Wednesday, January 28, 2026

Great Pyramid of Giza

 

Great Pyramid of Giza


David Stanley


Source: World History Enyclopedia

By Joshua J Mark 

Wikipedia Encyclopedia Free

The Great Pyramid of Giza is a defining symbol of Egypt and the last of the ancient Seven Wonders of the World. It is located on the Giza plateau near the modern city of Cairo and was built over a twenty-year period during the reign of the king Khufu (2589-2566 BCE, also known as Cheops) of the 4th Dynasty.


Postal card  19 century

 

Until the Eiffel Tower was completed in Paris, France in 1889, the Great Pyramid was the tallest structure made by human hands in the world; a record it held for over 3,000 years and one unlikely to be broken. Other scholars have pointed to the Lincoln Cathedral spire in England, built in 1300, as the structure which finally surpassed the Great Pyramid in height but, still, the Egyptian monument held the title for an impressive span of time.

 

The pyramid rises to a height of 479 feet (146 metres) with a base of 754 feet (230 metres) and is comprised of over two million blocks of stone. Some of these stones are of such immense size and weight (such as the granite slabs in the King's Chamber) that the logistics of raising and positioning them so precisely seems an impossibility by modern standards.

 

The pyramid was first excavated using modern techniques and scientific analysis in 1880 by Sir William Matthew Flinders Petrie (l.1853-1942), the British archaeologist who set the standard for archaeological operations in Egypt generally and at Giza specifically. Writing on the pyramid in 1883, Flinders Petrie noted:

 

The Great Pyramid has lent its name as a sort of by-word for paradoxes; and, as moths to a candle, so are theorisers attracted to it. (1)

 

Although many theories persist as to the purpose of the pyramid, the most widely accepted understanding is that it was constructed as a tomb for king KHUFU.

Although many theories persist as to the purpose of the pyramid, the most widely accepted understanding is that it was constructed as a tomb for the king. Exactly how it was built, however, still puzzles people in the modern day. The theory of ramps running around the outside of the structure to move the blocks into place is still debated by historians. So-called "fringe" or "New Age" theories abound, in an effort to explain the advanced technology required for the structure, citing extra-terrestrials and their imagined frequent visits to Egypt in antiquity.

 

These theories continue to be advanced in spite of the increasing body of evidence substantiating that the pyramid was built by the ancient Egyptians using technological means which, most likely, were so common to them that they felt no need to record them. Still, the intricacy of the interior passages, shafts, and chambers (The King's Chamber, Queen's Chamber, and Grand Gallery) as well as the nearby Osiris Shaft, coupled with the mystery of how the pyramid was built at all and its orientation to cardinal points, encourages the persistence of these fringe theories.

 

Another enduring theory regarding the monument's construction is that it was built on the backs of slaves. Contrary to the popular opinion that Egyptian monuments in general, and the Great Pyramid in particular, were built using Hebrew slave labor, the pyramids of Giza and all other temples and monuments in the country were constructed by Egyptians who were hired for their skills and compensated for their efforts. No evidence of any kind whatsoever - from any era of Egypt's history - supports the narrative events described in the biblical Book of Exodus.

 

 

Worker's housing at Giza was discovered and fully documented in 1979 by Egyptologists Lehner and Haws but, even before this evidence came to light, ancient Egyptian documentation substantiated payment to Egyptian workers for state-sponsored monuments while offering no evidence of forced labor by a slave population of any particular ethnic group. Egyptians from all over the country worked on the monument, for a variety of reasons, to build an eternal home for their king which would last through eternity.

 

Pyramids & the Giza Plateau

Toward the end of the Early Dynastic Period (c. 3150-c.2613 BCE) the vizier Imhotep ((c. 2667-2600 BCE) devised a means of creating an elaborate tomb, unlike any other, for his king Djoser. Prior to Djoser's reign (c. 2670 BCE) tombs were constructed of mud fashioned into modest mounds known as mastabas. Imhotep conceived of a then-radical plan of not only building a mastaba out of stone but of stacking these structures on top of one another in steps to create an enormous, lasting, monument. His vision led to the creation of Djoser's Step Pyramid at Saqqara, still standing in the present day, the oldest pyramid in the world.

 

Still, the Step Pyramid was not a "true pyramid" and, in the period of the Old Kingdom (c. 2613-2181 BCE) the king Sneferu (r.c. 2613-2589 BCE) sought to improve on Imhotep's plans and create an even more impressive monument. His first attempt, the Collapsed Pyramid at Meidum, failed because he departed too widely from Imhotep's design. Sneferu learned from his mistake, however, and went to work on another - the Bent Pyramid - which also failed because of miscalculations in the angle from base to summit. Undeterred, Sneferu took what he learned from that experience and built the Red Pyramid, the first true pyramid constructed in Egypt.



Great Pyramid of Giza Artist impression

Building a pyramid required enormous resources and the maintenance of a wide array of all kinds of skilled and unskilled workers. The kings of the 4th Dynasty - often referred to as "the pyramid builders" - were able to command these resources because of the stability of the government and the wealth they were able to acquire through trade. A strong central government, and a surplus of wealth, were both vital to any efforts at pyramid building and these resources were passed from Sneferu, upon his death, to his son Khufu.

 

Khufu seems to have set to work on building his grand tomb shortly after coming to power. The rulers of the Old Kingdom governed from the city of Memphis and the nearby necropolis of Saqqara was already dominated by Djoser's pyramid complex while other sites such as Dashur had been used by Sneferu. An older necropolis, however, was also close by and this was Giza. Khufu's mother, Hetepheres I (l.c. 2566 BCE), was buried there and there were no other great monuments to compete for attention close by; so Khufu chose Giza as the site for his pyramid.

