauty of the Great Pyramid functioning and its marvelous impactor operating cycle, but I am starting to believe their artistic capabilities were at least equally outstanding.

The fact that their extraordinary extremely high sophisticated society was so diminished by modern people is totally beyond me.

In all honesty, we should be ashamed of ourselves.

 

The confirmation that the cutting of Apep in many equal length segments was actually related to the injection of pressurized water into the horizontal passage, could come from the Book of the Dead.

Please note that on this picture, there are 2 snakes, but they are really one single serpent : Apep. What is represented here is that the attack on Apep is on 2 parts, on a temporal perspective :

1 • The attack on the head of the snake is representing the coughing up of the swallowed water : that is the small amount of pressurized water ejection process, on every cycle

2 • The multiple cutting of the snake into equal length segments indicates the repetition of that sequential cycle, over and over again

 

5.26  The Book of the Dead serpent that swallows in one gulp part of the stream… and cough it all up

Excerpt from “The Gods of the Egyptians; Studies in Egyptian Mythology, Volume 1” by Sir Ernest Alfred Wallis Budge (originally published: 1904) :

About the Book of the Dead, chapter 108 : "At about noon, the barque of Ra reaches the summit of a mountain where a serpent 50 cubits (26 meters) in length is found whose foremost 3 cubits are of silex."

"This serpent swallows in one gulp part of the stream. Set, at the front of the boat, directs his lance of fire against him, and causes him to cough up all that he had swallowed".  Behind the boat, a lion headed entity runs a blade through the serpent Apep."

 

What we have here, is the same scene as the one with the sycamore tree : the big serpent Apep not only is allowing the barque to move (it is in the first place, the water coming from the King's chamber), but the barque is also putting its weight on him. That weight is pressurizing the water Apep : the cutting can be made into equal size portions of water, and injected in the horizontal passage.

That serpent that swallows in one gulp part of the stream and cough up back all of it, is describing the operating cycle  of the pressurized water injection into the evaporative cooling passage.

I first thought that a pipe was set inside the inclined well, filled up with water between every cycle, and that same amount of water would then be ejected out of the well due to the pressurization. But maybe there was no pipe at all.

I'm still not sure what is the flint (silex) part about : is it the fog nozzle itself or the part that was set at the exit of the well ?

 

In this part of the Apep myth, everything is depicted but everything is also mixed up :

• The summit of the mountain is the top of the grand gallery (the upper platform)

• The barque is the impactor

• The 50 cubits length serpent is the part of the inclined well that was flooded

• The swallowing of the stream by the serpent is the filling up of the well between each cycle

• The coughing up of what the serpent had swallowed and the cutting of Apep is the ejection of the pressurized water

 

The sequence of events, involving snakes (water) for the production of evaporative cold, in the ancient Egyptian metaphoric style.

 

5.27  Every snake representation in ancient Egyptian religion is about water

One of the most recurrent appearances in ancient Egyptian religion is about snakes : they include the snake in the Hapi's cavern, the great serpent god of the Underworld Apep (Apophis) and the most important of all : Atum.

All these snake gods are metaphors of the water used to "power up" the Great Pyramid of Giza.

 

 

5.28  Apep giving birth to Atum

I know that the myth about Atum says he is a self-created god, but this part is incorrect : when Atum is represented in front of the great coiled serpent Apep, the real meaning of the scene is about his creation.

Both Apep and Atum are snakes, and both are water metaphors.

Once the waters of the well (represented by Nun, the primordial waters) get hit by the impactor (represented by the Sycomore tree putting its weight upon Apep), the well is pressurized and a small amount of water is ejected towards the horizontal passage and the fog nozzle.

That small amount of pressurized water is Atum.

 

5.29  The misleading puzzle pieces

What is interesting to see, is how hard it is to decipher ancient Egyptian metaphors. For example, the sycamore tree in the first image is clearly put onto the body of the snake : all the weight of the tree is supported by the snake who is totally nailed on the ground.

Of course, the paw of the cat is also reinforcing this idea of putting weight upon Apep. But this is maybe the only time where the tree is so clearly set : most of the time, the sycamore tree is not onto the snake, but just next to it (photograph on the right, above).

Of course, the fact that the sycamore tree isn't onto the snake but just next to it doesn't matter if you know the real story.

 

The Great Serpent Apep giving birth to Atum and Atum looking back at where he is coming from.

 

Atum "defeating" Apep, the ancient Egyptian great serpent god of Chaos of the Underworld, as explained by scholars. Atum is also frequently represented as a snake and his real meaning is that he is a portion of Apep. Atum is a metaphor of every buckle of the coiled snake Apep : a small amount of Apep, a portion of its water.

It is the association of dry warm air (personified in god Shu) and spat water in the form of droplets (personified in goddess Tefnut), that is producing the fog of cold in the horizontal passage of the Great Pyramid of Khufu

Center relief from the Tomb of pharaoh Ramses I. Thebes West, near 1307 BC.  https://en.wikipedia.org/wiki/Apep#/media/File:Apep_1.jpg

 

5.30  The secret real meaning of Atum defeating Apep : the creation of Atum himself

1 • The theoretical part : "Atum is said to have ascended from chaos-waters with the appearance of a snake."

2 • The illustration : the relief depicting Atum "defeating" Apep, the ancient Egyptian great serpent god of chaos of the Underworld (above photograph), in the Tomb of pharaoh Ramses I, Thebes.

If Atum emerged from chaos waters, and is looking to Apep without doing anything to him (no knife and no blood), what is Atum doing is looking back at himself : Atum is looking at where he is coming from.

Apep is the chaos waters and Atum is made of that water.

This idea that Atum is actually made of water is reinforced by his representation in an human form with the skin painted vivid blue (above right photograph).

Also, it is said that "Atum was […] the first being to emerge from the darkness and endless watery abyss that existed before creation" . "Darkness" and "abyss", would be very appropriate talking about the inclined well, where Atum is coming from.

 

5.31  Atum is the representation of the small amount of pressurized water ejected from the inclined well

Among all gods, Atum really is of great importance, and some would say he is the most important of all, the first creation god as explained by every scholar.

My theory explains why he was so important, why he was seen as the first god of creation.

Just think of "cold production" when you read "creation" in academic articles and everything will come into place : Atum, as the small amount of pressurized water ejected from the waters of the inclined well, was the last step of the process, just before the creation of the cold.

Excerpt from Wikipedia's page on Atum : https://en.wikipedia.org/wiki/Atum

"Atum was a self-created deity, the first being to emerge from the darkness and endless watery abyss that existed before creation. A product of the energy and matter contained in this chaos, he created his children—the first deities, out of loneliness. He produced from his own sneeze, or in some accounts, semen, Shu, the god of air, and Tefnut, the goddess of moisture. The brother and sister, curious about the primeval waters that surrounded them, went to explore the waters and disappeared into the darkness." 

 

Atum had in him, all the energy of the inclined well waters and all the energy of the impactor that constantly rammed into the well. This is only because the small amount of water representing Atum, was under pressure, that the fog of microdroplets could have been created ; hence the reference to the fact that Atum created Shu and Tefnut from his own sneeze or his own semen.

And all that vocabulary, about energy, creation, liquids under pressure and water is present in every description of Atum we can find. The only reason why it doesn't matter that Atum created Shu and Tefnut from his own sneeze or his own semen, is because it is only a metaphor referring to the spray of a liquid under high pressure.

