THE PYRAMIDS of the COLD • Chapter 25 Falcon god Horus is the glorification of the Great Pyramid's impactor speeding inside the Djed caisson, like a falcon on the attack

This representation of Horus as a falcon standing onto some kind of enigmatic pedestal is directly referring to the true nature of Horus: the composite impactor of the Great Pyramid, and like Egyptians have made so many times, what Horus is standing upon only is himself. The whole point of the artifact is a glorification of the Great Pyramid’s impactor and the so-called very long ‘sarcophagus’ only is the central wooden Djed caisson: the artist who crafted the figure simply ‘displaced’ the original location of the impactor from inside the Djed caisson to partly outside of the caisson. If the artist wouldn’t have used this little trick, we would never have seen what the falcon Horus really was all about because the impactor really was completely hidden inside the caisson. [Egyptian bronze falcon 'sarcophagus' representing Horus]. Dynasty XXVI, 664-525 B.C.E. From Christies: https://www.christies.com/lot/lot-5567161

THE PYRAMIDS of the COLD • Study written by Bruno COURSOL (January 2021 to September 2025)

Section D • The composite weighted impactor of the Great Pyramid of Khufu

The pressurization of the waters of the inclined well was possible by the fall of a composite impactor that rammed into the well with high speed. Many Egyptian gods are about that impactor: Horus, Ra, Osiris, Sobek are this impactor.

Chapter 25 • Horus (the Younger) and his combined manifestation with Ra, Ra-Horakhty, are the glorifications of the Great Pyramid's impactor speeding inside the central wooden Djed caisson, just like it was a falcon on the attack

In summary: we’ve already seen in the Osiris myth that the composite impactor of the Great Pyramid has been glorified into its two major components with Ra (the wooden vessel) and Osiris (the weight), and that the famous barque of Ra is nothing but the glorification of the essential role of transportation of that weight by the wooden part of the impactor.

But of course Egyptians went way farther in their glorifying process of how was operated the Great Pyramid and they did glorify as well what I call ‘composite impactor’, that is the reunion of Ra with Osiris; and that is what Horus is all about.

It is well known that at some point in history, Egyptians started to worship a new god called Ra-Horakhty, who accordingly to egyptologists simply is the fusion of sun god Ra with Horus; what we’ll see now is that Ra and Horus are in some ways the exact same thing and that is why both gods are so strongly associated with the barque: everybody knows about the sun barque of Ra, and everybody should know about the barque of Horus, as clearly illustrated in a relief in the Temple of Horus at Edfu.

But there isn’t really a barque of Ra, nor there isn’t really a barque of Horus: they are both about the same thing, and that is the wooden part of the impactor; and if Ra only is about the wooden part of the impactor, Horus simply is about the whole impactor, including its wooden part. This is why both Ra and Horus are depicted on barques, and this is why they finally merged together to form Ra-Horakhty.

Operating diagram of the Great Pyramid of Khufu, showing the fundamental role of the composite impactor. The impactor has been glorified into many different deities, depending on which aspect was to be promoted.

25.01  The two Horus: the Younger and the Elder

• Horus the Younger is the powerful one: we'll see that he is about the impactor of the Great Pyramid when descending the Gallery and pressurizing both air and water. Later, Horus the Younger became associated with Ra to form Ra-Horakhty.

• Horus the Elder isn't: we'll see that this form of Horus is when the impactor was painstakingly ascending the Gallery, step after step and helped by a wooden gantry (the hauling Beetle), just like it was an elderly.

“Horus is the name of a sky god in ancient Egyptian mythology which designates primarily two deities: Horus the Elder (or Horus the Great), the last born of the first five original gods, and Horus the Younger, the son of Osiris and Isis. […] Horus the Younger […] was a powerful sky god associated with the sun, primarily, but also the moon. He was the protector of the royalty of Egypt, avenger of wrongs, defender of order, uniter of the two lands and, based on his battles with Set, a god of war regularly invoked by Egyptian rulers before battle and praised afterwards. In time, he became combined with the sun god Ra to form a new deity, Ra-Harahkhte, god of the sun who sailed across the sky during the day and was depicted as a falcon-headed man wearing the double crown of Upper and Lower Egypt with the sun disk on it. His symbols are the Eye of Horus (one of the most famous Egyptian symbols) and the falcon.” By Joshua J. Mark: https://www.worldhistory.org/Horus/

