yish slaty stone easily cut and
which stood fire. After having been cut into the correct shape, these
were glazed in the fire, with enamels of different colors, usually of
a light bluish green. Those found now of a brownish or dirty white
color, have lost the original color of the glaze from the ravages of
time. Some were of clay only sun-dried, others of clay burned into
pottery. They were also made of porcelain, and also, but rarely, of
colored glass. They have also been found made of gold, ivory and even
of wood. Champollion thinks, that certain signets found made of wood
or pottery bearing the figure of the scarabaeus in intaglio, were used
to mark the victims which had been examined and passed as proper for
the sacrifice. The scarabs, as we have remarked, were usually engraved
with incised hieroglyphic symbols on the under side, frequently with
those used on one of his cartouches by the reigning pharaoh, and were
then worn by their owners to show veneration for him, as the
representative of the deity upon earth, or from national pride. The
names of deities, officials, private persons, and even only monograms
or devices, at later periods, were engraved on the bases. The best
class were usually made of a fine, hard, green basalt; sometimes they
were joined to the representation of the human heart on which was
inscribed "Life, Stability and Protection." This was evidently
talismanic.

The principal period of their manufacture in large quantities, was in
the reign of Tehuti-mes, or Thotmes IIIrd, of the XVIIIth Dynasty
(_circa_ 1600-1566 B.C.) Other times were the XIXth and XXth
Dynasties.

The large and small scarabs form two classes. Those two to three
inches in length belong to the larger, and were usually for use inside
of the mummies in place of the heart. There are also some of very
large size; one made of basalt now in the British Museum, is five feet
high.

The making of the shape of the scarab in cameo, in soft material was
easily done, and the incising of its flat under surface with the
hieroglyphics not difficult; the artist most likely used, one or more
instruments of different sizes, formed at the end like a very small
chisel or bradawl, and gouged or punched out the figures and
inscriptions desired, before the glazing or enameling was put on, this
gave a flat appearance at the depth or bottom of the incised work. On
those of hard stone they used hand-drills or the lathe.

I condense the following re