Where signs are worn or decayed it is needful to try various lighting. This can be done in the open air, by shading the part by the hands placed around it as a sort of tube, the head blocking out the light over the tube. Then quickly raise a hand alternately, so as to reverse the oblique lighting, and watch the effect on the sign.
If the stone has not too tender a face, careful washing often brings out an inscription; and in such cases it is usually far easier to copy from a wet than from a dry stone.
If reliefs have been much weathered they can be made plain for photographing by laying horizontal and covering with sand; on wiping away the sand from the relief the ground will be left flat sand, so hiding the confused hollows of weathering.
The safest way for drawings to travel is to post them at the nearest post direct to where they will be worked up. The Postal Union takes rolls of 21 cm. thick, 60 cm. long, up to 5 kilos as parcels, or rolls of 10 cm. thick, 75 cm. long, up to 2 kilos by book post open at ends. This is far better than carrying rolls by hand.
Wet squeezing. Where there is no colour, and the stone is strong and not crumbling, a wet squeeze is the best copy. There are three purposes for it, and the method differs for each; (1) thin single sheet kept fresh on the outer face for photographing later; or (2) single sheet well beaten in and patched, depending on p.r.i.c.king the outlines and hand-copy from it, or blacking over the relief on the inner side and photographing; or (3) double sheet hard beaten, and patched in the hollows, for plaster casting afterwards.
For (1) there is no need to get an impression of the hollows to the bottom, and the face of the paper should be smooth. A soft paper, with little or no size, and a soft clothes-brush will do well for this. The sheet should cover the whole inscription, or have as few joints as may be. The stone should be dabbed with a wet brush so as to saturate the face, the sheet of paper well soaked in water laid upon it, taking care not to leave bubbles, and then dabbing firmly with the brush will drive the paper into the hollows. If the stone is polished or very smooth, it is needful to peel off the paper while wet by holding two corners, and lay it reversed on a flat surface to dry; if left on the stone the contraction will destroy the impress.
Out of doors the paper can be held down by pebbles around it, or by sand on the edges, to prevent the wind catching it.
(2) The stronger squeeze should be of a tough paper with moderate sizing. Cut the paper to the form of the stone. Thrust it into a pail of water, knead it about vigorously, roll it into a ball and pummel it, so as to break the grain and let the water well into it. Then wet the stone, shake out the paper like a wet handkerchief, full of creases, lay it on the stone and begin to beat it in with a hard, long spoke-brush. A few strokes round the edge will catch it down so that the wind does not disturb it. Then begin to beat it heavily along the top edge; beat it to a pulp, and patch with strips left soaking in the water wherever breaks occur. If the stone is porous the paper may part from it, especially if expanded by beating; the only course then is to slush more water on the face so that it will go through the breaks and hold the paper down again. It may be needful to slit the paper to let the water go below it. Beat down again, enough to fix it.
(3) For casting purposes a final backing sheet, moderately beaten on, is needed to hold the squeeze together and stiffen it. Either (2) or (3) can be left on the face of the stone till quite dry, and then carefully detached by lifting up from one corner, and slipping a dinner-knife or a slip of wood under the paper to lift any part that sticks.
Stiff squeezes as (3) must be packed flat; thin, as (1) and sometimes (2), may be rolled in a large curve, but this always deteriorates a squeeze.
For plaster casting, a squeeze should be heated on a stove and brushed over with melted paraffin, or better wax, sufficient to cover the face without choking the finer detail. Before each cast the face should be lightly oiled with a tuft of wool.
Small objects.
These can be copied by a thin paper squeeze, and the squeeze may be mounted by pasting a card and lightly pressing the squeeze back down on it. This will take out all c.o.c.kling and make it lie flat for photographing.
Tin-foil is very handy for squeezes, and may be saved from chocolate for this. Press it firmly on a coin or seal with a tuft of wool, or beat it with a soft tooth-brush, being careful to avoid creases. The foil should then be floated on water, hollow back up, and blazing sealing-wax dropped into it to back it. The resulting positive can be then stuck on card.
For plaster casts of coins the face should be dusted with French chalk, as also a smooth bed of plasticine; the coin can then be pressed in safely without any possible risk, and afterward plaster cast in the mould. Sealing-wax is said to be sharper, but there is a risk of its sticking to the coin. If it is used, breathe hard on the coin, or wet it, before impressing; and when first set lift it slightly to detach it, and then replace till cold. Or tin-foil may be used, as in making positives; but, instead of floating on water, press plasticine on the foil while it is still on the object.
