The Ancients - Obelisks

Episode Date: March 13, 2025

Ancient Egyptian obelisks stand as towering symbols of power and engineering brilliance, scattered across the world. But how were they built and what purpose did they serve?In this episode of The Ancients, Tristan Hughes is joined by Dr. Steven Snape and Professor Joyce Tyldesley to uncover the incredible story of Egypt’s obelisks. From their religious significance to the astonishing feats of engineering required to carve and transport these massive stone monoliths, discover how obelisks became some of the most iconic monuments of the ancient world and why so many ended up in cities across the western world, from Rome to New York.Presented by Tristan Hughes. Audio editor is Aidan Lonergan, the producer is Joseph Knight. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic SoundsThe Ancients is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on

Hi, I'm Tristan Hughes and if you would like the ancient ad free, get early access and bonus episodes, sign up to History Hit. With a History Hit subscription, you can also watch hundreds of hours of original documentaries, including my recent documentary all about Petra and the Nabataeans, and enjoy a new release every week. Sign up now by visiting HistoryHit.com slash subscribe. Obelisks, these great tapering stone pillars that today can be seen across the world, from New York to London to Rome to Egypt.

And it was ancient Egypt that was the origin point for these iconic monuments. That is what we're going to be exploring today. The story of obelisks in ancient Egypt. Why they were built, how they were built, and how popular these monuments became for people throughout history. they were built, how they were built and how popular these monuments became for people throughout history. It's the Ancients on History hit. I'm Tristan Hughes, your host. Joining me today are Dr Stephen Snape and Professor Joyce Tilsley, two wonderful Egyptologists

who are also husband and wife. Now every once in a while we release special episodes that feature not one but two interviewees and Joyce and Stephen felt like a great combination to talk about obelisks. What they are, why the ancient Egyptians built them and perhaps most interestingly of all how they went about building them. As you are about to hear there's some really interesting information surviving from Egypt that has revealed these amazing insights into how these great monuments were created and how big a task it was. I really do hope you enjoy. Stephen, Joyce, it is a pleasure to have you both on the podcast for the first time ever,

the husband and wife of Egyptology, welcome. Thank you. Thank you, good to be here. The topic we're talking about today is obelisks. We've done the Great Pyramid with yourself before, Joyce. We've covered ancient Egyptian gods and goddesses. But I've always been fascinated by obelisks because, in Britain at least, you wish you'd see them in every village, town and city today. But their origin point is ancient Egypt thousands of years ago.

Yes, absolutely. They're a classic Egyptian artefact. You know, if you think about ancient Egypt, you think about pyramids and you think about obelisks. And yes, but actually people don't know a great deal about them. They're well worth exploring. And so what do we mean by an obelisk? No such thing as a silly question. I mean, what kind of shape should we be thinking of? Okay, well, the classic obelisk has a square base. It is tall, tapers very slightly as it goes up,

then dramatically goes to a point at the top in a small pyramid or a pyramidion. So you should be thinking of something which is classically very tall, has four distinct sides, which in most cases were decorated with other scenes or more particularly Egyptian hieroglyphs, which tell us a bit about who built them and what they were for.

And is that tapering? Is that an important part of the whole process? Yes, absolutely. Another important part is it's made from one block of stone in its classical form. I mean, today people build things out of masonry and call it an obelisk, but in ancient Egypt, it would be one block of stone. And in regards to that, would they vary, I'm guessing, in their height, the kind of mathematical proportions behind

them? If you want a taller obelisk, would the ancient Egyptian architect or whoever have to think more about the proportions and how high they can go and how much the taper would be and how much weight the square base could have? I'm guessing there's a lot of thought behind that, how tall your obelisk could be. Yeah, I think that's right. It mean, it is a critical thing because the idea seems to be for the classic obelisks, the really big ones that stood up in front of temples, the idea is that they're probably as big as you can get them. But the problem with that is you're dealing with a huge and heavy piece of stone, which is nonetheless quite thin. So it's got problems in terms of

transporting it, putting it up in place. It's something which is a bit of a paradox in a way that it's something which is huge and heavy, yet also really quite fragile. So yeah, when it comes to planning the size of the obelisk, the sort of factors which need to be born in mind is, yeah, get it as big as you can, but make sure it's not so tall that it becomes too narrow. And therefore you've got problems of it, of it perhaps snapping or breaking as I say for the classic really big ones which were designed to be seen for, you know, for huge distances and erected in front of temples. Yeah, because if you're a king who wants to erect an obelisk, you're doing this to show that you have absolute control over your environment and your workers and everything. So you absolutely do want to have it as big as you can get it, because you want to impress everybody. But as Stephen says, there's a huge problems involved in this.