 

Construction of the Pyramid

Herodotus

History of dating Khufu and the Great Pyramid

Circa 450 BC Herodotus attributed the Great Pyramid to Cheops (Hellenization of Khufu), yet erroneously placed his reign following the Ramesside period. Manetho, around 200 years later, composed an extensive list of Egyptian kings, which he divided into dynasties, assigning Khufu to the 4th. However, after phonetic changes in the Egyptian language and consequently the Greek translation, "Cheops" had transformed into "Souphis" (and similar versions).[60]

 

Greaves, in 1646, reported the great difficulty of ascertaining a date for the pyramid's construction based on the lacking and conflicting historic sources. Because of the differences in spelling, he did not recognize Khufu on Manetho's king list (as transcribed by Africanus and Eusebius),[61][full citation needed] hence he relied on Herodotus' incorrect account. Summating the duration of lines of succession, Greaves concluded 1266 BC to be the beginning of Khufu's reign.[42]

 

Two centuries later, some of the gaps and uncertainties in Manetho's chronology had been cleared by discoveries such as the King Lists of Turin, Abydos, and Karnak. The names of Khufu found within the Great Pyramid's relieving chambers in 1837 helped to make clear that Cheops and Souphis are one and the same. Thus the Great Pyramid was recognized to have been built in the 4th dynasty.[44] The dating among Egyptologists still varied by multiple centuries (around 4000–2000 BC), depending on methodology, preconceived religious notions (such as the biblical deluge) and which source they thought was more credible.

 

Estimates significantly narrowed in the 20th century, most being within 250 years of each other, around the middle of the third millennium BC. The newly developed radiocarbon dating method confirmed that the historic chronology was approximately correct. It is still not a perfectly accurate method due to larger margins of error, calibration uncertainties and the problem of inbuilt age (time between growth and final usage) in plant material, including wood.[55] Astronomical alignments have also been suggested to coincide with the time of construction.[49][52]

 

Egyptian chronology continues to be refined and data from multiple disciplines have started to be factored in, such as luminescence dating, radiocarbon dating, and dendrochronology. For instance, Ramsey et al. included over 200 radiocarbon samples in their model.

Historiographical record

Classical antiquity

Herodotus

 

The Greek historian Herodotus was one of the first major authors to discuss the Great Pyramid.

The ancient Greek historian Herodotus, writing in the 5th century BC, is one of the first major authors to mention the pyramid. In the second book of his work The Histories, he discusses the history of Egypt and the Great Pyramid. This report was created more than 2000 years after the structure was built, meaning that Herodotus obtained his knowledge mainly from a variety of indirect sources, including officials and priests of low rank, local Egyptians, Greek immigrants, and Herodotus's own interpreters. Accordingly, his explanations present themselves as a mixture of comprehensible descriptions, personal descriptions, erroneous reports, and fantastical legends; as a result, many of the speculative errors and confusions about the monument can be traced back to Herodotus and his work.[62][63]

 

Herodotus writes that the Great Pyramid was built by Khufu (Hellenized as Cheops) who, he erroneously relays, ruled after the Ramesside Period (the 19th dynasty and the 20th dynasty).[64] Khufu was a tyrannical king, Herodotus claims, which may explain the Greek's view that such buildings can only come about through cruel exploitation of the people.[62] Herodotus states that gangs of 100,000 labourers worked on the building in three-month shifts, taking 20 years to build. In the first ten years a wide causeway was erected, which, according to Herodotus, was almost as impressive as the construction of the pyramids themselves. It measured nearly 1 kilometre (0.62 mi) long and 20 yards (18.3 m) wide, and elevated to a height of 16 yards (14.6 m), consisting of stone polished and carved with figures.[65]

 

Underground chambers were made on the hill where the pyramids stand. These were intended to be burial places for Khufu himself and were supplied with water by a channel brought in from the Nile.[65] Herodotus later states that at the Pyramid of Khafre (beside the Great Pyramid) the Nile flows through a built passage to an island in which Khufu is buried.[66] Hawass interprets this to be a reference to the "Osiris Shaft", which is located at the causeway of Khafre, south of the Great Pyramid.[67][68]

 

Herodotus described an inscription on the outside of the pyramid, which, according to his translators, indicated the amount of radishes, garlic and onions that the workers would have eaten while working on the pyramid.[69] This could be a note of restoration work that Khaemweset, son of Rameses II, had carried out. Apparently, Herodotus' companions and interpreters could not read the hieroglyphs or deliberately gave him false information.[70]

 


Diodorus Siculus

Between 60 and 56 BC, the ancient Greek historian Diodorus Siculus visited Egypt and later dedicated the first book of his Bibliotheca historica to the land, its history, and its monuments, including the Great Pyramid. Diodorus's work was inspired by historians of the past, but he also distanced himself from Herodotus, who Diodorus claims tells marvellous tales and myths.[71] Diodorus presumably drew his knowledge from the lost work of Hecataeus of Abdera,[72] and like Herodotus, he also places the builder of the pyramid, "Chemmis",[73] after Ramses III.[64] According to his report, neither Chemmis (Khufu) nor Cephren (Khafre) were buried in their pyramids, but rather in secret places, for fear that the people ostensibly forced to build the structures would seek out the bodies for revenge.[74] With this assertion, Diodorus strengthened the connection between pyramid building and slavery.[75]

 

According to Diodorus, the cladding of the pyramid was still in excellent condition at the time, whereas the uppermost part of the pyramid was formed by a platform 6 cubits (3.1 m; 10.3 ft) high. About the construction of the pyramid he notes that it was built with the help of ramps since no lifting tools had yet been invented. Nothing was left of the ramps, as they were removed after the pyramids were completed. He estimated the number of workers necessary to erect the Great Pyramid at 360,000 and the construction time at 20 years.[73] Similar to Herodotus, Diodorus also claims that the side of the pyramid is inscribed with writing that "[set] forth [the price of] vegetables and purgatives for the workmen there were paid out over sixteen hundred talents."[74]


 

Strabo

The Greek geographer, philosopher, and historian Strabo visited Egypt around 25 BC, shortly after Egypt was annexed by the Romans. In his work Geographica, he argues that the pyramids were the burial place of kings, but he does not mention which king was buried in the structure. Strabo also mentions: "At a moderate height in one of the sides is a stone, which may be taken out; when that is removed, there is an oblique passage to the tomb."[76] This statement has generated much speculation, as it suggests that the pyramid could be entered at this time.[77]

 


  Pliny the Elder

 

During the Roman Empire, Pliny the Elder argues that "bridges" were used to transport stones to the top of the Great Pyramid.

The Roman writer Pliny the Elder, writing in the first century AD, argued that the Great Pyramid had been raised, either "to prevent the lower classes from remaining unoccupied", or as a measure to prevent the pharaoh's riches from falling into the hands of his rivals or successors.[78] Pliny does not speculate as to the pharaoh in question, explicitly noting that "accident [has] consigned to oblivion the names of those who erected such stupendous memorials of their vanity".