 

Atum represented in an human form (left) and as a snake in snake coffin artifacts from the Brooklyn Museum : Snake Coffin Accession Number 36.624 (center) and Snake Coffin (Atum) Accession Number 16.600 (right).

 

5.32  Atum ascending from the chaos waters

"In the Book of the Dead, which was still current in the Graeco-Roman period, the sun god Atum is said to have ascended from chaos-waters with the appearance of a snake, the animal renewing itself every morning."  

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

Of course, the "chaos waters" are directly referring to the pressurized waters, after they have been hit (rammed) by the fall of the impactor.

The constant reference to the day cycle is a little more tricky to understand : the cycle is not about the Sun, but about the impactor getting in and out of the well. The real cycle is about the operating of the impactor. When it got into the well, it was like going into the night and when it got back into the Grand Gallery, it was like going back into the day, into light (whether it was light from the Sun or from lamps).

 

5.33  Atum, the first creation god, father of Shu and Tefnut, was also represented as a snake

Atum was the first creation god of ancient Egypt and the father of Shu (the god of dry and warm air) and Tefnut (the goddess of spat water and humidity).

During the Amarna period, if Akhenaten and Nefertiti represented themselves precisely in these two particular deities while all the other traditional gods were banished, it is because they wanted to be associated with the creation of the most magical part of the Solvay process : its evaporative cooling.

 

Mehen board game photographed by ©Rowan Millar, and posted on flickr : https://www.flickr.com/photos/126337530@N04/28294095688

 

5.34  Atum in front of the coiled serpent Apep : Apep has already been cut multiple times

As we can see on the above image, the character "defeating" Apep is Atum.

This scene is very important because it shows the continuity between these two characters : Atum is actually coming from Apep : Atum is the small amount of pressurized water ejected out of the inclined well by the fall of the impactor.

The first thing to note on the scene where Atum stands in front of Apep, is that Atum doesn't have any knife : Atum is not killing or cutting the snake. Actually, Apep is already cut. That is the meaning of the coils of the serpent : each buckle represent a cycle of water pressurization and ejection, and Atum is a representation of each of these buckles.

The Mehen artifacts, showing a snake that has been cut multiple times in equal size portions, are exactly describing that part of the real explanation of the myth about Apep and Atum.

 

 

Right : Nefertem emblems from the Louvre Museum : inventory number N 5118 © Musée du Louvre / Christian Décamps : https://collections.louvre.fr/ark:/53355/cl010008518 and ME299 © Musée du Louvre : https://collections.louvre.fr/ark:/53355/cl010337234

 

5.35  Atum passing through Nefertem : the "life force of the creator god Atum transmitted through Nefertem" reference

What I'm saying is that Atum was a representation of the pressurized water ejected from the inclined well, and that it was transformed on the lower platform of the grand gallery into a fog of microdroplets of liquid water inside the horizontal passage. For that to happen, a pipe had to be set on that platform, as well as a fog nozzle.

I'm also saying that these two pieces of hardware were represented into Nefertem's emblems : a pipe and a lotus flower. The lotus blossom being the fog nozzle.

In other words, we can say that Atum (the water) was passing through Nefertem (the hardware).

 

Amazingly, this idea of Atum passing through Nefertem is already well known :

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

https://www.facebook.com/groups/619881488204420/permalink/639962346196334/

 

I've highlighted in bold the important parts of the above text that allows us to understand the fine relation that exists between Nefertem and Atum : they are both connected to the cold production but each one is a very particular aspect of it.

We need to keep in mind that all the efforts on the evaporative cooling, were for one reason only : the chemical "magical" manufacturing of sodium carbonate, the natron that would be used for the mummification of the pharaoh ; hence the reference to the "life-force" and Sun god Re.

 

The piled-up rocks over Hapi's cavern in the Isis temple relief at Philae is the representation of the King's chamber of the Great Pyramid of Giza.

 

Diagram of the Great Pyramid of Egypt in operation, before the shutdown procedure and the draining of the inclined well.

 

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

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

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

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

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

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

As shown with Akhenaten and Nefertiti, the creation of the evaporative cold was the most sacred accomplishment of all (Section 17), and this is exactly what the Dendera Light is all about : the Dendera Light is the fog of microdroplets of liquid water that evaporates and creates the cold. Talking about the snake inside the Dendera Light Bulb : "The field surrounding Ra’s snake form is referred to in ancient Egyptian literature as protective magical energy in liquid form that all gods and pharaohs possess" (Faulkner, Section 2).

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

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

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

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

The most incredible thing is that pretty much everything I've just said, actually appears in 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).

 

© 2022 Copyright milleetunetasses.com. All rights reserved.

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

 

6.01  The Hatshepsut’s birth scene, from Édouard Naville "The Temple of Deir el Bahari"

I really didn't expect to find any kind of proof that would validate the fact that the Taweret block was maintained in its position for the time being of the operating of the Great Pyramid, by a wedging block , but not only the immobilized Taweret/Bes scene is that proof and Bes that particular wedging block, but also we have to note the position of that scene within the entire relief : it is located at the very end of the story.

Whatever the story is exactly, the scene showing that Taweret was blocked by Bes is at the very end of it.

We can imagine 2 different approaches :

1 • Time related approach : the story ends up when it is time for Bes to break and stop immobilizing Taweret. It would be the end of the operating period of the pyramid.

2 • Space related approach : this is a plan of the entire ascending passage that starts with the Grand Gallery and the 4 crewmembers of one hauling beetle, and end with the Taweret/Bes couple at the bottom of the flooded part of the first ascending passage : the inclined well.

Between the 4 crewmembers and the Taweret/Bes couple, there is a bizarre empty space, but again it can be interpreted with both approaches : time and space related.

 

The inclined well of the Great Pyramid of Giza, during its operation period, showing the Taweret granite sealing block and the small Bes granite wedging block.

 

6.02  Taweret and the water breaking metaphor

The draining of the inclined well would have result in a huge amount of water gushing out of the bottom of the well after the upper granite plug had moved down and revealed the breach. The metaphor with the water breaking is the origin of the Taweret goddess of childbirth.

"In Ancient Egyptian religion, Taweret is the protective ancient Egyptian goddess of childbirth and fertility. The deity is typically depicted as a bipedal female hippopotamus with feline attributes, pendulous female human breasts, the limbs and paws of a lion, and the back and tail of a Nile crocodile.[...] She commonly bears the epithets "Lady of Heaven", "Mistress of the Horizon", "She Who Removes Water", "Mistress of Pure Water", and "Lady of the Birth House" [...] The name "Taweret" (Tȝ-wrt) means "she who is great" or simply "great one". Source : https://en.wikipedia.org/wiki/Taweret

 

As clearly said by Anneke Stracke in her thesis "The Hippopotamus of Deir el-Medina", goddess Taweret was clearly associated with water :

Excerpt from page 30 of her thesis : "Of the twelve objects within this catalogue that include hieroglyphic epithets of Taweret… three of them make clear mention of her role as a goddess of water. While it is not unthinkable that a hippopotamus goddess should be associated with water, it is still quite unusual that a quarter of all epithets of the goddess which survive from Deir el-Medina feature this role so heavily. The epithets preserved in Deir el-Medina refer to “the pure water”, “lady of the well” and “Taweret, who is in the midst of the purification waters of Nun”.    https://studenttheses.universiteitleiden.nl/access/item%3A2624829/view

 

In short, some of Taweret's epithets are : "the Lady of the Well", "the Big One", "the Great One" and "She Who Removes Water", and she is referring to the upper granite plug (block #3).

