The Great PyraÂmid at Giza—the oldÂest and most intact of the sevÂen ancient wonÂders of the ancient world—became a potent symÂbol of the subÂlime in the 19th cenÂtuÂry, a symÂbol of powÂer so absolute as to eclipse human underÂstandÂing. After Napoleon’s first expeÂdiÂtion to Giza, “EgyÂtoÂmaÂnia… swept through EuroÂpean culÂture and influÂenced the plasÂtic arts, fashÂion, and design,” writes Miroslav VernÂer in The PyraÂmids: The MysÂtery, CulÂture, and SciÂence of Egypt’s Great MonÂuÂments.
At the end of the cenÂtuÂry, HerÂman Melville satÂiÂrized the trend that would evenÂtuÂalÂly give rise to Ancient Aliens, askÂing in an 1891 poem, “Your masonry—and is it man’s? More like some CosÂmic artisan’s.” EgypÂtoÂmaÂniÂacs saw othÂerÂworldÂly magÂic in the pyraÂmid. For Melville, it “usurped” nature’s greatÂness, standÂing as “eviÂdence of humankind’s monÂuÂmenÂtal will to powÂer,” as DawÂid W. de VilÂliers writes.
The ancient Greeks believed the pyraÂmids were built with a masÂsive slave labor force, a theÂoÂry that has perÂsistÂed. As VernÂer exhausÂtiveÂly argues in his book, howÂevÂer, they were not only built by humans—instead of aliens or gods—but they were conÂstructÂed by tradesÂmen and artiÂsans whose skills were in high demand and who were paid wages and orgaÂnized under a comÂplex bureauÂcraÂcy.
And as you can see reconÂstructÂed in the SmithÂsonÂian video at the top, one of those artiÂsanal tasks was to polÂish the monument’s outÂer limeÂstone to a gleamÂing white finÂish that reflectÂed “the powÂerÂful EgyptÂian sun with a dazÂzling glare.” Once the pyraÂmid was comÂpletÂed, “it must have truÂly added to the impresÂsion of Giza as a magÂiÂcal port city, bathed in sunÂlight,” says archaeÂolÂoÂgist Mark LehnÂer in the clip.
In addiÂtion to its glowÂing, polÂished limeÂstone sides, “the strucÂture would have likeÂly been topped with a pyraÂmidÂion, a capÂstone made of solÂid granÂite and covÂered in a preÂcious metÂal like gold,” writes KotÂtke. “No wonÂder they thought their rulers were gods.” Or did ancient EgypÂtians see the Great PyraÂmid as a masÂterÂpiece of human engiÂneerÂing, built with the skill and sweat of thouÂsands of their comÂpaÂtriÂots?
Who can say. But it’s likeÂly that 19th-cenÂtuÂry EuroÂpean explorÂers and artists might have charÂacÂterÂized things difÂferÂentÂly had the Great PyraÂmid still scatÂtered the sun over the desert like an ancient beaÂcon of light instead of sitÂting “dumb,” as Melville wrote, stripped of its facade, waitÂing to have all sorts of mysÂteÂriÂous meanÂings wrapped around it.
via KotÂtke
RelatÂed ConÂtent:
How the EgyptÂian PyraÂmids Were Built: A New TheÂoÂry in 3D AniÂmaÂtion
The GrateÂful Dead Play at the EgyptÂian PyraÂmids, in the ShadÂow of the Sphinx (1978)
Josh Jones is a writer and musiÂcian based in Durham, NC. FolÂlow him at @jdmagness