The second vase is larger, for it measures about 4½ inches in height;
if the shape is similar, the detail of the decoration is very
different. The bottom is flat, and the outer surface is filled by
a lotus, drawn so as to cover it entirely. The bowl is not smooth,
but three-fourths of it are covered with a regular bossage, which
gives it the appearance of an enormous symbolic ear of _dourah_. The
method employed to produce it is not repoussé work properly so-called,
hammered from the inside to the outside. The general network was
first very lightly traced on the metal; then the rounds were outlined
with a blunt instrument and hammered into a furrow, which, pressing
down the metal round them, left them themselves in relief. The neck
was finished by an almost imperceptible rim, obtained by turning the
upper edge of the gold plaque outwards. There are four rows instead
of the three of the small vase: at the top the line of buds, then
lotuses head downwards, with alternate bunches of grapes or undefined
flowers hanging between them, then centred florets, and then fruits.
The suspensory ring is fastened to the band of petals by a _motif_ in
shape of a calf. The beast lies on its belly, the tail folded over the
back; the head, turning to the right, is extended and raised, as if to
look over the edge of the neck. It seems to have been chiselled in the
solid metal, and not engrafted, and then finished with the graver. It
is treated broadly, with a sure touch and the knowledge of animal form
that is peculiar to the Egyptians; it may be placed beside the couchant
calves that serve as perfume caskets and are masterpieces of sculpture
in wood: it will lose nothing by the comparison. The whole presents the
same characteristics as the preceding vase, and when closely examined
we are soon convinced that it comes from the same workshop; indeed,
there is little risk of mistake if we attribute both to the same artist.
[Illustration: LARGER OF THE TWO GOLD VASES (FRONT VIEW).]
[Illustration: LARGER OF THE TWO GOLD VASES (BACK VIEW).]
Public-domain text, read in full here on John Shaqi.
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