In other words, Taweret is the upper granite plug : "The Great One", "The Big One", "The Lady of the Well" and "The One Who Removes Water".

 

The fact that both Bes and Taweret, as the wedging block and the sealing of the well block, were both associated with the draining of the well, explains why both were associated with childbirth : the metaphor is about the water breaking.

 

The ascending passage of the Great Pyramid of Giza showing the little imprint with a small block of granite still present today and that was the anchor for the Bes wedging block.

 

The upper granite plug of the Great Pyramid of Giza was the sealing block of the inclined well. This block had been glorified into the "Lady of the Well" Taweret goddess and represented into the hippopotamus, a huge semiaquatic animal that loves to stay, walk and even sleep completely submerged underwater.

 

6.03  The completely worn out upper granite plug is Taweret : the "Lady of the Well"

If you compare the two blocks appearing on the above photograph from the Edgar brothers, you can immediately see that if the lower block (this is the middle plug #2) looks like new, this is not true for the upper block that appears completely worn out.

Also its upper face looks curved, like something was stuck to it, but maybe this is only an illusion.

This Taweret block had a story completely different from the other granite plugs. The only logical explanation about the fact it appears so worn out, is that this block, and only this one, did moved or should I say forced its passage, on a short distance. It only could have been on a short distance, because many Egyptologists said that farther away up, the dimensions of the ascending passage wouldn't allow the block to pass through.

It is important to say that this upper block #3 would have only move a few meters and that it would have been most probably forced to do it by the huge pressure caused by the "explosive" opening of the King's chamber : if I am right about this, the man inside the grotto, not only triggered the last release of the impactor, but the impactor itself triggered the opening of the chamber.

 

 

6.04  Why goddess Taweret is represented as an hippopotamus

When the Great Pyramid was operational and the ascending passage flooded to form an inclined well, in the continuation of the Grand Gallery's central gutter, the upper granite plug was sealing the well.

Consequently, this sealing block would have been permanently underwater : it explains why ancient Egyptians chose to personify this block into the hippopotamus : a huge semiaquatic animal that loves to stay, walk and even sleep completely submerged underwater.

 

https://en.wikipedia.org/wiki/Wikipedia:WikiProject_WikiFundi_Content/Hippopotamus#/media/File:Hippopotamus_in_San_Diego_Zoo.jpg

https://commons.wikimedia.org/wiki/File:Hippopotamus_amphibius_-San_Diego_Zoo,_California,_USA_-under_water-8a.jpg

 

Taweret giving birth to snakes = Taweret giving birth to water (the water breaking metaphor).

 

6.05  Taweret : the "Lady of the Well" and "She who Removes water"

EA11862 from the British Museum is a very unusual figure that is depicting Taweret "giving birth" to a snake. To my knowledge, this is the only representation of Taweret associated with a snake.

We've seen in the previous post that snakes in ancient Egypt, were representations of the water from the annual inundation of the Nile : the very first snake is created by Hapi himself (relief of the Philae temple).

Here, with Taweret, we have the representation of the "last" snake, so to speak : Taweret is the representation of the draining of the inclined well that preceded the final shutdown procedure of the Great Pyramid.

Another outstanding figure of Taweret is the amulet 48.1555 from the Walters Art Museum, in Baltimore : it is the only figurine I know of Taweret that is revealing that the Sa sign is actually set on the figure so it is hiding from view a "secret pouring hole".

 

Amulet of the Goddess Taweret 48.1555 from the Walters Art Museum, Baltimore : https://art.thewalters.org/detail/11051/amulet-pendant-of-taweret/

Blue glazed steatite figure of Taweret and a snake EA11862 from the British Museum : https://www.britishmuseum.org/collection/object/Y_EA11862

 

Tthe emblem that Taweret is wearing on her head is the wedging block that maintained her into position before the draining of the well procedure. That emblem is Bes, the wedging block of the well.

 

6.06  The small granite block that was set in the floor imprint between the G8 and G9 girdle stones

In my opinion, the emblem that is showing Taweret on her head is the granite wedging block that was set on the floor of the ascending passage/inclined well, right between the G8 and G9 girdles.

Academic explanation is that this emblem is probably a "mast" that would have been needed to put a special headdress. But if you look at the last above photograph of a Taweret figure from the Artemis Gallery, in Louisville (CO), the "mast" is way to tiny to do the job. This cannot be a supporting "mast".

More about the Bes wedging block in the next Section.

 

Accession Number: 26.7.1193 from the Metropolitan Museum in New York : https://www.metmuseum.org/art/collection/search/544864

Glencairn Museum's Taweret figurine E66. Late Period : https://glencairnmuseum.org/newsletter/september-2014-the-goddess-taweret-protector-of-mothers-and.html

Faience Statuette of Taweret Ref.1352 from Christoph Bacher Archäologie Ancient Art, Vienna : https://www.cb-gallery.com/en/produkt/fayence-statuette-der-taweret/

Artemis Gallery, Louisville CO : https://www.bidsquare.com/online-auctions/artemis-gallery/impressive-detailed-egyptian-faience-votive---taweret-1396924

 

Diagram of the Great Pyramid of Egypt in operation, before the shutdown procedure and the draining of the inclined well.

 

6.07  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).

 

© 2022 Copyright milleetunetasses.com. All rights reserved.

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

 

7.02  The Hatshepsut’s birth scene, from Édouard Naville "The Temple of Deir el Bahari"

I really didn't expect to find any kind of proof that would validate the fact that the Taweret block was maintained in its position for the time being of the operating of the Great Pyramid, by a wedging block , but not only the immobilized Taweret/Bes scene is that proof and Bes that particular wedging block, but also we have to note the position of that scene within the entire relief : it is located at the very end of the story.

Whatever the story is exactly, the scene showing that Taweret was blocked by Bes is at the very end of it.

We can imagine 2 different approaches :

1 • Time related approach : the story ends up when it is time for Bes to break and stop immobilizing Taweret. It would be the end of the operating period of the pyramid.

2 • Space related approach : this is a plan of the entire ascending passage that starts with the Grand Gallery and the 4 crewmembers of one hauling beetle, and end with the Taweret/Bes couple at the bottom of the flooded part of the first ascending passage : the inclined well.

Between the 4 crewmembers and the Taweret/Bes couple, there is a bizarre empty space, but again it can be interpreted with both approaches : time and space related.

 

7.03  Bes is always depicted facing forwards to show he will not be moved

Bes depicted facing forwards is the main characteristic to understand about him.

In the previous post about Taweret, I suggested the idea that the bottom of the inclined well was sealed by the granite plug that is today at the beginning of the ascending passage and that this block (plug #3) was set higher in the passage : the ascending passage was not completely flooded.

That granite plug #3 has been deified into goddess Taweret, that had been called "the Lady of the Well" by ancient Egyptians themselves. I also suggested that, during the operational period of the well, that Taweret granite plug was maintained in its position by a wedging block that would have been set in the floor of the well, between the G8 and G9 girdles.

Bes is that wedging block.

This Bes block was designed to fight the pressure of the water of the well. It was designed to immobilize the Taweret block.

This is why Bes is depicted facing forwards. Bes' posture is saying : I'm invincible, I'm unmovable. Nothing will pass through me.

On the Hatshepsut’s birth scene, the rectangular block that is immobilizing Taweret, is purely metaphorical : that is actually Bes himself that is blocking her.

