True fresco method (painting into a thin layer of wet plaster) seems not to have been used. It seems the paint was applied to dried plaster, and then afterpainting a protective varnish or resin layer was applied. This explains why so many paintings with some exposure to the elements, such as those on the temples, have survived remarkably well. Small objects including wooden statuettes were often painted using similar techniques. Many Ancient Egyptian paintings have survived due to Egypt’s extremely dry climate.

In the Old Kingdom they used copper and tin to make arsenic bronze. Arsenic was frequently found with copper. It is thought they added realgar (arsenic sulfide) to the bronze mixture, raising the amount of arsenic in the bronze to more than 1%. The reason for making this type of bronze could be because the arsenic hardens the alloy making it useful for tools, and gives the surface a silvery sheen. In the later part of the Old Kingdom and on into the Middle and New Kingdom, more use of malachite as a copper ore reduced the arsenic component, and they produced pure bronze.

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Beolens, Bo; Watkins, Michael; Grayson, Michael (2011). The Eponym Dictionary of Reptiles. Baltimore: Johns Hopkins University Press. xiii + 296 pp. ISBN 978-1-4214-0135-5. ( Eryx colubrinus loveridgei, p. 161). Ancient Egyptian artists are known for developing a wider range of materials for their art. This started early in the history of the Egyptians and continued throughout their history using materials that were both local and imported. Later, around the 1st century BCE in the Ptolemaic Period (323-30 BCE), some Egyptian artists developed a technique for painting mummy portraits using hot beeswax mixed with coloured pigments. The coloured wax was applied to the surface, generally wood. This method was called encaustic painting from the Greek enkaustikos meaning ‘to burn in’, because the heat was so important for this type of paint. A wax encaustic painting technique was described by the Roman scholar Pliny the Elder in his Natural History from the 1st century CE. The oldest surviving encaustic panel paintings are the Romano-Egyptian Fayum mummy portraits from the 1st century BCE (Figure 5). When they created the pyramids they used sand ramps, levers and pulleys to allow workmen and materials to move up as the height of the pyramid increased. When the general structure was completed the artists started decorating from the top down, removing ramp sand as they went down. Exterior walls contained only a few small openings. Pigments were mostly mineral but some lake pigments were used, chosen to withstand strong sunlight without fading. The binding medium used in painting is not fully known, but egg tempera and various gums and resins have been identified.

The Egyptian sand boa is heavily-built snake with a small head, small eyes, vertical pupils, and a short tail. Scale texture is extremely smooth, except on the tail, which is covered in bumps. Adult female specimens of G. colubrinus are rarely more than 91cm (3 feet) in total length (including tail). [3] The average Egyptian sand boa grows no longer than 12-24" (30-60cm) long, with males being significantly smaller than females. [5] Egyptians used hieroglyphic and pictorial carvings in brilliant colours to decorate Egyptian structures, and included symbols such as the sacred scarab beetle, the solar disc, and the vulture. Pigments in Egyptian art Solid lumps of these minerals were ground to a fine powder, and then mixed with a plant or animal based binder. The paint would be applied to the surface as a single layer or wash. A series of washes would be applied to create effects and different hues of colours. Lake pigments

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The Egyptians also developed the use of a ‘ground’ to paint on. This consisted of a fine powder of white calcite mixed with gum arabic (a natural gum from two species of acacia trees). This development was probably due to the richness of minerals in Egypt which enhanced the range of pigments. Onto the base ochre colours Egyptians added dark and light blues, greens, violet, white and gold to the palette. Egyptian Sand - A Classic Dark Yellows Paint that Remains Popular Year After Year. One of 40 colours available in this size, Egyptian Sand is a unique shade of dark yellow paint that provides a comforting presence to any room setting. Instantly add a touch of sunny warmth to any space, and to any room, with this beautiful dark Yellows paint. A classic Yellows shade that remains popular year after year. It's a gentle, sunny and comforting colour, reminiscent of a soft ochre. - Crown Colour Specialist. When recognized, Eryx colubrinus loveridgei is said to occur in the southern part of the range [3] and is described as being more orange in color.

