Lost Technologies of Ancient Egypt: Advanced Engineering in the Temples of the Pharaohs

by Christopher Dunn

  JUDD C. PECK, ESQ.

  Judd C. Peck graduated from the University of Illinois College of Law (magna cum laude) in 1978. In 1989, he took the helm of Danville Metal Stamping in Danville, Illinois, and became its President and Chief Executive Officer.

  Photographic Credits

  Illustrations and photographs are copyright Christopher Dunn, 2006–2010, except for the following copyright holders who have my sincere thanks and appreciation for their critically important contributions to this book.

  Figure 3.5: thanks to Jessica Brackmann of Champaign, Illinois.

  Figures 7.15 and 10.31: Dr. Arlan Andrews Sr. of Padre Island, Texas.

  Figures 11.1, 11.3, 11.4, 11.8, 11.12, and plate 26: Nick Annies of Cambridge, UK.

  Figures 1.19, 4.3, 6.6, 6.9, 11.6, and 11.7: taken by author and printed with the permission of Danville Metal Stamping Co., Inc.

  Plate 19 upper and lower left: Jacques Grimault of Paris, France; 2005 Egypt Project.

  Figure 9.3: Bart Haas of Pekin, Illinois.

  Figures 5.6, 6.15, 9.10, and plate 19 right: Dan Hamilton of Canada.

  Figures 9.8 and 9.9: Photograph by David Loveall and copyright Mike Leckie of Eugene, Oregon, 2007.

  Figures 6.3, 6.4, and 6.5: Glenn McKechnie, reproduced under the guidelines of Creative Commons License Deed, available at http://creativecommons.org.

  Figure 6.10 and plate 13: Stephen Mehler of Colorado.

  Figures 8.1, 9.11, 9.12, 9.13, and 9.16: Andrea Mikana-Pinkham of Sacred Sites Journeys, Sedona, Arizona.

  Plate 11: Joakim Möller of MadCAM Mould and Die CAM Systems, Romakloster, Sweden.

  Figures 9.17, 9.20, 9.21, 11.18 upper left, and plate 19 upper and lower left: Patrice Pooyard of Paris, France.

  Introduction

  Tell me, Mr. Hoover, what are your interests?

  Madam, I am an Engineer.

  Really? I took you for a gentleman.

  HERBERT HOOVER, CONVERSATION ON MAKING THE ACQUAINTANCE OF A LADY ON A STEAMSHIP

  It is possible that Mr. Hoover’s confused lady acquaintance had the wrong impression of what an engineer does, since a train driver is also known as an engineer. There are mechanical engineers, electrical engineers, materials engineers, computer engineers, construction engineers, quality engineers, and safety engineers. And all may not be considered gentlemen—many you may meet will be ladies. Each engineer works in a specialized field, and within those particular disciplines are subgroups that work in myriad industries that form the fabric and backbone of modern civilization. Of themselves and their machines, the life of an engineer is frequently punctuated with Scotty’s Star Trek lament, “Can’t take much more o’ this, Captain!”

  Perhaps unbeknownst to you, the engineers’ labors have a direct affect on your daily life. For instance, you have just arrived in the office, hung up your coat, and poured yourself a cup of your favorite morning beverage. An army of engineers and artisans worked to create the technology that has allowed your morning ritual to happen. Crafted into the car, train, or bus and the elevator that carried you to your destination are the labors of the modern artisan. At some location miles away, perhaps on another continent, the skillful eye and hands of artisans guided the tools that created the coffee maker and processed the coffee.

  The Industrial Revolution of the 1800s propelled Western civilization forward in terms of labor-saving devices. Around this time, many of the machines that are now used in manufacturing were either invented or improved. Yet the most basic of machines, the lathe, has been around in one form or another for centuries—originally in the form of a potter’s wheel. Its development as an efficient metal-cutting machine grew from the invention of the steam engine, which powered everything from textile mills to Stephenson’s Rocket, the first steam locomotive to convert linear motion to rotary motion and use that rotary motion to propel itself along two rails at the dizzying speed of twenty-five miles per hour.