 

In pondering how the stones could be transported to such a vast height he gives two explanations: That either vast mounds of nitre and salt were heaped up against the pyramid, which were then melted away with water redirected from the river. Or, that "bridges" were constructed, their bricks afterwards distributed for erecting houses, arguing that the level of the river is too low for canals to bring water up to the pyramid. Pliny also recounts how "in the interior of the largest Pyramid there is a well, eighty-six cubits [45.1 m; 147.8 ft] deep, which communicates with the river, it is thought". He also describes a method discovered by Thales of Miletus for ascertaining the pyramid's height by measuring its shadow.





Great Pyramid Reconstructed

The vizier was the final architect of any building project and had to delegate responsibility for materials, transport, labor, payments and any other aspect of the work. Written receipts, letters, diary entries, official reports to and from the palace all make clear that a great building project was accomplished at Giza under Khufu's reign but not one of these pieces of evidence suggest exactly how the pyramid was created. The technological skill evident in the creation of the Great Pyramid still mystifies scholars, and others, in the present day. Egyptologists Bob Brier and Hoyt Hobbs comment on this:

Because of their immense size, building pyramids posed special problems of both organization and engineering. Constructing the Great Pyramid of the pharaoh Khufu, for example, required that more than two million blocks weighing from two to more than sixty tons be formed into a structure covering two football fields and rising in a perfect pyramidal shape 480 feet into the sky. Its construction involved vast numbers of workers which, in turn, presented complex logistical problems concerning food, shelter, and organization. Millions of heavy stone blocks needed not only to be quarried and raised to great heights but also set together with precision in order to create the desired shape. (217)



The Pyramids, Giza, Egipt

It is precisely the skill and technology required to "create the desired shape" which presents the problem to anyone trying to understand how the Great Pyramid was built. Modern-day theories continue to fall back on the concept of ramps which were raised around the foundation of the pyramid and grew higher as the structure grew taller. The ramp theory, still debated, maintains that, once the foundation was firm, these ramps could have easily been raised around the structure as it was built and provided the means for hauling and positioning tons of stones in precise order.

 

Aside from the problems of a lack of wood in Egypt to make an abundance of such ramps, the angles workers would have had to move the stones up, and the impossibility of moving heavy stone bricks and granite slabs into position without a crane (which the Egyptians did not have), the most serious problem comes down to the total impracticability of the ramp theory. Brier and Hobbs explain:

 

The problem is one of physics. The steeper the angle of an incline, the more effort necessary to move an object up that incline. So, in order for a relatively small number of men, say ten or so, to drag a two-ton load up a ramp, its angle could not be more than about eight percent. Geometry tells us that to reach a height of 480 feet, an inclined plane rising at eight percent would have to start almost one mile from its finish. It has been calculated that building a mile-long ramp that rose as high as the Great Pyramid would require as much material as that needed for the pyramid itself - workers would have had to build the equivilent of two pyramids in the twenty-year time frame. (221)

 

The French architect Jean-Pierre Houdin who claims ramps were used inside of the pyramid proposed a variation on the ramp theory. Houdini believes that ramps may have been used externally in the initial stages of construction but, as the pyramid grew taller, work was done internally. The quarried stones were brought in through the entrance and moved up the ramps to their position. This, Houdini claims, would account for the shafts one finds inside the pyramid. This theory, however, does not account for the weight of the stones or the number of workers on the ramp required moving them up an angle inside the pyramid and into position.



Entrance Passage Great Pyramid of Giza

The ramp theory in either of these forms fails to explain how the pyramid was built while a much more satisfactory possibility rests right below the monument: the high water table of the Giza plateau. Engineer Robert Carson, in his work The Great Pyramid: The Inside Story, suggests that the pyramid was built using water power. Carson also suggests the use of ramps but in a much more cogent fashion: the interior ramps were supplemented by hydraulic power from below and hoists from above.

 

Although the Egyptians had no knowledge of a crane as one would understand that mechanism in the present day, they did have the shaduf, a long pole with a bucket and rope at one end and counter-weight at the other, typically used for drawing water from a well. Hydraulic power from below, coupled with hoists from above could have moved the stones throughout the interior of the pyramid and this would also account for the shafts and spaces one finds in the monument which other theories have failed to fully account for.

 

It is abundantly clear that the water table at Giza is still quite high in the present day and was higher in the past. Egyptologist Zahi Hawass, writing on his excavation of the Osiris Shaft near the Great Pyramid in 1999, notes how "the excavation proved to be very challenging mainly due to the dangerous nature of the work caused by the high water table" (381). In the same article, Hawass notes how, in 1945, guides at Giza were regularly swimming in the waters of this underground shaft and that "the rising water table in the shaft prevented scholars from studying it further" (379).

 

Further, earlier attempts to excavate the Osiris Shaft - by Selim Hassan in the 1930's - and observations (though no excavation) of the shaft by Abdel Moneim Abu Bakr in the 1940's - also make note of this same high water table. Geological surveys have determined that the Giza plateau and surrounding region was much more fertile in the time of the Old Kingdom than it is today and that the water table would have been higher.

 

Considering this, Carson's theory of water power used in building the pyramid makes the most sense. Carson claims the monument "could only be constructed by means of hydraulic power; that a hydraulic transportation system was set up inside the Great Pyramid" (5). Harnessing the power of the high water table, the ancient builders could have constructed the pyramid much more reasonably than by some form of exterior ramping system.




Interior Passage, Great Pyramid of Giza

John &Edgar Norton Public Domain

The ramp theory in either of these forms fails to explain how the pyramid was built while a much more satisfactory possibility rests right below the monument: the high water table of the Giza plateau. Engineer Robert Carson, in his work The Great Pyramid: The Inside Story, suggests that the pyramid was built using water power. Carson also suggests the use of ramps but in a much more cogent fashion: the interior ramps were supplemented by hydraulic power from below and hoists from above.

 

Although the Egyptians had no knowledge of a crane as one would understand that mechanism in the present day, they did have the shaduf, a long pole with a bucket and rope at one end and counter-weight at the other, typically used for drawing water from a well. Hydraulic power from below, coupled with hoists from above could have moved the stones throughout the interior of the pyramid and this would also account for the shafts and spaces one finds in the monument which other theories have failed to fully account for.