You just can't go on infinitely up. It would be very, very difficult indeed, especially to transport it and erect it. Yeah, I think that's an important point, the idea that this is something which is built by a king to impress people. I think, I think part of the idea of it being a really difficult thing to do because of those technical problems, it's part of the allure in the way that a king who can do this is effectively saying,

you know, look at me, I'm so powerful. I can do something which is really, really difficult, but I'm doing it for a number of reasons. In particular, I'm doing it for a number of reasons. In particular, I'm doing it for gods and also to show my own power. So the fact that it is a really difficult thing to do is part of the whole idea. And of course, if you can do it, it shows that you have the support of the gods, because the gods have helped you to do it. So by actually doing it, you're enforcing not only your own power and logistical power, if you like,

your command over the resources of Egypt, but you're also showing that the gods are on your side because if they didn't want you to be able to erupt, you wouldn't be able to do it. Well, you guys have brilliantly kind of preempted my next question that was going to be, I mean, why did the ancient Egyptians build obelisks? But from what you were saying there about, you know,

the Pharaoh projecting their power but also their proximity to the gods as well, was there just one reason as to why the ancient Egyptians built obelisks? Were there people who weren't pharaohs who built obelisks and they wanted to do it for other reasons? Were there more than one reason sometimes as to why an obelisk would be built in ancient Egypt? Well, yes, there are multiple layers of reasons why you would build an obelisk. The ones that we're really talking about at the moment or have so far are the classic really big ones, the ones which are 20 metres plus, that go up in front of temples. Some really quite small ones will be put in front of tombs by private individuals. But they all seem to have the basic idea is that they're connected

to the Sun God. Because although we've been talking about them in terms of really difficult things kings can do and to impress people with their power, they do have really quite specific – again, I'm talking about the big ones, really specific localities which are in front of temples, but especially temples which are connected to sun gods. And that means that the really big ones only actually appear in two locations in Egypt. One is Heliopolis near Cairo, which was the ancient centre of the sun god Ra, and the other in the south of Egypt, at Thebes, modern Luxor, where you have the temple of Amun Ra, who is also an important sun god. So the really big ones that we see both still standing today,

and more particularly which have been taken down and erected other places. The big ones came from those two locations because they were so intimately connected with the sun and the obelisk itself can be seen as a solar symbol as if you like. Well, two things. One, it's the rays of the sun shining down on the Earth and the obelisk is that idea of something intangible made solid, but also it's something which allows the kings to show that they're in contact with the gods because they're creating something which can reach up and touch the sky. And we know this because they tell us. The reason we know so much about obelisks compared to other standing stones that you

get in different parts of the world is they're covered in text and they tell us what they're there for. And that solar connection, the connection to the sun, is absolutely vital when it comes to creating those big obelisks. I didn't realise that it was just Luxor and Heliopolis as those main areas. Do we know of many big obelisks that have survived? Can we count them on two hands? Were there many big ancient Egyptian obelisks in those two locations?

There weren't that many, but there were quite a few. The first thing to remember is that they come in pairs, so you wouldn't always raise one obelisk. Quite a few people did too, so that confuses it. And you get some pharaohs, like the female pharaoh H. Epset, she raised at least four, and she then tried to do an absolutely massive one. We think it was her. What we have is in a quarry at Aswan, the broken remains of an obelisk that would have been the tallest one to be raised in Egypt had it not cracked in half, which must have been really, really, really frustrating to everybody concerned. So you have some people who raise several, you have some people who raise as far as we know just one, and lots of pharaohs of course

don't raise any. But they have, as Stephen said, they've been dispersed. The Romans in particular were very keen on obelisks and they moved them around. So they moved them around within Egypt. So, for example, the two obelisks that we now call Cleopatra's needles, there's one in New York and there's one in London. They're not connected to Cleopatra in any way, but they were brought from Alexandria because that's where they were standing at the time that they were found, but they weren't raised in Alexandria. So we have these obelisks sort of slightly moving around, and the Romans in particular moved a lot of Egyptian obelisks to Rome. So there are quite a few actually

in Rome. Yeah, so you have to look all around the world to count them. Yeah, in fact, there are a lot more standing in Rome than there are in Egypt. In Egypt, there are just, of the big ones, there are four still standing in Egypt. In Rome, there are over a dozen, not all of them the very big ones, but as Joyce says, they moved around quite a bit.

And some just seem to have disappeared. As Joyce said, Hatshepsut says she raised four, two of them, with no idea where they are. King Aminhotep III, who was one of the great kings, he would expect to have raised obelisks. And we know from other texts connected to quarries that he did have several, perhaps somewhere between six and eight obelisks, with no idea where they are. So some may have collapsed and still need to be discovered. Some, as Joyce said, have been transported to other places. Some may have been re-inscribed by later kings because that's always a possibility. Because some obelisks that we have have inscriptions

of several kings and some that make no bones about it. Another big obelisks that we have, have inscriptions of several kings and some that make no bones about it. Another big obelisk erecting King Tuthmosis III, he seems to have started several that weren't finished. In fact, one which was erected by one of his successors, Tuthmosis IV, he says he found it had been lying in a quarry for decades and he just finished it off and put it up. So some of these obelisks have quite complicated histories in terms of who started them, who finished them, then subsequently being transported to several different locations. Will you mention there in that answer, earlier on talking about ancient Rome and how these obelisks have spread much further beyond Egypt over the past few hundred years and

indeed also in antiquity too with the Romans. But before we get to that part of the story I'd like us to go back to the whole building process because you also mentioned in passing I mean these quarries and this location of Aswan. So what is this place called Aswan and why is it so intertwined as this origin point in ancient Egyptian history for the building of obelisks? Aswan is the traditional southern border of Egypt. So it's as far away from the northern sites that you would expect to go down the Nile without being interrupted with cataracts. So it's a long way away from Heliopolis