 

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

 

7.04  The "bit of granite cemented to the floor" of the ascending passage described by Petrie is Bes

The following excerpt is from "The Pyramids and Temples of Gizeh", by W. M. Flinders Petrie, first published in 1883, page 21 : http://gizamedia.rc.fas.harvard.edu/images/MFA-images/Giza/GizaImage/full/library/petrie_gizeh.pdf

Talking about the Taweret granite block : "The present top one is not the original end ; it is roughly broken, and there is a bit of granite still cemented to the floor some way farther South of it."

 

The dormant breach of the inclined well, revealed by the 2 sets of girdle stone orientations. 

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

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

 

The inclined well of the Great Pyramid of Giza, in operation. Figurine of Heka, the ancient Egyptian god of magic, from the Louvre Museum E 4875 : https://collections.louvre.fr/en/ark:/53355/cl010011666

 

7.05  The inclined well of the Great Pyramid in operation

 The exact position and extent of the drain hole, as well as its real fine opening apparatus are still to be determined.

 

Māori ceremonial dance Haka performers are replicating Bes' posture and gestures : the "I won't move attitude", the "tongue out " and the knife cutting. What Haka performers are saying to their adversaries is : "I'm invincible, I'am unmovable, you'll not pass through me".

Image of the All Blacks, performing the "Kapa o Pango" (a pre-match haka) at the rugby world cup 2011 New Zealand / Argentina, thanks to Jean-Francois Beausejour : https://commons.wikimedia.org/wiki/File:Rugby_world_cup_2011_NEW_ZEALAND_ARGENTINA_(7309674588).jpg

 

7.06  Bes' posture and the Māori ceremonial dance Haka

This is certainly not by accident that there is a perfect match between Bes's posture and the attitude of rugby players performing the famous Māori ceremonial dance Haka.

Both Bes and the Haka performers are saying the exact same thing : "you will not pass through me, I won't move."

The thing is that the posture similarity is not the only one : even the stories sound familiar.

Ancient Egyptians were engineers, transforming (hot) warm and dry air into cold air. That was the all point of the known part of the Great Pyramid : creating cold air for "sun god Ra".

 

This is an excerpt from the Wikipedia's page on the Māori ceremonial dance Haka :

"According to Maori scholar Tīmoti Kāretu, the haka has been "erroneously defined by generations of uninformed as 'war dances'", while Māori mythology places haka as a dance "about the celebration of life". Following a creation story, the sun god, Tama-nui-te-rā, had two wives, the Summer Maid, Hine-raumati, and the Winter Maid, Hine-takurua. Haka originated in the coming of Hine-raumati, whose presence on still, hot days was revealed in a quivering appearance in the air. This was the haka of Tāne-rore, the son of Hine-raumati and Tama-nui-te-rā. Hyland comments that "[t]he haka is (and also represents) a natural phenomena [sic]; on hot summer days, the 'shimmering' atmospheric distortion of air emanating from the ground is personified as 'Te Haka a Tānerore'".

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

 

Of course, even if Māori mythology perfectly borrowed god Bes from ancient Egyptian religion, they also adapted everything around him to create their own mythology.

But still, this is amazing to see they are still referring to a Sun god, including "rā" in his name, or even the idea of hot and cold air (summer and winter). Maybe the reference to a "quivering appearance in the air" is about the creation of the evaporative cold itself...

 

Also, the Māori name haka itself sounds pretty similar to the ancient Egyptian word for "magic" heka, and the name of the god of magic himself "Heka".

About the Egyptian god Heka : "Heka was the deification of magic and medicine in ancient Egypt. The name is the Egyptian word for "magic". According to Egyptian literature (Coffin text, spell 261), Heka existed "before duality had yet come into being." The term ḥk3w was also used to refer to the practice of magical rituals".   https://en.wikipedia.org/wiki/Heka_(god)

 

Haka performers replicating the tongue out gesture of the ancient Egyptian Bes deity.

Cook Islands national rugby league team performing it’s war cry, haka, before a test match against Niue in 2015, thanks to Naparazzi : https://fr.wikipedia.org/wiki/Haka

Étui à kohol simple N 4469 from the Louvre Museum : https://collections.louvre.fr/en/ark:/53355/cl010007062

Details of a protective sculpture of the god Bes on one of King Tut's six chariots (18th dynasty, New Kingdom Egypt), photographed by Mary Harrsch at the Discovery of King Tut exhibit at the Oregon Museum of Science and Industry in Portland, Oregon (2016) : https://www.flickr.com/photos/mharrsch/44741722010/in/photostream/ 

 

The tongue out and the "throat slitting" gesture in the "Kapa o Pango" Haka

7.07  The tongue out and the spitting water

Not only the Māori ceremonial dance Haka reproduce Bes' posture, but also his tongue out. By doing so, it is obviously a reference to the spitting water that accompany this gesture, and so to the draining of the well.

 

Haka performers replicating the throat slitting gesture of the ancient Egyptian Bes deity.

The "throat slitting" gesture done by the Māori Haka performers, has been completely misunderstood, because it really is a "throat slitting" gesture! But it is absolutely not a provocation towards adversaries : it is a gesture towards themselves.

By "throat slitting" themselves, the Māori Haka performers are only replicating the gesture that Bes is doing by holding his knife over the head, as a metaphor of the breaking off of his upper part. Haka performers are only cutting off their own heads : there is no taunt of any kind towards their competitors in that gesture.

 

7.08  The "throat slitting" gesture done by Haka performers really is about throat slitting, but it is about themselves

Another strong similarity is the famous "throat slitting" misunderstood gesture that the Haka performers are doing at the very end of the "Kapa o Pango".

"Kapa o Pango" concludes with a gesture which, according to Lardelli, represents "drawing vital energy into the heart and lungs". The gesture has been interpreted as a "throat slitting" gesture that led to accusations that "Kapa o Pango" encourages violence, and sends the wrong message to All Blacks fans." https://en.wikipedia.org/wiki/Kapa_o_Pango

If Lardelli is wrong about his interpretation of the "throat slitting" gesture, nethertheless it is absolutely not a violence reference aimed to Māori competitors. Once again, the Haka performers are reproducing the story of the drainage of the inclined well of the Great Pyramid of Giza : during all the performance they are showing their strength, they are saying that they will not move an inch, that nobody will pass through them, but at the end, they let it go and they are using the exact same knife metaphor that the one used for Bes. Knives and "throat slitting" are metaphors for the breaking off of the wedging block.

Bes, the temporary wedging block was responsible of the draining of the well, he took all the water out of the well and he was worshiped as the god who was responsible of getting all demons out of households.

 

When Haka performers are "throat slitting" themselves, they are considering their adversaries as demons who should only stay away from their part of the field. That is the real profound meaning of the Haka.

 

To summarize :

• Haka performers are reproducing the holding posture of Bes : "I'm unmovable, you won't pass through me".

• Haka performers are reproducing the tongue out of Bes : the water reference.

• Haka performers are reproducing the cutting off of their upper part : the release of the Taweret block, the end of the story and the end of the performance.

Don't ask me why and how Māori people did, in some ways, honor and celebrate the ancient Egyptian religion, but the facts are here : the Haka is referring to the Great Pyramid and the draining of its inclined well.

 

Please note that when represented with 4 knives and the Sa symbol, Bes is not facing frontwards anymore : his holding posture has been broken off by the knives. We'll see farther down this post that the Sa symbol is the representation of the drain hole of the well.

