
Scientist discovers 7 secret messages hidden on Paris' Egyptian Obelisk
Located at Place de la Concorde in the city's eighth arrondissement, the Luxor Obelisk was made by the Egyptians more than 3,000 years ago.
Carved from red granite, it was created under Egyptian pharaoh Ramses II (c. 1250 BC) and given to France in the 19th century.
Until now, academics thought they had deciphered the hieroglyphs running the length of the monument, which is topped by gold-leafed pyramid cap added by the French in the 1990s.
But according to an academic, the structure is still yielding Egyptian secrets.
Dr Jean-Guillaume Olette-Pelletier, an Egyptologist at Paris-Sorbonne University, claims to have found seven secret messages on the obelisk.
One offers a cryptic phrase 'Appease the ka-force of Amun' in reference to the ancient Egyptian god of the air.
'This phrase is there to remind us that men must constantly make offerings to the divinities in order to appease their sometimes destructive vital force,' said the expert.
The obelisk in Paris is actually one of two known as the Obélisques de Louxor, each carved from a single piece of red granite over 3,000 years ago.
While one remains in position outside of Egypt's Luxor Temple, the other was transported to Paris aboard a custom-built ship in the early 1830s.
In 1836, it was erected by by King Louis-Phillipe in the centre of Place de la Concorde – the public square that hosted executions during the French Revolution in the 18th century.
Both of the Luxor Obelisks feature hieroglyphic text carved in sunken relief on all four sides, spanning their impressive height.
In the 19th century, French Egyptologist François Chabas produced a full translation of the Paris obelisk, which can be read here.
But new analysis by Dr Olette-Pelletier reveals seven hidden messages never before discerned by modern scholars.
During Covid lockdowns, he became the first specialist to access the top of the Paris obelisk since its installation at Place de la Concorde in 1836.
He was also authorized to make use of scaffolding across the length of the structure that was put up for renovations prior to the 2024 Paris Olympics.
Both feature hieroglyphic text carved in sunken relief on all four sides, spanning their impressive height. Pictured, the Paris obelisk
What are the Luxor Obelisks?
The Luxor Obelisks are two monuments from ancient Egypt separated by the Mediterranean.
One remains in position outside of Egypt's Luxor Temple, while the other was transported to Paris aboard a custom-built ship in the early 1830s.
Both feature hieroglyphic text carved in sunken relief on all four sides.
Over several days, he was able to take measurements and make detailed analyses about the profound artistic patterns.
Dr Olette-Pelletier is one of only six people worldwide who is able to read 'crypto-hieroglyphs'. These are secret texts inserted into the hieroglyphic inscriptions themselves – historically making them visible to a select group of people.
'I understood that the obelisk contained multiple hieroglyphic cryptography,' he told popular French magazine Sciences et Avenir.
'While some Egyptians could read hieroglyphs, only a certain elite were capable of understanding the hidden messages they could contain, considered a language of the gods.'
The west face of the obelisk was designed to be seen only by nobles who were arriving by boats on the Nile when it was originally in Egypt.
One scene depicting Ramses making an offering to the god Amun represents 'a true propaganda message of Ramses' absolute sovereignty'.
Meanwhile, the east face – which was originally turned towards the desert – has subtle bull horns inside a headdress worn by Ramses II.
'From a hieroglyphic point of view, the bull horns form the word 'ka', which designates the vital force of the divinity,' the expert said.
What the expert has discerned was 'beyond the grasp of any Egyptologist who knew how to read hieroglyphs', Sciences et Avenir reports.
Excitingly, the twin monument in Egypt is not quite identical, so could similarly reveal hidden messages along its slightly taller height.
It's unclear whether Dr Olette-Pelletier's analysis has included this obelisk too; MailOnline has contacted the academic for more information.
All seven messages on the Paris obelisk will soon be revealed in a paper to be detailed in the Montpellier Egyptology journal ENIM.
WHO WAS RAMSES II?
Ramses II lived from 1279 BC to 1213 BC.
The pharaoh was known to Egyptians as Userma'atre'setepenre, meaning 'keeper of Harmony and Balance, Strong in Right, Elect of Ra', according to the Ancient History Encyclopedia.
Ramses II was the 19th Dynasty's third pharaoh, who reportedly declared a decisive victory at The Battle of Kadesh over the Hittites.
Ramses II supposedly flaunted the result of this battle to elevate his reputation.
However, the battle ended in somewhat of a tie, and was not exactly a win for either party.
