[Illustration: PECTORAL IN SHAPE OF A HAWK WITH A RAM’s HEAD. The Louvre.] The pectoral in the centre belonged to Ramses II himself, or, at least, was executed by his order, and as a personal gift in honour of the Apis that was buried: the cartouche name _Ousirmârî_ is placed just below the frieze, and serves, so to speak, as a centre for the composition that fills the inside of the frame. There is first a hawk with a ram’s head, with spread wings which curve in order to frame the cartouche: in his claws he holds the seal, the emblem of eternity. Lower, a large uræus and a vulture spread their wings and enfold both the hawk and the cartouche in mutual protection. Two _Tats_ symbolize eternity, and fill up the empty spaces in the decoration in the two lower corners. The hawk with the ram’s head represents the soul of the sun, the uræus and the vulture are the patron deities of the South and the North: together they defend throughout the whole universe the king whose name stands between their wings, and, by the intermediary of the king, the dead man whose mummy wears the jewel. Here again the figures are designed in panels of gold encrusted with coloured pastes or small pieces of cut stones. The whole is rich, elegant, harmonious. The three principal motives grow in proportion as they descend to the lower part of the picture, according to an admirably calculated progression. The cartouche with its dull gold occupies the centre; below it the hawk forms a first band of iridescent tones, the lines of which, slightly curved back, correct the stiffness of the long sides of the cartouche; the uræus and vulture, one pair of wings seems to serve for both, envelop the hawk and the cartouche in a semicircle of enamels, the tones of which pass from red and green to dark blue, with a boldness and a feeling for colour that does honour to the taste of the workman. If the general aspect makes an impression of heaviness, it is not his fault; the form of the jewel imposed by religious tradition is so rigid in itself that no combination can correct the effect beyond a certain point. The rectangular or square frame, the cornice at the top, the two rams’ heads which fit in below the cornice, form a squat and massive whole. To fill the interior suitably, it is impossible to avoid adding to the heaviness; in manipulating the empty spaces a slender and narrow appearance is procured, as in one at least of the pectorals of Dahchour. The type of the jewels has its origin in the same ideas or notions whence Egyptian architecture and sculpture are derived: it is monumental, and seems to have been conceived for the use of gigantic beings. The usual dimensions of the pectoral are too enormous for the adornment of ordinary men and women. They only come into their own on the breasts of the Theban colossi: the immensity of the stone body on which their image is sculptured lightens them and seems to bring out their exact proportions.