and it's quite a long way away from Thebes as well. But it has hard stone. Egypt has building stone. It's got limestone and it's got sandstone, limestone in the north and sandstone further to the south. But it doesn't have a lot of this hard stones distributed throughout the land. So if you want to build an obelisk you need hard

stone and so you have to go to these quarries which causes of course all sorts of problems because once you've cut your obelisk you've got to transport it but that's where they went to and the quarries there they still survive you can still see how rock was cut out as I said you can see the unfinished obelisk still in place, which is really helpful because it gives us a really good idea as to how these things were cut out of the rock. Because of course granite is extremely hard, very difficult to work. And these quarries, it wouldn't have been pleasant working conditions. It would have been hot, it would have been dry, it would have been dusty. But we think we know fairly well how they actually managed to cut them out of the rock. And before we get to that, I mean so granite,

that is the type of hard stone that they have got in Aswan. Is it red granite that I've got in my notes? Yeah, I mean there are a series of hard stones at Aswan because it is the cataracts of the Nile there which are formed of various, you know, igneous stones. Granite is the classic one there and it's targeted partly because it is so hard and because, as Joey said, the Egyptians are plenty of building stone, sandstone and limestone, but you're not going to be able to create something, as we said earlier, so tall and thin without the risk of cracking with those sorts of stones. So you need something which is very, very hard, although part of the problem comes with granite is also very brittle. But at the same time, one of the important things about granite, as you said, is its

colour. There are different types of granite, but the red granite is the classic one. And that's a stone which is associated with the sun. There are a number of colored stones that the Egyptians are associated with. If you like, solidified sunlight is one way of putting it. Another one is red quartzite, which is found in the north. But that's a much more granular stone.

The other good thing about granite is, of course, if you can work it properly, you can get for a very smooth finish, which is perfect for inscribing high quality hieroglyphic text. So for those reasons, granite is the ideal stone. But then that gives you problems about how do you get the thing out of the ground? How do you create something from something which is so intractable material? What we know then about the tools, if you're a worker in one of these quarries or you're overseeing these workers and you get an order from the pharaoh wanting a new big, you know, state-of-the-art obelisk, I mean what tools have you got at your disposal with your workers to try and then carve out one

of these monster monuments? Well, not much at all. You're not going to be able to use chisels and saws to any great effect on granite. It's quite hard. It looks as if the way it was done is that it was marked out in the ground. So you'd mark out your obelisk and then you would clear what would be the top surface of the obelisk. And then you'd work down the sides to sort of cut out the shape. But the way you would do that is to get an even harder stone, a stone ball and just basically use it as a hammer or a hammer stone either to hit it or to just drop it onto the ground and eventually with a lot of manpower and a lot of hours doing it you would be able to cut down alongside the obelisk shape that you want. be able to cut down alongside the obelisk shape that you want. Once you've got, you've been able to go down the side then you have to undercut it which must

have been terrible. You'd have to be I think swinging it or harnessing your diorite stone balls to hit it and you would have to start packing it at the same time to make sure it didn't collapse and eventually you would end up if you did this with an obelisk resting on stone pillars you would leave some pillars in place but unpacking as well and eventually then you would knock away well it sounds quite quick but it wouldn't be you would cut away your stone pillars and you would end up with your obelisks lying in a trench that you're working in the trench around it with packing around it as well and then you

have the problem of lifting it out, which is a whole new problem. But it's not a fast process. But having said that, you know, hatchet cut four or five. It's perhaps faster than we imagine that it would have been. The key issue here, as I said, is there's no real super sophisticated technological fix here. There's no, you know, super material they're using. It's just these hard dolerite balls that they find in the eastern desert, which is just the stone

that's harder than granite. And as Joe said, you just get loads of people and bash away at it. And that's the only way to deal with a stone which is so hard. Find something a bit harder and just walk away until you release it. But again, as Joyce said, if you get large numbers of people involved, you could do it relatively quickly. I mean, Hatshepsut herself says on the inscription on the base of her obelisk that it was seven months in the quarries. So she says when she started, when it finished and it was seven months in the quarries. So she says when she started, when finishing, it was seven months, which isn't too bad really considering, you know,

you're dealing with an obelisk which is, say, 30 meters in height and it's made out of granite. And I guess part of the problem is getting people around it, you know, getting, you know, as Joey said, you've got these trenches and you're just bashing them out. It's getting enough people in that space and just having them all day every day whacking the ground with these heavy stone balls. Yeah, you've got to cut a trench big enough to fit people in. So it's not just cutting the obelisk that's the problem.

It's cutting the trench around the obelisk. You can't just do a thin cut, he's got to be quite wide. And of course you've got to leave enough room so you can maneuver the obelisk out. Yes. You can't have an obelisk at the bottom of a trench because there's no way you're going to be able to lift it straight up. You're going to need to have some clearance so effectively you can roll it away from the quarry and presumably down to the river where you've got Burgess Wurtigfory. What is quite interesting to me, and this is a very, I guess it's perhaps a bit of a

different angle, and it's nowhere near the same size, I think, but it's still an interesting kind of activity that would have included lots of workers, is that I went to Orkney a couple of years ago, and I was at the Ring of Brodgar and learning about where they got those standing stones from, which was from a quarry which was some seven kilometers away. And we went to that quarry where they found it, including you can go to that hillside and see the remains of an unfinished standing stone that never made it out of the quarry,