For curved surfaces, as cylinders, any of these methods can be used; the plasticine is the more successful.
In all casting of plaster on a small scale, use a soft camel-hair brush. Mix the plaster in the palm of the hand with a knife, take up some of the wettest to brush over the face of the moulds (a dozen scarabs or small coins done at once); then put he brush in water, and take up thicker plaster with a pocket-knife to drop on as a backing.
This avoids air bubbles without using too weak a plaster.
Copying hieroglyphic inscriptions.
Where possible a wet or a dry squeeze should be taken of any inscription. When hand copying is necessary, the main matter is to get the cartouches of king"s names accurately, and the date at the beginning, examining specially whether single strokes, I I I I, have been connected above, n n, forming the ten sign. The main difficulty for any one not knowing the 800 signs is to distinguish between those that are alike, especially when damaged. For this purpose the commonest signs that may be confused are here placed together, so that the essential points of difference may be noticed. A small cross is placed here by small points of distinction which might escape notice.
[Ill.u.s.tration I: SOME HIEROGLYPHIC SIGNS LIABLE TO BE CONFUSED WITH EACH OTHER]
6. Photography.
The camera and material have been described under outfit.
Lighting and preparation of objects is a main element of success.
When first looking over any ruins, make a list of every view wanted, with the time of day when the sun will be right for it. Then follow the time-table, and so get the best lighting all in one day.
For movable stones or figures place them in half-shade, as a doorway, and then tilt every way until the best lighting is found, fix them in that position, and then set up the camera square with them.
The camera should usually be fixed to look downward vertically, and then variation up to 40 degrees can be got by the legs. Hold the camera in the right position, keeping the legs off the ground, and then drop the legs to find their own place; thus very skew positions can be fixed quickly.
Small objects are best laid on black velvet, and taken vertically.
Sc.r.a.ps of charcoal are useful to prop them in exact positions. A sheet of white paper stuck on a leg of the stand may be useful to prevent shadows being too heavy. Where outline, and not flat detail, is wanted, then a light ground is best; the most perfect is a sheet of ground gla.s.s with white paper a foot or two below it. If the ground gla.s.s cannot be had, a good subst.i.tute-also useful for a camera gla.s.s-is plain gla.s.s with a sheet of tissue paper (or the packing paper of films) stuck on with paraffin wax.
The dressing of objects to show up clearly is often needful. Incised objects can be filled in with charcoal powder if light, or chalk if dark; in any case a coa.r.s.e powder, so as not to stain the object. For faint cutting on gla.s.s or crystal go over the lines with "China ink in a pen, so as to cover them. Harden the ink in the sun, and then gently wipe with a damp finger until all the excess is removed and only the roughness of the lines remains black. On large objects light dust or sand is often useful, to make relief clearer.
For objects in a bad light, or in the interior of tombs, reflected light must be used. Lids of biscuit tins serve well; a lid in the sun sixty feet off, and another lid reflecting the light on to a wall, will suffice for a two minutes" exposure of a slow plate. Three or four successive reflections into a totally dark chamber will suffice in five or six minutes.
When an important subject cannot be revisited it is well to take duplicates; the camera should be shifted laterally a few inches for a near object, or a few feet for a distant view, and then the two films will form a stereograph, if both succeed.
In arranging groups of small objects, put together what will go in a three-inch circle, and minor pieces around, and then the best in the middle can be printed direct on lantern slides.
7. Preservation and Packing.
While travelling little can be done for preserving objects. Papyrus rolls should be wrapped at once in a damp handkerchief, to be carried, and then wrapped in paper, packed in a tin box, and filled round with cotton wool. Small papyri can be safely damped in a wet cloth, and flattened out between the leaves of a book; secure one edge straight in the hinge, and gradually press flat and secure by advancing leaves over it. Gla.s.s, if perfect, should be packed in tins with wool; old food or tobacco tins do well for tender things.
Flint implements and coins, though hardy, should be saved from grinding by wrapping in waste paper.
Ivory, if it has been buried, is very liable to flake. The cure is to soak it in paraffin wax; but temporarily it is secured by winding cotton thread round it in many directions. Some anoint it with vaseline, but if vaseline penetrates the ivory, it will not take up paraffin or gelatine later. Tender wood may be likewise saved.