 

Above Bes-image on the right, from the right panel of triptych on footboard of bed (CG 51109) in KV46. Figure uploaded by Kasia Szpakowska, © Felictas Weber : https://www.researchgate.net/figure/a-Bes-image-from-right-panel-of-triptych-on-footboard-of-bed-CG-51109-in-KV46-b_fig2_312627388

 

Bes grabbing a snake in his hand and redirecting it towards a hole where his penis should be, is a representation of the draining of the waters of the well through the drain hole.

Stela of the God Bes, 4th century B.C.– A.D. 1st century, from the Metropolitan Museum, New-York : https://www.metmuseum.org/art/collection/search/547866

Dancing Bes and Beset, ca. 664 BCE–ca. 331 BCE, from the Allard Piersonmuseum, Amsterdam and posted on livius : https://www.livius.org/pictures/a/egypt/dancing-bes-and-beset/

Egg-shaped bell EA6374 from the British Museum : https://www.britishmuseum.org/collection/object/Y_EA6374

Relief or Votive Plaque of the God Bes A48 from The Barnes Foundation collection. 664–30 BCE, Limestone with red and black pigment : https://collection.barnesfoundation.org/objects/6670/Relief-or-Votive-Plaque-of-the-God-Bes/

 

7.09   Bes grabbing the snake in his left (West) hand

In many representations, god Bes is depicted having a firm grasp of a snake, with his left arm. If we look closely to the stela from the MET and the relief from the Barnes Foundation, we can see that the head of the snake is pointed to the same place : a hole where his penis should be.

Because snakes are representations of water, the meaning of this aspect of Bes can be reconstructed : Bes, is catching the water and redirecting it towards the drain hole. And because the left arm is also somehow, the West arm, it also refers to the fact that what I called "the breach" in previous posts, was actually a drain hole located on the West side of the well.

"Bes was a household protector, becoming responsible – throughout ancient Egyptian history – for such varied tasks as killing snakes, fighting off evil spirits, watching after children, and aiding women in labour by fighting off evil spirits, and thus present with Taweret at births."

The draining of the well is the origin of the main metaphor about why Taweret was worshiped as the goddess of childbirth : the water breaking.

 

7.10  The knife over Bes's head = breaking off the wedging block upper part

We've already seen in the posts about Dendera and Apep, that when ancient Egyptians represented knives in their religious scenes, it wasn't about killing anything or anybody.

Knives mean separate. Here, a better term would be "breaking off". When Bes is holding a knife over his head, it is the representation of the breaking off of the upper part of the wedging block.

 

Bes Mask from the Walters Art Museum : https://art.thewalters.org/detail/27895/bes-mask-2/

Amulet of the Head of Bes, 664–332 B.C, from the Metropolitan Museum, New-York. Accession Number: 10.130.2057 : https://www.metmuseum.org/art/collection/search/549188

Bes Head Amulet 51.2542 from Museum of Fine Arts, Budapest : https://www.mfab.hu/artworks/bes-head-amulet/

 

The representations of Bes with his head cut off : as a result of the breaking off of the wedging block upper part, many representations of Bes only show he's upper part : his head.

 

The knifes are metaphors of the breaking off of the Bes wedging block, and the release of the Taweret block. It is a representation of what triggered the draining of the well.

 

7.11  The breaking off of the wedging block and the release of the Taweret sealing block. Knives = CUT, BREAK

This is breathtaking to think that during the entire operating of the Great Pyramid, the Taweret block was actually only maintained in position by a temporary wedging block (first above image). Its release is what is depicted on the center images.

Like in other occasions, ancient Egyptians used many different ways of depicting this release :

In the lower center image, we have Bes holding the knife over its head to represent the fact that the fragile upper part of the temporary wedging block had to be broken off : the metaphor is directly referring to the original wedging block. In other words, by lifting up the knife over his head, Bes isn't trying to cut the plumes of his headdress, he is just cutting off his upper part.

But on the upper center image, the metaphor is much more elaborate : it’s a metaphor on another metaphor. Bes is the metaphor of the wedging block, and by cutting off every single arm and leg, the other metaphor is that he isn't able to hold Taweret anymore. The most important thing about Bes is his "holding" posture with strong arms and legs, but if you take these elements out of the way, if you cut out his limbs, there is no "holding" posture possible anymore : the Taweret block is then released.

 

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

 

7.12  The actual original design of the Bes wedging block

More than just being able to validate the couple Taweret/Bes as the 2 blocks sealing the inclined well, we can do even better and have a pretty good idea of the real design of the Bes wedging block, thanks to the "Two Bes-shaped legs for a bed", at the Allard Pierson Museum and Knowledge Institute in Amsterdam, Netherlands.

As I have already said, the simple solution that I came up with, is most certainly wrong or at least incomplete.

The major problem is that the little imprint in the floor of the well between G8 and G9 is located against the West wall. If my idea was correct, this imprint would have been located right in the middle of the width of the well, so that there wouldn't have been any force applied against the wall.

Obviously, something is missing, and the wedging block was only part of the solution, but at least, we can start with something and we now also have what is most probably very close to the real original design of that wedging block : a very large base (A) that would have anchored the block into the floor of the well, and a very fragile protruding upper part (B), that was immobilizing the Taweret block, but which was also ready and easy to break on demand.

 

The representation of the drain hole of the inclined well of the Great Pyramid of Giza, on Bes deity.

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

 

7.13  The drain hole of the well and the water plumes

We've already seen that the flail was actually made of water, and this is the same thing here with Bes' plumes : they aren't feathers but water plumes, and they are getting out of the drain hole that is often represented onto Bes' head.

On the above photographs, the question is : are we looking at the drain hole from the inside or from the outside of the well ?

Also you'll note on the first photograph, that the hole in Bes' body is entirely passing through the statue.

 

 

7.14  Bes represented with the drain hole of the inclined well

Vessel modeled in the figure of the Egyptian god Bes. Punic-Hellenistic art in Agrigento. Archaeological Museum of Agrigento thanks to Zde : https://commons.wikimedia.org/wiki/File:Egyptian_god_Bes,_clay_vessel,_Hellenistic,_AM_Agrigento,_120888.jpg

Ancient Egypt Faience Bes photographed by Gary Todd at the Ancient Egypt Gallery, Louvre Museum, Paris : https://www.flickr.com/photos/101561334@N08/28066484040/

Ancient Egyptian Steatite Figure of Bes, God of Merrymaking and Protection, Cosmetic Vessel from catawiki.com : https://www.catawiki.com/en/l/36111955-ancient-egyptian-steatite-figure-of-bes-god-of-merrymaking-and-protection-cosmetic-vessel

 

The Bes water plumes as a representation of water gushing out of the drain hole of the well.

Cromo Chocolat de la Compagnie Française, Pierrots opening a giant bottle of chamagne © patrick.marks, posted on flickr : https://www.flickr.com/photos/16691383@N06/49891752078/

Bes with a tambourine from the Metropolitan Museum of Art, New-York. Accession Number: 23.6.16 : https://www.metmuseum.org/art/collection/search/570703

 

The facetious metaphoric use of the well water draining power by King Tut on his "Ferrari" racing Chariots.