similar to this unfinished obelisk you find at Aswan. But hearing about that in the Stone Age some 5,000 years ago, how they also just used a big hammer stone and just hit away at it at the kind of horizontal block of stone on the hillside until it gave way and then moved it down. It's funny how with the ancient Egyptians as well it's a similar kind of thing just bashing it out for a long time which also makes me think of the noise if you were traveling down the River Nile and past that, you'd be able to hear the work of these workers from dawn till dusk just hitting your stone against the red granite for days and days on end. It must have been quite something just to hear. But what you're saying is it really touches on something which is, I think, important

for the whole idea of technology and building in ancient Egypt, not just obelisks, but also temples and pyramids as well. But on the one hand, clearly there's a high level of technical sophistication in terms of planning and architecture and so forth. But at the other hand, you've just got the application of brute labor force in having huge numbers of people to drag stones about and huge numbers of people just bash away. And I think when people think about ancient Egyptian technology, how did the Egyptians do this? What tools do they have or machines do they have which we don't have anymore? And what secret

knowledge has been lost? It's not that at all. Yes, there's technological sophistication, but on the other hand, it is just the ability of the state, particularly the king, to get loads of people in the right place and get them to do what is grunt work. And that's the secret to lots of these really quite astonishing achievements the Egyptians are able to bring off. Yeah, that's exactly what I was going to say. People are always looking for some alien technology or help from Atlantis or something to explain how the Egyptians could do this stuff.

But actually, if you have enough people, the technologies can be quite simple. You just have to repeat it over and over and over again and to be prepared to finance that and they could do it. Well whilst we're on this, shall we also address that other thing that is regularly repeated? Do we think this workforce would have been slaves? I mean what would we know about the workforce that were making these obelisks? We don't know very much about the workforce itself. We know a fair bit about the people who are in charge of it because they left graffiti at the quarries themselves. They wrote hieroglyphic inscriptions saying, you know, I was sent to get these

obelisks. So we know quite a bit about those people. In terms of the labour force itself, I don't think we should be thinking about slaves, but I think we should, for the nature of this job, be thinking about impressed labour. In the New Kingdom, when most of these obelisks were created, quite a lot of the punishment for criminals was to send them off to unpleasant tasks. The classic one has been sent south into Newbury to work on the gold mines, which must have been really, really grim. But I imagine this is the sort of thing that you might get criminals working on as well, as a bit of local, impressed labour. We do have other texts from roughly the same period. There's one of Seti I who goes off to do a bit of gold mining and setting up temples in the desert. He talks about the hundreds of people who went with that. In passing, they note that

several hundred of them just died. So we're talking about labor, some of which is dispensable. So one thinks in terms of criminals in that sort of way. We don't, as far as I'm aware, have evidence for the sort of thing which is going on when they're building pyramids, where you have quite a lot of, again, it's compulsory labor, but you get people from all over Egypt being called upon the corvée for labor taxation, in effect. So you'll go from your village, and you'll go to the pyramid site, and you'll work there for a few months. And then having paid your dues, you'll then go home. We don't have that sort of evidence for obelisk building. But I guess perhaps it was a bit more, not so much a long-term permanent thing as pyramid building projects were. So you wouldn't need long-term labour at the site. So perhaps thinking about it as being criminals

or a bit of local labour, being impressed to do it, might be the way of thinking about it. But honestly, we don't have those sorts of records which allow us to be absolutely precise about that. It's interesting, because we do have records of some criminal trials, and we can see that the processes, if you're found guilty, you're not sent off to jail to do nothing. You will be used and you'll be sent off like Stephen said to the gold mines or to the quarries or whatever. And it's, I think for many people, it must have been a death sentence. It must have been absolutely horrific.

There's also the possibility at some times of using prisoners of war to also work in the quarries. Yeah, I don't think you'd get many people wanting to work there unless they're in an administrative capacity. Yeah, really hard. And you also mentioned in passing there, so New Kingdom Egypt, so that's the time you mentioned names like Hatshepsut and Seti the first, perhaps those names like Tutankhamun, isn't it? So that's mid to late second millennium BC, more than 3000 years ago. Is that the period of time that we should be imagining that these quarries at Tezhuán building obelisks, creating obelisks, that's when they were doing the most of that.

That was almost kind of the zenith point of building these great monuments. Yes. And that's also the time that they're starting to really enhance the Karnak temple at the same time. So the two are kind of going hand in hand. There's a lot of building work going on in Thebes. It's less easy to see what's happening in Heliopolis, but yes, that's right. Yeah, I think there are clearly some earlier obelisks.

So the earliest big obelisk that we've got is this St. Rosarit, the first obelisk at Heliopolis, and he's of early Middle Kingdom, so several centuries earlier. We don't seem to have much more big obelisk building for the rest of the Middle Kingdom, although it may be that we've got obelisks that have just disappeared, as Joyce said, Heliopolis is in a really poor condition as an archaeological site and there may be earlier Middle Kingdom stuff there. But like Joyce said, in the New Kingdom where you get Karnak Temple expanding, we get Heliopolis expanding even more. Those are the real high

points of obelisks building. But also we're dealing with very powerful rulers, the kings of the 18th dynasty and the early part of the 19th dynasty. These are the ones who were able to control a significant amount of resources. And yeah, in the Old Kingdom we've got kings who were controlling lots of resources, otherwise we wouldn't have pyramids at places like Giza. In the New Kingdom, they're employing those resources in slightly different ways, and not in the royal team itself, but largely in temple building, and the obelisks go along as part of that. And the connection to the Sun God as well is a strand which runs all the way through, So they want to show their piety towards the Sun God,

