Volume II Part 33 (1/2)
[Illustration: FIG 312--Golden Hawk Actual size Drawn by Saint-Elme Gautier]
[Illustration: FIG 313--Golden Hawk Actual size Drawn by Saint-El forms are interpreted in a less conventional fashi+on in the little ides_, on account of their shape This may be seen by reference to one recently acquired by the Louvre (Fig 314) The name of an Osorkhon of the twenty-second dynasty and that of Queen Ta-ti-bast are on the back At the top appears the lion-head of the Goddess Sekhet, reat skill and freedom, and supported on each side by the head of a hawk; below these co A seated figure with expanded wings forms a centre for numerous bands of ornament in which the open flower of the lotus is combined with its buds and circular leaves
Necklaces are also very rich and various in design Fig 315 is the restoration of one which exists in a dislocated state in one of the cases of the Louvre It is fors a row of pendants, probably charms The _tet_, the God _Bes_, the _oudja_ or sy theis Louvre Actual size Drawn by Saint-Elroup of Osiris, Isis, and Horus deserves to rank as a work of sculpture (Fig 316) These little figures are of gold Osiris is crouching between the other two deities on a pedestal of lapis-lazuli, which bears the name of Osorkhon II The inscription upon the base consists of a religious benediction upon the saures are finely executed, and the base upon which the group stands is incrusted with coloured glass
We have already reproduced specis 241 and 243), and the additional exae 387 will help to sho varied were their for stones upon which figures or inscriptions are engraved Some have this , which, again, is sos of many different forures in relief (Figs 319 and 320)
Soypt This expression is inaccurate, as Mariette has observed[391] There are certainly _cloisons_ in many of the jewels above described--such as the pectoral and the tks--_cloisons_ old, but these co with the material used to fill thelass or of such stones as the amethyst, cornelion, lapis-lazuli, turquoise, jasper, &c The as not passed through an oven after the insertion of these colouring substances; it was therefore rather a mosaic than an enaous process bronze was daold and silver, threads of these two rooves and hammered into place Mariette has called attention to several bronzes at Boulak thus inlaid with gold,[392] and in the Louvre there is a graceful little sphinx marked with the cartouche of Smendes, which is damascened with silver
[391] MARIETTE, _Notice du Musee de Boulak_, No 388 _Galerie de l'egypte Ancienne au Trocadero_, pp 114, 115
[392] MARIETTE, _Notice du Musee_, Nos 107, 108, 131
The Egyptians were also workers in ivory, which was obtained in large quantities fro 322), soraved upon it with the _point_ and then filled in the design with black, giving it a forcible relief (Fig
323) The ivory plaque fro 321, deserves to be studied for its technical h it dates from the Greek period The blacks shown in our woodcut are produced in the original by filling up with mastic the hollows made with the _point_
Fa in ivory Iritesen speaks as follows upon a stele translated by M Maspero:--”Ah! there is no one who excels at this work except itimate sons God decided that he should excel, and I have seen the perfection of his handiwork as an artist, as the chief of those ork in precious stones, in gold, silver, ivory and ebony”[393]
[393] _Transactions of the Society of Biblical Archaeology_, v
part ii 1877
[Illustration: FIG 315--Necklace Louvre Drawn by Saint-Elme Gautier]
[Illustration: FIG 316--Osiris, Isis, and Horus]
No traces of aists tell us that no word for it is to be found in the language
[Illustration: FIGS 317, 318--Rings Louvre]
[Illustration: FIGS 319, 320--Ear-rings Louvre]
A coyptian jewelry and work in the precious iven without colour; without its assistance the brilliance, softened into couishes the objects of which we have now been speaking, can only be guessed at Our best advice to those ish to thoroughly appreciate their beauty, is to examine them in the museums where they are exposed But even in the black and white of our draughtsyptian jeweller may be fairly estihtness and a race to their trinkets, but our familiarity with their productions does not prevent us frons Their originality, too, is strongly brought out by their affinity to the style and decoration of the great national buildings; we ns and colour compositions were supplied by architects
[Illustration: FIG 321--Ivory Plaque Boulak]
The saured in the royal tombs at Thebes[394] They are coloured yellow and blue, and both their form and tint forbid us to suppose that they were of any old, or of silver
Incrustations in enamel or coloured _pietra dura_ relieve the monotony of the metal surface Soe Their decoration and design is rich and complex Flowers and half-opened buds, lions' heads, roes, birds, sphinxes, etc, are introduced We may presume that such objects were made for presentation to the Gods and preservation in treasure-houses; few of thereatthe temples The stele of Neb-oua, chief prophet of Osiris in the reign of Thothifts in the teold, in lapis-lazuli, in copper, and in all kinds of precious stones”[395]
[394] See two plates of PRISSE entitled: ”_Art Industriel Vases en Or emaille_; _Rhytons et autres Vases_”
[395] MARIETTE, _Notice du Musee_, No 93