 

It is abundantly clear that the water table at Giza is still quite high in the present day and was higher in the past. Egyptologist Zahi Hawass, writing on his excavation of the Osiris Shaft near the Great Pyramid in 1999, notes how "the excavation proved to be very challenging mainly due to the dangerous nature of the work caused by the high water table" (381). In the same article, Hawass notes how, in 1945, guides at Giza were regularly swimming in the waters of this underground shaft and that "the rising water table in the shaft prevented scholars from studying it further" (379).

 

Further, earlier attempts to excavate the Osiris Shaft - by Selim Hassan in the 1930's - and observations (though no excavation) of the shaft by Abdel Moneim Abu Bakr in the 1940's - also make note of this same high water table. Geological surveys have determined that the Giza plateau and surrounding region was much more fertile in the time of the Old Kingdom than it is today and that the water table would have been higher.

 

Considering this, Carson's theory of water power used in building the pyramid makes the most sense. Carson claims the monument "could only be constructed by means of hydraulic power; that a hydraulic transportation system was set up inside the Great Pyramid" (5). Harnessing the power of the high water table, the ancient builders could have constructed the pyramid much more reasonably than by some form of exterior ramping system.

 Once the interior was completed, the whole of the pyramid was covered in white limestone which would have shone brilliantly and been visible from every direction for miles around the site. As impressive as the Great Pyramid is today, one must recognize that it is a monument in ruin as the limestone long ago fell away and was utilized as building material for the city of Cairo (just as the nearby city of ancient Memphis was).

 

When it was completed, the Great Pyramid must have appeared as the most striking creation the Egyptians had ever seen. Even today, in its greatly weathered state, the Great Pyramid inspires awe. The sheer size and scope of the project is literally amazing. Historian Marc van de Mieroop writes:

 

The size boggles the mind: it was 146 meters high (479 feet) by 230 meters at the base (754 feet). We estimate that it contained 2,300,000 blocks of stone with an average weight of 2 and 3/4 tons some weighing up to 16 tons. Khufu ruled 23 years according to the Turin Royal Canon, which would mean that throughout his reign annually 100,000 blocks - daily about 285 blocks or one every two minutes of daylight - had to be quarried, transported, dressed, and put in place...The construction was almost faultless in design. The sides were oriented exactly toward the cardinal points and were at precise 90-degree angles. (58)

 

The workers who accomplished this were skilled and unskilled laborers hired by the state for the project. These workers either volunteered their efforts to pay off a debt, for community service, or were compensated for their time. Although slavery was an institution practiced in ancient Egypt, no slaves, Hebrew or otherwise, were used in creating the monument. Brier and Hobbs explain the logistics of the operation:

 

Were it not for the two months every year when the Nile's water covered Egypt's farmland, idling virtually the entire workforce, none of this construction would have been possible. During such times, a pharaoh offered food for work and the promise of a favored treatment in the afterworld where he would rule just as he did in this world. For two months annually, workmen gathered by the tens of thousands from all over the country to transport the blocks a permanent crew had quarried during the rest of the year. Overseers organized the men into teams to transport the stones on sleds, devices better suited than wheeled vehicles to moving weighty objects over shifting sand. A causeway, lubricated by water, smoothed the uphill pull. No mortar was used to hold the blocks in place, only a fit so exact that these towering structures have survived for 4,000 years. (17-18)

The Pyramides



Oising Mulvihill CC By

The yearly inundation of the Nile River was essential for the livelihood of the Egyptians in that it deposited rich soil from the riverbed all across the farmlands of the shore; it also, however, made farming those lands an impossibility during the time of the flood. During these periods, the government provided work for the farmers through labor on their great monuments. These were the people who did the actual, physical, work in moving the stones, raising the obelisks, building the temples, creating the pyramids which continue to fascinate and inspire people in the present day.

It is a disservice to their efforts and their memory, not to mention the grand culture of the Egyptians, to continue to insist that these structures were created by poorly treated slaves who were forced into their condition because of ethnicity. The biblical Book of Exodus is a cultural myth purposefully created to distinguish one group of people living in the land of Canaan from others and should not be regarded as history.

The Great Pyramid as Tomb


Granite blok seal chamber's Queen



Chamber's King





Reine niche





Ilustration descripcion of Egypt


All of this effort went to creating a grand tomb for the king who, as mediator between the gods and the people, was thought to be deserving of the finest of tombs. Theories regarding the original purpose of the Great Pyramid range from the fanciful to the absurd, and may be investigated elsewhere, but the culture which produced the monument would have regarded it as a tomb, an eternal home for the king.

 

Tombs which have been excavated throughout Egypt, from the most modest to the rich example of Tutankhamun's - along with other physical evidence - make clear the ancient Egyptian belief in a life after death and the concern for the soul's welfare in this new world. Grave goods were always placed in the tomb of the deceased as well as, in wealthier tombs, inscriptions and paintings on the walls (known as the Pyramid Texts, in some cases). The Great Pyramid is simply the grandest form of one of these tombs.

 

Arguments against the Great Pyramid as a tomb cite the fact that no mummies or grave goods have ever been found inside. This argument willfully ignores the plentiful evidence of grave robbing from ancient times to the present. Egyptologists from the 19th century onwards have recognized that the Great Pyramid was looted in antiquity and, most likely, during the time of the New Kingdom (c. 1570-1069 BCE) when the Giza necropolis was replaced by the area now known as The Valley of the Kings near Thebes.

 

This is not to suggest that Giza was forgotten, there is ample evidence of New Kingdom pharaohs such as Ramesses the Great (r. 1279-1213 BCE) taking great interest in the site. Rameses II had a small temple built at Giza in front of the Sphinx as a token of honor and it was Rameses II's fourth son, Khaemweset, who devoted himself to preserving the site. Khaemweset never ruled Egypt but was a crown prince whose efforts to restore the monuments of the past are well documented. He is, in fact, considered the world's "first Egyptologist" for his work in restoration, preservation, and recording of ancient monuments and especially for his work at Giza. This complex of underground chambers was most likely dug, as Hawass contends, in honor of the god Osiris and may or may not have been where the king Khufu was originally laid to rest. Herodotus mentions the Osiris Shaft (though not by that name, which was only given to it recently by Hawass) in writing of Khufu's burial chamber which was said to be surrounded by water.