but with the expansion of Thebes, of Karnak as becoming a place which is really developing in a big way as a centre for a Sun God, in addition to what's always been the case at Heliopolis. Yeah, there's the potential for lots of places where people who have got those resources and the ability to control those resources are able to do that and want to do that. Also you get a sense of almost competition within the family as well that once one has started to do it the next one has to do it but do it better. Obelisk is bigger and better than yours right? Yes exactly so I'm a bigger and better king who is favored more by the gods and more powerful. But Chepsa actually tells us that her father told her to build obelisks and

he, Thothmosis I, also raised obelisks at the Karnak temple. So it seems to be a family thing as particularly the Thothmoside families are very keen on doing this. They are very keen on the Karnak temple complex and enhancing it. Well, you mentioned Karnak temple complex there. so if we keep on as one for the moment but think about let's say Karnak temple some 3000 years ago in the New Kingdom at Luxor which is you know ancient Thebes as the destination. If we continue with that whole process from obelisk being made at the quarry to ultimately being erected at Karnak temple. We've got to the stage where the workforce have used those great hammer stones to hammer out the

shape of the obelisk and then cut away those kind of stone pillars beneath. But I mean surely there's more to do before moving it to the river then. I mean I look at an obelisk today and I look at the sides and they're incredibly smooth sides, aren't they? If you're just using stones, surely all four sides, it's still quite a rough design. Do they do the next part, the refining of it at the quarry as well, and then the decorations? What do we know about that? Will Barron It's a really good question, the extent to which they're finished at the quarry itself. On one level, you might expect that to be relatively limited in as much as if you are transporting this thing, you know, you're dragging it to the river to put it on the

barge and once you've unloaded it at the other end, there's going to be lots of man handling and maneuvering and dragging around. So you wouldn't expect the finish to be that smooth. On the other hand, you don't really want to have a lot of work on site once you've erected it. You don't want to put up something which is rough and then have the issue of smoothing it off all the way down. It's a difficult one. One point of evidence we have is in the temple of Daryl Bakary of Hatshepsut where she illustrates the moving of obelisks.

And the ones on those are depicted as though they are finished. But whether that's artistic license so you can see on the picture what it is that's been shown or not is unclear. So I think that's a really good question. I think a significant amount of finishing has to take place before you erect it, but probably the final finishing itself is carried on once you've got the obelisk up. The other thing that we haven't mentioned about these things is that the really big ones, the really important ones, had significant amounts of gold covering them. Whether it was the whole thing or whether it's just the top half is the subject of

much debate because none of it survived anymore. It's been stripped off in the past, but significant amounts of gold would have been put on these things. And of course that can really only happen the plating of the obelisk once you've got it up. So I think the short and I suppose in a sense unsatisfactory answer is I expect as much as could be done before it was erected was done because everything's going to get more difficult once the thing's up in place and you'd have to erect scaffolding around it to work on it and you want to do that as little as possible. Yeah, particularly as they're right in front of temples, there is not a lot of room runs once they're erected. And also, the procession of the obelisk as it makes its way towards the temple and is raised is a very big event. Her

chepstret again, she illustrates this in her mortuary temple. You can see that the barges are processing with the boats on them and so on and people are cheering and then they arrive and she dedicates them to her father. So you probably want it to look quite respectable when it arrives. But again it's difficult to tell from the art of course because they show us what they want us to see, they don't necessarily show it as it was, but I would imagine, unlike maybe a sculpture where you might be tempted to do more finishing touches when it's in its final location. With an obelisk, you might do perhaps more before it gets to the temple. So you mentioned being dragged onto boats. So are we thinking like rollers with lots of workers trying to make them get down to a river and then they're loaded on or with cranes or something onto big kind of barges that could handle the weight? I mean, what do we know about that part? Well, I think what you would do is you would try to get the

water as close to the obelisk and the quarry as you can. So if you could cut a canal that went straight to the obelisk, that would be ideal. It's not always going to be possible. It's going to be transported by water. If they didn't have the Nile, they wouldn't be able to do this. It couldn't be done over land. It needs to be water transported. But having said that, even that is a very complicated process because you have to have big barges. And Egypt doesn't have big trees to make big barges from. So you have to get hold of wood probably from Lebanon to be able to build your barges. So it's another logistical aspect to it.

You've got to have enough rope, you've got to have wood possibly for sledges and things to help make roller type devices as well, but you definitely need wood for the barges and then of course you need the boats that are going to tow the barges as well. So it's not just the man force and the quarry, all this has to be planned as well and it would be very expensive to create a boat like that. How they got them onto the barges we're not quite sure but it seems to be a question of basically you get the boat as close as possible and then you weight the boat down so that it's low in the water by putting stones in it heavier than the obelisk. And then you have the obelisk, you've undercut the obelisk if you can do,

you raise the boat up under the obelisk and sort of manage to get it onto it that by removing the ballast that you've put onto the boat. I'm being a bit vague about this because nobody really knows these things that people have tried, people have described it. The Romans have described doing this and people who've moved them in modern

