[322] Nos. 652-654 of the Notice du Musée.
[323] In the Boulak catalogue.
[324] Mariette, La Galerie de l'Égypte Ancienne à l'Éxposition du Trocadéro, pp. 69, 70.
[325] Ch. Blanc, Voyage de la Haute-Égypte, p. 99.
[326] E. Melchior de Vogüe, Chez les Pharaons.
[327] Vol. ii. plates 41, 66, and 70.
[328] Description, Antiquités, vol. iii. p. 45.
[329] Prisse, Histoire de l'Art Égyptien, text, p. 289.
[330] Fuller details as to the composition of these colours are given in Prisse, Histoire de l'Art Égyptien, text, pp. 292-295. A paper written by the father of Prosper Mérimée and printed by Passalacqua at the end of his Catalogue (pp. 258, et seq.) may also be consulted with profit; its full title is Dissertation sur l'Emploi des Couleurs, des Vernis, et des Émaux dans l'Ancienne Égypte, by M. Mérimée, Secrétaire Perpétuel de l'École Royale des Beaux-Arts. This paper shows that M. Mérimée added taste and a love for erudition to the talent as a painter which he is said to have possessed. Belzoni shows that the manufacture of indigo must have been practised by the ancient Egyptians by much the same processes as those in use to-day (Narrative of the Operations, etc. p. 175). See also Wilkinson, Manners and Customs, etc. vol. ii. p. 287.
[331] Champollion, Lettres d'Égypte et de Nubie, p. 130.