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ANCIENT ART] lie in the plane thus defined by two traces at the ends (P.M. VIII.).

Metal-Work.—Copper was wrought into pins, a couple of inches long, with loop heads, as early as the oldest prehistoric graves, before the use of weaving, and while pottery was scarcely developed. The use of harpoons and small chisels of copper next arose, then broad flaying knives, needles and adzes, lastly the axe when the metal was commoner. On these prehistoric tools, when in fine condition, the original highly-polished surface remains. It shows no trace of grinding lines or attrition, nor yet of the blows of a hammer. Probably it was thus highly finished by beating between polished stone hammers which were almost flat on the face. Most likely the forms of the tools were cast to begin with, and then finished and polished by fine hammering. A series of moulds for casting in the XIIth Dynasty show that the forms were carved out in thick pieces of pottery, and then lined with fine ashy clay. The mould was single, so that one side of the tool was the open face of metal. As early as the pyramid times solid casting by cire perdue was already used for figures: but the copper statues of Pepi and his son seem, by their thinness and the piecing together of the parts, to have been entirely hammered out. The portraiture in such hammer work is amazingly life-like. By the time of the XIIth Dynasty, and perhaps earlier, cire perdue casting over an ash core became usual. This was carried out most skilfully, the metal being often not th in. thick, and the core truly centred in the mould. Casting bronze over iron rods was also done, to gain more stiffness for thin parts.

In gold work the earliest jewelry, that of King Zer of the Ist Dynasty, shows a perfect mastery of working hollow balls with minute threading holes, and of soldering with no trace of excess nor difference of colour. Thin wire was hammered out, but there is no ancient instance of drawn wire. Castings were not trimmed by filing or grinding, but by small chisels and hammering (P.R.T. ii. 17). In the XIIth Dynasty the soldering of the thin cells for the cloisonnée inlaid pectorals, on to the base plate, is a marvellous piece of delicacy; every cell has to be perfectly true in form, and yet all soldered, apparently simultaneously, as the heat could not be applied to successive portions (M.D. i.). Such work was kept up in the XVIIIth and XXVIth Dynasties. There is nothing distinctive in later jewelry different from Greek and Roman work elsewhere.

Glaze and Glass.—From almost the beginning of the prehistoric age there are glazed pottery beads found in the graves: and glazing on amulets of quartz or other stones begins in the middle of the prehistoric. Apparently then glazing went together with the working of the copper ores, and probably accidental slags in the smelting gave the first idea of using glaze intentionally. The development of glazing at the beginning of the dynasties was sudden and effective. Large tiles, a foot in length, were glazed completely all over, and used to line the walls of rooms; they were retained in place by deep dovetails and ties of copper wire. Figures of glazed ware became abundant; a kind of visiting card was made with the figure of a man and his titles to present in temples which he visited; and glazed ornaments and toggles for fastening dresses were common (P. Ab. ii.). Further, besides thus using glaze on a large scale, differently coloured glazes were used, and even fused together. A piece of a large tile, and part of a glazed vase, have the royal titles and name of Menes, originally in violet inlay in green glaze. There was no further advance in the art until the great variety of colours came into use about 4000 years later. In the XIIth Dynasty a very thin smooth glaze was used, which became rather thicker in the XVIIIth. The most brilliant age of glazes was under Amenophis III. and his son Akhenaton. Various colours were used; beside the old green and blue, there were purple, violet, red, yellow and white. And a profusion of forms is shown by the moulds and actual examples, for necklaces, decorations, inlay in stone and applied reliefs on vases. Under Seti II. cartouches of the king in violet and white glaze are common; and under Rameses III. there were vases with relief figures, with painted figures, and tiles with coloured reliefs of captives of many races. The latter development of glazing was in thin delicate apple-green ware with low relief designs, which seem to have originated under Greek influence at Naucratis. The Roman glaze is thick and coarse, but usually of a brilliant Prussian blue, with dark purple and apple-green; and high reliefs of wreaths, and sometimes figures, are common.

Though glaze begins so early, the use of the glassy matter by itself does not occur till the XVIIIth Dynasty; the earlier reputed examples are of stone or frit. The first glass is black and white under Tethmosis (Tahutmes) III. It was not fused at a high point, but kept in a pasty state when working. The main use of it was for small vases; these were formed upon a core of sandy paste, which was modelled on a copper rod, the rod being the core for the neck. Round this core threads of glass were wound of various colours; the whole could be reset in the furnace to soften it for moulding the foot or neck, or attaching handles, or dragging the surface into various patterns. The colours under later kings were as varied as those of the glazes. Glass was also wheel-cut in patterns and shapes under Akhenaton. In later times the main work was in mosaics of extreme delicacy. Glass rods were piled together to form a pattern in cross-section. The whole was then heated until it perfectly adhered, and the mass was drawn out lengthways so as to render the design far more minute, and to increase the total length for cutting up. The rod was then sliced across, and the pieces used for inlaying. Another use of coloured glass was for cutting in the shapes of hieroglyphs for inlaying in wooden coffins to form inscriptions. Glass amulets were also commonly placed upon Ptolemaic mummies. Blown glass vessels are not known until late Greek and Roman times, when they were of much the same manufacture as glass elsewhere. The supposed figures of glass-blowers in early scenes are really those of smiths, blowing their fires by means of reeds tipped with clay. The variegated glass beads belonging to Italy were greatly used in Egypt in Roman times, and are like those found elsewhere. A distinctively late Egyptian use of glass was for weights and vase-stamps, to receive an impress stating the amount of the weight or measure. The vase-stamps often state the name of the contents (always seeds or fruits), probably not to show what was in them, but to show for what kind of seed the vessel was a true measure. These measure stamps bear names dating them from 680 to about 950. The large weights of ounces and pounds are disks or cuboid blocks; they are dated from 720 to 785 for the lesser, and to 915 for larger, weights. The greater number are, however, small weights for testing gold and silver coins of later caliphs from 952 to 1171. The system was not, however, Arab, as there are a few Roman vase-stamps and weights. Of other medieval glass may be noted the splendid glass vases for lamps, with Arab inscriptions fused in colours on the outsides. No enamelling was ever done by Egyptians, and the few rare examples are all of Roman age due to foreign work.

The manufacture of glass is shown by examples in the XVIIIth Dynasty. The blue or green colour was made by fritting together silica, lime, alkaline carbonate and copper carbonate; the latter varied from 3% in delicate blues to 20% in deep purple blues. The silica was needed quite pure from iron, in order to get the rich blues, and was obtained from calcined quartz pebbles; ordinary sand will only make a green frit. These materials were heated in pans in the furnace so as to combine in a pasty, half-fused condition. The coloured frit thus formed was used as paint in a wet state, and also used to dissolve in glass or to fuse over a surface in glazing. The brown tints often seen in glazed objects are almost always the result of the decomposition of green glazes containing iron. The blue glazes, on the other hand, fade into white. The essential colouring materials are, for blue, copper; green, copper and iron; purple, cobalt; red, haematite; white, tin. An entirely clear colourless glass was made in the XVIIIth Dynasty, but coloured glass was mainly used. After fusing a panful of coloured glass, it was sampled by taking pinches out with tongs; when perfectly combined it was left to cool in the pan, as with modern optical glass. When cold the pan was chipped away, and the cake of glass broken up into convenient pieces, free of sediment and of