The Egyptians also manufactured many objects, from a material known as Egyptian faience. This is a quartz-based medium that could be shaped and moulded into small objects like statutes. These would be glazed with a range of minerals that would give the object colour although turquoise blue is the most common. Papyrus and ink Most statues were painted. Likewise, when the Egyptian artists created an object from wood or metal, they would paint it. some reds from realgar, a sulfide of arsenic (AsS) used today to give the red colour in some fireworks; Eryx colubrinus is most active at night, but may be irregularly active during the day. This species is fossorial and spends most of its time underground. During the hotter times of the year, E. colubrinus seeks refuge beneath stones and in the burrows of small mammals. [3] However, they have also been known to occasionally climb trees. [5] Diet [ edit ]

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Stimson (1969) recognized two subspecies: Eryx colubrinus colubrinus Linnaeus and E. c. loveridgei Stull, [11] but mentioned that a number of other authors, including Ahl (1933), Loveridge (1936), Scortecci (1939), and Parker (1949), questioned whether E. c. loveridgei was valid and considered the species to be monotypic with geographic variation. [2] The Egyptians invented paper in the form of papyrus sheets, split nib reed pens and ink. They mixed soot with vegetable gum and beeswax to make crude inks. They also substituted soot with other organic material to make ink of different colours, such as red ochre to make red ink. Cosmetics

The Egyptians used chalk, white clay, and crushed bones. These are insoluble calcium carbonate, alumina and calcium phosphate, respectively. Today we tend to use barium sulfate, calcium sulfate, aluminium hydroxide, and aluminium oxide (alumina), all of which can be produced cheaply from inexpensive ores. Indigo lake, as used by the Egyptians, was originally produced from the leaves of woad found in ancient Egypt. Painting The Ancient Egyptians also used a lake pigment called indigo. The word lake came not from a water lake but from the word lac (a resinous secretion). The Hindi word lakh was taken into the Arabic word lakk and the Persian word lak. Lacquer has the same origin. Crown's most popular interior wall and ceiling paint; Walls & Ceilings Matt Emulsion provides a rich, non-reflective finish with no surface shine. Offering excellent versatility and complete coverage, this water-based paint can be applied throughout your entire home including living rooms, dining rooms, bedrooms and hallways. Enhance your living space today and draw inspiration from the beautiful palette of highly-pigmented colours available. Colour in Egyptian art was formalised into those for naturalistic paintings (landscapes, daily life and travel stories) and those for religious paintings (funerary and medical art). Paint made from a wide range of materials was laid on in flat washes, pigment by pigment, using brushes made from fibrous wood such as palm ribs or twigs bound together (Figure 4). The ancient Egyptian civilisation seems to be one of the first in which people used cosmetics to enhance their appearance. They used kohl for decorating eyes. Kohl was made by combining soot with the mineral galena (lead sulfide). There are a few ancient Egyptian paintings showing people wearing green eye makeup. This could have been made by mixing malachite (copper (II) carbonate) with galena. The ancient Egyptians believed that applying kohl protected the wearer from evil, perhaps because they had realised that the substance had the potential to prevent or or cure some eye diseases. Reliefs and drawing techniquesEryx colubrinus, the Egyptian or Kenyan sand boa, [3] is a species of snake in the family Boidae. The species is endemic to Northern and Eastern Africa. Three subspecies are recognized. [4] Description [ edit ] Shi et al (2023) proposed that E. colubrinus was the sister species to the Miocene fossil species E. linxiaensis from Gansu, China. This suggests repeat dispersal events of the genus from Africa to Eurasia during the Miocene. [12] Etymology [ edit ] Eryx colubrinus is found in North Africa from Egypt as far west as Niger (Aïr), including Somalia, Ethiopia, Sudan, Kenya, and northern Tanzania. A single specimen has been reported from Yemen. The type locality given is "Ægypto". [2] Habitat [ edit ] Egyptians were also famed for their relief art, which was usually painted. The two forms of relief are raised (where the figures stand out from the surface) and sunken (where the figures are cut into the surface). Sunken relief is the main form in Egyptian art. a b c d e f g Mehrtens JM (1987). Living Snakes of the World in Color. New York: Sterling Publishers. 480 pp. ISBN 0-8069-6460-X.