  In the past sixty years, technology has advanced rapidly in directions that many people, except science fiction writers and futurists, could not even have imagined possible. Discoveries and innovations in the field of physics have introduced new patterns of thought in the minds of scientists and inventors. Like legs on a centipede, branches of science, engineering, and manufacturing, along with the creative genius of gifted artists who are now an essential part of the design of functional products, move forward, independently and in unison, each drawing on the other for inspiration and survival.

  Three hundred years before the Industrial Revolution was in full swing, geniuses arose among their peers and made their mark, adding to the prosperity and understanding of future generations. The genius of Leonardo da Vinci, Copernicus, and Galileo is well known. During this period, mathematicians, astronomers, and philosophers laid the groundwork for the pursuit of scientific inquiry and changing the worldview of humanity and its place in the universe. With its genesis in the 1500s, what is now known as the Scientific Revolution fought against the church and superstitious beliefs to create the foundation of modern science. The heliocentric theory of Nicolaus Copernicus shattered many beliefs of the earth’s preeminence in the universe, and the Catholic church, which opposed such heresy, fought tooth and nail to stop the rush of intellect that ultimately reshaped our beliefs about nature and ourselves. René Descartes, a devout Catholic himself, cut through the confusion that had reigned for so long with a remarkably simple philosophy that to us is a part of life, but in his day was counter to the philosophy of the church, for it would ultimately challenge the church’s own philosophy and teachings. In “Discourse on the Method of Rightly Conducting the Reason and Seeking for Truth in the Sciences,” Descartes sets forth three guidelines that he followed in his own work:

  The first of these was to accept nothing as true which I did not clearly recognize to be so: that is to say, carefully to avoid precipitation and prejudice in judgments, and to accept in them nothing more than what was presented to my mind so clearly and distinctly that I could have no occasion to doubt it.

  The second was to divide up each of the difficulties which I examined into as many parts as possible, and as seemed requisite in order that it might be resolved in the best manner possible. The third was to carry on my reflections in due order, commencing with objects that were the most simple and easy to understand, in order to rise little by little, or by degrees, to knowledge of the most complex, assuming an order, even if a fictitious one, among those which do not follow a natural sequence relatively to one another.1

  From the birth of the Scientific Revolution to the Industrial Revolution the knowledge of the world has advanced at a rapid pace. Up until today, this advancement has spanned five hundred years. Within that time we have gone from an agrarian society with a much lauded, simple, pastoral existence to a complex industrial society with products that were undreamed of when the creator of the world’s first successful locomotive, Robert Stephenson, cried out, “full steam ahead!”

  Punctuating each stage of civilization’s development are major building projects that by necessity or demand incorporate the state-of-the-art building construction of their period. The landscape of the ancient world is dotted with fabulous structures that are breathtaking in their complexity. The Egyptians and Mayans had their pyramids and temples. The Hindus crafted elaborate temples throughout Asia. The Greeks built the Parthenon, and the Babylonians constructed the Jupiter Temple and the fabled Hanging Gardens. The Romans made their mark all over their world, with engineering geniuses guiding the construction of their famous roads, the Coliseum, and numerous temples and viaducts, while Roman sculptors guided their chisels over marble and alabaster, giving it physical presence and beauty.

  With the exception of artifacts such as the mysterious Antikythera Mechanism, an astronomical computer found by fishermen on the sea floor near the island of Antikythera in 1901, the development of technology in the ancient world seems to have clear origins and is fairly well understood.

  Going back yet
further in time, another deep mystery lies in the question of how the ancient Egyptian civilization could have lasted for three thousand years without improving the tools used to quarry and shape stone to near perfection. Since 1984, when Analog magazine published my article “Advanced Machining in Ancient Egypt?” controversy on this subject has persisted. The article proposed that the ancient Egyptians were more advanced than previously believed and that they used advanced tools and methods to cut granite, diorite, and other difficult-to-work stone. It does not seem credible that brilliant architects and engineers would continue to use stone tools and copper chisels for three millennia.

