Very interesting post Colette,

Especially this bit , you write

"I was in the Relieving Chambers with Schoch, I placed my hand on the top of the ceiling (I forget which one at this very moment, but I have video of my voice remarking that, “Hey, this is plaster on here…” Schoch said, “NO, it is granite.”…..and I told him, “No, that it was plaster and I could feel the trowel strokes, the various sand, and that granite did not feel that way” (at least not the part of the ceiling that I was feeling)..I paraphrased just now, but that is the gist of it….. - I felt it all in the dark, there was no light where we were standing at that time, I knew by the “feel” of it, as I am much experienced with plaster and the various materials, textures, ect. as I have plastered by my OWN HAND for many years and used my hands to feel where I needed to smooth it out or add more…it is something you become very familiar with",
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ME

I have been banging on for a while about this plaster in these relieving chambers, in particular Campbell's chamber,and more specifically i suggest that the Khufu cartouche has been applied on top of this plaster, therefor indicating the Cartouche was applied in situ, whether it be modern or ancient , but im convinced by examining your excellent photographs
in this thread [grahamhancock.com] that the Khufu Cartouche is on top of Plaster

I guess i owe you an apology for not seeking your permission for using your images in that thread , did you read any of what was discussed within it ?, if so what are your views on what appears to be different levels of paint used , specifically the whiter paint marks overlaying the red Ochre .

So who and when plastered those ceiling blocks, this question if at all answerable, is crucial to the timing and application of the Cartouche , as the Cartouche is on top of the plaster.


DPP



[grahamhancock.com]



Edited 1 time(s). Last edit at 05-Oct-16 11:33 by DUNE.