In fact, it resulted in the earliest known peace treaty, composed in 1258 BCE.
Ramses II is commonly linked to the pharaoh depicted in the book of Exodus in the Bible.
But there is no archaeological or historical evidence associating the two figures.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


BreakingNews.ie
8 hours ago
- BreakingNews.ie
Artist covers sculpture in plastics as sign for delegates at pollution summit
As nations began a second week of negotiations on Monday for a global accord to end plastic pollution, an artist heaped piles of plastic waste onto a large sculpture in front of the United Nations office. Delegates to the treaty talks pass by the sculpture daily in a reminder of their responsibility to solve the plastic pollution crisis. The talks are scheduled to conclude on Thursday. Advertisement Benjamin Von Wong, a Canadian artist and activist, designed the nearly six-metre tall sculpture called the Thinker's Burden and built it with a team. It is his take on the famous sculpture by Auguste Rodin, The Thinker in Paris. There is a male figure in deep thought, like Rodin depicted. Benjamin Von Wong hopes the entire sculpture will be covered in plastic waste by the time the summit concludes (Jennifer McDermott/AP) But instead of sitting atop a rock, Mr Von Wong's figure sits atop Mother Earth while cradling a baby and clutching plastic bottles. A strand of DNA intertwines them to highlight the health impacts of plastic pollution. With the help of volunteers, Von Wong is adding plastic waste to the installation over the course of the negotiations to reflect the growing cost of inaction. Advertisement He climbed a ladder on Monday to reach the top of the sculpture and weave plastic bottles through the DNA. He put a plastic toy car in front. 'By the end of this week, we should have a sculpture almost completely drowned in plastics, however, the hope is, a strong and ambitious plastics treaty means that we can solve this problem once and for all,' he said. About 3,700 people are taking part in the talks, representing 184 countries and more than 600 organisations. They are aiming to craft the first global, legally binding treaty on plastics pollution.


The Independent
9 hours ago
- The Independent
Artist drowns sculpture in plastic waste in front of the UN during plastic pollution treaty talks
As nations began a second week of negotiations Monday for a global accord to end plastic pollution, an artist heaped piles of plastic waste onto a large sculpture in front of the United Nations office. Delegates to the treaty talks pass by the sculpture daily in a reminder of their responsibility to solve the plastic pollution crisis. The talks are scheduled to conclude Thursday. Benjamin Von Wong, a Canadian artist and activist, designed the nearly 6 meter (18 foot) sculpture called the 'Thinker's Burden' and built it with a team. It's his take on the famous sculpture by Auguste Rodin, 'The Thinker' in Paris. There is a male figure in deep thought, like Rodin depicted. But instead of sitting atop a rock, Von Wong's figure sits atop Mother Earth while cradling a baby and clutching plastic bottles. A strand of DNA intertwines them to highlight the health impacts of plastic pollution. With the help of volunteers, Von Wong is adding plastic waste to the installation over the course of the negotiations to reflect the growing cost of inaction. He climbed a ladder Monday to reach the top of the sculpture and weave plastic bottles through the DNA. He put a plastic toy car in front. 'By the end of this week, we should have a sculpture almost completely drowned in plastics, however, the hope is, a strong and ambitious plastics treaty means that we can solve this problem once and for all,' he said. The Minderoo Foundation, an Australian philanthropic organization, was the largest donor for the project. Local nonprofits and community groups collected the plastic trash. Standing by the sculpture, Maria Ivanova, an expert in international environmental governance, said it 'wakes you up.' Ivanova is the co-director of the Plastics Center at Northeastern University in Boston. ' People don't change their minds because of facts. They do because of feelings,' she said. 'And this is where I think art is absolutely critical to shift the needle on policy.' Delegates and tourists stopped to ask Von Wong about his work and pose for photos in front of it. Michael Bonser, head of the Canadian delegation, called the artwork 'extraordinarily profound.' 'It gives us a sense, every day, of what we need to be doing inside the room, what we need to walk out with. And that's a deal that allows us to reverse the trend,' he said. 'That's going to be challenging, but I think it's possible.' About 3,700 people are taking part in the talks, representing 184 countries and more than 600 organizations. They are crafting the first global, legally binding treaty on plastics pollution. Many agree the pace of the negotiations needs to speed up. They arrived in Geneva with hundreds of disagreements to be resolved. The number of unresolved issues grew last week, instead of shrinking. European Commissioner Jessika Roswall said she's concerned about the lack of progress, and 'it's time to get results.' Roswall is commissioner for environment, water resilience and a competitive circular economy. United Nations Environment Programme Executive Director Inger Andersen told reporters it's still possible to agree on a treaty this week that ends plastic pollution. 'This is within grasp,' Andersen said. 'The window remains open to leave Geneva with this treaty.' ___ The Associated Press' climate and environmental coverage receives financial support from multiple private foundations. AP is solely responsible for all content. Find AP's standards for working with philanthropies, a list of supporters and funded coverage areas at


