The XVIIIth dynasty was the great age of the development of glazing. It began with so close a continuance of the style of the XIIth dynasty that it is hard to discriminate one from the other. Down to the time of Tahutmes III the small pieces and beads with blue colour are as those of the previous age; but the large bowls are of a brighter blue and rather a wetter glaze. At the beginning of the dynasty there is also a dark green glaze used upon schist, mostly seen on the elaborately carved kohl pots. Under Amenhotep II was made the largest piece of glazing that is known from Egypt, now in South Kensington Museum. This was a great _uas_ sceptre made as an offering, the stem of which is five feet long. This length was built up of separate sections of body ware, made each about nine inches long, so as to have sufficient firmness; after they were each baked they were then united with a slip paste of the same ware, and finally fired with a single flow of glaze over the whole five-feet length. The head was made separately. The special difficulty of firing such large pieces is to maintain a uniform heat over the whole, and to avoid any reducing flame from the fuel, which would discolour the glaze, and produce lustre ware. The heating must also be brief, so as to avoid the glaze running down, or soaking into the porous body and leaving it dry. Under Amenhotep III and IV the art of glazing reached its most brilliant development, both in its colours and in the variety of its applications. Beside the previously used shades of blue and green we meet with purple-blue, violet, a brilliant apple-green, bright chrome-yellow, lemon-yellow, crimson-red, brown-red, and milk-white. Besides the previous uses of glaze for bowls and vases, beads and scarabs, we now meet with a great variety of pendants and ornaments for necklaces, more than two hundred and fifty forms of which are known from the objects and the moulds; also flat emblems and name plaques, with stitch holes or loops at the edge, for stitching on to the muslin dresses then worn. The private person thus wore the king’s name on his arm, and the king wore the titles of the sun-god to whom he was devoted. The effect of the white muslin dresses with dazzling blue plaques and natural coloured daisies and other flowers scattered over them, must have been very striking. Another use of glaze was for architectural inlaying (fig. 117). The capitals of great columns were inlaid all over with stripes of red and blue along the palm leaf design, separated into small squares by gilt bands between. The whole capital was thus copied on a vast scale from cloison jewellery. Another use of glaze was for inlaying coloured hieroglyphs in the white limestone walls. This system was carried on in a simpler way into the next dynasty, where a great quantity of cartouches of Sety II are known; and in the walls of the temple of Luqsor are rows of holes of corresponding size, from which they have probably been taken. A