piece of delicacy; every cell has to be
perfectly true in form, and yet all soldered, apparently simultaneously,
as the heat could not be applied to successive portions (M.D. i.). Such
work was kept up in the XVIIIth and XXVIth Dynasties. There is nothing
distinctive in later jewelry different from Greek and Roman work
elsewhere.

_Glaze and Glass._--From almost the beginning of the prehistoric age
there are glazed pottery beads found in the graves: and glazing on
amulets of quartz or other stones begins in the middle of the
prehistoric. Apparently then glazing went together with the working of
the copper ores, and probably accidental slags in the smelting gave the
first idea of using glaze intentionally. The development of glazing at
the beginning of the dynasties was sudden and effective. Large tiles, a
foot in length, were glazed completely all over, and used to line the
walls of rooms; they were retained in place by deep dovetails and ties
of copper wire. Figures of glazed ware became abundant; a kind of
visiting card was made with the figure of a man and his titles to
present in temples which he visited; and glazed ornaments and toggles
for fastening dresses were common (P. Ab. ii.). Further, besides thus
using glaze on a large scale, differently coloured glazes were used, and
even fused together. A piece of a large tile, and part of a glazed vase,
have the royal titles and name of Menes, originally in violet inlay in
green glaze. There was no further advance in the art until the great
variety of colours came into use about 4000 years later. In the XIIth
Dynasty a very thin smooth glaze was used, which became rather thicker
in the XVIIIth. The most brilliant age of glazes was under Amenophis
III. and his son Akhenaton. Various colours were used; beside the old
green and blue, there were purple, violet, red, yellow and white. And a
profusion of forms is shown by the moulds and actual examples, for
necklaces, decorations, inlay in stone and applied reliefs on vases.
Under Seti II. cartouches of the king in violet and white glaze are
common; and under Rameses III. there were vases with relief figures,
with painted figures, and tiles with coloured reliefs of captives of
many races. The latter development of glazing was in thin delicate
apple-green ware with low relief designs, which seem to have originated
under Greek influence at Naucratis. The Roman glaze is thick and coarse,
but usually of a brilliant Prussian blue,