Details of a "protective" sculpture of the god Bes on one of King Tut's six chariots (18th dynasty, New Kingdom Egypt), photographed by Mary Harrsch at the Discovery of King Tut exhibit at the Oregon Museum of Science and Industry in Portland, Oregon (2016) :  https://www.flickr.com/photos/mharrsch/33783844026/in/photostream/

Bes figurine thanks to ©JLNicolas from world-in-words.com : https://www.world-in-words.com/news/lilla-del-deu-bes/

Spillway on the Monticello Dam, Lake Berryessa, Napa County California after heavy rains, March 2017, thanks to Phoebe : https://commons.wikimedia.org/wiki/File:Monticello_Dam,_Lake_Berryessa_spillway.jpg

 

7.15  The facetious metaphoric use of the well water draining power by King Tut on his State Chariots

King Tut died around 18 or 19 years old, and he was not different from kids of the same age today : the same way they are putting hot rod flames stickers on their beloved cars, King Tutankhamun did the exact same thing on his State Chariots.

Except it wasn't flames stickers he put on his chariot, but representations of Bes. Because Bes was a metaphor of the draining of the well, it was associated with the power of the water gushing out of the drain hole.

If protective figures like figureheads on sailing ships are always set at the prow for obvious reasons, the "jet reactor-like" protruding elements under the representations of Bes, are for what it's worth, set at the exact perfect location where a couple of metaphorical pump-jets generating a "magical thrust power out of water" would be installed today : the closest to the axle and the center of gravity of the chariot.

King Tut wanted to get this power for his chariot. So yes, in some way King Tut invented the first metaphorical "pump-jets".

How about that !

 

The metaphoric use of the power generated by the draining of the inclined well to power the racing "state" chariots of King Tutankhamun.

Left : 1915 English magazine illustration of a lady riding a Champagne cork (Lordprice Collection) on Wikipedia

Right : Champagne uncorking captured via high-speed photography by Niels Noordhoek

 

The facetious metaphoric use of the well water draining power by King Tut on his "Ferrari" racing Chariots.

Photograph of a Tut's "State Chariot" at the 2010 Tutankhamun Exhibition in Hamburg, thanks to Hendrik Plank : https://www.flickr.com/photos/7501487@N08/4489917981/

 

7.16  King Tut's "State" Chariots really were racing Chariots

These excerpts are coming from an article written by Rossella Lorenzi / Discovery Channel and available on nbcnews : https://www.nbcnews.com/id/wbna38545625

"According to Bela Sandor, professor emeritus of engineering physics at University of Wisconsin at Madison, King Tut's chariots surpass all monumental structures of the pharaohs in engineering sophistication."

"There is no evidence of chariot racing from that era, but these chariots have many technical features that imply a pedigree based on racing," Sandor said."

"In a study on the chariots' engineering, Sandor concluded that the vehicles were the earliest high-performance machines, boasting a complex suspension system of springs and shock absorbers. They even featured wheels with aircraft-like damage tolerance."

"They were the Ferrari of antiquity. They boasted an elegant design and an extremely sophisticated and astonishingly modern technology," Alberto Rovetta, professor in robotics engineering at the Polytechnic of Milan, told Discovery News."

 

King Tut's chariots were all about performance, based on both real and metaphorical technology.

 

Close-up on the "reactor-like" elements at the back of the racing "State" Chariots of King Tut. They cannot be protective elements, because they would have been set at the front of the Chariots. Against all odds, these elements really are reactors, but it is no air passing through, it is water : these elements, at the back of the Chariots were "metaphorical water jets".

Details of a protective sculpture of the god Bes on one of King Tut's six chariots (18th dynasty, New Kingdom Egypt), photographed by Mary Harrsch at the Discovery of King Tut exhibit at the Oregon Museum of Science and Industry in Portland, Oregon (2016) : https://www.flickr.com/photos/mharrsch/44741722010/in/photostream/ and https://www.flickr.com/photos/mharrsch/33783844026/in/photostream/

Detail of Bes and the drain hole (with the snake in an improperly position, facing front), thanks to ©flydime and posted on flickr : https://www.flickr.com/photos/flydime/3940873078/

 

7.17  The snakes next to Bes's heads on King Tut's chariots

Just next to the Bes representations on the back of King Tut's chariots, we can see snakes. These snakes are explaining that water was gushing out of Bes's heads. Remember : snakes are representations of the water from the annual inundation of the Nile, and they were created by Hapi.

 

The archaic look of the Bes deity is referring to the grotto and the Al-Ma'mun cavity of the Great Pyramid of Giza.

Stela for a lion god with Bes and Beset, limestone, Roman Period (NCG 314), photographed by Dosseman : https://commons.wikimedia.org/wiki/File:Allard_Pierson_Museum_Bes_and_Beset_stela_7605.jpg

Cosmetic Container in the Form of a Bes-image, 525–404 B.C. Accession Number: 1989.281.94 from the Metropolitan Museum of Art, New-York : https://www.metmuseum.org/art/collection/search/544908

Soft tissue reconstruction of a Paleolithic hunter (homo sapiens) with a spear-thrower and spear (Cro-Magnom 1, Les Eyzies de Tayac, France). Natural History Museum, Vienna (Austria). Photographed by Wolfgang Sauber : https://fr.vikidia.org/wiki/Homme_de_Cro-Magnon#/media/File:NHM_-_Homo_sapiens_Modell_1a.jpg

 

7.18  The archaic look and the animal skins

In the above relief showing Bes and Beset, one important thing to note is that both are set inside grottos. These grottos are referring to the grottos of the Great Pyramid : the grotto next to the well-shaft and the cavity supposedly digged by the Caliph Al Mamoun.

These grottos explain why Bes was represented wearing animal hides.

Ancient Egyptians were looking at their ancestors, exactly the same way we do ourselves today : they were imagining them with an archaic kind of "animal" look, wearing animal hides and living into grottos.

Because the draining of the inclined well started and finished into grottos, Bes as a metaphor of that draining was depicted exactly like these ancestors, having a very archaic look and wearing animal skins.

 

7.19  Bes as a dwarf because of the grotto

We've seen in previous posts that it is in the grotto of the Great Pyramid of Giza (next to the well-shaft), that was initiated and triggered the breach opening and the draining of the inclined well.

For that to happen, someone had to get to the grotto and secure himself from the inevitable part of the water from the King's chamber tank that would find its way to the grotto : both the King's chamber and the inclined well were drained during this unique operation. Most probably, the Davison chamber was as well drained at the same time.

Whoever was the one who accomplished this task from the shelter in the grotto, he (but it could also had been a woman of course), would have been most certainly chosen for his small size.

He could have been a dwarf, but it is also possible that the dwarf reference is only another metaphor for the small size of the person who did the job.

 

7.20  The Demons and the Party

"He scared away demons from houses, so his statue was put up as a protector. Since he drove off evil, Bes also came to symbolize the good things in life – music, dance, and sexual pleasure." https://en.wikipedia.org/wiki/Bes

One of the most important things about Bes concerns demons and what we could summarize as "partying".

If Bes was "scaring AWAY demons" and "DROVING OFF evil" is clearly referring to the fact that he was actually the one who THREW OUT all the waters of the well, the "partying" thing is completely different in the interpretation.

The draining of the well was the very last stage of the Great Pyramid operating : it was its conclusion. And what do we do today in this situation ?

Yes, we party !

 

Diagram of the Great Pyramid of Egypt in operation, before the shutdown procedure and the draining of the inclined well.

 

7.21  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).

 

© 2022 Copyright milleetunetasses.com. All rights reserved.

