DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.11365#0037
i6o
36
36
42
2
3
3
THE MANUFACTURES. 27
to make them hollow inside. These tubes were some- glass spirally round another, and bending the two
times used for beads, and no other purpose for round the vase; the handles were attached; and as
them has been noticed. In no case are they known often as the glass became too cool to work in any of
to have been bent, to be formed into ornaments or these processes, the end of the rod could be just
syphons. placed into the furnace, and the half-formed vase
57. The usual mode of bead-making was by wind- warmed up to working point. When the whole was
ing a thin thread of drawn-out glass around a wire, finished, the metal rod in cooling would contract
These wires are actually found with the beads still loose from the glass ; it could then be withdrawn,
stuck on them (Pl. XIII, 59-61). When I say wire, the sand core rubbed out, and the vase would be
I do not mean necessarily drawn wire, as wire-drawing finished.
is not known till Roman times, if then. (The piece Of the fragments of vases of which enough remained
of wire rope in the Naples Museum needs some to shew the design clearly, and which had a distinct
voucher for its age.) And what appears like bronze pattern, the number of pieces was—
wire, that I have found of the XVIIIth dynasty shews Single-dragged
facets of hammering when magnified. Double-dragged
Many beads were imperfectly formed, and left as Twirled
spirals owing to the tail of glass thread not being Spirals '
united to the body of the bead. These are found of White blotches
a corkscrew shape, as in Pl. XIII, 53, etc. Some Bowls .
flat beads were made by coiling a long bead, flatten- The single-dragged are those only dragged in one
ing it, and then cutting it across, as in XIII, 57, 60. direction on the face, forming a pattern of UUUUU ;
The pendant beads, up to i-J- inches long, shew plainly the double-dragged are those dragged alternately in
the coils of the thread by which they were built up, each direction, forming a pattern of WWWW.
in the clear structure of the glass. And every bead This style of glass descended into Greek times, and
of this age shews more or less of the little peak at was largely used in Magna Graecia ; but the later
each end where the glass thread was finally separated styles are all coarser, and have not the brilliancy and
from it. On the contrary the Coptic glass beads are flat face that mark these earlier products, which are
all made by drawing out a glass tube, as shewn by now firmly dated to 1400 b.C.
longitudinal bubbly striations ; and then the tube was 59. Beside the working of glass in a soft state,
rolled under an edge across it, to nick it, so as to there was also good work in cutting and engraving,
break up into beads. It is impossible to confound a There are pieces of glass with polished faces and cut
bead of the early process with one of the later. mouldings ; with engraved patterns ; with engraved
The drawn-out glass rod was commonly used for subjects (as various rings, etc., XIV, 23, 53 ; XV,
bending into unclosed circles for ear-rings. 133); a piece of an opaque white glass bowl, imitating
58. The most elaborate use of glass was for the fine limestone, and deeply engraved for inlaying ;
variegated vases. These were all made neither by rich blue glass volutes for inlaying, probably in
blowing nor by moulding in moulds, but by hand alabaster, like the blue glass and alabaster frieze of
modelling. A tapering rod of metal was taken, as Tiryns ; and hieroglyphs for inlaying in the walls,
thick as the intended interior of the neck ; on the end cut in glass.
of this was formed a core of fine sand, as large as the 60. The colours are very varied, and in sorting
intended interior of the vase. The rod and core were over hundreds of the drawn glass rods it seemed as if
dipped in the melted glass and thus coated. The no two pots of glass had been quite alike ; so that a
coat of glass was then hand-worked ; the foot was few pieces of each batch might be found, but no exact
pressed out into shape, like the pressed feet of the match beyond those. There are purple, opaque
Roman glass cups ; the brim was turned outward ; violet, blue, green, yellow, opaque red, brown, black,
the pattern was applied by winding thin threads of and white. Most of these were both transparent and
coloured glass around the mass, and rolling it so as opaque ; and the variety of blues and greens is in-
to bed them into the body of the glass ; the wavy definite. •*
design was made by dragging the surface upward 61. Glazing was a highly developed art at this
or downward at intervals ; the twisted margin of the period, and reached its greatest successes under
brim, or the foot, was made by winding one thread of Akhenaten. Whole statues of# glaze, and walls
E 2
36
36
42
2
3
3
THE MANUFACTURES. 27
to make them hollow inside. These tubes were some- glass spirally round another, and bending the two
times used for beads, and no other purpose for round the vase; the handles were attached; and as
them has been noticed. In no case are they known often as the glass became too cool to work in any of
to have been bent, to be formed into ornaments or these processes, the end of the rod could be just
syphons. placed into the furnace, and the half-formed vase
57. The usual mode of bead-making was by wind- warmed up to working point. When the whole was
ing a thin thread of drawn-out glass around a wire, finished, the metal rod in cooling would contract
These wires are actually found with the beads still loose from the glass ; it could then be withdrawn,
stuck on them (Pl. XIII, 59-61). When I say wire, the sand core rubbed out, and the vase would be
I do not mean necessarily drawn wire, as wire-drawing finished.
