DOI Page / Citation link:
https://doi.org/10.11588/diglit.5538#0128
10S PHARAOHS, FELLAHS, AND EXPLORERS.
of a single pearl from which is suspended a horizontal bar
of gold, while from this bar hang two more pearls, each ter-
minated by a pyramidal cluster of three small gold balls.
The necklace is particularly interesting, being the only rep-
resentation of an elaborate Egyptian collarette in the whole
series. It is three rows deep, the two upper rows being
apparently of chain-work, while the lowest row consists of lo-
tus-bud pendants, colored red to represent carnelian. Neck-
laces of these carnelian lotus - bud pendants are frequent-
ly found with mummies of the Roman period, and many
fine specimens enrich the glass-cases of the principal Euro-
pean museums. The design is of remote antiquity, and
the lotus pendant in glass and porcelain is found in graves
of Pharaonic times in Upper Egypt. The Etruscans copied
it at an early date, changing the lotus-bud. either intention-
ally or by mistake, into the amphora, which it resembles in
form ; and it is this very lotus-bud pendant of Egypt which
we find reproduced in the dedicate and elegant gold am-
phora necklaces of Etruria. Revived by Signor Castellani
of Rome, this exquisite design again became popular daring
the later half of the present century.
The young Greek who comes next (p. 10G) has a modern
type of face, good features, and a grave preoccupied expres-
sion, such as might become a student of philosophy or sci-
ence. The brows are slightly knitted, as if from habitual
meditation; the head is well posed and well balanced; and
the hair is remarkably free and well put in. He wears a dull
green chiton with a purple stripe on the right shoulder, and
a himation of the same color. The panel is slightly cracked
in several places.
In going through this series of paintings, one curious and
interesting question inevitably suggests itself; namely, the
immediate object with which these portraits were executed.
Were they painted for the pleasure of the sitter and his fam-
ily, and for the adornment of private houses? Or were they
painted expressly for the decoration of mummy-cases, and
in commemoration of the dead '. If the former, then they
of a single pearl from which is suspended a horizontal bar
of gold, while from this bar hang two more pearls, each ter-
minated by a pyramidal cluster of three small gold balls.
The necklace is particularly interesting, being the only rep-
resentation of an elaborate Egyptian collarette in the whole
series. It is three rows deep, the two upper rows being
apparently of chain-work, while the lowest row consists of lo-
tus-bud pendants, colored red to represent carnelian. Neck-
laces of these carnelian lotus - bud pendants are frequent-
ly found with mummies of the Roman period, and many
fine specimens enrich the glass-cases of the principal Euro-
pean museums. The design is of remote antiquity, and
the lotus pendant in glass and porcelain is found in graves
of Pharaonic times in Upper Egypt. The Etruscans copied
it at an early date, changing the lotus-bud. either intention-
ally or by mistake, into the amphora, which it resembles in
form ; and it is this very lotus-bud pendant of Egypt which
we find reproduced in the dedicate and elegant gold am-
phora necklaces of Etruria. Revived by Signor Castellani
of Rome, this exquisite design again became popular daring
the later half of the present century.
The young Greek who comes next (p. 10G) has a modern
type of face, good features, and a grave preoccupied expres-
sion, such as might become a student of philosophy or sci-
ence. The brows are slightly knitted, as if from habitual
meditation; the head is well posed and well balanced; and
the hair is remarkably free and well put in. He wears a dull
green chiton with a purple stripe on the right shoulder, and
a himation of the same color. The panel is slightly cracked
in several places.
In going through this series of paintings, one curious and
interesting question inevitably suggests itself; namely, the
immediate object with which these portraits were executed.
Were they painted for the pleasure of the sitter and his fam-
ily, and for the adornment of private houses? Or were they
painted expressly for the decoration of mummy-cases, and
in commemoration of the dead '. If the former, then they