A much-cracked glazed jar was packed by winding string round it in all directions, with tufts of wool under the string.
A whole mummy in most fragile condition, so that it could not be lifted, was made up solid with 40 lb. of paraffin wax which was melted out of it afterwards in England, making hardly any change. If contracted burials should be preserved, dust carefully, splash on about 5 lb. of paraffin wax heated to smoking-point. When cold, detach from soil, turn over, paraffin the lower side, and build up weak parts with a sludge of melted paraffin and sand, nearly chilled.
About 8 to 10 lb. of wax will do the whole. The skull should be packed separately. Pad all hollows of the body with soft rag to spread pressure in packing. Paraffin wax is the best preservative as it is tough, and may be used as a coat over an object for safety.
When not needed it can be cut away, or melted away, and cleaned off completely with benzol. It should be melted in an iron saucepan, as solder will give way if it is superheated. As it melts at about 120 degrees F., and boils at about 600 degrees F., it can be greatly superheated, and used when smoking, so as to penetrate deeply into wood or porous material. It is perfect for strengthening skulls; most rotten examples slopped with paraffin, and finally soused for a few seconds so as entirely to cover the bone in and out, will travel safely, if not crushed.
Boxes must always have corner posts, inside or out; see that the sides are nailed up to the edges to the posts, or the lid or bottom may part by the side splitting. See that all nails--except for the lid--are driven slanting alternately one way and reversed, this prevents sides or bottom drawing off. Nail the lid with many short nails, so that it can be raised without splitting.
To secure heavy objects in a mixed box, an inverted rough stool is the best, the cross piece on the object below, and the sides coming up to the lid. If cross bars are nailed in a box, damage may be done to an object in forcing the bars loose. It is often best to put heavy and light things in the same box, to equalize weights in journeying; if well secured, a mixed boxful travels well. Be very careful that a wedge-shaped stone cannot force itself loose by repeated jolts, or it may split a box.
Slabs of stone ire best packed in open shallow boxes face down on straw or wool, secured by a few diagonal cross bars on the top, as then they do not need to be opened for customs. All stones of regular form should be supported at a fifth of the length from each end. No bedding on a box is worth anything, as the box will bend more than the stone, and the strain will all come on the middle. Very heavy blocks are best with sacking on the face, and roped round in various parts.
Pottery is most difficult to pack safely. For large jars, mark the points of contact on the box, and nail on cushions of old cloth stuffed hard with straw, so as to pad the jar on all sides; make sure that it cannot twist about into a diagonal position off the pads.
Long boxes, five or six feet, with three or four cross divisions, are best. Begin packing, say four pots with straw, at one end of the box, press up a cross board tight on them, and nail through the sides: then another batch likewise; about one inch thick of hard-pressed straw is needful at each contact. Twist straw into rough bands, and wind it round each pot. Fill up corners to prevent the bands shifting loose. Empty small tins make good stuffing for blank s.p.a.ces. Old newspapers torn to bits and rolled into b.a.l.l.s make good packing for pots and hold them firmly, but this method is dangerous if the packing becomes wetted. Pots should always be packed tight. Old sacking or cotton stuff may be tied on over the mouth of large pots, to prevent straw slipping in, and loosening the packing.
Bronzes and coins should not be cleaned in any way, till in a settled work place.
8. Forgeries and. Buying.
Most travellers wish to buy some things of interest, and in remote districts they may do good service in rescuing important objects which may be wanted in museums. Forgeries are ubiquitous, even in most obscure places in the hands of peasants, either supplied by dealers, or casually obtained, often in good faith. It is best to inquire of local collectors and museums as to the kinds of forgeries met with. The following notes are to show the novice how far he may go safely.
Bronze figures with a thick red patina, which scales off readily sometimes, or with thick green patina cracked, or hard green or brown patina, are safe. Thin green patina, or bare brown or black metal is dubious.
Papyri in roll, flexible though fragile, in known Greek or Egyptian writing, are fairly safe. Lumps stuck together, brown and sc.r.a.ppy, are made up.
Coins cannot be safely bought unless patinated, copper or silver.
Only an expert can judge of gold or "clean silver.
Jewellery of small size, as earrings and bracelets, is generally safe, if the age of the design is known. Modern wire is always drawn, ancient is irregular. Look for concretions of lime in the hollows, and for the dull face of old gold. If once cleaned there is little to distinguish old from modern gold.