times or fairly modern times have also described how they do it. And it seems to be pretty much the same process, but it's not at all simple to do. So that in its own right, it would be so awful if you got your obelisk and then it ended up on the river. That would be terrible. Can you imagine if there are some obelisks actually at the bottom of the river Nile that just that just you know the barge just collapse to something about and then that poor person is gonna go to the fair and say sorry we've lost your obelisk in the river now. It wouldn't surprise me the slightest of the plenty of the test one i mean what what jose just pointed out is one of the things about the technology of obelisk. one of the things about the technology of obelisk is there are things that we know and there are things that we definitely don't know and we know they use barges because they depict a chepstead shows us these big barges being towed by tow boats and the obelisks are on them. Exactly how the obelisks are on them is a matter of some debate but we know they had barges. We know that because

of the size of the things it has to be you have to minimize the travel over land as much as possible because that's going to be really, really difficult. So we know they have barges. That much is clear. Exactly as Joyce said, how they got them off and got the obelisks up in the final location and that we absolutely don't know. Ah, so that was going to be my next thing, was going to be like once they've got it to the site then they've got to get it 90 degrees. Well, they've got to get it absolutely straight and that is something I guess almost like people think about how they built the pyramids. I mean it's another kind of mathematical brilliance, I guess, the kind of equations that you need to

try and get it completely straight and then stay there, keep it steady. CK Yes. And unfortunately, I've mentioned, as Stephen's mentioned, that Hercepsa does illustrate the cutting of her first two obelisks to a certain extent and that they're on herm her mortuary temple walls but she doesn't show these vital bits, possibly because she would expect everybody to know them and didn't find them at all interesting. So we're sort of left floundering a bit. Not everything she shows us is entirely accurate, for example if you look at her barges it looks like that she's got ultra long barges and she's got two obelisks end to end, which is almost certainly not how you would transport them, but I think she's doing that so you can see there are two obelisks end to end, which is almost certainly not how you would transport them, but I think she's doing that so you can see there are two obelisks. If you showed one behind the other it wouldn't be

as obvious, but if only she'd shown actually the erecting of these things. Again, people have experimented in modern times to try and do it and the idea is that it basically you dig a pit and you you use ramps and you slowly, slowly tip the obelisk up, but again, as I think I've already said, it's made so much harder because you're erecting it in front of a temple that's already there. So you can't have it over the worst. I don't know if this would ever happen. If you're overbalanced and went into the temple, that would be really, really difficult as well.

That wouldn't be good. No, you'd have questions to answer there, I think, in the dozens. You have to be fairly accurate with what you're doing. And I think possibly that would be the hardest part of the whole process is to get it up and Once it's up It's probably fairly stable if you put a pit there Pit full of sand and rocks that you're slowly removing and using ramps as well because the Egyptians are very good at building ramps

But yeah an amazing feat I mean people have suggested all sorts of weird things like kites and water power and so on but there's no evidence for anything other than manpower and very basic engineering knowledge which they have great at. Yeah the important thing is the use of ramps. We know that the Egyptians used ramps, simple ramps, for lots of really huge building projects, pyramids, temples and for those things it's really straightforward because the idea is you're getting a stone up in the air and putting on top of other stones. So you know that's that's straightforward. The problem with the obelisk is you've got this this long thin thing and you've got to

get it up right the right way around. So how are you going to do that? Well the idea is you pull it up up a ramp which is fine. You've got it elevated over the base because you've got the base there. Quite a small target to hit, but then you've got to get it down the other side of the ramp and hit that base almost vertically. And again, it has to be supported. We're back to this thing.

It's huge and heavy, but it's fragile. You don't want to leave bits of it unsupported because the chances are it's going to snap under its own weight so you've got to drag it up a ramp you've got to somehow get it to come down the other side of the ramp um yet still be supported and hit that target and then be somehow adjusted into place so it's an amazing technical achievement, as I said, that they're hitting that target. But exactly how it's done, we simply don't know. I think you guys have brilliantly talked through that whole process and it's such an extraordinary part of the Obelisk story, the kind of erection of one, you know, hundreds of miles away from the quarry that it was created in. I will also kind of use it as a bit of an Easter egg maybe, or for anyone listening who will be planning to go to Karnak Temple in the

future because I remember being shown this a couple of years ago when I went. I think it's in the, just before the Hyper-Style Hall, if you go to the left, you can see the tip of an obelisk that is on its side. And if you look very, very closely, this comes back to the point you mentioned earlier, Stephen, is you might be able to see what almost looks like drill holes in the tip of the obelisk. Those holes were for then putting on top the golden tips or the metal tips, do we think? And you have it right there. You can see at Carnac, like the tip of an obelisk up close and see where, kind of how they would have then applied that gold on top to make it shine in the sky. Yeah, absolutely. And not just the tip, on the upper part as well. As I say, it's a matter of

somebody about us to how much of the shaft was covered in gold, but at least the top half was. And part of the reason we know this, yes, you're quite right. They've got these holes for attachment of gold plate, but also on the obelisks themselves, they talk about it. And in the descriptions, they say things like, these things are covered in gold so that they will reflect the rays of the sun and light up the two lands when the sun hits them. So they're very much, we're going back again to this idea that they're connected with the sun and the sunlight.