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

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

 

8.01  The Al-Ma'mun cavity was the water collector for the waters of the well

"Another good job completed yesterday, was the cutting of notches for the feet and hands in the part by which one climbs alongside the Granite Plug up to the First Ascending Passage. When we desire to ascend this passage, -we leave the Descending Passage by the hole forced on its right or west side by Caliph Al Mamoun, about ninety feet down from the Entrance. This hole is in line with the front of the granite stone which lies on the floor of the Descending Passage, The limestone block, "which now rests against the upper end of the granite stone (Plate IX), forms a convenient step by which to gain entrance, for the lower edge of the hole is about two feet up from the floor of the Descending Passage. From here the forced hole tends upward and west- ward Into a large cavernous space about twelve feet in height. Communicating with this space at the upper portion of its north-westward side is the inner or southern extremity of the long passage which Al Mamoun caused to be excavated from the north face of the Pyramid Plate V. In order to reach the upper end of the Granite Plug, and so ascend the First Ascending Passage, we require to scale the south-east wall of this cavernous space. During my first week here, I secured two photographs showing Hadji Ali Gabri climbing this wall — Plates LXIV and LXV. In both of these he is seen standing "with one foot on a ledge which is situated about three feet above the loose, sandy floor of the space, and the other in a notch. By taking advantage of this ledge and of the notches, we made the ascent at that time without undue difficulty. But now that we have had fresh notches cut, and the old ones deepened, the ascent and descent are much easier. One of the photographs (Plate LXV) presents a near view of the ledge, and also shows the lower end of the First Ascending Passage to better advantage than the other."

Morton Edgar, in "Great Pyramid Passages, Volume 1, by John and Morton Edgar, 1910", paragraph ref. 328, page 167 : https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n175/mode/1up

 

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

 

The inclined well of the Great Pyramid of Giza, in period of operation (before the shutdown procedure and the draining of the well).

 

8.02  Taweret is the representation of the draining of the well because of the water breaking metaphor

The draining of the inclined well would have result in a huge amount of water gushing out of the bottom of the well after the upper granite plug had moved down and revealed the breach.

The metaphor with the water breaking is the origin of Taweret as the goddess of childbirth.

"In Ancient Egyptian religion, Taweret is the protective ancient Egyptian goddess of childbirth and fertility. The deity is typically depicted as a bipedal female hippopotamus with feline attributes, pendulous female human breasts, the limbs and paws of a lion, and the back and tail of a Nile crocodile.[...] She commonly bears the epithets "Lady of Heaven", "Mistress of the Horizon", "She Who Removes Water", "Mistress of Pure Water", and "Lady of the Birth House" [...] The name "Taweret" (Tȝ-wrt) means "she who is great" or simply "great one". Source : https://en.wikipedia.org/wiki/Taweret

 

As clearly said by Anneke Stracke in her thesis "The Hippopotamus of Deir el-Medina", goddess Taweret was clearly associated with water :

Excerpt from page 30 of her thesis : "Of the twelve objects within this catalogue that include hieroglyphic epithets of Taweret… three of them make clear mention of her role as a goddess of water. While it is not unthinkable that a hippopotamus goddess should be associated with water, it is still quite unusual that a quarter of all epithets of the goddess which survive from Deir el-Medina feature this role so heavily. The epithets preserved in Deir el-Medina refer to “the pure water”, “lady of the well” and “Taweret, who is in the midst of the purification waters of Nun”.    https://studenttheses.universiteitleiden.nl/access/item%3A2624829/view

 

In short, some of Taweret's epithets are : "the Lady of the Well", "the Big One", "the Great One" and "She Who Removes Water", and she is referring to the upper granite plug (block #3).

In other words, Taweret is the upper granite plug : "The Great One", "The Big One", "The Lady of the Well" and "She Who Removes Water".

 

The original shape of the Bes wedging block of the inclined well of the Great Pyramid of Giza.

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

 

8.03  The actual original design of the wedging block

More than just being able to validate the couple Taweret/Bes as the 2 blocks sealing the inclined well, we can do even better and have a pretty good idea of the real design of the Bes wedging block, thanks to the "Two Bes-shaped legs for a bed", at the Allard Pierson Museum and Knowledge Institute in Amsterdam, Netherlands.

As I have already said, the simple solution that I came up with, is most certainly wrong or at least incomplete.

The major problem is that the little imprint in the floor of the well between G8 and G9 is located against the West wall. If my idea was correct, this imprint would have been located right in the middle of the width of the well, so that there wouldn't have been any force applied against the wall.

Obviously, something is missing, and the wedging block was only part of the solution, but at least, we can start with something and we now also have what is most probably very close to the real original design of that wedging block : a very large base (A) that would have anchored the block into the floor of the well, and a very fragile protruding upper part (B), that was immobilizing the Taweret block, but which was also ready and easy to break on demand.

 

The diagram of the girdle stones layout in the ascending passage of the Great Pyramid of Giza, functioning as a flooded inclined well. 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

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

 

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

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

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

 

8.05  The breach opening for the shutdown procedure of the pyramid

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

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

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

 

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

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

 

The representation of the releasing of the impactor of the Great Pyramid of Giza, for the inclined well draining procedure.

Burial chamber relief, tomb of Seti I, KV17 in the Valley of the Kings. Photograph thanks to kairoinfo4U : https://www.flickr.com/photos/manna4u/36500349182/

 

8.06  The falcon headed man pulling the rope and triggering the draining of the well

The first thing to see on that KV17 relief, is that the Apis bull is blocked in his progression by what looks like kind of a paper clip : the bull's third hoof is stuck by this paper clip like element.

But this situation is not permanent : if the falcon headed man pulls down the rope he is holding to, then we can easily imagine that the paper clip thing flattens itself… and the Apis bull gets released.

The movement of Apis then pulls the 2 ropes on his back, and the element stuck into the ground gets out… and the "secret pouring hole" of Taweret is revealed.

The water flow can now start.

This scenario, I've already described it when I was talking about the necessity of draining the inclined well at the end of the period of operation of the Great Pyramid, so that all the equipment was evacuated.

What I said, is that this operation was triggered from the grotto, and that the draining occurred in a very particular location inside the well, resulting into the fact that the lower girdle stones were set into 2 different orientations in a vertical plane, opening up a dormant breach between the G8 and G9 girdle.

 

8.07  The release of the impactor by a slide bolt latch ?

In previous posts I've suggested the idea that once at the top of the gallery, the impactor had to be blocked in place before being released into the slope for another descent, and I've imagined that maybe another latch bolt was used for this purpose.

But maybe another kind of mechanism was used, and if I'm saying that, it is because the "paper clip" like element on Seti's I tomb is very much looking like a perfect slide bolt latch.

It is easy to see that if the falcon headed man pulls down the rope, this "paper clip" element instantly flattens itself and the bull can move again. The question is to know if this element was only metaphorical on the relief or if it also was inspired by the real thing.

 

The representation of the releasing of the impactor of the Great Pyramid of Giza, for the inclined well draining procedure, triggered from the grotto of the pyramid.

Photograph of the grotto inside the Great Pyramid of Giza : Plate CLI page 278 in "Great Pyramid Passages, Volume 1, by John and Morton Edgar, 1910" : https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n293/mode/thumb

 

8.08  The falcon headed man laid flat on the ground and on his back... in the grotto

If someone triggered the last impactor release from inside the grotto, he would have been laid flat on the ground, right behind its opening and on the raised floor of the grotto.

