THE PYRAMIDS of the COLD • Chapter 26 Horus the Elder (Greek Apollo) is the Great Pyramid's impactor painstakingly hauled back to the top of the Gallery, like an elderly
Publié par Bruno Coursol dans The Pyramids of the Cold le 21/09/2025 à 06:38
On the left is Apollo (‘Apolenos’), the Greek god who has been identified by historians with Egyptian god Horus the Elder, the god who was the glorification of the impactor of the Great Pyramid in the part of its operating cycle where it was painstakingly lifted up by the two hauling ropes inside the central wooden Djed caisson; so imagine my surprise seeing Apollo/Horus the Elder 'running' after this weird 'harness-like' thing that is the so-called 'Delphic tripod' with its two magnificent 'rings'. I’ve always assumed the ropes were 'free' in the caisson when they were released from the top of the Gallery, but when you think it through, they wouldn’t have been able to descend by their own weight: the friction would have stopped them pretty much right away. In short, the two central hauling ropes needed extra weight at their ends and this is what really is the Delphic tripod: a practical connecting plug for the two bollards of the impactor, with enough weight for the ropes to descend the caisson all the way to the entry of the inclined well. On the above image, Apollo (the Greek reinterpretation of Horus the Elder-impactor painstakingly rising up in the Grand Gallery of the Great Pyramid) is actually trying to connect with the 'tripod', because it only is the plug that would connect him (the ascending impactor, with its two bollards) to the two hauling ropes. The eyes of the tripod are meant for the bollards.
“Dispute of Apollo (‘Apolenos’ on the left) with Heracles (on the right) for the Delphic tripod”. Photograph by Jastrow: https://en.wikipedia.org/wiki/Apollo#/media/File:Herakles_tripod_Louvre_F341.jpg
THE PYRAMIDS of the COLD • Study written by Bruno COURSOL (January 2021 to September 2025)
Section D • The composite impactor of the Great Pyramid of Khufu
Chapter 26 • Horus the Elder (later reinterpreted in Greek Apollo) is the Great Pyramid's impactor painstakingly hauled back up to the top of the Grand Gallery, in between each cycle of pressurization, just like it was an elderly
In summary: we’ve already seen that Egyptian god Horus was the glorification of the piece of equipment that was able to both compress the air and pressurize the water that were trapped inside the central wooden Djed caisson, and we’ve seen that Egyptians most probably have used this kind of ‘piston’ long before the Great Pyramid was built. This is why Horus is known since the very beginning of the pharaonic era, and if many forms of Horus are known, it really is impossible today to say if all the Egyptian piston-like impactors were weighted wooden structures like the one used in the Great Pyramid but maybe the fact that sun god Ra only appears after the Great Pyramid was built is already an important information.
But Horus isn’t about the structure of the impactor (that is what Ra and Osiris are about), he is instead all about the energy, speed and power of the impactor; this is why just like Ra, Horus is represented as a falcon and why they both merged together to form the single deity Ra-Horakhty. But in the operating cycle of the impactor, there is one part when Horus hasn’t any power at all; a part when Horus has to be hauled back to the top of the Gallery, slowly and painstakingly like if Horus was an elderly. This particular form of Horus has been also glorified by Egyptians, because they seem to have been obsessed with the idea of balance (the Maat): is there was a Horus the Younger, that moved with the speed of the falcon, there also had to be a Horus the Elder, its ascending counterpart.
We’ll see that Greeks only copied everything that had been glorified by Egyptians about their scientific and technological prowess and that the Greek version of Horus the Elder is Apollo; and we’ll see that this Greek Apollo is a wonderful source of information about its Egyptian origin: the impactor of the Great Pyramid, painstakingly ascending the steep slope of the Gallery, little step after little step.