  Following this article, I have received input from many kind people from different walks of life. Though much of the feedback I have received has been extremely positive and supportive of the idea that ancient cultures were more advanced than classical archaeology has supposed, there has been some criticism from those who believe that I went too far with my conclusions because I made the mistake of imposing a modern engineer’s viewpoint on an ancient civilization, thereby ignoring its cultural origins, and disrespected the Egyptians’ heritage.

  In fact quite the opposite is true. Anyone who suggests that the ancient Egyptians were more advanced actually shows more, not less, deference and respect to their civilization. Such a statement does not diminish their culture in any way. Rather, such a suggestion would elevate the Egyptians’ status in the world. The cultural assumptions that are disturbed most by the idea of an advanced Egyptian race in prehistory lie in the libraries and halls of Western countries and the belief system that has been generated by generations of Western scholars—beginning with Herodotus. It is our own culture’s chauvinistic view of Egypt that threads throughout our history books.

  Studies made by archaeologists, historians, and Egyptologists over the past five hundred years have essentially provided us with the modern, conventional view of ancient Egypt. This is an area of intense interest to engineers—such as myself—who find in Egypt a language with which we are familiar. This is the language of science, engineering, and manufacturing. Our counterparts in that ancient land left future generations of scientists, engineers, architects, and those who take their instructions and shape materials to their specifications, with a difficult challenge. This challenge is to recognize what they created and provide evidence-based, reasonable answers that give the ancient engineers credit for what they achieved. With their works, ancient engineers, perhaps unwittingly, created a sort of Mecca for modern engineers and technologists. The engineers and technologists that have taken this “pilgrimage” have discussed many theories, but always at the end we come up short of confidence that the theories are actual truth.

  The ancient Egyptians who built the pyramids and temples, who crafted monumental statues out of igneous rock, were thinking with the minds of architects, engineers, and craftspeople. Were ancient archaeologists responsible for the legacy they left us? Without the advice of modern Egyptian architects, engineers, and craftspeople, are today’s Egyptian archaeologists missing something? Are modern interpretations of the awesome feats of the ancient Egyptians irrelevant in providing new and powerful information about this ancient culture? Are the thoughts and conclusions of Western writers and travelers who stood in front of the Great Pyramid one hundred years ago (or some forty-five hundred years after it was built) more intrinsically linked to the ancient Egyptian mind than those who come after them, a century or more later? What can be described as a “modern perspective?” In his time, Herodotus would surely have been considered modern. So were Egyptophiles Petrie, Marriette, Champollion, and Howard Carter—each in possession of a modern mind that was clothed in a fabric of prejudices and stereotypes that existed within their own culture.

  When it comes to completely understanding the ancient Egyptians’ level of technological prowess, there can be no final conclusion. What is left to study today is a mere skeleton of what existed at the time of the ancient Egyptians. This skeleton survives as highly sophisticated and precisely crafted sedimentary and igneous rock. It is my belief that the clothes we have placed on this skeleton are mere rags compared to what should be there. I have proposed in the past that higher levels of technology were used by the ancient Egyptians, but you will find in this book that I have rejected some ideas and cast doubt on all my previous assertions as to the level of technology they enjoyed. At the same time, I cast doubt on the methods of manufacture that Egyptologists have asserted were used to build the pyramids and the glorious temples in Egypt. These methods are primitive and include stone and wooden mallets; copper chisels; tube drills and saws; and stone hammers for quarrying, dressing, and sculpting hard igneous rock. Nobody can claim that they know what was in the minds of the ancient Egyptians. All we have are their works: “By their works, ye shall know them.”*1

  This book is about the Egyptians’ works, but before understanding the manufacturing and building methods, it is necessary to understand the full scope of each work—exactly what it is we are studying. In the following pages I present another view of ancient Egyptian artifacts: the view of a modern craftsman and engineer made possible through the use and knowledge of modern technology.

