For their reds the Egyptians were content to imitate the colour of the jasper, and here again they had recourse to copper; the transparent ruby tints of the mediæval workmen, whether obtained from copper or gold, were unknown to them. Their opaque red glass owed its colour to the presence, in large quantities, of the basic oxide of copper. In later specimens as much as 15 or even 20 per cent. has been found; some tin seems to be always present, giving an opaque enamel-like appearance to the Egyptian red—perhaps the colour was prepared directly from bronze. We often find this red paste oxidised on the surface; the coating of green carbonate then gives it the appearance of a richly patinated bronze, the blood-red body only showing when the specimen has been chipped. It is an interesting point that in early times the use of this red glass appears to have been confined to inlaid work—that is to say, it was never worked up with glass of other colours. This was, no doubt, for a practical reason: during the elaborate processes of patting, shaping, and reheating involved in the old system of working, the materials must have been exposed to a strong oxidising influence, and the basic red glass would thereby have lost its fine colour; it would also, perhaps, have injuriously affected the neighbouring colours. Some such difficulties in the working together of glasses of various colours may have influenced the Egyptians in adhering to their old system of inlays, employing, that is, small pieces, separately cast or cut out in the cold from slabs of glass of various colours. In such inlays the red paste was freely used from early times. On the other hand, I do not think that this fine copper red has ever been found on a glass vase of Egyptian _provenance_. On a few rare examples of later date (note especially two alabastra in the Slade collection, Nos. 15 and 35) we find indeed an opaque red combined with other colours, and in one case it forms the base (Plate II.). This red paste is of a peculiar spotty consistence, and I am inclined to think that the colouring matter in these examples is rather iron than copper. In later days the Egyptians made use of another tint, a fine orange. This colour, indeed, would seem to be the only addition to their palette during a period of more than fifteen hundred years. The purple tint derived from oxide of manganese was known from very early times; the colour has been found in the glazes of the First Dynasty. It was, however, rarely used by the Egyptians for colouring glass. In some of the little vases from the Greek islands and elsewhere it has, however, been employed to form a zigzag of the usual type upon an opaque white ground. If we so rarely find this amethyst purple combined with other colours, this is probably for a reason of a similar nature to that dwelt upon in the case of the copper red.