Manual of Egyptian Archaeology and Guide to the Study of Antiquities in Egypt by Gaston Maspero (i have read the book txt) 📕

heavy, and ugly (fig. 215), while others are distinguished by an elegance and diversity of form which do honour to the inventive talent of the craftsmen. Many are spindle-shaped and pointed at the end (fig. 216), or round in the body, narrow in the neck, and flat at the bottom (fig. 217).

They are unornamented, except perhaps by two lotus-bud handles, or two lions' heads, or perhaps a little female head just at the rise of the neck (fig. 218). The smallest of these vases were not intended for liquids, but for pomades, medicinal ointments, and salves made with honey. Fig 218.--Perfume vase, alabaster. Fig 218.--Perfume vase, alabaster.
Some of the more important series comprise large-bodied flasks, with an upright cylindrical neck and a flat cover (fig. 219). In these, the Egyptians kept the antimony powder with which they darkened their eyes and eyebrows. The Kohl-pot was a universal toilet requisite; perhaps the only one commonly used by all classes of society. When designing it, the craftsman gave free play to his fancy, borrowing forms of men, plants, and animals for its adornment. Fig 219.--Vase for antimony powder. Fig 219.--Vase for antimony powder.
Now it appears in the guise of a full-blown lotus; now it is a hedgehog; a hawk; a monkey clasping a column to his breast, or climbing up the side of a jar; a grotesque figure of the god Bes; a kneeling woman, whose scooped- out body contained the powder; a young girl carrying a wine-jar. Once started upon this path, the imagination of the artists knew no limits. As for materials, everything was made to serve in turn--granite, diorite, breccia, red jade, alabaster, and soft limestone, which lent itself more readily to caprices of form; finally, a still more plastic and facile substance--clay, painted and glazed.

It was not for want of material that the art of modelling and baking clays failed to be as fully developed in Egypt as in Greece, The valley of the Nile is rich in a fine and ductile potter's clay, with which the happiest results might have been achieved, had the native craftsman taken the trouble to prepare it with due care. Metals and hard stone were, however, always preferred for objects of luxury; the potter was fain, therefore, to be content with supplying only the commonest needs of household and daily life. He was wont to take whatever clay happened to be nearest to the place where he was working, and this clay was habitually badly washed, badly kneaded, and fashioned with the finger upon a primitive wheel worked by the hand. The firing was equally careless. Some pieces were barely heated at all, and melted it they came into contact with water, while others were as hard as tiles. All tombs of the ancient empire contain vases of a red or yellow ware, often mixed, like the clay of bricks, with finely-chopped straw or weeds. These are mostly large solid jars with oval bodies, short necks, and wide mouths, but having neither foot nor handles. With them are also found pipkins and pots, in which to store the dead man's provisions; bowls more or less shallow; and flat plates, such as are still used by the fellahin. The poorer folk sometimes buried miniature table and kitchen services with their dead, as being less costly than full-sized vessels. The surface is seldom glazed, seldom smooth and lustrous; but is ordinarily covered with a coat of whitish, unbaked paint, which scales off at a touch. Upon this surface there is neither incised design, nor ornament in relief, nor any kind of inscription, but merely some four or five parallel lines in red, black, or yellow, round the neck.