[Horus falcon on shrine-shaped coffin]. Dynasty 26 or later, 664-524 BCE. Smithsonian National Museum of Asian Art: https://asia-archive.si.edu/object/F1907.154/

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

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

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

25.02  The fusion of the wooden part of the impactor Ra with the whole composite impactor Horus to create the single deity Ra-Horakhty who is directly linked with the weight of the impactor Osiris

Ra-Horakhty really is a ‘cas d’école’ to understand how ancient Egyptians decided to glorify their scientific and technological adventure that probably gave life to the era of pharaohs. Egyptians started to design and use impactors probably since the very beginning, whether they were composite weighted impactors (with weights made of stone or metal),  or simple impactors entirely made of wood; this early use of such tools gave life to gods like Horus for example; but the Great Pyramid that had been built near the end of the Fourth Dynasty attracted all the light, all the attention on what happened within its very structure and when Egyptians apparently stopped their engineering quest to produce the greatest cold possible (probably to cool down a Solvay or Solvay-like process for chemical manufacturing of Sodium carbonate Natron), it was time for them to switch from their experimental side to their literary side and really start creating complex writings involving over 2,000 gods and goddesses, each and every one of them being the glorification of a very particular aspect of everything they’ve done, and everything they’ve used.

So, at some point they decided to merge two of the many representations of the impactor to create a new deity by associating Horus and Ra to create Ra-Horakhty. In some ways, Horus and Ra could be described as the exact same thing: the impactor of the Great Pyramid:

• Horus is the whole impactor (the composite structure with the wooden vessel Ra transporting the Osiris weight).

• But Ra can also be called ‘impactor’, because it was indeed the wooden structure that both pressurized air and water.

With Ra, Egyptians wanted to point out the fact that the impactor was moving up and down the Grand Gallery, over and over again, endlessly; so they’ve used the sun as a metaphor of its endless movement: just like the sun over the Nile river, the impactor was rising up in the sky from water, then setting down to finally disappear under that same water.

With Horus, Egyptians wanted to point out how the impactor was made (with the Four Sons of Horus skate blades and the two Eyes of Horus connecting bollards) and the fact that in one part of its operating cycle the impactor was full of energy and as fast as the falcon with Horus the Younger and in the other part of its cycle the impactor was completely lacking all energy with Horus the Elder.

So, during the Fifth Dynasty that just followed the Fourth Dynasty which has seen the construction of the Great Pyramid, what we can call the ‘authors’ of the glorifying process (the scribes of course), wanted to merge these two gods into one single deity that would have unite these two different sides of the impactor. This is how was created Ra-Horakhty.

“Re-Hor-achti is one of the ancient Egyptian gods in whom the ancient Egyptians combined the god Ra represented by the sun disk and Horus on the horizons. It is symbolized by a falcon with the sun disc on its head” https://en.wikipedia.org/wiki/Re-Hor-achti

“During the reign of King Akhenaten, the priests worshipped Ra-Horakhty. In the first years of his rule, Akhenaten allowed the performance of religious rituals in this inherited manner. Then, when he turned to worshipping the god Aten, represented by the sun, he described him as “Ra-Horakhty.” https://en.wikipedia.org/wiki/Re-Hor-achti

“In the Book of the Dead Ra is described as “Atum-Horakhty” and Horakhty is linked with Osiris in his role as “the far strider when he crosses the sky”. https://ancientegyptonline.co.uk/horakhty/

“The combined form of the gods Ra and Horus began to appear around 2445 BC in the sun temple built by Nyuserre at Abusir village.” https://en.wikipedia.org/wiki/Re-Hor-achti

“Nyuserre Ini (also Niuserre Ini or Neuserre Ini; in Greek known as Rathurês; died c. 2422 BC) was an Ancient Egyptian king, the sixth ruler of the Fifth Dynasty during the Old Kingdom period. He is credited with a reign of 24 to 36 years depending on the scholar, and likely lived in the second half of the 25th century BCE.” https://en.wikipedia.org/wiki/Nyuserre_Ini