 

Excavations of the shaft and the chambers have recovered artifacts dating from the Old Kingdom through the Third Intermediate Period but no tunnels branching out beneath the plateau. Osiris, as lord of the dead, would certainly have been honored at Giza and underground chambers recognizing him as ruler in the afterlife were not uncommon throughout Egypt's history.

 

Although the Great Pyramid of Giza, and the other smaller pyramids, temples, monuments, and tombs there, continued to be respected throughout Egypt's history, the site fell into decline after the Roman occupation and then annexation of the country in 30 BCE. The Romans concentrated their energies on the city of Alexandria and the abundant crops the country offered, making Egypt into Rome's "bread basket", as the phrase goes.

 

The site was more or less neglected until Napoleon's Egyptian Campaign of 1798-1801 during which he brought along his team of scholars and scientists to document ancient Egyptian culture and monuments. Napoleon's work in Egypt attracted others to the country who then inspired still others to visit, make their own observations, and conduct their own excavations.

The Seven  Wonders of the Ancient World

Throughout the 19th century, ancient Egypt became increasingly the object of interest for people around the world. Professional and amateur archaeologists descended upon the country seeking to exploit or explore the ancient culture for their own ends or in the interests of science and knowledge. The Great Pyramid was first fully excavated professionally by the British archaeologist Sir William Matthew Flinders Petrie whose work on the monument lay the foundation for any others who followed up to the present day.

 

Flinders Petrie was obviously interested in exploring every nuance of the Great Pyramid but not at the expense of the monument itself. His excavations were performed with great care in an effort to preserve the historical authenticity of the work he was examining. Although this may seem a common sense approach in the modern day, many European explorers before Flinders Petrie, archaeologists professional and amateur, brushed aside any concerns of preservation in pursuing their goal of unearthing ancient treasure troves and bringing antiquities back to their patrons. Flinders Petrie established the protocol regarding ancient monuments in Egypt which is still adhered to in the present day. His vision inspired those who came after him and it is largely due to his efforts that people today can still admire and appreciate the monument known as the Great Pyramid of Giza


A restored Khufu ship was once displayed at the Giza Solar boat museum and is now relocated to the Grand Egyptian Museum.

Rediscovery

 


Portrait of Cyriacus of Ancona, fresco by Benozzo Gozzoli, 1459

During the period of Humanism, a new interest in the ancient world arose, which was rediscovered mainly through the study of the texts of classical authors; Cyriacus of Ancona, the founding father of modern classical archaeology,[97] distinguished himself from other humanists because he combined the study of ancient texts with the search for material evidence, such as statues, epigraphs and monuments, reporting information about them in his travel diaries (the Commentarii) and in his letters. For this reason, in 1435, he went to Egypt and reached the Giza plateau after sailing on the Nile; Comparing what he saw with his reading of the second book of the "Histories" by Herodotus, he rediscovered the true nature of the Great Pyramid and correcting centuries of misunderstandings.

 

Cyriacus of Ancona thus definitively refuted the false identification of the Great Pyramid with one of the Joseph's Granaries and left several drawings of the monument and an account, reported in his Commentarii. Thanks to his numerous travels in Greece and Asia Minor, he was also able to testify that the pyramids of Giza were the only one of the Seven Wonders of the World to have survived the centuries. Through the writings of Ciriaco, this news spread first in Italian humanist circles and then among European scholars.


Bibliography

About the Author

Joshua J. Mark

Joshua J. Mark

Joshua J. Mark is World History Encyclopedia's co-founder and Content Director. He was previously a professor at Marist College (NY) where he taught history, philosophy, literature, and writing. He has traveled extensively and lived in Greece and Germany.

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Questions & Answers

Who was the Great Pyramid built for?

The Great Pyramid of Giza was built as a tomb for the king Khufu, second king of the 4th dynasty of Egypt.

Why was the Great Pyramid built?

Scholars and historians generally agree the Great Pyramid of Giza was built as a tomb.

How was the Great Pyramid of Giza built?

This question is still debated by scholars but it may have been built using hydraulics which drew on the high water table of the Giza plateau.

Who was the first modern-day archaeologist to excavate the Great Pyramid?

The first modern-day excavation of the Great Pyramid was conducted by Sir William Matthew Flinders Petrie in 1880.

Editor note: There are images from another sources.

With affection,

Ruben

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Monday, December 29, 2025

Leonard Bernstein

 

Leonard Bernstein

Classical Music Composers of the 20th Century




(Lawrence, Massachusetts, 1918 - Nueva York, 1990

A versatile musician, his gifts and undeniable talent not only allowed him to shine in the field of acting, but he also managed to succeed in composition, both in the so-called "serious" and in musical comedy. Two of his forays into the latter genre, On the Town (1944) and West Side Story (1957), both popularized by cinema, earned him wide recognition among the public; In its plot, the second is a splendid update of Shakespeare's Romeo and Juliet that won ten Oscars in its film version (1961), directed by Robert Wise and Jerome Robbins and starring Richard Beymer and Natalie Wood.

 

Bernstein's first steps as a conductor were encouraged by Sergei Koussevitzky, his mentor during his student days at Tanglewood. In this facet, his defense of an openly subjective interpretation, within the purest romantic tradition, made him obtain his best fruits in the works of composers with a high expressive component in their music, such as Franz Liszt (his version of the Faust Symphony is a classic of phonography), Gustav Mahler or Dimitri Shostakovich, while in the classical repertoire his achievements, although appreciable, did not reach the same height. In addition, Bernstein was an enthusiastic defender and popularizer of new American music: authors such as Aaron Copland, Charles Ives and George Gershwin were part of his concert programs until his death.

 

Faithful reflection of his varied hobbies and tastes, which in music ranged from Haydn's classicism to jazz, Bernstein the composer's style is distinguished by its eclecticism. An opera, A Quiet Place (1984), three large symphonies (1942, 1949 and 1963), a Serenade (1954) and several songs constitute the best of his catalogue. However, despite their appreciable value, none of these scores has reached the level of popularity of his musical comedies.

