Gold had always been more plentiful than silver in ancient Egypt. It was found in the hills of Ethiopia, but silver had to be imported from Asia. This accounts for the great quantities of gold objects and ornaments that have been found in the tombs, and the scarcity of silver ornaments. The Egyptian goldsmiths made all kinds of vessels and personal jewellery in gold, set with lapis lazuli and other precious stones. We shall have to be content with giving, as examples of this art, the famous pectoral of Kha-em-uas, son of Rameses II. (Fig. 142), and the golden hawk (Fig. 143). [Illustration: Fig. 142.—Pectoral; Actual Size. (P. & C.)] [Illustration: Fig. 143.—Golden Hawk; Actual Size. (P. & C.)] The former is a splendid and unique specimen of a pectoral, or breast ornament for the dead. These pectorals have been found in great numbers, made of wood, metal, and earthenware. The general shape is that of a _naos_, or little temple. The Kha-em-uas pectoral is made of gold inlaid with lapis lazuli, and is thus described by M. Pierret: “Jewel in the form of a naos, in which a vulture and an uræus are placed side by side; above them floats a hawk with extended wings, in his claws are seals, emblems of eternity. Under the frieze of the naos an oval, with the prenomen of Rameses II., is introduced. Two _tet_ (or _dad_, symbol of stability) are placed in the lower angles of the frame.” The golden hawk is a similar kind of ornament, with crescent wings and seals in its claws, emblems of reproduction and eternity. The workmanship in these articles looks like that of _cloisonné_ enamels, but they are not enamels. The thin ribs of gold that surround the lapis lazuli stones in the pectoral and hawk are _cloisons_, but the stones are cut to fit into the spaces accurately, and are therefore inlaid, while in the true enamels the enamel is put in the cells and fused to the metal by fire afterwards. Enamelling as known to the Chinese was not practised in Egypt. As ivory could be obtained from Ethiopia in great quantities, it was natural that the Egyptians would make good use of it. It was a favourite material with the sculptors, and many fine examples of ivory carvings and incised work have been found in the tombs. The incised outlines on the ivory were usually filled in with black (Figs. 144 and 145). [Illustration: Fig. 144.—Fragment of an Ivory Castanet, Louvre.] [Illustration: Fig. 145.—Ivory Plaque; Late Work. (P. & C.)] Gold, silver, ivory, and ebony were worked in usually by the same Egyptian artist, as we learn from an inscription on a stele of Iritesen, an Egyptian sculptor, thus translated by Maspero: “Ah! there is no one excels at this work except myself, and the eldest of my legitimate sons. God decided that he should excel, and I have seen the perfection of his handiwork as an artist, as the chief of those who work in precious stones, in gold, silver, ivory, and ebony.” [Illustration: Fig. 146.—Egyptian Chair. (P. & C.)]