To the Egyptians and their glorious heritage
LOST
TECHNOLOGIES
of
ANCIENT
EGYPT
“Christopher Dunn is an expert in his field. He knows a great deal about stone-cutting tools and has spent many years studying the ancient Egyptian monuments, sculptures, and artifacts. His findings are revolutionary. His word carries weight. If he is right, our perception of who the ancient Egyptians were may completely change. Read this book!”
ROBERT BAUVAL, AUTHOR OF THE ORION MYSTERY, MESSAGE OF THE SPHINX AND THE EGYPT CODE
“Christopher Dunn’s painstaking work, literally, makes the ‘stones’ of the Egyptian gods speak. He provides profound archaeological evidence that shows an engineering consistency, suggesting an advanced intelligence, which understood the supreme science of sacred geometry. A must-read book for those who wish to understand the advancement of Egyptology in the world of today.”
J. J. HURTAK, PH.D., AUTHOR OF THE BOOK OF KNOWLEDGE: THE KEYS OF ENOCH
“Utilizing almost 50 years of professional experience in engineering, manufacturing, tool-making, and space-age precision, Chris Dunn has provided an in-depth analysis of ancient Egyptian statuary, temples, and manufactured artifacts that has never been presented previously. This outstanding book, supremely well researched, amply illustrated, and complete with detailed photographs, will be cited as a major paradigm shift and reference source in the field for many years to come.”
STEPHEN S. MEHLER, M.A., DIRECTOR OF RESEARCH, GREAT PYRAMID OF GIZA RESEARCH ASSOCIATION
“Admirers of Egyptian art and architecture are most fortunate that Christopher Dunn directs his experienced engineer’s eye toward the Egyptians’ ancient stonework. By noticing the most minute details he reveals sophisticated craftsmanship and immense significance for all areas of Egyptology. Mathematicians will appreciate the amazing three-dimensional geometry made manifest in very hard stone. Dunn points the way for geometers to uncover sharper, more accurate analyses of the proportions of Egyptian design. This book is an important contribution to scientific scholarship by showing how archaeology can firmly rest on a measurable foundation.”
MICHAEL S. SCHNEIDER, AUTHOR OF A BEGINNER’S GUIDE TO CONSTRUCTING THE UNIVERSE
“In this book, Christopher Dunn has brought to the field of Egyptology a new approach, which has been needed for decades. His ability as an engineer and master craftsman has given him the insight to discover ancient technologies and techniques that have been missed by traditional Egyptologists. This book is a paradigm change for the way of thinking about our ancient history and ancestors. I highly recommend this beautiful illustrated book to both academic and alternative researchers and for anyone interested in new ways of thinking about our ancient past.”
JOHN DESALVO, PH.D., AUTHOR OF THE LOST ART OF ENOCHIAN MAGIC AND DIRECTOR OF THE GREAT PYRAMID OF GIZA RESEARCH ASSOCIATION
“As with Newton and the apple, Chris Dunn got a vision when visiting Egypt. His engineering background allowed him to unleash incredible facts, and thanks to this highly detailed book, we can now share the same marvels.”
ALAIN HUBRECHT, ARCHITECT, WRITER, PROFESSOR, AND FOUNDER OF THE ASSOCIATION TRANSPERSONNELLE BELGE (ATB)
“If you want to see the precise high technologies ancient Egyptians really had, read this book. It is a serious donation to Egyptian legacy and an opus for the future of this planet.”
ANTOINE GIGAL, AUTHOR, RESEARCHER, AND PRESIDENT OF GIZA FOR HUMANITY
“I believe, as Chris Dunn superbly details in this book, that ancient Egyptian sculptors and architects were so precise and their works so monumental that they must have used sophisticated technology, probably hidden in their time and now lost to ours.”
MIKE LECKIE, STONE SCULPTOR
Acknowledgments
Those who have come into my life—whether personally, professionally, in the flesh, or at the speed of light as packets of electromagnetic energy coursing through the Internet—are the motivators and teachers to whom I am eternally indebted.