Bernstein married actress Felicia Montealegre on September 9, 1951.[189] They had three children: Jamie, Alexander, and Nina.[190] The Bernstein family lived in New York City and Fairfield, Connecticut, and maintained a close-knit atmosphere surrounded by extended family and friends.

Leonard Bernstein led some of the world’s best orchestras, including the New York Philharmonic, sometimes from the piano. Picture: Getty images





By Sophia Alexandra Hall

Leonard Bernstein is the subject of musical biopic ‘Maestro’. However, who was the legendary conductor-composer and why did his career change the face of American classical music forever?

American conductor and composer Leonard Bernstein is one of classical music history’s most significant figures.

Born in 1918, Bernstein was an acclaimed conductor, composer and pianist, who earned a remarkable 16 Grammy Awards throughout his career.

From leading one of the world’s greatest orchestras, the New York Philharmonic, to composing the multi-award-winning musical West Side Story alongside Stephen Sondheim, Bernstein’s list of achievements is unrivalled.

But Bradley Cooper was the man behind the music? With the upcoming musical biopic Maestro portraying the musician’s life hitting cinemas .

A acto celebrate the fall of the Berlin Wall, changing "Joy" (Freude) to "Freedom" (Freiheit) in the "Ode to Joy" to reflect the historic moment, uniting musicians from East & West Germany and Allied nations for the "Ode to Freedom" concert. This iconic performance at the Konzerthaus symbolized unity and hope, with Bernstein leading international orchestras and choirs in a powerful message of goodwill, solidifying it as a legendary event.

I am experiencing a historical moment, incomparable with others in my long, long life.’ Leonard Bernstein was 71 when he spoke those words; six weeks after elated crowds began tearing down the Berlin Wall on 9 November 1989.

For 28 years, the wall had split the city in two, preventing those living in communist-controlled East Berlin crossing to West Berlin, where the democratic values of the Federal Republic of Germany held sway. But communism in Eastern Europe had begun to crumble, and the convulsive shockwaves were causing the long-impregnable barriers between the two parts of a divided Germany, both ideological and physical, to crumble too.

Ever a master of the dramatic moment, Bernstein instinctively grasped that he, an elder statesman of international music, had a unique contribution to make at this historic juncture. So when asked to conduct two concerts celebrating the fall of the Berlin Wall, he jumped at the opportunity.

When were Leonard Bernstein's Berlin concerts?

The concerts were scheduled for the 23rd and 25th of December 1989, and would be uniquely symbolic in nature. Three choirs would assemble from different parts of Germany, and the orchestra would be international in character, drawing players from New York, Paris, London, Leningrad, and both East and West Germany. Together they would perform Beethoven’s Ninth Symphony, a work whose arduous transition from oppressive darkness into brilliant, joy-filled light seemed perfectly suited to the occasion.

·       Beethoven: a guide to his symphonies

When Bernstein arrived in Berlin, however, he was far from being in prime physical condition. While in London to record his operetta Candide earlier in December, he had caught a virulent strain of flu. Though still weak from its side effects, he summoned the energy to conduct not one, but two performances of the Ninth Symphony on December 23 – the first a preliminary run-through for an afternoon audience in East Berlin, the other in the West in the evening.

It was a gruelling day for Bernstein, and he was reportedly ‘dazed, shrunken and ashen-faced’ in the immediate aftermath of the evening performance. In typical fashion, though, he quickly bounced back. While in Berlin he mingled with local residents in the streets, lit Hannukah candles at Berlin’s oldest synagogue and borrowed a hammer to chip a piece of the Berlin Wall off for himself.

At work, did Bernstein perform in Berlin?

By Christmas morning, a Monday, the stage was set for the East Berlin performance of Beethoven's Ninth Symphony in the historic Schauspielhaus, where in 1821 Weber’s opera Der Freischütz had its premiere. Outside, on the Gendarmenmarkt, thousands milled in cold but sunny weather, watching the concert on a big-screen relay.

Millions more saw it by satellite, with viewers in over 20 countries. It was Bernstein’s biographer Humphrey Burton later recorded, ‘the highest point in Leonard Bernstein’s public life as a citizen of the world.’

The 'Ode to Joy' - or 'Freiheit' (freedom)

The Berlin concerts were, however, not without controversy. Moved by the symbolism of the occasion, Bernstein had substituted the word ‘Freiheit’ (’freedom’) for ‘Freude’ (‘joy’) in the Schiller poem used for the symphony’s choral finale, the famous 'Ode to Joy'.

This created minor ructions among the traditionalist faction. How dare an upstart American tinker with Schiller’s sacred text? How dare he alter Beethoven’s original intentions? For a fleeting moment, the sound of cultural feathers being ruffled was the dominant impression.

In the event, the majestic sweep of Bernstein’s performance of the Ninth swept all before it. In addition, his personal response to the mini-furore was characteristically unflappable. ‘If there ever were a historical moment in which one can neglect the theoretical discussions of academics in the name of human freedom, this is it,’ he stated. ‘And I believe that Beethoven would have given us his blessing. Let freedom live!’



Terry Blain

 




Leonard Bernstein conducted a monumental Beethoven symphony to celebrate the fall of the Berlin Wall. Picture: Getty

As Germany took its first bold steps towards reunification, Leonard Bernstein conducted a blistering Beethoven symphony in celebration of an extraordinary moment in world, and music, history.

The fourth movement of Beethoven’s Symphony No.9 nicknamed the ‘Choral’, rings out with the immortal words of German poet Friedrich Schiller, in a spine-tingling symphonic finale.

Schiller’s poem an die Freude, better known as ‘Ode to Joy’ in English, forms the triumphant pinnacle of Beethoven’s masterpiece as he brings in the full force of a choir to close his final large-scale work.

However, on Christmas Day 1989, ‘Ode to Joy’ became an ‘Ode to Freedom’ in a subtle but significant lyric change made by Leonard Bernstein, in a performance for the history books.

A large massed choir sang ‘Freiheit’, meaning ‘Freedom’, in place of ‘Freude’, or ‘Joy’, in the Berlin Konzerthaus just a stone’s throw from both the monumental Brandenburg Gate and Checkpoint Charlie.

Bernstein’s concert took place a month and a half after it was announced that the border between East and West Berlin, which had divided the country for 28 years, was now open.