If we look closely, we can even see that the grotto of the Great Pyramid is also suggested around the falcon headed man… unless it is pure coincidence that the ropes are drawn the way they are, forming a perfect virtual enclosure around him.

 

The shelter in the grotto of the Great Pyramid of Giza.

"Great Pyramid Passages, Volume 1, by John and Morton Edgar 1910" page 276 : https://archive.org/details/GreatPyramidPassagesVol11910Edition/page/n285/mode/2up

 

8.09  The shelter in the grotto

This Great Pyramid grotto thing reminds me of the Geb, Shu and Nut scene, where nothing can be understood without having water in mind.

Nut cannot be understood without water, as the similarity with Tefnut's name ('tf'= to spit and 'nwt'=water) and the water pot emblem of Nut can suggest. The exact same way, to understand the design of the grotto, you do need to add water.

More precisely, the grotto has been designed fearing water : the grotto is a shelter from water coming down the vertical well shaft. This is the reason why there is a deep hole in the floor to accumulate the water and preserve the upper part of the grotto.

This upper part has another particular design : its end part has been set the further away to the doorway as possible ; the doorway East wall protecting the very last end of this upper part.

This is a perfect design of a shelter, the further away from the doorway in an elevated section with a protective retention basin at the entrance.

 

8.10  How to break the Bes wedging block

The grotto is clearly designed to offer an elevated shelter where one would have been protected from water getting inside. There is even a "deep hole" that would have work as a protective basin when water would have get in, and that would have slowly empty itself because it has been dig into natural rock.

The problem is to understand why water was supposed to pass through the well-shaft, because it means that part of, or all the Grand Gallery would have been flooded.

So, the question is now, why did ancient Egyptians flooded the Grand Gallery ? And the reason is because of the wedging block.

We've seen that this Bes wedging block was designed with a very fragile protruding part on which the Taweret block was put. The resistance of this wedging block was calibrated to sustain the pressure induced by the waters of the inclined well.

But how do you break the wedging block if you do not have access to it ? You increase the pressure.

The only thing that would have break the Bes wedging block, is by increasing the height of water above the Taweret block and increase the pressure at the bottom of the well.

 

8.11  The fixed caisson of the Grand Gallery

The interesting thing about the (hypothetical) fixed caisson in which the impactor was moving, is that the Grand Gallery didn't need to get fully flooded : they would just have to flood the fixed caisson. The pressure at the bottom of the well is only depending on the height of water, not the volume of water.

 

The "road marking-like" layout of the blocks inside the "forced entry passage" of the caliph Al-Ma'mun.

Photographs of the "forced entry tunnel" of Al-Ma'mun, thanks to Mike Dash in his blog "A Blast from the Past" : https://mikedashhistory.com/2011/09/01/inside-the-great-pyramid/ 

Road markings at Achnacloich Rail Bridge, thanks to Bear Scotland (Perth) : https://www.bearscot.com/new-road-markings-at-achnacloich...

 

8.12  The "forced entry tunnel" supposedly digged by the caliph Al-Ma'mun

Please note the very particular layout of stone blocks that appear on the above photograph of the "forced entry tunnel of the caliph Al-Ma'mun" : massive light color blocks are literally encased between small thin dark color blocks.

In my opinion, it would be the perfect layout to help workers to dig a tunnel from the exterior of the pyramid, that would lead them directly to the granite blocks and the inclined well drain hole. It looks like a perfect traffic sign to me !

 

8.13  The problem of the King's chamber shafts

The question now is to imagine the entire sequence of the draining of the well, starting with the person who would have get inside the grotto, and trigger the all thing.

Once inside the shelter, this person pulls down a rope connected to the impactor, resting at the top part of the Gallery. The impactor is released for the last time, and start to slide down the slope, like usual. But this time, the impactor is also connected to the King's chamber closing apparatus and it results in the release of the waters of the King' chamber.

This scenario of the draining of the well, involving the waters of the King's chamber to increase the pressure at the bottom of the well and the breaking off of the wedging block, does also solve another problem I couldn't figure out until now : the presence of the 2 shafts leading to the King's chamber.

 

If I'm right about the fact that when the pyramid was in operation, the elevation was stopped around the level of the Lady Arbuthnot's chamber (please read the Section on the sarcophagus), then the question is what would these shafts been implemented for?

 

8.14  The elevation sequence of the Great Pyramid construction and the Al-Ma'mun "forced entry tunnel"

Thanks to the understanding of the Al-Ma'mun tunnel, we can reconstruct the main sequence of events of the construction of the Great Pyramid of Giza : 

1 • The construction of the pyramid is stopped at the level of Lady Arbuthnot's chamber

2 • The pyramid is then fully operational and serves for weeks, months or years, but only when the inundation of the Nile is high enough (it probably explains the presence of the Nilometers)

3 • When the pyramid is not needed anymore, the elevation starts again and the structure is finalized.

4 • During the following inundation period of the Nile, the draining of the well can be realized.

5 • A passage to the granite plugs is digged from the outside of the pyramid and the entire equipment of the pyramid can be taken out. This passage is the "forced entry passage" supposedly digged by Al-Ma'mun.

 

Ancient Egyptian god Sobek as a Nile crocodile with ram's horns. Both of these attributes are referring to the impactor of the Grand Gallery which was plunging into the waters of the well like a crocodile and ramming into them with tremendous power.

 

8.15  The crocodile putting its weight upon Taweret and forcing her to move

In this Apis and Taweret relief from the tomb of Seti I, we've just seen that Apis is a representation of the recess granite block of the impactor, released from the top of the Grand Gallery, and that Taweret is representing the upper granite block that was sealing the bottom of the well.

This Taweret sealing block was forced to move, a few meters only to reveal the breach, and that it was the recess granite block that (somehow) triggered the movement.

On the relief, this particular part is represented in the crocodile putting its weight upon Taweret.

We've already seen this weight metaphor about Apep and the pressurization of the water of the well : the sycamore tree, the men or just legs are putting weight on Apep, and they are doing this vertically. The only goal was to put pressure.

Here, with the crocodile, the pressure is made to trigger the movement of the Taweret block, and the crocodile isn't put on top of her head but one her back, like you would do to push someone forward : you push hard on his back.

 

8.16  The crocodile is also a metaphoric representation of the impactor

It is interesting to see that the impactor was represented in many different ways, depending on the context, and the angle of vision necessary to the narrative.

• The sycamore tree, the men and the legs are representations of the weight of the impactor and the induced pressure.

• The calves (bulls and cows) and the rams (horns) are about the shock, the impact, the collision with the waters of the well.

• The crocodiles are about the way that the impactor was getting into the water and stayed underwater for a short period of time, before getting back onto the shore.

 

Sobek illustration thanks to Jeff Dahl : https://en.wikipedia.org/wiki/Sobek#/media/File:Sobek.svg

Crocodile image thanks to ninfaj and posted on flickr

Ram fighting, National Games, Shahrisabz, Uzbekistan : https://commons.wikimedia.org/wiki/File:Asrlar_Sadosi_2008c.jpg

Image of Basque ram fighting : https://fr.wikipedia.org/wiki/Combat_de_b%C3%A9liers#/media/Fichier:Aharitopeka.jpg

 

Diagram of the Great Pyramid of Egypt in operation, before the shutdown procedure and the draining of the inclined well.

 

8.17  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).

 

© 2022 Copyright milleetunetasses.com. All rights reserved.