For her unwavering support and encouragement, I thank my wife, Jeanne. Her patience and intelligence, not to mention her enthusiasm for my work, are acknowledged with love and appreciation. Thanks and love also to my sons Peter, Alexander, and Geno, who have stood by me and supported all my research and trips to Egypt. For their loving influence in my life, I thank my mother and father and my siblings: Bernard, Celia, Pauline, and Angela.
My sincere gratitude goes to Judd Peck for his wisdom, advice, and friendship. I will always remember and remain humbled by his mission of mercy when he flew to Egypt to assist me in my recovery and return home when I fell ill and was hospitalized in Cairo in 2007. I also extend my sincere appreciation to Edward F. Malkowski, who provided life-saving assistance on that ill-fated trip. Also, my gratitude goes to Cecilia El Nadi, Bahgat El Nadi, Mohamed El Nadi, Semir Gharib, and Sharzhad Awyan for their kindness and help in Egypt. My brother Bernard, sister Angela, and their families who stood by ready to assist, and the people of Danville, Illinois, and many others around the world who expressed concern and gave an outpouring of support to Jeanne and me during this ordeal. My thanks, also, to the staff of the Dar Al Fouad hospital in 6th of October City and Provena Medical Center in Danville, who provided excellent care to a very difficult patient.
The Board of Directors, management, and employees at Danville Metal Stamping have been incredibly supportive and helpful. The opportunities they have given me as well as the encouragement I’ve received while pursuing this rather offbeat avocation are of inestimable value. For their assistance in several research projects that required machine-tool work, I would like to thank Tom Neal, Don Reed, James Brown, and Doug Carter.
Dr. Arlan Andrews Sr. has helped immensely over the past thirty years with advice and encouragement. I cannot thank him and his wife, Joyce, enough for their incredible support. The irrepressibly passionate Stephen Mehler and Theresa Crater, who sometimes get more excited about my work than I do, have been valuable supporters and have shined their own bright light on the true heritage of the ancient Khemitians (Egyptians). Thanks and blessings to Norma Eckroate for her incredible support and promotion of new information about ancient cultures. For their continued support and feedback I am indebted to Paul and Ardith Keller, Jeff and Judie Summers, David Hatcher Childress, Doug Kenyon, Paul Brenner, Dr. John DeSalvo, Michael Schneider, George Noory, Dr. Dustin Carr, Jennifer Bolm, the late Abd’el Hakim Awyan, Ashraf Williams, Gouda Fayed, Antoine Gigal, Alain Hubrecht, Dr. Hossam Abulfotouh, Carol Radford, Jeff Rense, Bart Haas, Susan Hale, Dan Hamilton, Jaques and Visne Grimault, Susan Alexjander, Dr. Randy Ashton, Dr. Dustin Carr, Steve Garcia, James Hagan, John Heckler, Will Hemphill, Gary Lickfett, Stuart Mitchell, Robert Bauval, Dr. Robert Schoch, Michael Cremo, Dr. J. J. Hurtak, and Colin Wilson.
For their contribution to a greater understanding of Petrie’s infamous Core 7, I would like to thank Dr. Stephen Quirke and James Hale of the Petrie Museum; Malcolm McClure and Nick Annies for their assistance in the Petrie Museum; Ian Lawton and Chris Ogilvie-Herald for the impetus provided in their book; Graham Hancock, Santha Faiia, and Nick and Angie Annies for their hospitality while I was in London.
Special thanks go to Dr. Zahi Hawass for his Egyptian hospitality and helpfulness in providing permission to the worker’s village, the Great Pyramid, and the Serapeum. To Adel Hussein Mohamed, the director of Saqqara and lately of Giza, who was a perfect host during the visit to
the Serapeum; and to Gail Fallen of Grizzly Adams Productions for making those events possible. Mike Leckie for his talent, expert opinion, and gorgeous photographs; Patrice Pooyard for his vision and passion; John Anthony West, an enormously enjoyable host and companion who I found was always willing to listen to a different point of view; Andrea Mikana for contacting me before visiting the Unfinished Obelisk and asking me if there were any images I needed: the results are outstanding. Denys Stocks, for his professional and thorough answers to my e-mailed questions, and Marcus Allen, for his interest and input regarding the Petrie Core #7.