The pottery of the earliest Theban dynasties which I have collected at El Khozam and Gebeleyn is more carefully wrought than the pottery of the Memphite period. It may be classified under two heads. The first comprises plain, smooth-bodied vases, black below and dark red above. On examining this ware where broken, we see that the colour was mixed with the clay during the kneading, and that the two zones were separately prepared, roughly joined, and then uniformly glazed. The second class comprises vases of various and sometimes eccentric forms, moulded of red or tawny clay. Fig 220. Fig 220.
Some are large cylinders closed at one end; others are flat; others oblong and boat-shaped; others, like cruets, joined together two and two, yet with no channel of communication[56] (fig. 220). The ornamentation is carried over the whole surface, and generally consists of straight parallel lines, cross lines, zigzags, dotted lines, or small crosses and lines in geometrical combination; all these patterns being in white when the ground is red, or in reddish brown when the ground is yellow or whitish. Now and then we find figures of men and animals interspersed among the geometrical combinations. The drawing is rude, almost childish; and it is difficult to tell whether the subjects represent herds of antelopes or scenes of gazelle-hunting. The craftsmen who produced these rude attempts were nevertheless contemporary with the artists who decorated the rock-cut tombs at Beni Hasan. As regards the period of Egypt's great military conquests, the Theban tombs of that age have supplied objects enough to stock a museum of pottery; but unfortunately the types are very uninteresting. To begin with, we find hand-made sepulchral statuettes modelled in summary fashion from an oblong lump of clay. A pinch of the craftsman's fingers brought out the nose; two tiny knobs and two little stumps, separately modelled and stuck on, represented the eyes and arms. The better sort of figures were pressed in moulds of baked clay, of which several specimens have been found. They were generally moulded in one piece; then lightly touched up; then baked; and lastly, on coming out of the oven, were painted red, yellow, or white, and inscribed with the pen. Some are of very good style, and almost equal those made in limestone. The ûshabtiû of the scribe Hori, and those of the priest Horûta (Saïte) found at Hawara, show what the Egyptians could have achieved in this branch of the art if they had cared to cultivate it. Funerary cones were objects purely devotional, and the most consummate art could have done nothing to make them elegant. A funerary cone consists of a long, conical mass of clay, stamped at the larger end with a few rows of hieroglyphs stating the name, parentage, and titles of the deceased, the whole surface being coated with a whitish wash. These are simulacra of votive cakes intended for the eternal nourishment of the Double. Many of the vases buried in tombs of this period are painted to imitate alabaster, granite, basalt, bronze, and even gold; and were cheap substitutes for those vases made in precious materials which wealthy mourners were wont to lavish on their dead. Fig 221. Fig 221.
Among those especially intended to contain water or flowers, some are covered with designs drawn in red and black (fig. 221), such as concentric lines and circles (fig. 222), meanders, religious emblems (fig. 223), cross-lines resembling network, festoons of flowers and buds, and long leafy stems carried downward from the neck to the body of the vase, and upward from the body of the vase to the neck. Those in the tomb of Sennetmû were decorated on one side with a large necklace, or collar, like the collars found upon mummies, painted in very bright colours to simulate natural flowers or enamels. Fig 222. Fig 222.
Canopic vases in baked clay, though rarely met with under the Eighteenth Dynasty, became more and more common as the prosperity of Thebes declined. Fig 223. Fig 223.
The heads upon the lids are for the most part prettily turned, especially the human heads.[57] Modelled with the hand, scooped out to diminish the weight, and then slowly baked, each was finally painted with the colours especially pertaining to the genius whose head was represented. Towards the time of the Twentieth Dynasty, it became customary to enclose the bodies of sacred animals in vases of this type. Those found near Ekhmîm contain jackals and hawks; those of Sakkarah are devoted to serpents, eggs, and mummified rats; those of Abydos hold the sacred ibis. These last are by far the finest. On the body of the vase, the protecting goddess Khûit is depicted with outspread wings, while Horus and Thoth are seen presenting the bandage and the unguent vase; the whole subject being painted in blue and red upon a white ground. From the time of the Greek domination, the national poverty being always on the increase, baked clay was much used for coffins as well as for canopic vases. In the Isthmus of Suez, at Ahnas el Medineh, in the Fayûm, at Asûan, and in Nubia, we find whole cemeteries in which the sarcophagi are made of baked clay. Some are like oblong boxes rounded at each end, with a saddle-back lid. Some are in human form, but barbarous in style, the heads being surmounted by a pudding-shaped imitation of the ancient Egyptian head-dress, and the features indicated by two or three strokes of the modelling tool or the thumb. Two little lumps of clay stuck awkwardly upon the breast indicate the coffin of a woman. Even in these last days of Egyptian civilisation, it was only the coarsest objects which were left of the natural hue of the baked clay. As of old, the surfaces were, as a rule, overlaid with a coat of colour, or with a richly gilded glaze.

Glass was known to the Egyptians from the remotest period, and glass- blowing is represented in tombs which date from some thousands of years before our era (fig. 224). The craftsman, seated before the furnace, takes up a small quantity of the fused substance upon the end of his cane and blows it circumspectly, taking care to keep it in contact with the flame, so that it may not harden during the operation. Chemical analysis shows the constituent parts of Egyptian glass to have been nearly identical with our own; but it contains, besides silex, lime, alumina, and soda, a relatively large proportion of extraneous substances, as copper, oxide of iron, and oxide of manganese, which they apparently knew not how to eliminate. Hence Egyptian glass is scarcely ever colourless, but inclines to an uncertain shade of yellow or green. Some ill-made pieces are so utterly decomposed that they flake away, or fall to iridescent dust, at the lightest touch. Fig 224.--Glass-blowers from Twelfth Dynasty tomb. Fig 224.--Glass-blowers from Twelfth Dynasty tomb.
Others have suffered little from time or damp, but are streaky and full of bubbles. A few are, however, perfectly homogenous and limpid. Colourless glass was not esteemed by the Egyptians as it is by ourselves; whether opaque or transparent, they preferred it coloured. The dyes were obtained by mixing metallic oxides with the ordinary ingredients; that is to say, copper and cobalt for the blues, copperas for the greens, manganese for the violets and browns, iron for the yellows, and lead or tin for the whites. One variety of red contains 30 per cent of bronze, and becomes coated with verdegris if exposed to damp. All this chemistry was empirical, and acquired by instinct. Finding the necessary elements at hand, or being supplied with them from a distance, they made use of them at hazard, and without being too certain of obtaining the effects they sought. Many of their most harmonious combinations were due to accident, and they could not reproduce them