is not known till Roman times, if then. (The piece Of the fragments of vases of which enough remained
of wire rope in the Naples Museum needs some to shew the design clearly, and which had a distinct
voucher for its age.) And what appears like bronze pattern, the number of pieces was—
wire, that I have found of the XVIIIth dynasty shews Single-dragged
facets of hammering when magnified. Double-dragged
Many beads were imperfectly formed, and left as Twirled
spirals owing to the tail of glass thread not being Spirals '
united to the body of the bead. These are found of White blotches
a corkscrew shape, as in Pl. XIII, 53, etc. Some Bowls .
flat beads were made by coiling a long bead, flatten- The single-dragged are those only dragged in one
ing it, and then cutting it across, as in XIII, 57, 60. direction on the face, forming a pattern of UUUUU ;
The pendant beads, up to i-J- inches long, shew plainly the double-dragged are those dragged alternately in
the coils of the thread by which they were built up, each direction, forming a pattern of WWWW.
in the clear structure of the glass. And every bead This style of glass descended into Greek times, and
of this age shews more or less of the little peak at was largely used in Magna Graecia ; but the later
each end where the glass thread was finally separated styles are all coarser, and have not the brilliancy and
from it. On the contrary the Coptic glass beads are flat face that mark these earlier products, which are
all made by drawing out a glass tube, as shewn by now firmly dated to 1400 b.C.
longitudinal bubbly striations ; and then the tube was 59. Beside the working of glass in a soft state,
rolled under an edge across it, to nick it, so as to there was also good work in cutting and engraving,
break up into beads. It is impossible to confound a There are pieces of glass with polished faces and cut
bead of the early process with one of the later. mouldings ; with engraved patterns ; with engraved
The drawn-out glass rod was commonly used for subjects (as various rings, etc., XIV, 23, 53 ; XV,
bending into unclosed circles for ear-rings. 133); a piece of an opaque white glass bowl, imitating
58. The most elaborate use of glass was for the fine limestone, and deeply engraved for inlaying ;
variegated vases. These were all made neither by rich blue glass volutes for inlaying, probably in
blowing nor by moulding in moulds, but by hand alabaster, like the blue glass and alabaster frieze of
modelling. A tapering rod of metal was taken, as Tiryns ; and hieroglyphs for inlaying in the walls,
thick as the intended interior of the neck ; on the end cut in glass.
of this was formed a core of fine sand, as large as the 60. The colours are very varied, and in sorting
intended interior of the vase. The rod and core were over hundreds of the drawn glass rods it seemed as if
dipped in the melted glass and thus coated. The no two pots of glass had been quite alike ; so that a
coat of glass was then hand-worked ; the foot was few pieces of each batch might be found, but no exact
pressed out into shape, like the pressed feet of the match beyond those. There are purple, opaque
Roman glass cups ; the brim was turned outward ; violet, blue, green, yellow, opaque red, brown, black,
the pattern was applied by winding thin threads of and white. Most of these were both transparent and
coloured glass around the mass, and rolling it so as opaque ; and the variety of blues and greens is in-
to bed them into the body of the glass ; the wavy definite. •*
design was made by dragging the surface upward 61. Glazing was a highly developed art at this
or downward at intervals ; the twisted margin of the period, and reached its greatest successes under
brim, or the foot, was made by winding one thread of Akhenaten. Whole statues of# glaze, and walls
E 2