Egyptian Cosmetic
Ancient Egypt Cosmetic

Tattoo was known and practised by the ancient Egyptians, the earliest direct evidence of Body Tattoo coming from the Middle Kingdom. Ancient Egyptian Cosmetic went beyond this, for their application was often a matter of personal hygiene and health. Jewelry worn as personal adornment, much of the Jewelry had an underlying amuletic purpose, to protect
the wearer from harm both tangible, and intangible evil forces Vain of their appearance, the ancient Egyptians considered cosmetics an important part of their dress. Nevertheless, their use went beyond this, for their application was often a matter of personal hygiene and health. Oils and creams were of vital importance against the hot Egyptian sun and dry, sandy winds. So essential were they considered that non arrival of


ointments in part payment of wages was one of the chief grievances of the striking workers at Deir el Medina during the reign of Ramesses III. The oils were necessary to keep the skin soft and supple and to prevent the onset of ailments caused by cracked, dry skin. Thus ointments figure largely in medical recipes of all kinds throughout Egyptian history. A great variety of oils and fats were available to the ancient Egyptian perfumers. These can be identified in texts and from the writings of Classical authors such as Theo phrastus, Dioscorides and Pliny. The most popular basic oil was balanos and the most widespread the castor oil used by the poor. The Egyptians were fond of strong scents, which they would blend with the base oils and animal fats to form perfumes. It is certain that the modern process of distillation using steam was not known for the extraction of essences, but there were three techniques available for producing perfumes from flowers, fruits and seeds. The first of these was enfleurage, the saturation of layers of fat with perfume by steeping flowers in the fat and replacing them when their perfume was spent. In this way the Egyptians were able to create creams and pomades. A popular form of pomade was the so called cosmetic cone which was worn on top of the head. They are frequently represented in banqueting scenes, worn not only by the guests but also by the servants. The cone is usually white with streaks of orange brown running from its top. The colouring represents the perfume with which the cone was impregnated. As the evening progressed, the cone would melt and the scented oil run down over the wig and garment, creating a pleasing scent and, no doubt, a sticky mess. Throughout the course of an evening, it became necessary to renew the scent on the cones and the tomb scenes show servants circulating among the guests, replenishing the perfumed cream.


The second process for creating perfume was maceration, that is dipping flowers, herbs or fruits into fats or oils heated to a temperature of about 65 degrees Celsius. This technique is depicted in a number of tomb scenes. The flowers or fruits were pounded in mortars and then stirred into the oil, which was kept hot on a tire. The mixture was sieved and allowed to cool. It might then be shaped into balls or cones, or, if liquid, poured into vessels. An alternative process may have been to macerate the flowers in water, cover the vessel with a cloth impregnated with fat and boil the contents of the vessel until all the perfumes had evaporated, fixing them in the fat which was then scraped off the cloth. This technique is still used by peoples living near the source of the Nile. Thirdly, there was the possibility of expressing the flowers or seeds. This process was borrowed from the manufacture of wine and oil. The material to be pressed was placed in a bag with a stick attached to each end. The sticks were twisted in opposite directions, exerting pressure on the contents. In a more sophisticated form, the bag was attached to a frame at one end. The other end was held by a stick which was twisted by a group of workmen. This technique was not used often, as most recipes specify either maceration or enfleurage. Eye paint is probably the most characteristic of the Egyptian cosmetics. Two colours were popularly used: black and green. The use of these pigments for the eyes dates back as far as the Badarian period (c. 4000 ac). Both colours have been found in early graves` as fragments of raw material, often in small bags, as stains on palettes or in the prepared state as a dried paste or powder. The prepared eye paint has been found in shells, in segments of hollow reed, wrapped in plant leaves or in small vases. The green pigment is malachite, an oxide of copper. In the Early Period this was the most popular colour, and especially in the Old Kingdom when it was applied liberally from the eyebrow to the base of the nose. In the Middle Kingdom green eye paint continued to be used for the brows and corners of the eyes, but by the New Kingdom it had been superseded almost entirely by black. Black eye paint (kohl), which was usually made of galena, a sulphide of lead, was used in the Early Period, but did not come into its own until the late Middle and New Kingdoms. It then continued right through to the Coptic period. By this time, however, soot was the basis of the black pigment.


