Jean-Pierre’ says, “It’s possible to raise these gigantic granite beams and rafters up to the higher levels of the pyramid using a wooden portico, because the counterweight blocks were small granite blocks supplied a forty-ton counterweight. Enough weight to reload the counterweight in the Grand Gallery one time.”
So loading the south side slide lifting platform with sixteen two-and-a-half-ton granite blocks was enough weight to reload the twenty-five-ton counterweight located inside The Grand Gallery on its trolley, and the south side slide lifting platform’s run downward would’ve been slowed just enough by haulers from above.JeanPierre’ went on to say, “Everything was just a question of balance.”In the Meantime, at the rear of the trolley there were wooden pieces that were connected as a brake that they would’ve used to stop the trolley when necessary. When the trolley ran up, a brake would’ve followed the ratcheted guide beams that lined the walls of the slides and the driver would’ve stood ready to stop the trolley at any given moment. In the event that something should go wrong like a rope should break.When the trolley ran down the driver at the front of thetrolley would have kept the brake up.
If you take notice there are two sets of ropes that are on the back side of the trolley running from thefront to the rear, and the command or wooden piece on the front of the trolley that could be depicted on the front of the trolley. In the event that something should’ve happened, the driver of the trolley would release the command, and the wooden brake would fall down into the wooden ratchets of the lateral guide beams, and that would’ve stopped the Grand Gallery Trolley from going any further. And during the second stage of the ceiling’s construction, when the twenty-five-ton counterweight blocks in The Grand Gallery were reset by the sixteen two-and-a-half-ton counterweights that were used on the south side slide lifting platform to reset the Grand Gallery trolley as it was left standing there in its place because the counterweights on the south side slide lifting platform would’ve just kept it standing there in its place.
JeanPierre’ says, “You have to imagine that on the other side there were the same wooden devices. Wooden lateral pieces with ratchets, a roller train, a platform, a brake, and a command with a driver. After each traction the brake would have fallen down into the ratchets so the platform would’ve been blocked from running downward any further.”
When workers pulled on the ropes for a new traction the platform would’ve run upward, and so on. During this stage in the construction of The Great Pyramid, people who were in charge of the workers actually building the Great Pyramid would’ve probably needed about a hundred or so workers to reload the counterweights in the port ramp trench, and in The Grand Gallery counterweight trench when they were lifting a beam, a set of beams, or some rafters. They would’ve done this so that they could once again start to move the construction beams and rafters up to the top of the forty- third-meter storage area. So, for them to reset it in second stages of construction so that the pyramid workers who operated the counterweight lifts which would’ve had a maximum weight limit of two hundred workers in a team. These men just pulled gently for the lightest beams and the rafters and then used more and more force as the beams grew heavier. All the way up to the maximum weight limits of 63 tons for the heaviest loads.
So, with the two counterweight system using around two hundred workers in a team for the heaviest of loads, these workers were able to set beams and rafters up to sixty-three tons in place all the way up to a hundred and four meters above the last level of the shipping port for the last part of construction at the sixty-fourth-meter level on The Great Pyramid itself.
Jean-Pierre’ had said earlier that “The Number of workersthat were needed was ultimately decided by The Operating ChiefOfficer on the site”.
Jean-Pierre continued on and saying that, “Two hundred workers was a big team, but we have a drawing from a temple in Deir El-Bersheh showing a team of a hundred seventy-two men pulling a heavy statue so we’re in range.”
Meanwhile, for the platform counterweight system, anotherrope measuring about sixty meters long, and one and a half inches wide worked independently of the other ropes which were all attached directly to the front of the roller train itself. In the case of the counterweight that was running in the Grand Gallery the roller train itself took up about half of the length of about Twenty meters or so plus the length of the trolley of six meters making it about twenty-six meters long. The trolley rested on this roller train. The other end of the rope was actually looped around a log located in the upper corner of the floor in The Grand Gallery.
From there the rope was routed back down at a hundred and eighty-degree angle under the roller train before being fastened to the round weight that was behind the roller train called a ballast weight. The ballast weight’s glide path was equal to the same amount of space left over from between the front of the roller train all the way up to where this rope was routed back downward to the bottom of The Grand Gallery’s 47-foot slope. That would’ve been somewhere around thirty meters from one end of the roller train down under iat 180 degree turn and then connected directly to the ballast weight. This line maintained tension pulling on The top of this roller train from above. The ballast weight itself which in and of itself weighed in at approximately the same amount of weight as the roller train had weighed itself.
Jean-Pierre’’’ Says, “While running up or running down the trolley ran at twice the speed of the roller train, because it also ran on top of the roller train itself which was already in motion.”
So, due to the amount of friction between the rolling logs,and the trolley while the trolley was being pulled forward on top of the roller train, the rolling logs would’ve rotated under its weight three hundred and sixty degrees at a time. While at the same time, the ballast weight was connected to the top of the roller train keeping tension on that rope, and the roller train on line. The wooden frame of the roller train helped keep the rolling logs parallel to each other with a permanent spacing and the ratcheted guide beams also helped to keep the rolling logs inline. To sum it up, there were five separate components that made up The Grand Gallery lift inside The Great Pyramid of Khufu.
Those five components were the ratcheted guide beams that lined the adjacent walls of The Grand Gallery, (Which also would’ve helped keep the roller train, and the trolley inline.) The other components were the trolley, the lifting platforms, and the roller trains. The ballast weights also would’ve helped to keep tension on the top of the roller trains, and the last components that would’ve been used were the ropes. All of these components moved except for one, that one thing being The Grand Gallery itself. Along with the ratcheted guide beams that had lined the walls of the trenches. Other than that, the other four components all moved. Them being the ballast weight, and the trolley. Along with the lifting platforms, and the roller train including the ropes.
While the trolley was being pulled forward on top of the roller train, the trolley’s friction rolled the logs underneath it threehundred and sixty degrees moving the roller train along with it. This roller train was made up of twenty-eight rolling logs of about thirty centimeters in diameter that were made out of a very hard cedar wood imported from Lebanon. The roller train was also made up of two parallel wooden beams that ran on top, and also on the bottom of the rolling logs vertically that had wooden dowels connecting them together in the middle of the roller train.At the same time, the ballast stone kept tension on the rope that was indirectly connected to the front of The Grand Gallery’s roller train keeping it inline in its glide slope. As we can see, the roller train had moved upwards to the ballast weight’s roller train which moved downward under and in line with The Grand Gallery.
That would’ve moved it back up once again. It did this, because it was looped around a rolling log positioned in the top floor of The Grand Gallery where the ballast weight’s rope was strung at a hundred and eighty-degree angle from the top of the roller train, and then around the rolling log at the top of The Grand Gallery. After that, it was routed right back down again into where the ballast weight resided below the roller train while the driver and command operated the brake which followed the ratchet guides beams supporting heavy loads.
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