The upper crown ([fig. 99]) is less unusual. The motive is the old one seen on the head-dress of Nofert ([fig. 24]); but the flowers have become conventionalised. The band form is broken by the upright flowers rising from each rosette; and in front there was an aigrette of gold with flowers formed of coloured stones.
Turning now to the technical details, some small gold lions were cast, but not all from a single mould. They seem to have been modelled in wax, and after forming the mould around the model the wax was melted out, and the metal run in. This method, known as cire perdue, was usual in later periods. The details are slightly chiselled upon the gold.
Moulding by pressure was used in making cowry beads and tie beads, which were impressed in stout foil, aided by burnishing on to the model so as to tool the detail.
Soldering was done most delicately for the side joints of the hollow cowry beads; it was also used on a large scale for the dozens of delicate ribs of gold which were fixed to the back plates for the cloison work of the pectorals. To attach this multitude of minute ribs exactly in place shows most practised work, for they could not be treated separately, being so close together.
Wire was made in large quantity for the floret crown. This wire was all cut in strips, and pieces soldered together to form a length. The same method was later used by the Jews: “they did beat the gold into thin plates and cut it into wires” (Ex. xxxix. 3). Drawn wire has not been found in any ancient work. A favourite style of work for figures of gods and sacred animals in this age was a mixture of wirework and sheet metal; such amulets and sacred animals are usually half an inch high: the example of the sacred cobra here shown ([fig. 96]) is by far the finest known.
JEWELLERY
99, 100. Crowns of gold inlaid with stones
101. Granulated gold work (all XIIth dynasty)