Both the malachite and galena were ground on a palette and then mixed with either water or gum and water to form a paste. It is assumed that before the Middle Kingdom the kohl was applied with the fingers, but at this time kohl pencils begin to appear. These take the form of slender sticks with a bulbous end. They are made from wood, bronze, haematite, obsidian or glass. Some examples have a spatula end for mixing, or even a tiny spoon. The sticks are frequently attached to containers and act as a means of fastening the lid. In the predynastic period and Old Kingdom, eye paint was kept in a variety of different vessels and was probably often mixed just prior to use. During the Middle and early New Kingdoms, however, kohl was almost invariably kept in a small jar or pot of special design with a flat bottom, wide rim, tiny mouth and flat, disc shaped lid. The majority of kohl pots were made out of stone, especially alabaster, but other materials were also used, such as glazed composition, glazed steatite, glass, pottery and wood. During the New Kingdom, the kohl pot was gradually replaced by a new type of container, which was a tube formed of a length of reed or a number of lengths bound together. This tubular form was imitated in other materials: wood, ivory, glazed composition, glass and stone. Multiple containers reproducing clusters of reeds became typical, usually in wood or stone. From these basic forms there developed a 70 series of decorative types. A common variety has the form of a miniature palm column re produced in polychrome glass with multi coloured decoration. These columns also occur in glazed composition and ivory, with the variant design of a papyrus bud column. Squatting or standing monkeys holding kohl tubes appear quite frequently, as do human figures, either grotesques or young girls. Finally, images of the popular deity Bes figure on a number of containers in stone, glazed composition, ivory and wood.
Kohl was certainly used for its cosmetic value, making the eyes appear larger and more luminous, but the green eye paint also had a symbolic meaning, representing the eye of the god Horus, which was a potent amulet. Kohl may also have had a prophylactic function, the dark line around the eye stopping the glare of the sun. It was used as the basis for many eye medicines and is included in pre scriptions against eye diseases to be found in the medical papyri.

To colour their cheeks the Egyptians used red ochre in a base of fat or gum resin. Ochre may have been used as lipstick, and a scene in a papyrus now in Turin shows a woman painting her lips with a brush whilst holding a container in her hand. Henna was used as a colourant, as it is today. It was certainly used to colour hair and perhaps also the palms of the hands, soles of the feet and nails, although it has been suggested that the henna-like stain on these parts of mummies was caused by embalmers' materials.
Tattooing was known and practised by the ancient Egyptians, the earliest direct evidence coming from the Middle Kingdom. Mummies of dancers and royal concubines have geo metric designs tattooed on their chests, shoulders, arms, abdomens and thighs. In the New Kingdom, dancers, musicians and servant girls occasionally had a tiny representation of the god Bes tattooed on their thighs as a good luck charm. The toilet object essential to all beautification is the mirror. In ancient Egypt mirrors took the form of highly polished metal discs, usually of bronze. Besides being functional, mirrors developed religious and funerary uses. Their circular shape, brightness and reflective quality suggested to the Egyptians the face of the sun and its life giving powers and thus the mirror became a symbol of regeneration and vitality. The religious aspect is highlighted in the motifs used to decorate the handles. The papyrus plant, which figures frequently, is another symbol of vitality, as is the head of Hathor, a goddess of fertility and beauty. Metallic mirrors may have been restricted to the more well-to-do. For the poor a reflection in water had to suffice. The final element of dress was jewellery, a wide variety of which was worn by the ancient Egyptians. Although worn as personal adornment, much of the jewellery had an underlying amuletic purpose, to protect the wearer from harm both tangible, in the form of dangerous creatures, and intangible evil forces which might invade the vulnerable points of the body. Thus many items of jewellery take the form of amulets. Even certain of the materials used had amuletic properties, notably carnelian, turquoise and lapis lazuli. The most prominent types of costume jewellery were the collar and the pectoral worn at the neck. Collars were usually broad, covering much of the chest. They were made up of rows of beads, either plain, amuletic or floral. The strings of the various rows passed through large terminals which were themselves ornamental or amuletic, common forms being lotus flowers or falcon heads. The weight of these heavy collars was supported at the back by a counterpoise pendant called a mankhet. The pectoral developed from a single amuletic pendant hanging from a cord round the neck into a large plaque with an amuletic motif, usually a deity or a large scarab. It was worn with bead necklaces or straps. A great variety of less broad and elaborate necklaces were also worn. Head ornament took the form of diadems or filets based on bands of live flowers, but the floral forms were also copied in metal and semi precious stones. Earrings did not appear in Egypt until the beginning of the New Kingdom and they soon became quite elaborate. They were worn through wide holes punched in the ear lobes. Plain, mushroom shaped ear plugs, usually made of stone, glass or glazed composition, were also popular.
Limb ornaments consisted of armlets, bracelets and anklets, although a combination of all three was not worn until the New Kingdom and men did not wear anklets until the Ramesside age. Early types were made of shell, ivory or beads, but they developed into opulent, inlaid metal jewels designed to be worn in pairs. The Egyptians also wore finger rings. The most usual variety was a signet ring formed of a button seal or scarab, but other amuletic types were also popular. Most of the rings which survive are made of glazed composition, the design being cast in a mould. Nevertheless, heavy metal signet rings with figures of deities, royal names and protective hieroglyphs are also common.

Extract from “Egyptian Life”, Written by Miriam Stead. Published by British Museum Publications, London,1986.

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Sat Feb 4 17:08:11 2012