Operating diagram of the Great Pyramid of Khufu built at the end of the Fourth Dynasty, showing the Grand Gallery where two separate but connected wooden gantries were used to haul the impactor back up to the top of slope at the end of each cycle of operation. During this part of the cycle, the impactor Horus was seen as an elderly, painstakingly ascending the steep slope of the Gallery and helped by a gigantic walking aid. This is the real meaning and origin of the Egyptian god known as Horus the Elder.
“Ra is first mentioned in the Pyramid Texts [Fifth Dynasty] (c. 2400-2300 BCE), the oldest religious works in the world, which were inscribed on the sarcophagi and walls of tombs at Saqqara.” https://www.worldhistory.org/Ra_(Egyptian_God)/
26.01 The 'interpretatio graeca' isn’t just an 'identification' of foreign deities with Greek deities but their total assimilation and reinterpretation from the very beginning: the process surely didn’t start with Herodotus
Egyptians, like I’ve said many times since 2021, were very meticulous in the metaphoric representations and glorifications of everything they've done in the scientific and technological fields. Hopefully, other civilizations around them not only copied what Egyptians have done, but they more importantly weren’t that meticulous in the copying process and ended up sharing much more details of the true meaning of all their new gods and goddesses. This time, the ones who have copied Horus the Elder and shared much more than what had been done previously are the Greeks.
To be honest, I was apprehending to get to the Greek mythology, because the task seems so difficult. But the important thing is that what I’ve described many times now, about how the ancient World has been so heavily influenced to the point that probably every civilization of that time, completely assimilated and reinterpreted the Egyptian deities to create their own myths, when it comes to Greeks, every historian, somehow agrees to that very idea. And that idea has a name: Interpretatio Graeca.
There is just one thing I disagree with what historians are telling us about that Greek reinterpretation:
• Greeks would have assimilated Egyptian deities to similar deities of their own
• Greeks would have imported brand new Egyptian deities and would have incorporated them in their own mythology
Because in my opinion, Greeks only did the second thing: they would have only reinterpreted the ancient Egyptian gods and goddesses, simply because the idea of having 'similar' deities both in Greece and in Egypt simply doesn’t make any sense to me. There only had to be original ones and copies: it is said that Herodotus (fourth century Before Current Era) was the first one to engage into this kind of reinterpretation; but it is highly probable that it actually started centuries before that and that every single Greek deity is only a reinterpretation of an older ancient Egyptian deity.
“Interpretatio graeca (Latin, "Greek translation"), or "interpretation by means of Greek [models]", refers to the tendency of the ancient Greeks to identify foreign deities with their own gods. It is a discourse used to interpret or attempt to understand the mythology and religion of other cultures; a comparative methodology using ancient Greek religious concepts and practices, deities, and myths, equivalencies, and shared characteristics. The phrase may describe Greek efforts to explain others' beliefs and myths, as when Herodotus describes Egyptian religion in terms of perceived Greek analogues, or when Dionysius of Halicarnassus and Plutarch document Roman cults, temples, and practices under the names of equivalent Greek deities.”
“Herodotus [fourth century BCE] was one of the earliest authors to engage in this form of interpretation. In his observations regarding the Egyptians, he establishes Greco-Egyptian equivalents that endured into the Hellenistic era, including Amon/Zeus, Osiris/Dionysus, and Ptah/Hephaestus.” https://en.wikipedia.org/wiki/Interpretatio_graeca
[Illustration of a Mona Lisa] replica ‘Mona Lisa Punk’ by Jisbar: https://indepest.com/2020/04/18/mona-lisa/
The famous scene of the 'struggle of Heracles (left, with his club underneath) with Greek god Apollo (right)': https://mykingdomforadonkey.wordpress.com/heracles-and-apollo-the-struggle-for-the-delphic-tripod/
26.02 There is no fight between Apollo and Heracles: this is only Apollo (the Greek version of Horus the Elder) trying to follow Heracles and connect with him just like one can do with a surface ski lift during winter
I really like the metaphor of the surface lift used by skiers during winter, because in some ways, the hauling process of the impactor in the Grand Gallery pretty much worked just like this type of cable transportation, with the cable endlessly going up and down the hill so that people can attach to them during the ascent and detach themselves so that they can enjoy the ride down the hill, and then start all other again.
