Technical Processes.
At Beni-Hassan, and in several of the Theban tombs, there are representations of the painter at work. When he had to spread a single tint over a large surface — brown, for instance, upon the whole superficies of a limestone statue — we see him seated upon a kind of stool, his pot of colour in his left hand, his brush in his unsupported right (Fig. 54 Vol. I.,). Sometimes his work was more complicated than this. There are a few royal portraits, and a few scenes with numerous actors, in which the whole scale of Fig. 263. — Outline for a portrait of Amenophis III. ChampoUion, p!. 232. tints at his command must have been required. He then makes use of a palette. Specimens of these palettes are to be seen in every museum. They are rectangular pieces of wood, of alabaster, or of enamelled earthenware. They usually have seven little colour cups, but a few have as many as eleven or twelve. Small styles, as large as a crow-quill, have been found with these palettes. The use of these has been much discussed. Prisse cut one and steeped it in water. It was then discovered that the reed of