[illustration]: falcon headed god Ra-Horakhty holding the flail, in Stèle de la dame Tapéret - Musée du Louvre Antiquités égyptiennes E 52, N 3663: https://collections.louvre.fr/ark:/53355/cl010017961

25.03  Only half of the impactor's job is really to create pressurized water: is is as important for the evaporative process that it also created pressurized air... hence the balloon animal metaphor

The academic explanation of the strange thing that is on Ra-Horakhty’s head is that the Sun has been swallowed by a snake, but if it was right why would it shot all these cute little flowers to the very face of dame Taperet? This is a perfect illustration of the immense turmoil in which egyptologists find themselves today, and it started right from the beginning of egyptology back in the early 1800’s, when everybody saw representations of the sun pretty much everywhere. If there was anything looking like a disc, don’t bother to think of anything else than the sun. It was comprehensible at the time, more than 200 years ago, but the fact that everybody is still doing the same thing today really is outstanding. Because the metaphor which has been used here by ancient Egyptians thousands of years ago, we still use it now; and everybody can understand it because everybody has already seen the metaphor of the snake that swallowed so much air that it becomes a balloon animal.

Why does nobody want to see the balloon animal metaphor is very sad, but at the same time you people don’t really want to see anything about ancient Egypt; if you did you would have asked why we did find massive salt deposit in the Queen’s chamber, you would have asked why Egyptians used all these gigantic girdle stones in the entire lower part of the ascending passage, you would have laugh at the idea of the King’s chamber being the tomb of Khufu and you would be dead laughing at the idea that the awful granite box in that chamber was the Sarcophagus of the most powerful man in the world, because how the hell could it be if Egyptians didn’t even care to put any decoration or text on this box?

But anyway, once you’ve understood the balloon animal metaphor, of course you understand why the snake is shooting all these flowers, because what’s inside the snake only is pressurized air; and what a better artistic way of representing air than using flowers? Because just like the lotus flower isn’t at all about the flower but the seed head that becomes that flower, the flowers here aren’t about the flowers either but their scent. The flowers are about their perfume that is in the air. This is why we have all these beautiful flowers aimed directly at dame Taperet’s face: they are about air, pressurized air.

[illustration of the Balloon animal metaphor]: "Snake Inflation" by DoodleDan86: https://www.deviantart.com/doodledan86/art/Snake-Inflation-Pencil-Drawing-2015-788697049

Operating diagram of the Grand Gallery of the Great Pyramid of Khufu, showing the central wooden Djed caisson and the composite impactor that was pressurizing that hermetic caisson. In that system, both pressurized air and pressurized water were created. Ancient Egyptians also glorified and personified the Djed caisson into god Ptah, while the speeding impactor has been glorified into falcon god Horus. In this particular part of the cycle, Horus was seen as Horus the Younger (in the other part of the operating cycle, the impactor was seen as Horus the Elder because it would have looked like an elderly, painstakingly ascending the Gallery, helped on both sides by the hauling Beetle gantry, just like it was a walker).

Prairie falcons are famous for their hard-hitting hunting tactics. Here a wild juvenile female finishes off a drake mallard with a high-speed headshot. Analysis of the video tells us she's moving close to 90km/h when she hits the mallard. Prairie falcons frequently employ this hunting method when dealing with field-feeding waterfowl. The duck is heavier and stronger, therefore the ground struggle is minimized when the smaller falcon delivers a knockout punch. Screenshots from a video posted by falcorusticolus77 on YouTube (contains shocking images): https://www.youtube.com/watch?v=73OvZ_l35Sw

25.04  Egyptians didn't only use the falcon to represent the impactor because of how fast the animal can fly, they've also wanted to emphasize what comes next: the hit

Of course, everyone knows that a hawk can be extremely fast, and  in fact it's the fastest animal on Earth, but what's less well known is that it uses this speed to kill its prey instantly; it’s called the hard-hitting tactic. In other words, the falcon is ramming into its prey, that is very often killed by the shock alone. And that is what is outstanding with the metaphors used by ancient Egyptians: they are so carefully chosen, so precise that they look like they have been crafted, like an artist can make a painting or an artisan can create a beautiful artifact.