Here, of course Apollo is important, because he is known to be the Greek reinterpretation of Horus the Elder, but have a good look at Heracles, with his fantastic weird ‘tripod’ and his very heavy club that is always accompanying him in all circumstances; this really is Heracles the most important piece here, because he really is about what Apollo (Horus the Elder) needs to grab: Heracles only is the hauling plug. What it means is that if it is well known that Greek Apollo is the reinterpretation of Horus the Elder, Heracles himself is the reinterpretation of Egyptian Hathor who was known as the Eye goddess ‘Mistress of the counterweight’.
“Heru-ur (Horus the Elder). His titles include: 'foremost of the two eyes', […] Other variants include Hor Merti 'Horus of the two eyes' […] Heru-ur, also known as Heru-wer, Haroeris, Horus the Great, and Horus the Elder, was the mature representation of the god Horus. This manifestation of Horus was especially worshipped at Letopolis in Lower Egypt. The Greeks identified him with the Greek god Apollo.” https://en.wikipedia.org/wiki/Horus
Operating diagram of the Grand Gallery in the Great Pyramid of Khufu, showing the part of the cycle when the impactor has to be painstakingly hauled back to the top of the Gallery by the six teammates of the hauling Beetle. Because the impactor would have then looked like an elderly walking with the help of some kind of gigantic walker, the impactor Horus has been seen as Horus the elder, later reinterpreted by Greeks into Apollo. In short, Heracles (the one Apollo is 'fighting') only is the Hathor hauling plug: Hathor was known as the Eye goddess Mistress of the counterweight, so Heracles is showing his own two magnificent eyes and a very heavy club as well.
Do you really believe Apollo and Heracles are fighting for a piece of furniture? (and by the way, can you imagine yourself sitting on the damn thing?). Left: Heracles (the Delphic tripod really is himself), and on the right is Apollo: https://upload.wikimedia.org/wikipedia/commons/6/68/Phintias_ARV_24_12_-_satyr_-_Herakles_and_Apollon_struggling_for_the_tripod_-_Herakles_and_Alkyoneus_%2804%29.jpg
26.03 Apollo (Horus the Elder) isn’t fighting Heracles for the tripod: Heracles is the tripod and they are simply trying to connect to each other
We’ve seen already many times the process represented here: the same thing represented twice. First there is Heracles, the Greek god, and second there is the Delphic tripod; except that Heracles really is the glorifying representation of that tripod. What the scene really means is the description of how the impactor of the Great Pyramid (Horus the elder = Apollo), was connected to the hauling ropes, through some kind of ‘harness connecting plug’.
In short: Heracles really is the ‘harness connecting plug’ that was in between the ropes and the bollards of the impactor.
“Heracles was a divine hero in Greek mythology, […] He was the greatest of the Greek heroes, the ancestor of royal clans who claimed to be Heracleidae (Ἡρακλεῖδαι), and a champion of the Olympian order against chthonic monsters. In Rome and the modern West, he is known as Hercules, with whom the later Roman emperors, in particular Commodus and Maximian, often identified themselves.” https://en.wikipedia.org/wiki/Heracles
"Pectoral jewel of Tutankhamun depicting Horus in the form of a falcon with outspread wings around the sun disk, holding Shen rings, the symbols of eternal protection in his claws. The pectoral is a symbol of protection and divine power, and it showcases the exquisite craftsmanship and wealth of the New Kingdom period in ancient Egypt." Text and image from: https://egypt-museum.com/falcon-pectoral-of-tutankhamun/
Operating diagram of the Grand Gallery in the Great Pyramid of Khufu, showing the release of the hauling plug without which the two central hauling ropes wouldn't have been able to reach the entry of the inclined well. This weighted plug has been glorified into the Eye goddess cow Hathor known as 'Mistress of the counterweight', and Greeks only reinterpreted that plug by creating Heracles, showing two magnificent eyes and a very heavy club.