In Berlin’s great Konzerthaus, in the heart of the city, Leonard Bernstein brought together an international roster of Europe’s great orchestral musicians for the occasion.

An epic choir filled the concert house stalls, as Bernstein combined not one, not two, but three German choirs spanning the breadth of the country, to achieve a thunderous and triumphant finale.

From Bavaria to Dresden, St Petersburg, London, New York and Paris, the Berlin Celebration Concert united musicians from all sides of the Cold War to mark the fall of the Iron Curtain.



 West German citizens flock to the Brandenburg Gate on Christmas after the fall of the Berlin Wall. Picture: Getty

20,000 people are said to have gathered on the streets of Berlin, as East and West Germans mingled freely for the first time in almost 30 years, to watch the concert broadcast on huge five-by-ten metre screens erected for the occasion.

20,000 people are said to have gathered on the streets of Berlin, as East and West Germans mingled freely for the first time in almost 30 years, to watch the concert broadcast on huge five-by-ten metre screens erected for the occasion.

After the concert, Bernstein headed west to carve his own section of the Berlin wall, which he sent back to his family in New York.

It was a moment remembered fondly by concert pianist Craig Urquhart, who was Bernstein’s personal assistant at the time: “Lenny and I, with a couple of friends drove to the western side of the wall behind the Reichstag: no television, no reporters, just us private citizens of the world.

“Lenny borrowed a hammer from a young boy, and he took his turn at tearing down, at least this wall, among all those he’d so worked so hard to dismantle in the hearts and minds of man.”

 

After the concert, Bernstein headed west to carve his own section of the Berlin wall, which he sent back to his family in New York.

It was a moment remembered fondly by concert pianist Craig Urquhart, who was Bernstein’s personal assistant at the time: “Lenny and I, with a couple of friends drove to the western side of the wall behind the Reichstag: no television, no reporters, just us private citizens of the world.

“Lenny borrowed a hammer from a young boy, and he took his turn at tearing down, at least this wall, among all those he’d so worked so hard to dismantle in the hearts and minds of man.”

How did Leonard Bernstein die?

Bernstein announced that he would retire from conducting in 1990 at the age of 72 years old. He passed away five days after this announcement.

The conductor died of a heart attack in his New York home, which was brought on by Mesothelioma, a relatively rare type of cancer.

His wife had died 12 years prior of lung cancer, and the composer was buried next to her in a plot at Green-Wood Cemetery in Brooklyn, New York.

According to the conductor’s biographer, Allen Shawn, Bernstein was buried with a pocket score of Mahler’s Fifth Symphony, a piece of amber, a lucky penny, a copy of Alice in Wonderland, and a baton.

Leonard Bernstein’s music: 10 best works by the American maestro

21 December 2023, 09:23 | Updated: 21 December 2023, 11:33

From the famous West Side Story and collaborations with Sondheim, to symphonies and serenades, here are the definitive top 10 pieces of music that Leonard Bernstein wrote.

Leonard Bernstein is one of the greatest figures of the American 20th century music scene. A charismatic conductor and brilliant composer, Bernstein wrote many great works from operas and ballets to symphonies, that are still well loved and much performed to this day.

The celebrated musician even became the subject of Netflix hit Maestro in 2023, which sees him portrayed by Bradley Cooper.

Bernstein spent his time away from the podium championing humanitarian issues, from civil rights and the Vietnam War to HIV/AIDS research.

Remembered fondly for his innovative Young People’s Concerts, Bernstein was a brilliant music educator and introduced many to classical music for the first time, sparking lifelong joy in those he inspired.

As a conductor, he was known for his enigmatic podium performances, and was particularly celebrated for his interpretations of Mahler. He is even said to be buried with a manuscript of Mahler’s Symphony No.5 over his heart, open to the heart-rending second movement, the ‘Adagietto’.

As a composer, he blended this Germanic influence with his New York surroundings, capturing the brassy sound of the city’s jazz, big band, and Broadway traditions, mixed with traditional Jewish music and all conveyed through imaginative percussion, raucous brass and lyrical strings.

A one-of-a-kind musician, Bernstein’s creativity spanned musical theatre, film scores, large-scale symphonies and operettas. Here are 10 of his all-time best...

  1. West Side Story    




With two film adaptations and many successful stage runs, West Side Story is Bernstein’s best-known work by far. A collaboration with lyricist Stephen Sondheim and director-choreographer Jerome Robbins, it It is considered by many to be one of the greatest musicals of all time.

Based on Romeo and Juliet, it tells of two star-crossed lovers against the backdrop of fierce feuds and rival gangs in 1957 New York City.

Musically, the harmonic and melodic backbone of the entire score is the tritone, otherwise known as the Devil’s interval, which Bernstein uses to create a sense of unease amid the hope of young love. We’d estimate it nearly impossible to find a soul who hasn’t heard at least one of the show’s hit songs: ‘America’, ‘Maria’, ‘Somewhere’, ‘I Feel Pretty’.

2.0 Candide   

 

Originally intended as a play, Candide was transformed into an operetta when an enthusiastic Bernstein convinced librettist Lillian Hellman of his vision. It took a team of lyricists to write, with Richard Wilbur doing the bulk of the work, plus additional contributions from Stephen Sondheim and Bernstein himself, who co-wrote ‘I Am Easily Assimilated’ with his wife, Felicia.

Based on Voltaire’s work of the same name, Candide is a comical love story, as the titular character Candide pursues his great love (and cousin) Cunegonde through all manner of trials and tribulations that try to keep them apart.

      Bernstein’s overture is the best known piece from the operetta, and is one of his         most performed works to this day. It switches masterfully from lyrical strings to oom-pah brass band sections, to flighty wind motifs, in a brilliantly exciting and inventive five minutes of music.

Originally intended as a play, Candide was transformed into an operetta when an enthusiastic Bernstein convinced librettist Lillian Hellman of his vision. It took a team of lyricists to write, with Richard Wilbur doing the bulk of the work, plus additional contributions from Stephen Sondheim and Bernstein himself, who co-wrote ‘I Am Easily Assimilated’ with his wife, Felicia.

Based on Voltaire’s work of the same name, Candide is a comical love story, as the titular character Candide pursues his great love (and cousin) Cunegonde through all manner of trials and tribulations that try to keep them apart.