The Guardian
2 days ago
- The Guardian
‘Restoring humanity': Paris exhibition showcases 5,000 years of history in Gaza
An exhibition tracing more than 5,000 years of cultural and archaeological history in Gaza has become a summer hit in Paris, as visitors flock to discover the heritage of this strip of land along the Mediterranean, whose multilayered past has been eclipsed by modern tragedy. While Gaza faces a humanitarian catastrophe of starvation and war, the exhibition, Saved Treasures of Gaza, at Paris's Institut du Monde Arabe brings what curators called a sense of 'urgency' to explain the rich history of a place that has been a crossroads of cultures since Neolithic times. For thousands of years, Gaza's location on the eastern Mediterranean made it a prosperous oasis. It was a trade hub, intellectual powerhouse and centre of learning, sitting at one of the world's great geographical crossroads between trade routes from Asia and Africa. Many cultures and empires left their mark – including Philistines, Assyrians, Romans, Byzantines, Persians and Mamluks – as depicted by more than 100 intricate objects on display from statuettes, oil lamps and ceramics to inscriptions, imported marble and a vast Byzantine floor mosaic. 'We wanted to give Gaza its history back,' said Élodie Bouffard, the lead curator. 'It was about restoring the humanity of Gaza and making its long history visible again, rather than reducing it to a discourse dominated by contemporary history. The focus on contemporary history risks depicting Gaza as a zone of tragedy, a bubble where only devastation is possible, when in fact there is a long human history in Gaza built upon thousands of years as a great centre of connection.' Bouffard said: 'Gaza was the most open space in the Mediterranean. It was a territory that was extremely rich, that produced a lot of food and whose connections to Africa and Asia made it a place of festival and celebration that was much talked about and written about, and a place that was continually inhabited.' The pieces on show have been largely locked away in storage in Switzerland for 17 years: after an exhibition in 2007 at Geneva's Museum of Art and History, the works could not be safely returned to Gaza because of the security and political situation. 'Their exile saved them in a sense,' said Bouffard, noting that otherwise they could have been lost in the current Israeli bombardment. But she said this also meant the pieces had mostly been sadly 'hidden and locked away from view' and from public understanding. One of the key pieces in the show is a small marble statue of a goddess, thought to be either Aphrodite or Hecate, dating from the Roman or Hellenic era, who would have once sat in a temple. Bouffard said the statue's fate is symbolic of the layers of history and archaeological challenges in Gaza. 'She is a masterpiece. She must have disappeared during the forced Christianisation of Gaza in AD402-AD405, taken from her alcove in a temple. She was maybe thrown into the sea, where she disappeared for 1,500 years, until a fisher found her off Blakhiya, a neighbourhood that has now been destroyed. He chose to give her to a Palestinian collector – so she was saved.' Bouffard added: 'Then she was brought to Europe, shown in Geneva in 2007, just as an effort was being made to raise funds to create an archaeological museum in Gaza. No museum has been built in Gaza and she has never gone home. Hers is a story of many tragic moments of appearing and disappearing … She looks at us and is still waiting to return to the place where she was created.' The Paris exhibition also traces archaeological excavation work in Gaza and the sites of cultural and historical significance damaged in military strikes since 2023, including mosques, churches, archives and the archaeological site of Anthedon harbour, Gaza's first known seaport. Bouffard said this was not to suggest heritage sites were more important than human lives: 'Between old stones and humans, it is always humans who are the priority.' But she said that learning about thousands of years of history that had connected people was a way to bring perspective and potential hope. 'If history is not spoken about, then the discourse focuses on a feeling there is no solution,' she said. Jack Lang, the head of the Institut du Monde Arabe and a former French culture minister, said at the exhibition's opening that he hoped the show could 'restore some hope in the future of Gaza'. He said: 'Nothing is worse than abandonment and forgetting.' Saved Treasures of Gaza is at the Institut du Monde Arabe, Paris, until 2 November