“Heracles with club, lion skin and golden apples. Roman artwork of the 2nd century CE.” https://upload.wikimedia.org/wikipedia/commons/b/b5/Hercules_bronze_in_the_Vatican_Museums.jpg
The central wooden Djed caisson of the Great Pyramid was set inside the central gutter of the Grand Gallery which kept the caisson in place at all times, even under high pressure. The markings on the floor of the gutter have been made by the individual wooden cases that formed the caisson. Original image of the Grand Gallery of the Great Pyramid of Egypt at Giza, built by pharaoh Khufu, from page 52 of "The call of the stars; a popular introduction to a knowledge of the starry skies with their romance and legend" (1919) by Kippax, John R. (John Robert), 1849-1922: https://www.flickr.com/photos/internetarchivebookimages/14597229618/
26.04 Heracles' club is all about glorifying the idea of weight itself
Until today, I really didn’t see there was a major problem regarding the operation of the two hauling ropes when it was time to let them go inside the central wooden Djed caisson so that they would be reattached with the impactor more or less floating inside the inclined well, and start another cycle of hauling the impactor back up to the top of the Gallery.
I didn’t see that the ropes wouldn’t have been able to slide all by themselves all the way down the caisson: they would probably have been stuck pretty much right away after their release.
So, some kind of extra weight had to be implemented somehow at the very end of the two ropes. It was not optional, it was mandatory. Knowing that Heracles really is the plug at the end of the ropes, and that the plug is most certainly all about putting additional weight, then we understand the ‘club of Heracles’. Because Heracles was all about putting extra weight, Greeks gave him the perfect metaphorical tool representing that weight: a club. Not just any kind of club of course: a very, very, very heavy club (just like the one on the above image).
In short: the first role of the Heracles connecting plug is to put extra weight on the hauling ropes’ ends so the ropes would descend all the way in the central wooden Djed caisson: in short, the club of Heracles is about its heavy weight (the fishing weight metaphor).
Drop Shot Fishing Weights Kit Lead Freshwater Fishing Sinkers: https://www.amazon.com/AMYSPORTS-Freshwater-Removable-Saltwater-Streamlined/dp/B0B9MNZSSY?th=1
Operating diagram of the Grand Gallery of the Great Pyramid of Khufu, showing the true meaning of why Greek infant Hercules is represented strangling two serpents': because Hercules is the Roman 'equivalent' of the Greek Heracles and Heracles the Greek reinterpretation of the Egyptian Hathor, Hercules, Heracles and Hathor were indeed supposed to grab the ends of the two central hauling ropes of the Grand Gallery.
26.05 The Heracles hauling plug also allowed to assemble together the two hauling ropes’ ends
This is a representation of the Roman reinterpretation of Heracles: Hercules, as a child, grasping in his two hands the two snakes. The idea was to illustrate the fact that when Hercules/Heracles wasn’t really doing his hauling job as the connecting hauling plug, he still had a job to do: maintaining a firm grip on the ends of the hauling ropes.
This is why this is a child who has a firm grip on the snakes: he is too young to do any hauling job yet.
“Hercules is the Roman equivalent of the Greek divine hero Heracles, son of Jupiter and the mortal Alcmena. In classical mythology, Hercules is famous for his strength and for his numerous far-ranging adventures.” https://en.wikipedia.org/wiki/Hercules
“Infant Hercules Strangling Two Serpents” at the MET: https://www.metmuseum.org/art/collection/search/195443
Operating diagram of the Grand Gallery in the Great Pyramid of Khufu, showing the hauling plug getting the impactor back up to the top of the steep slope of the Gallery.
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