two tenths square, and the ground is of an amethyst hue. In the centre is a device, consisting of a yellow circle, surrounded by light blue with a bright red border; and on the four sides shoot forth light blue rays edged with white. Around this, which is isolated, runs a square ornament of bright yellow, divided into distinct parts, formed by openings in each of the sides, and at the four corners a beautiful device projects, like a leaf, formed of a succession of minute lines, green, red, and white, the two last encircling the green nucleus, which meet at a common point towards the base, and terminate in almost imperceptible tenuity. The delicacy of some of the lines is truly surprising; and not less, the accuracy with which the patterns are executed; and the brilliancy of the colours is as remarkable as the harmony maintained in their disposition: an art, then, much more studiously attended to, and far better understood than at the present day.

"The secret of making these glass ornaments is more readily explained from this specimen than any I have met with. It consists of several squares, whose original division is readily discovered in a bright light, as well as the manner of adjusting the different parts, and of uniting them in one mass; and here and there we find that the heat applied to cement the squares has caused the colours to run between them, in consequence of partial fusion from too strong a fire.

"Not only were these various parts, made at different times, and afterwards united by heat, rendered effective on their surfaces, by means of a flux applied

"It was at first difficult to form cess employed in the formation o we might have remained for ever not the fracture shewn that fila colours as on the surface of tl whole diameter passed from Hence it has been concluded composed of many cylinders of being subjected to heat, becan "The other specimen is al the same size, and evidently 1 ner. It presents ornamenta low, and white, on a blue lutes, strings of beads, and points. The details are from confusion, and at the the sharpest sight is unal which the volutes termin tinued without interru of the fragment."*

We cannot be cert scribed were of Egy least highly probab which Egyptian g well as from found in

NICAL ARTS.

345

tint, often in an oblique running in the most tor

blue rays edged with white. Anens of Egyptian painting and

been copied in this volume, will reader an idea of the excellenof their style in design. It has that the object of these and ot, as in Greece, to captivate the record and transmit information. mainly attended to, and hence arose node of representing certain objects lines is truly surprisinger allowed to be relinquished. The

of the colours is an

maintained in their more studiously

stood than at the p

"The secret

more readily e

I have met

for example, is very incorrectly drawn; is rarely attempted, and when it is, uncouth: yet the ordinary profile is ningled with characteristics of a front e whole eye is always drawn, just as front; and though the head and body are the shoulders are placed transversely, as

To the principal figure and action of a every thing else was subordinate, and somebright light this is carried out so rigidly, that rather than

the outline of the figure, an object, that is ed to be in front of it, is made to appear beinstance of which may be seen in the figure mis, in page 338, whose left hand and foot,

ally behind the wheel and clay, are drawn ont of it, to the manifest injury of the

to them, but each coloured line was at first separate, and, when adjusted in its proper place, was connected with those around it by the same process; and these, as Winkelmann very properly suggests, were cylinders, or laminæ, according to the pattern proposed, which passed in direct lines through the substance, or ground, in which they were embedded."*

A kind of porcelain, partaking of the nature of glass, was produced by Egyptian artists; and many

specimens of great beauty of form, colour, and pattern are represented in the paintings; and some have been found, and are deposited in collections. Some dark hue, blue or green, is chosen for the ground, which is traversed by lines of various breadth,

and of all diversities of tint, often in an oblique direction, but sometimes running in the most tortuous patterns.

The numerous specimens of Egyptian painting and sculpture, which have been copied in this volume, will have conveyed to the reader an idea of the excellencies and the defects of their style in design. It has been well observed that the object of these and kindred arts was not, as in Greece, to captivate the imagination, but to record and transmit information. Perspicuity was mainly attended to, and hence arose a conventional mode of representing certain objects which was never allowed to be relinquished. The human figure, for example, is very incorrectly drawn; a front view is rarely attempted, and when it is, is strangely uncouth: yet the ordinary profile is invariably mingled with characteristics of a front view. The whole eye is always drawn, just as viewed in front; and though the head and body are in profile, the shoulders are placed transversely, as in front. To the principal figure and action of a picture every thing else was subordinate, and sometimes this is carried out so rigidly, that rather than break the outline of the figure, an object, that is intended to be in front of it, is made to appear behind, an instance of which may be seen in the figure of Chnumis, in page 338, whose left hand and foot, though actually behind the wheel and clay, are drawn as if in front of it, to the manifest injury of the action.