Eggs, as a Christian emblem, are supposed to represent “the immature hope of the resurrection.” (Martigny.)
Egret (Fr. aigrette). A small white heron, marked by a crest on his head.
Egyptian Architecture and Sculpture can be studied in the monuments remaining from remotest antiquity to about A. D. 300. Great varieties of style occur, which can be easily attributed to their respective periods by the hieroglyphical inscriptions. The three primitive motives of all Egyptian buildings are the pyramid, caves, and structures of timber; all contemporary with the most ancient relics. In sculpture, the most ancient works of all are also those most remarkable for fidelity to nature. The conventionality introduced afterwards with the canon of proportions is still combined with a close imitation of Nature in the details. The Grecian or Ptolemaic period begins B.C. 322. [See Wilkinson’s Ancient Egyptians, Canina’s Egyptian Architecture; and the works of Brugsch, Marriette, Soldi, Ebers, &c.]
Egyptian Blue, the brilliant blue pigment found on the monuments, is found by analysis to consist of the hydrated protoxide of copper, mixed with a minute quantity of iron. The green colour was derived from another oxide of copper; violet from manganese or gold; yellow from silver, or perhaps iron; and red from the protoxide of copper.
Fig. 280. Lenticular Phials. Louvre Museum.
Fig. 279. Oviform bottle. Egyptian.
Egyptian Pottery of great beauty is found in great quantities along with the costly ornaments in the tombs. It is intermediary between porcelain and stone-ware, and its colouring demonstrates a high degree of skill, science, and precision of execution. Among the forms frequently found are the oviform, long-necked bottles (Fig. [279]), lenticular phials, with royal cartouches (Fig. [280]), lamps (Fig. [281]), &c. (See also Fig. [219].)
