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

at will. The masses which they obtained by these unscientific means were nevertheless of very considerable dimensions. The classic authors tell of stelae, sarcophagi, and columns made in one piece. Ordinarily, however, glass was used only for small objects, and, above all, for counterfeiting precious stones. However cheaply they may have been sold in the Egyptian market, these small objects were not accessible to all the world. The glass-workers imitated the emerald, jasper, lapis lazuli, and carnelian to such perfection that even now we are sometimes embarrassed to distinguish the real stones from the false. The glass was pressed into moulds made of stone or limestone cut to the forms required, as beads, discs, rings, pendants, rods, and plaques covered with figures of men and animals, gods and goddesses. Eyes and eyebrows for the faces of statues in stone or bronze were likewise made of glass, as also bracelets. Glass was inserted into the hollows of incised hieroglyphs, and hieroglyphs were also cut out in glass. In this manner, whole inscriptions were composed, and let into wood, stone, or metal. The two mummy-cases which enclosed the body of Netemt, mother of the Pharaoh Herhor Seamen, are decorated in this style. Except the headdress of the effigy and some minor details, these cases are gilded all over; the texts and the principal part of the ornamentation being formed of glass enamels, which stand out in brilliant contrast with the dead gold ground. Many Fayûm mummies were coated with plaster or stucco, the texts and religious designs, which are generally painted, being formed of glass enamels incrusted upon the surface of the plaster. Some of the largest subjects are made of pieces of glass joined together and retouched with the chisel, in imitation of bas-relief. Thus the face, hands, and feet of the goddess Ma are done in turquoise blue, her headdress in dark blue, her feather in alternate stripes of blue and yellow, and her raiment in deep red. Upon a wooden shrine recently discovered in the neighbourhood of Daphnae,[58] and upon a fragment of mummy-case in the Museum of Turin, the hieroglyphic forms of many-coloured glass are inlaid upon the sombre ground of the wood, the general effect being inconceivably rich and brilliant. Glass filigrees, engraved glass, cut glass, soldered glass, glass imitations of wood, of straw, and of string, were all known to the Egyptians of old. I have under my hand at this present moment a square rod formed of innumerable threads of coloured glass fused into one solid body, which gives the royal oval of one of the Amenemhats at the part where it is cut through. The design is carried through the whole length of the rod, and wherever that rod may be cut, the royal oval reappears.[59] One glass case in the Gizeh Museum is entirely stocked with small objects in coloured glass. Here we see an ape on all fours, smelling some large fruit which lies upon the ground; yonder, a woman's head, front face, upon a white or green ground surrounded by a red border. Fig 225.--Parti-coloured glass vase, inscribed Thothmes III. Fig 225.--Parti-coloured glass vase, inscribed Thothmes III.
Most of the plaques represent only rosettes, stars, and single flowers or posies. One of the smallest represents a black-and-white Apis walking, the work being so delicate that it loses none of its effect under the magnifying glass. The greater number of these objects date from, and after, the first Saïte dynasty; but excavations in Thebes and Tell el Amarna have proved that the manufacture of coloured glass prevailed in Egypt earlier than the tenth century before our era. Fig 226.--Parti-coloured glass vase. Fig 226.--Parti-coloured glass vase.
At Kûrnet Murraee and Sheikh Abd el Gûrneh, there have been found, not only amulets for the use of the dead, such as colonnettes, hearts, mystic eyes, hippopotami walking erect, and ducks in pairs, done in parti-coloured pastes, blue, red, and yellow, but also vases of a type which we have been accustomed to regard as of Phoenician and Cypriote manufacture.[60] Here, for example, is a little aenochoe, of a light blue semi-opaque glass (fig. 225); the inscription in the name of Thothmes III., the ovals on the neck, and the palm-fronds on the body of the vase being in yellow. Here again is a lenticular phial, three and a quarter inches in height (fig. 226), the ground colour of a deep ocean blue, admirably pure and intense, upon which a fern-leaf pattern in yellow stands out both boldly and delicately. Fig 227.--Parti-coloured glass vase. Fig 227.--Parti-coloured glass vase.
A yellow thread runs round the rim, and two little handles of light green are attached to the neck. A miniature amphora of the same height (fig. 227) is of a dark, semi-transparent olive green. A zone of blue and yellow zigzags, bounded above and below by yellow bands, encircles the body of the vase at the part of its largest circumference. The handles are pale green, and the thread round the lip is pale blue. Princess Nesikhonsû had beside her, in the vault at Deir el Baharî, some glass goblets of similar work. Seven were in whole colours, light green and blue; four were of black glass spotted with white; one only was decorated with many-coloured fronds arranged in two rows (fig. 228). The national glass works were therefore in full operation during the time of the great Theban dynasties. Huge piles of scoriae mixed with slag yet mark the spot where their furnaces were stationed at Tell el Amarna, the Ramesseum, at El Kab, and at the Tell of Eshmûneyn.