This aspect of the operation of the impactor, its ramming capability, is probably the reason why some figures of Horus as a falcon, are represented with disproportionately large talons.

Figure of Horus as a Falcon. Egypt, Late Period (711 - 332 BCE): https://collections.lacma.org/node/172643

Relief in the temple of Horus at Edfu. “A large ship, its sail distended with the wind. In the middle of the vessel stands Horus of Behdet, great god, lord of Mesen, who with his right hand thrusts his harpoon into the snout of a hippopotamus. In his left hand he holds the ends of two ropes which are doubtless attached to the blades already lodged in the animal's body. Isis squatting in the bow holds two similar ropes. On shore, facing the ship, is King Ptolemy - wearing the head-dress of Onuris - who harpoons the hippopotamus in the back of the head. Behind the King are two running men each carrying a harpoon and a dagger.” https://www.attalus.org/egypt/drama.html

25.05  Finally! Both Isis and Horus mysteriously represented 'holding' two ropes on a barque!

In the Osiris myth, we’ve already seen that it is Isis who is saving Osiris from the water and from the inside of a hollow tree where he was trapped, while also trapped inside a wooden coffin. This whole thing in the Osiris myth really is the basic reinterpretation of the composite impactor’s operation inside the central wooden Djed caisson:

• the coffin made for Osiris’ exact measures is the wooden part of the impactor and Osiris himself is the weight

• the hollow tree is the central wooden Djed caisson that run in both the Grand Gallery and the inclined well

• Isis is the two central hauling ropes that got the impactor back up to the top of the Gallery to start another cycle of pressurization of the entire system

But in the Osiris myth, nor Isis or Horus are apparently associated with ropes, but fortunately the above relief in the Horus temple at Edfu is showing exactly that: Isis with two ropes and Horus with two ropes.

And the beauty of it is that now, after four years and a half of studying the real meaning of all these Egyptian deities, is that we can perfectly decipher that relief, and explain why both Isis and Horus are holding two ropes. The beauty is that there isn’t four ropes in total, but really only two ropes because Isis is those ropes, and that is Isis that Horus is holding in his own hands.

[Ani in front of Ra-Horakhty on the solar boat]. Book of the Dead of Ani EA10470,21 frame 21 at the British Museum: https://www.britishmuseum.org/collection/object/Y_EA10470-21

Operating diagram of the Grand Gallery in the Great Pyramid of Khufu, explaining why both Horus and Isis are holding two mysterious ropes in the above relief of the Temple of Horus at Edfu: Isis only is the glorification of the two central hauling ropes which were responsible for getting the composite impactor Horus back to the top of the Gallery inside its central wooden Djed caisson. It really is important to keep in mind that during the hauling process, Horus was seen as Horus the elder, painstakingly ascending the Gallery, while the powerful Horus descending the Gallery at full speed was seen as Horus the younger. Read next chapter for the deciphering of Horus the Elder.

25.06  About the difficulty of deciphering the true and exact meaning of ancient Egyptian art

The above artifact representing Horus as a falcon standing on some sort of pedestal, itself set onto some kind of ‘sarcophagus’ as described by scholars, is a perfect illustration of the difficulty to really decipher some figures crafted by Egyptians: even knowing that Horus as a falcon was nothing but the glorification of the composite impactor of the Great Pyramid, that it gained all its ramming force, speed and energy from the Osiris weight, and that it only moved inside a hermetic central wooden Djed caisson.

Even then we can only speculate on the true meaning of the kind of above figure: it only looks like (and we've already seen Egyptians use this same trick many times now), Horus is shown represented standing onto himself (the pedestal would be the composite impactor), and by some sort of technical digression, that impactor had been partly represented out of the Djed caisson it was supposed to stay in (the so-called very long ‘sarcophagus’ would be the Djed caisson).

An Egyptian bronze Horus falcon on a sarcophagus. Late Period - Ptolemaic, circa 664-30 B.C.E. From Bonhams: https://www.bonhams.com/auction/19961/lot/128/an-egyptian-bronze-horus-falcon-on-a-sarcophagus/

25.07  Why am I always referring to the Great Pyramid, while it is well known Horus existed long before the Fourth Dynasty?