In preparing this book for publication I am indebted to Greg Brown who offered his help as an editor and a sculptor and who provided expert feedback during the writing of the first draft. From Inner Traditions • Bear & Company, I would like to thank, in the order I met them, Rob Meadows; Cynthia Fowles; Jon Graham; Jeanie Levitan; Kristi Tate; Peri Swan; a marvelous project editor, Chanc VanWinkle Orzell; Manzanita Carpenter; and all others who are a part of this unique publisher’s staff.
Last but not least, I should mention the value brought by hundreds of online forum participants who have provided both positive and negative feedback. I appreciate the comments and the challenges, and I hope they will continue.
Contents
Title Page
Dedication
Epigraph
Acknowledgments
Foreword: Shifting Paradigms by Arlan Andrews Sr., ScD
Foreword: Recognizing the Brilliance of Ancient Manufacturing by Judd C. Peck, Esq.
Photographic Credits
Introduction
CHAPTER ONE The Shadows of Luxor
THE RAMSES CHALLENGE
THE SECRETS OF THE CROWN
PHOTO INSERT
CHAPTER TWO The Shadows of Ramses
RAMSES’ SHADOW
BACK TO THE DRAWING BOARD
PYTHAGORAS MEETS RAMSES
FIBONACCI MEETS RAMSES
LEONARDO MEETS RAMSES
RAMSES BOUQUET
FROZEN MUSIC
CHAPTER THREE The Ramses Challenge
RAMSES’ SMILE
WITNESS TO A SMALL MISTAKE
RAMSES’ SYMBOL
THE COSMIC EGG
CHAPTER FOUR The Shadows of Karnak
CHAPTER FIVE The Shadows of the Serapeum
CHAPTER SIX The Shadow of the Sphinx
CHAPTER SEVEN The Shadows of Denderah
CHAPTER EIGHT Sticks and Stones: Tools of the Trade
CHAPTER NINE In the Shadow of an Obelisk
CHAPTER TEN In the Shadow of Egyptian Megamachines
CHAPTER ELEVEN Walking in the Shadow of William F. Petrie
CHAPTER TWELVE Suspending Disbelief
LUXOR AND THE RAMSES STATUES
THE TEMPLE OF DENDERAH
THE GIZA PLATEAU
THE BOXES IN THE SERAPEUM
THE SAWED GRANITE BLOCK AT ABU ROASH
THE PETRIE MUSEUM AND THE UNFINISHED OBELISK
CHRONOLOGICAL PROGRESSION
WHERE ARE THE MACHINES?
Footnotes
Endnotes
Selected Bibliography
About the Author
About Inner Traditions • Bear & Company
Books of Related Interest
Copyright & Permissions
FOREWORD
Shifting Paradigms
In the mid-1990s I was co-founder of a NASDAQ-listed software company in Albuquerque, New Mexico, which specialized in presenting digital data in a unique 3D immersive graphical environment (also called virtual reality, or VR). One particular time, we showed the results of our VR work to an undersecretary of the US Department of Transportation—an abstract presentation of rather mundane DOT traffic data from various road intersections around the nation. Because of the intuitive display system, without any interpretation training at all, the undersecretary was able to see patterns, anomalies, and trends in his data, striking evidence of unexpectedly massive distortions and errors, perhaps even fraud, resident in his measurements but unseen before.
So shocked was the bureaucrat that he told the audience of several hundred technophiles, “I will never be able to look at my new data the same way again. Not only that, I won’t even be able to look at my old data the same way.” From this honest and open spontaneous reaction, I coined the saying, “A paradigm shift not only changes the future, it changes the past!”
What researcher Christopher Dunn has accomplished in Lost Technologies of Ancient Egypt and in his previous work, The Giza Power Plant, is more than a paradigm shift; it is more of a paradigm seismic event. Because once a person with a manufacturing or machining background—engineer, technician, machinist, artisan—reads and understands what Dunn has discovered and analyzed in ancient Egyptian stonework, that person will never look at ancient Egyptians the same way ever again. That reader will become skeptical of portrayals of ancient Egyptians as primitives in any sense. That reader will begin to analyze every new Egyptian archaeological discovery, to see what else conventional Egyptologists have overlooked. That reader will become part of the new paradigm.