Bernstein’s overture is the best-known piece from the operetta, and is one of his most performed works to this day. It switches masterfully from lyrical strings to oom-pah brass band sections, to flighty wind motifs, in a brilliantly exciting and inventive five minutes of music.

3.0Chichester Psalms  

Epic and jovial, serene and pure, Bernstein’s Chichester Psalms is a large choral work written for choir and orchestra, and boy treble or countertenor soloist.

The composer’s Jewish identity is front and centre in this work, as Bernstein takes the original Hebrew words from the Book of Psalms as his text.

The Chichester Psalms were commissioned by Walter Hussey, Dean of Chichester Cathedral, for the Southern Cathedrals Festival that was hosted by the city in 1965. It was performed there in July of that year, but not before it premiered at New York City’s Philharmonic Hall two weeks earlier, with Bernstein on the podium.

4.0 MASS: A Theatre Piece for Singers, Players, and Dancers 

5.0 With his trademark flair for the eclectic, Bernstein takes the traditional Catholic mass and transforms it into a Broadway-infused showpiece, complete with orchestra, dancers, rock band, and a marching band for good measure.

From its toe-tapping rhythms and tongue-tangling choral passages, to stripped-back and heart-felt sermons through song, MASS is a brilliant blend of its composer’s many musical influences.

This remarkable work was commissioned by Jackie Kennedy, for the opening of Washington’s Kennedy Center in September 1971. Today, it remains one of Bernstein’s most striking works.

5. 0 On the town

Bernstein’s first foray into musical theatre, On the Town was born from a ballet called Fancy Free, that the composer scored the same year to accompany Jerome Robbins’ choreography.

It tells of a love affair with New York, the city Bernstein considered home. Three American sailors are set loose in Manhattan for 24 hours during World War II, performing big tunes and ballads like ‘New York, New York’ and ‘Lonely Town’ along the way.

Although Bernstein was a relatively unknown composer at the time, On the Town was an immediate hit on Broadway.

The production made him the first symphonic composer to collaborate on an American musical. It was also the first musical to incorporate black and white characters on stage in equal roles, and the show’s conductor Everett Lee made history by becoming Broadway’s first black conductor and musical director.

6.0 Symphony No.1, ‘Jeremiah’  

Bernstein’s named his First Symphony ‘Jeremiah’ after the major Hebrew prophet born in 650 BCE.

In three movements, titled ‘Prophecy’, ‘Profanation’, and ‘Lamentation’, Bernstein’s work follows the prophet’s story.

The final movement borrows its name and text from the third and final book Jeremiah authored, the Book of Lamentations, according to Jewish tradition.

Several elements of the piece make reference to Jewish music. Bernstein noted that the first theme from the second movement was “paraphrased from a traditional Hebrew chant,” and the start of the mezzo-soprano line in the final movement is “based on a liturgical cadence still sung today.”

7.0On the Waterfront

On the Waterfront  

Bernstein only wrote one original film score in his career. And that was this, On the Waterfront, a score for Elia Kazan’s 1954 film starring Marlon Brando, for which the composer earned an Oscar nomination.

The composer later reshaped his score, which skilfully captures the corruption and extortion of New Jersey’s waterfronts in the 1950s, into a symphonic suite, which is sometimes performed by orchestras today after enjoying a revival during the Bernstein centennial in 2018.

Bernstein biographer Humphrey Burton sees the score as a “20th-century equivalent of Tchaikovsky’s fantasy overture Romeo and Juliet, with the film’s principal characters, Terry and Edie, as the star-crossed lovers.”

 

 

Bernstein only wrote one original film score in his career. And that was this, On the Waterfront, a score for Elia Kazan’s 1954 film starring Marlon Brando, for which the composer earned an Oscar nomination.

The composer later reshaped his score, which skilfully captures the corruption and extortion of New Jersey’s waterfronts in the 1950s, into a symphonic suite, which is sometimes performed by orchestras today after enjoying a revival during the Bernstein centennial in 2018.

Bernstein biographer Humphrey Burton sees the score as a “20th-century equivalent of Tchaikovsky’s fantasy overture Romeo and Juliet, with the film’s principal characters, Terry and Edie, as the star-crossed lovers.”

8.0 Symphony No.3, ‘Kaddish’  


The ‘Kaddish’ is a Jewish prayer recited in synagogue services, reflecting on death and loss.

Bernstein used this ancient hymn as the basis for his final symphony, and one of his most powerful works. The symphony is scored for full orchestra, choir, boys’ choir, with a soprano soloist and a narrator.

It was dedicated to John F. Kennedy, who was assassinated just a few weeks before the work’s premiere in 1963.

The composer remained deeply connected to this work, revising it in the late 1970s. Bernstein’s wife, Felicia Montealegre, narrated the American premiere of the work – perhaps adding to the layers of personal connection for the composer.

9.0 Divertimento for Orchestra 


After the death of his wife, Felicia, in 1978, Bernstein retreated from performance engagements to focus on composing. He worked on various projects, none of which made it to completion, until he received a commission from the Boston Symphony Orchestra in April 1980.

The orchestra were looking for a piece to help them celebrate their centennial, and Bernstein accepted. The composer had a long-term sentimental connection to the city, having grown up and attended university there, made his directorial debut at the Tanglewood Music Center, and conducted more then 130 concerts with the orchestra itself.

It consists of eight movements, with more and less traditional titles from ‘Waltz’ and ‘Mazurka’ to ‘Turkey Trot’ and ‘Sphinxes’. Bernstein based the music around the notes B and C, for ‘Boston’ and ‘Centennial’.

In his own words, the composer described the Divertimento as “a fun piece” that “reflects my youthful experiences here where I heard my first orchestral music.”

10.0 Serenade after Plato’s Symposium  

Always a composer who loved bringing together words, literature and music, this work resulted from Bernstein’s reading Plato’s charming dialogue, The Symposium.

Composed in 1954, when he was writing some of his most popular music, the Serenade is one of Bernstein’s most lyrical orchestral works. It’s scored for solo violin, harp, string orchestra, and percussion, and brings to life in music Plato’s famous reflections on the nature and purpose of love.

According to the composer, “The music, like the dialogue, is a series of related statements in praise of love, and generally follows the Platonic form through the succession of speakers at the banquet.”

With affection,

Ruben