TAA i.3.23.5

                                               (IV)

later in the decoration of Persian and other book-bindings.”

          In most cases the gold overlay is evidently of a very good

quality, for it still retains its yellow brilliance and doubtless

corresponds to the “fine gold” referred to in the Ancient Egyptian

Records. In patches, however, or sometimes over a whole

surface, it is varied in colour; its hue changing from a 

dull yellow to a dark-red or a dull-purple plum colour.

The changes of colour are manifestly fortuitous, and

are due to chemical changes (tarnishing) that had

taken place during the time the shrines had been in

the tomb. The tarnished gold undoubtedly contains proportions

of other metals, such as silver, copper and traces of iron,

but whether this is due to natural or artificial alloys

has not been determined: in the case of these shrines

it may probably be natural, namely, various qualities

of native gold. In some instances the staining of the 

gold proved to be the result of organic matter which could be

readily removed by heating. (1)

<(1) 

Cf. Lucas, The

Tomb of Tut.Ankh.Amun,

Vol. II, p. 172 ff.>

          The architecture of those sepulchral shrines, built as

if for immortality, is essentially simple. The modern

designer has much to learn from the severity, yet grandeur, 

of their surfaces, set with the utmost nicety and care, and 

worked in the finest manner. Their now extinct shape