In these pages, Chris Dunn demonstrates an underlying system of incredible precision in the machining, layout, and positioning of both individual objects and groups of features, ranging from the toolmark details in the “Rose Red Rosetta Stone of Abu Roash” to the symmetries of the giant heads of Ramses at the temples in Luxor, to the layout of the column capitals of the Great Hypostyle Hall at Denderah, to the base of the Great Pyramid itself. Thanks to this work, the modern reader sits back in awe and admiration of the Egyptian geniuses of five thousand years ago. The ancient artifacts contain amazing messages, but the stones cannot speak for themselves. This book speaks for them.
In November 2008, I accompanied Mr. Dunn and others to what some have called “the Lost Pyramid” at Abu Roash, some ten kilometers northwest of Giza. I was anxious to see the rose-colored granite piece that the author had described to me years before, anticipating seeing the compound radial cuts and distinguishing toolmarks. I was not disappointed. To any technophile, this one cut stone exhibits mute arguments against primitive tools and primitive peoples. More than any other artifact, it embodies an ancient “language” that still speaks to modern engineers. I immediately dubbed it the "Rose Red Rosetta Stone of Abu Roash.”
I called the stone a “Rosetta” because its discovery reminded me of another paradigm-changing artifact: in 1799, Napoleon’s soldiers found a curious object embedded in a wall of an Egyptian village. Their original report, “A Report on a Stone Found in the Village of Rosetta,” describes a black rock slab inscribed with three languages, one of them being ancient Greek, the others the unknown Egyptian hieroglyphic writing and the cursive or “demotic” Egyptian writing. Reading the Greek portion, the antiquarian Champollion was able to translate the names of the Pharaohs—written within cartouches—and thence the rest of the hieroglyphic writing itself. He opened up an eventual understanding of the millions of carved figures decorating the ancient temples and tombs of the Nile. Nobody would ever again look at the hieroglyphic carvings as mere magical, mystical figures, but would read the translations of experts who deciphered those cuts and reliefs, uncovering the lost history of Egypt.
The Rosetta stone thus facilitated a change in the worldview of moderns who looked back at ancient Egyptians. Nothing would ever be the same. I maintain that this book has accomplished a similar feat, every bit as meaningful to an understanding of ancient Egypt, if not more so. Once understood, Dunn’s discoveries will forever change the perception of the serious researcher.
In a similar manner to Champollion reading ancient Greek and comparing it to the unknown hieroglyphic figures, researcher Christopher Dunn was able to “read” the machine-cut tool marks on the Abu Roash stone and compare them to those made by modern tools capable of the same operations. With years of experience and a trained eye for such details, and armed with the proper paradigmatic perspective, Dunn was ab
le to recognize at once what it meant to produce a stone with a curved cut some 37 feet in diameter, and to reproduce that cut in small, uniform steps across a three-foot width—over 700 nearly identical radial tool cuts! This feat is simply not achievable by human hand alone, using any known tools.
Such toolmarks require at the very least a large saw blade or cutting tool, and sophisticated fixtures to produce the steps between cuts. To suggest that the primitive tools ascribed to the ancient Egyptians could have produced anything like these markings is ridiculous. In my opinion, this machined stone by itself demonstrates the existence of sophisticated tooling that did not exist again until the 1900s.
To the modern engineer, machinist, or toolmaker, the toolmarks on the Rose Red Rosetta Stone of Abu Roash are proof enough that the ancient Egyptians possessed technologies not replicated until the twentieth century—if even then. But Lost Technologies of Ancient Egypt shows more examples, each of which have similar impact—the Ramses heads in Luxor, the carvings and columns at Denderah—further reinforcing the genius of the ancient machinists, engineers, designers, and planners. Taken together, they represent arguments in stone that refute current Egyptological conclusions.
Lost Technologies of Ancient Egypt: Advanced Engineering in the Temples of the Pharaohs Page 1