That the idea is that, yes, these things are covered in gold, they're very visible, they're very impressive, but also at the same time the sun is radiating from them as it hits these things. So again, it ups the level of how impressive these things are and how much they are connected to the sun. They're linking heaven and earth. That's one of the things they're doing. The two lines, are they upper Egypt and lower Egypt? Upper Egypt and lower Egypt. So essentially by two lines, they say the whole of Egypt. Now, that's obviously a bit of an exaggeration, but these things would have been visible from

considerable distances. It's kind of a reminder that we've been talking about the technology, which is really important. But the whole thing is also a religious right, if you like, cutting the obelisk and transporting and everything. It's all a religious offering to the gods. So we tend to sort of overlook that aspect of it. But that's a really important aspect of it too to the Egyptians to get that aspect of it right. If we now move on to the last part of the chat and kind of focus more on the legacy of these obelisks, of these monuments, if we first of all keep in antiquity, how did other ancient civilizations, I mean how were they influenced by these structures that would have, I mean,

word would have spread about their creation, what they like I went to petra recently and they have these kind of stone. Similar design to obelisks on some of their tombs and high points by thing that could nephesis. What's your kingdom of kush for the south and sudan don't they whichever heavy influence from Egypt. Does the idea of the obelisk get transported far and wide across the ancient world? I think it's really difficult to tell to a certain level because a column is a column and lots of civilisations have columns. So I think we have to be careful not to imagine that everything that is long and thin is directly influenced by the Egyptians. But it's clear. I mean

certainly Egypt towards the end of the dynastic age was ruled by Nubian pharaohs who took the obelisk back home. So yes, that there's a clear evidence of influence there. Neighboring obelisk-like structures, are they influenced by the Egyptians but have a different meaning, are they obelisks, are they a form of column? It's really difficult to tell. But what we can tell is that the Romans were very, very struck by obelisks and they took them back to Rome with a lot of difficulty. They too actually regard the ability to raise an obelisk even though they've not cut it, it again shows that they are a powerful ruler too. They're using it for exactly the same purpose, they're not necessarily using it to worship the sun but in that aspect of it to

demonstrate how great they are, they're doing that too. And then from people are picking this up from Romans, the Romans then also start occasionally making their own obelisks and it sort of radiates out from there, I would suggest. And then we get another phase later of people, when people start to travel to Egypt again, picking up on the idea of the obelisk and you get it again becoming important in the West. Do you then see that? I mean, after Alexander the Great, we'll get to the Romans in almost going full

circle from the beginning of our chat when you mentioned obelisks in Rome. But of course, following Alexander the Great, you also have the Hellenistic Greeks in charge of Egypt as well, with the Ptolemaic dynasty ultimately ending with the famous figure of Cleopatra. Are they also interested in these obelisks, these things that they see in front of these old temples and also with the Ptolemies really wanting to show themselves, yes, Greek on one hand, but also respecting Egyptian culture and portraying themselves as traditional Egyptian pharaohs similar to Tutankhamun? Are they also interested in obelisks too before the Romans arrive? Carmen They're certainly interested in ancient Egyptian culture. It's funny because the

Cleopatra film with Elizabeth Taylor and the way it's been filmed that ancient Alexandria is dotted about with random Egyptian artefacts. People used to laugh at that, but the more excavation that's been doing in Alexandria, particularly in the harbour, underwater excavation, it's becoming clear that actually, yes, they did move genuine Egyptian, already to them, ancient artefacts to their new city of Alexandria. But there's no real evidence that I know of that they were particularly interested in obelisks. There are Ptolemaic obelisks, but they're small ones. They're not interested in creating huge ones, whether that's because they're not interested because they're not able to for whatever reason doesn't seem to be something that does interesting there are small ones that they put up in front of temples and you've got things like the king's nice helps with yeah you know because it's got tommy names on the helps with translation of hieroglyphs so there are obelisks but not the big ones. No no the big traditions now I think they would struggle as well if you're based in

Alexandria it's a big ask to get on obelisks it could be done but yeah I mean we do have some obelisks moving around at that time and I think as you say in Alexandria we do have some sort of genuine pharyonic monuments including the movement of Obelis, although the main ones that move there seem to be during the Roman period. Augustus moves Obelis through Alexandria. But they don't really seem that interested in Obelis compared to what was going on in the New Kingdom. I mean they're not that interested in ancient Egyptian religion, the Ptolemies particularly, are they? They have their own variants, so it might just not chime They're not that interested in ancient you don't seem to very much going on at Heliopolis. So those traditional ancient religious sites don't seem to interest them quite as much as other places. No, they've changed the religion to fit with their own particular beliefs and it seems like the obelisk is not that important, even though it's a shape they might use though. They're not using it in the same way, I don't think. No. So we get to the Romans and as you mentioned, so they like moving some of these obelisks

around and a few of them are taken to Rome. Is it both big and small taken to Rome? Because my mind will think having done a previous interview about this, about the great Circus Maximus, the chariot racing hub of the Roman world. And I think almost as a symbol of their annexation of Egypt by Octavian, later the Emperor Augustus, they have obelisks in the central area of the Circus Maxinus too. If you were a Roman walking through ancient Rome in, let's say, the second century AD, would you see ancient Egyptian obelisks of all shapes and sizes? Well, not shapes, but of various sizes? Yes, you would. I think probably the bigger ones are the ones that you'd see primarily,

because as you say, I think they're being taken there as a simple of Roman domination over Egypt. There's quite a lot that goes on there in the Augustan and Julio-Claudian period. Yeah, Circus Maximus. Also the Campus Martius, where one seems to be put up like an enormous sundial. I mean, literally, there's an enormous sundial that ground is laid out to look like that, which is an interesting afterlife of it as a solar symbol. I'm not sure that that solar idea has necessarily been reflected. It's just there is a big pointy stone that you can use in that sort of way. So for the Romans, clearly there is that idea of imperial domination and exoticism as well. And of course, it fits in with the Augustan agenda of finding a stone, a city in brick and leaving it in stone, that sort of thing. And part of the stone is Egyptian stone from the Empire.

