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Fig. 133.—Netting Birds; from a Tomb. (P. & C.)

Fig. 134.—Quadruped with Head of a Bird. (P. & C.)

Rosettes and plaques have been found enamelled in colours, and probably used for floor or wall tiles. The doorway to the stepped pyramid at Sakkarah is decorated with rows of convex-shaped rectangular plaques of enamelled earthenware of a greenish-blue glaze. Some are black in colour.

Fig. 135.—Sphinx or Man-Headed Lion, in Black Granite, from Tanis. (P. & C.)

The Egyptians were particularly skilful in glass making, but they never produced quite a clear glass; it was always slightly opaque, but generally bright and rich in colour. Vases, cups, pateræ, statuettes, necklaces, goblets, bracelets, and, above all, enormous quantities of beads, which they used to make a network of to cover their dead. Great quantities of glass objects were exported in trade with the Phœnicians.

Fig. 136.—Ram, or Kriosphinx, from Karnak. (P. & C.)

The Venetians during the Middle Ages imported soda in large quantities from Alexandria, for purposes of glass making, the soda of Egypt being famed for this purpose, as it was prepared from the many marsh-loving plants that grew luxuriantly in the Delta.

Fig. 137.—Sphinx with Human Hands; Bas-Relief from Prisse. (P. & C.)

Fig. 138.—Lion from a Theban Bas-Relief. (P. & C.)

Fig. 139.—Pitcher of Red Earth, British Museum. (P. & C.)

Fig. 140.—Enamelled Earthenware Dish, British Museum. (P. & C.)

Fig. 141.—Enamelled Earthenware Bowl, British Museum. (P. & C.)

Gold had always been more plentiful than silver in ancient Egypt. It was found in the hills of Ethiopia, but silver had to be imported from Asia. This accounts for the great quantities of gold objects and ornaments that have been found in the tombs, and the scarcity of silver ornaments. The Egyptian goldsmiths made all kinds of vessels and personal jewellery in gold, set with lapis lazuli and other precious stones. We shall have to be content with giving, as examples of this art, the famous pectoral of Kha-em-uas, son of Rameses II. (Fig. 142), and the golden hawk (Fig. 143).

Fig. 142.—Pectoral; Actual Size. (P. & C.)

Fig. 143.—Golden Hawk; Actual Size. (P. & C.)

The former is a splendid and unique specimen of a pectoral, or breast ornament for the dead. These pectorals have been found in great numbers, made of wood, metal, and earthenware. The general shape is that of a naos, or little temple. The Kha-em-uas pectoral is made of gold inlaid with lapis lazuli, and is thus described by M. Pierret: “Jewel in the form of a naos, in which a vulture and an uræus are placed side by side; above them floats a hawk with extended wings, in his claws are seals, emblems of eternity. Under the frieze of the naos an oval, with the prenomen of Rameses II., is introduced. Two tet (or dad, symbol of stability) are placed in the lower angles of the frame.” The golden hawk is a similar kind of ornament, with crescent wings and seals in its claws, emblems of reproduction and eternity. The workmanship in these articles looks like that of cloisonné enamels, but they are not enamels. The thin ribs of gold that surround the lapis lazuli stones in the pectoral and hawk are cloisons, but the stones are cut to fit into the spaces accurately, and are therefore inlaid, while in the true enamels the enamel is put in the cells and fused to the metal by fire afterwards. Enamelling as known to the Chinese was not practised in Egypt.

As ivory could be obtained from Ethiopia in great quantities, it was natural that the Egyptians would make good use of it. It was a favourite material with the sculptors, and many fine examples of ivory carvings and incised work have been found in the tombs. The incised outlines on the ivory were usually filled in with black (Figs. 144 and 145).

Fig. 144.—Fragment of an Ivory Castanet, Louvre.

Fig. 145.—Ivory Plaque; Late Work. (P. & C.)

Gold, silver, ivory, and ebony were worked in usually by the same Egyptian artist, as we learn from an inscription on a stele of Iritesen, an Egyptian sculptor, thus translated by Maspero: “Ah! there is no one excels at this work except myself, and the eldest of my legitimate sons. God decided that he should excel, and I have seen the perfection of his handiwork as an artist, as the chief of those who work in precious stones, in gold, silver, ivory, and ebony.”

Fig. 146.—Egyptian Chair. (P. & C.)

Fig. 147.—Chair or Throne. (P. & C.)

Fig. 148.—The Carpenters Making Chairs. (M.)

Fig. 149.—Coffer in Wood. (P. & C.)

Judging from the small remains left to us, the furniture and woodwork of the Egyptians must have been of an excellent description. We have evidence also of this in the wall paintings and bas-reliefs that give representations of tables, chairs, and couches. Some of the chairs or thrones are of special beauty (Figs. 146 and 147). A carpenter’s shop showing the workmen making chairs is seen at Fig. 148, and a coffer (Fig. 149). The feet of chairs and thrones were usually imitated from those of animals.

Figs. 150-51.—Perfume Spoons, Louvre. (P. & C.)

In wood-carving nothing could be daintier than the perfume spoons with figures and water plants decoratively treated (Figs. 150, 151).

Fig. 152.—An Egyptian Ship, Sailing and Rowing. (M.)

The Egyptian ships were singularly beautiful in their outlines, with their prows and sterns ending usually in a metal stalk and carved lotus flower or ram’s head (Figs. 152, 153). The “bari,” or sacred boat which transported the dead, decorated at each end with the carved metal lotus, and pavilion or chapel in the centre, with its freight of the mummy and the mourners (Fig. 152), is represented as it sails off towards Abydos, the city of the dead, to the west of Thebes, and the crowds of friends on the banks of the river will salute the dead, saying: “In peace, in peace towards Abydos! Descend in peace towards Abydos, towards the Western Sea!”

Fig. 153.—The River Transport of a Mummy from Maspero.