The other colours used were: for the red a body mixed with haematite and covered with a transparent glaze; bright yellow, the composition of which is unknown; violet in various depths, from a faint tinge on the white lotus petals to a deep strong colour, probably made by copper blue and one of the purples; purple in various strengths from a rich bright tint upon white to a black purple for designs upon blue, all produced by manganese; occasionally purple-blue made with cobalt; dead white, which was doubtless produced by tin as at present.
Before leaving the subject of glazing we may notice the system of moulding pendants and figures in red pottery moulds, of all sizes from a quarter of an inch to three or four inches across. A great variety of these is found at Tell-el-Amarna of the XVIIIth dynasty, and at Memphis of later periods. They sometimes contain the remains of the siliceous paste with which they were choked when they were thrown away. At Naukratis hundreds were found for making scarabs for the Greek trade. The moulded objects were covered with glazing wash, and put into the furnace. Beads were commonly made on a thread, dried, and the thread burnt out; they were then dipped in glaze-wash, and fired. In early times small beads were rolled between the thumb and finger on the thread, producing a long tapering form like a grain of corn.
GLASS
There has been much misunderstanding about the age of glass in Egypt. Figures of smiths blowing a fire with reeds tipped with clay have been quoted as figures blowing glass, though no blown glass is known in Egypt before Roman times. A cylinder of glass of King Pepy has been quoted; but this is really of clear iceland-spar or selenite lined with coloured paste. A panther’s head with the name of Antef V has been called glass, but it is really of blue paste. Various pieces of inlaid stone jewellery have been mistaken for glass, but none such is known till late times.
There does not seem to have been any working of glassy material by itself, apart from a base of stone or pottery, until after 1600 B.C. The earliest dated pieces are an eye of blue glass imitating turquoise, with the name of Amenhotep I (1550 B.C.), and a piece of a glass vase with an inlaid name of Tahutmes III. Beads of this age are plain black with a white spot on opposite sides; black and white glass cups probably belong to the same date. The variety of colours quickly increased, and by the time of Amenhotep III and IV, about 1400 B.C., there were violet, deep Prussian blue, light blue, green, yellow, orange, red (rare), clear white, milky white, and black.
GLASS
120, 121. Vases (XVIIIth dynasty)
122. Mosaic (late)
The designs were entirely ruled by the method of manufacture. The glass was never cast, but was worked as a pasty mass, and all the decoration was made by inlaying threads of glass drawn out to various thicknesses. The actual production of the glass we deal with below. The patterns on a vase or bead were produced by winding threads around the body, and then dragging the surface at regular intervals (figs. [120], [121]). If dragged always in one direction, it made a series of loops or U pattern; if dragged alternately each way it made an ogee pattern. Around the neck and foot a thick thread was often put on, with a thin thread spirally round it, usually white with black spiral. The forms of the vases are those usual in other materials at this period, such as