What’s fascinating about ancient Egypt is that there is not one single text pre-existing the construction of the Great Pyramid at the end of the Fourth Dynasty; but the very first ones appear just after its construction: they are the so-called ‘Pyramid texts’, starting only at the end of the Fifth Dynasty. To be exact, the Great Pyramid has been built around 2,600 BCE and the oldest Pyramid Text would have been written between 2,400 BCE and 2,300 BCE.

In short, the Great Pyramid predates the oldest Pyramid Texts by 200 or 300 years. It means that there is no myth that is known today about Horus that was also known at the time of the construction of the Great Pyramid.

• What I found out in this study is the true meaning of all these gods and goddesses, and they all find some kind of achievement of their own within the operation of the Great Pyramid, that was probably the ancient Egyptian’s final achievement, some kind of apotheosis; but all these deities existed before; they didn’t appear in one single gigantic writing work: every single piece of the Great Pyramid’s operation is the result of many generations of technological progress. So yes, Horus pre-existed the Great Pyramid; and it tells us a very important data: the use of an impactor to generate pressurized air, pressurized water or both was certainly real for a very long time before the Great Pyramid.

• Remember that what egyptologists are referring to simply is a ‘form of Horus’ when talking about Horus, prior to the first Pyramid Texts; it’s like Egyptians perfected both their scientific knowledge and technological prowess on one hand, and their glorifying process on the other hand; the two being perfectly synchronized.

“Horus is one of the most significant ancient Egyptian deities who served many functions, most notably as the god of kingship, healing, protection, the sun, and the sky. He was worshipped from at least the late prehistoric Egypt until the Ptolemaic Kingdom and Roman Egypt. Different forms of Horus are recorded in history, and these are treated as distinct gods by Egyptologists. These various forms may be different manifestations of the same multi-layered deity in which certain attributes or syncretic relationships are emphasized, not necessarily in opposition but complementary to one another, consistent with how the Ancient Egyptians viewed the multiple facets of reality. He was most often depicted as a falcon, most likely a lanner falcon or peregrine falcon, or as a man with a falcon head.” https://en.wikipedia.org/wiki/Horus

[Pyramid text utterances 302 to 312 on Unas' burial chamber wall]. Photograph by gamelyan eldien: https://khaledgamean.wordpress.com/2019/04/28/translation-of-the-unas-pyramid-texts-antechamber/

25.08  The Eye of Horus is about the connection of the 'eye of a rope' with its corresponding bollard

So, we have deciphered the real meaning of Ra (the wooden part of the impactor), Osiris (the weight of the impactor, probably in bronze because of the green color of Osiris’ skin), Horus (the association of both Ra and Osiris), and Isis (the two central hauling ropes), but there is still a lot to talk about and we’ll see that the impactor wasn’t just sliding in the central wooden Djed caisson without a proper system made of two hollow guide rails in the caisson and four metal skate blades (glorified into the Four Sons of Horus, among other glorifications), but now we’re gonna talk about how was made the connection between Isis and Horus, and that is what Seth, the Eye of Horus and the Eye of Ra are all about.

Operating diagram showing the crucial role of the composite impactor Horus. Seth only was a piece of Horus: the part which allowed the impactor to be connected to the hauling plug.

25.09  The boat race between Horus and Seth... and the 80 years of fight

"The Eye of Horus, wedjat eye or udjat eye is a concept and symbol in ancient Egyptian religion that represents well-being, healing, and protection. It derives from the mythical conflict between the god Horus with his rival Set, in which Set tore out or destroyed one or both of Horus's eyes and the eye was subsequently healed or returned to Horus. The other gods were getting tired from over eighty years of fighting and challenges. Horus and Set challenged each other to a boat race, where they each raced in a boat made of stone. Horus and Set agreed, and the race started. But Horus had an edge: his boat was made of wood painted to resemble stone, rather than true stone. Set's boat, being made of heavy stone, sank, but Horus' did not. Horus then won the race, and Set stepped down and officially gave Horus the throne of Egypt." https://en.wikipedia.org/wiki/Horus

Preface

Next chapter

Previous chapter

Table of contents

Operating diagrams of the Great Pyramid

Timelines

Index

© 2021-2025 Copyright milleetunetasses.com. All rights reserved.