  After I describe each work, we will examine the methods of construction that have been proposed by Egyptologists and discuss some of the arguments against and for considering other methods that are more advanced. It is my sincere wish that the artifacts are respected and understood for what they are. They are priceless treasures and would have astronomical value if produced today using modern tools. Because they are encoded with the knowledge of life on this planet in prehistory and hold a powerful message for future generations, their worth in monetary terms is unfathomable. Their value in raising awareness and dispelling cultural bias, even while short of real answers, cannot be calculated in monetary terms.

  1

  The Shadows of Luxor

  The life of man is a self-evolving circle, which, from a ring imperceptibly small, rushes on all sides outwards to new and larger circles, and that without end.

  RALPH WALDO EMERSON, ESSAY ON CIRCLES

  Figure 1.1. The Ramses Hall at Luxor

  Within the Ramses Hall at Luxor, subtle curves and shaded hues of geometric perfection create an effect that seems designed to mask the real truth about the artifacts. Waiting for millennia for questions that have not been asked, let alone answered, the perfectly crafted granite statues of Ramses II smile and gaze upon each person who enters the hall and tries to come to terms with and grasp the true meaning of the Temple of Amun-Mut-Khonsu at Luxor.

  Sometimes referred to as the world’s greatest open air museum, the city of Luxor is situated in Upper Egypt, where once stood the ancient city of Thebes, approximately four hundred miles south of Cairo. The temple complexes of Karnak and Amun-Mut-Khonsu stand within the city, and the latter is commonly referred to as the Luxor Temple. Overlooking the Nile River nearby is the Winter Palace where Howard Carter and Lord Canarvon refreshed themselves in the quiet, cool bar. Graceful lateen sails fill and push feluccas on the river, as clouds, haloed by a crimson sun setting in the west, snake like serpents in the evening sky. Monuments, temples, and tombs of the west bank necropolis lie beyond the sails and include the Valley of the Kings, the Valley of the Queens, the Ramesseum, and roads leading to the temples of the north.

  If special recognition was given to the billionth visitor to Luxor, I probably missed it by centuries. Millions of tourists go there every year and, in season, jam to capacity the hotels and luxurious floating mansions that cruise the Nile River. Out-of-season accommodations play host to more visitors than a hotel in a normal town would at the height of any tourist season.

  In any society, there are geniuses that innovate and make their mark by providing novel and revolutionary iconic images. Within the confines of three dimensions, the subtleties of individual expression allow philosophy, symbolism, and individuality to flow forth into stone, onto canvas, or through the orchestra. This expressio
n guides the chisel and the pen.

  Figure 1.2. Bust of Ramses outside the Temple of Luxor

  Nowhere in the ancient world is the marriage of art and engineering better expressed than at Luxor in Egypt. The temples have inspired many to write eloquently about the city’s magnificent monuments, its history, and the archaeological studies that have yielded untold riches in antiquities. The incredibly significant aspect of the artistic attributes of the numerous statues of Ramses is that it stimulates both the right and the left brain to study how their imposing beauty is not only a symbol of an incredibly gifted ancient culture, but also a symbol of manufacturing engineering that would be considered quite relevant in our modern world.

  THE RAMSES CHALLENGE

  The ultimate function of art in human evolution is a mystery, but there is no mystery about what art does: it communicates, it evokes, it alters the observer. From the profound power of the Lascaux cave images to the spattering of Jackson Pollock, art calls to something within the observer. In the case of Luxor and the images of Ramses, the art is highly stylized, symbolic, and uniform. Even to today’s observer, it carries a deliberate message of divinity and eternity, of awe and majesty—which must have been so much more powerful to the ancient Egyptians. On another level, to the sculptor who has worked in stone and to the technologist whose job it is to shape adamantine materials, it calls out a question and issues a challenge: “What am I? How did I come to exist? Build another just like me.”