And when do we see that be revived again? Is it with the imperial powers of the 17th, 18th, 19th, 20th centuries? Is that when you start to see people taking a really big interest in obelisks again, these visual ancient things with this mysterious hieroglyphic writing on them too. Is that when you start seeing them being transported now with steam power and everything across the seas to places, which will include the United States, Britain and France? People were always interested in the obelisks that were in Rome. When they were trying to decode hieroglyphs, they would try and use those, but they would also, unfortunately, use fake Egyptian artifacts in Rome,

and it didn't really work out. So they were getting nowhere. But it's really after Napoleon's invasion of Egypt, and Egypt starts to open up to Westerners, and people become more aware of these, that they now start to be seen as desirable in the West and they are either taken or given to people in the West. So you get someone like Belzoni,

who retrieves the obelisk that is now in Kingston Lacey. You get some of them given by gifts, but it's a difficult gift because if somebody gives you an obelisk, you've got to move it. You can't always move it, you know, it's a difficult gift because if somebody gives you an obelisk, you've got to move it. You can't always move it. It's a difficult one, but it's about that time that they start to spread out. Tobyus On that Kingston Lacey one, I remember doing something on that not so long ago, which is in Adorsip Country House, William John Banks,

who is involved in the deciphering of hieroglyphs and does that part of his grand tour to Egypt down the River Nile now doesn't he? But I believe getting that obelisk from the temple of Philae to England, that last step of it going to the country house of Kingston Lacey, I believe he uses the Duke of Wellington's gun carriage. Well, I think my favourite transportation story is Cleopatra's Needle, the one that's standing in London where they have to create a special ship to transport the thing, which itself is towed, and it gets lost. There's a storm, it gets detached and it gets lost and then is later found floating around. Yeah, people died, didn't they?

Yeah, it's the people who died. And Belzoni again, it is a little point, but he retrieves the Kingston Lady obelisk and he has to leave it till the water level is high enough in the Nile for him to move it. So it's, it's very interesting that we can learn from how people have transported these things in modern times, it gives us a much really good insight into the problems that the Egyptians faced.

Interestingly, the two Cleopatra's Needles, the one in New York and the one in London, the people who transported them or were responsible for transporting them, both wrote books about their experience because they thought that it was such a major thing and such a difficult thing to do that they actually preserved it for us to read. But I think we've got another phase as well that we need to mention, which is the Roman obelisks, because by the time of the Middle Ages, by the Renaissance, quite a lot of those had fallen down and had been rediscovered during sort of early archaeological explorations in Rome. And there's quite a phase there in particularly in the 16th century of papal involvement of these

things being rediscovered and re-erected in key places, what were now key places within Renaissance Rome. So that's why you see them appearing in these major Renaissance baroque squares because they're being re-erected in different places to where they were when they came over as part of that Roman appropriation thing. There you go. There you go. The papal impact as well. Well, it's really interesting because sometimes people suggest that they should be sent back and they've got such a history of transportation that where would would they go back to it is a really interesting dilemma they have a life beyond their original life just being erected in

front of the temple you think that would be it and they would stand there I'm presumably the pharaohs erected them would think they were there forever but no they have their own afterlife and they've gone to have their own histories all of which seem to be fascinating they absolutely are and I I'm very, very grateful to you both for doing this interview with me today. I've always wanted to do Obelisks and you both have highlighted the extraordinary wealth of information that there is to them. And also the amount of mystery that there still is, for instance, with various parts of their building process. Joyce, you've been on the podcast several times before and it's always

been a pleasure. Stephen, it's been a pleasure to have you on for the first time, hopefully not the last. As said, husband and wife, brilliant Egyptology couple, and it just goes to me to say thank you so much for taking the time to come on the podcast today. Oh, thank you. It's been fascinating. Yeah, it's been a pleasure. Well, there you go. There was husband and wife Egyptology couple Dr Stephen Snape and Professor Joyce Tilsley talking through the story of obelisks in ancient Egypt and their

legacy down to the present day. I hope you enjoyed today's episode. Joyce, she has been a regular on the podcast, she's been the star of several past episodes varying from Nefertiti to the Great Pyramid of Giza to also featuring in our recent Egyptian Gods and Goddesses mini-series last year. So if you would like more episodes with Joyce Tilsley you can find them in our Ancients Archive. Thank you once again for listening to this episode of the Ancients. Please follow this show on Spotify or wherever you get your podcasts. it really helps us and you'll be doing us

a big favour. If you want more Ancient History videos and clips in the meantime, then be sure to follow me on Instagram at AncientsTristan. Don't forget, you can also listen to us, the Ancients and all of History Hits podcasts at free and watch hundreds of TV documentaries when you subscribe at historyhit.com slash subscribe.