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volume 2 - Robert Bedrosian's Armenian History Workshop

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Forged Royal and Funerary Scarabs. 325<br />

scarabs was made of the beautiful greenish-blue, or<br />

bluish-green, glaze which he obtained from pounding<br />

up the genuine glazed bugle beads from the coverings<br />

of mummies. As one English archaeologist supplied him<br />

with a carefully written list of the cartouches of the<br />

principal Egyptian kings, and another sent to him<br />

from England a small portable furnace and crucibles,<br />

he was able to supply tourists with good selections of<br />

" royal scarabs " for several years.<br />

When he died, some years ago, a friend came to me<br />

on behalf of his widow, and asked me what she should<br />

do with her husband's collection of scarabs and other<br />

antiquities. I went with him and looked at them,<br />

and found among them several genuine scarabs which<br />

had served as models for him, several hundreds of " royal<br />

scarabs," some finished, but many unfinished, several<br />

moulds (a few of them ancient) for making casts of<br />

paste scarabs, moulds for making casts of rings in gold,<br />

and about half a dozen large green basalt scarabs, on<br />

which the deceased had been trying to cut the hieroglyphic<br />

text of Chapter XXXB. of the Book of the<br />

Dead. Most interesting of all was a series of large<br />

green glazed steatite scarabs, with their bases inscribed<br />

and covered with gold leaf. Each was mounted in a<br />

framework of gilded copper, upon which was fastened a<br />

ring, to which a chain could be attached. When we<br />

looked at the inscriptions on the bases of the scarabs<br />

we found that they consisted of the prenomens, nomens<br />

and titles of all the great kings of the XVIIIth and<br />

XlXth dynasties. Among them I saw duplicates of<br />

a scarab of Thothmes III in the British Museum (No.<br />

18,190) and of a scarab of somewhat similar shape<br />

and form at Cambridge, and I am now convinced that<br />

both of these are forgeries. Of course, it was out of<br />

the question to buy any of these for the British Museum,<br />

though they would have been very valuable as specimens<br />

of the art of the forger of Egyptian antiquities, and it<br />

was equally impossible to allow these clever forgeries<br />

to get into the hands of the dealers. I therefore went<br />

and talked the matter over with Maspero, who, with

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