(Saite) found at Hawara, show what the Egyptians could have achieved in this branch of the art if they had cared to cultivate it.  Funerary cones were objects purely devotional, and the most consummate art could have done nothing to make them elegant.  A funerary cone consists of a long, conical mass of clay, stamped at the larger end with a few rows of hieroglyphs stating the name, parentage, and titles of the deceased, the whole surface being coated with a whitish wash.  These are simulacra of votive cakes intended for the eternal nourishment of the Double.  Many of the vases buried in tombs of this period are painted to imitate alabaster, granite, basalt, bronze, and even gold; and were cheap substitutes for those vases made in precious materials which wealthy mourners were wont to lavish on their dead.  Among those especially intended to contain water or flowers, some are covered with designs drawn in red and black (fig. 221), such as concentric lines and circles (fig. 222), meanders, religious emblems (fig. 223), cross-lines resembling network, festoons of flowers and buds, and long leafy stems carried downward from the neck to the body of the vase, and upward from the body of the vase to the neck.  Those in the tomb of Sennetmu were decorated on one side with a large necklace, or collar, like the collars found upon mummies, painted in very bright colours to simulate natural flowers or enamels.  Canopic vases in baked clay, though rarely met with under the Eighteenth Dynasty, became more and more common as the prosperity of Thebes declined.  The heads upon the lids are for the most part prettily turned, especially the human heads.[57] Modelled with the hand, scooped out to diminish the weight, and then slowly baked, each was finally painted with the colours especially pertaining to the genius whose head was represented.  Towards the time of the Twentieth Dynasty, it became customary to enclose the bodies of sacred animals in vases of this type.  Those found near Ekhmim contain jackals and hawks; those of Sakkarah are devoted to serpents, eggs, and mummified rats; those of Abydos hold the sacred ibis.  These last are by far the finest.  On the body of the vase, the protecting goddess Khuit is depicted with outspread wings, while Horus and Thoth are seen presenting the bandage and the unguent vase; the whole subject being painted in blue and red upon a white ground.  From the time of the Greek domination, the national poverty being always on the increase, baked clay was much used for coffins as well as for canopic vases.  In the Isthmus of Suez, at Ahnas el Medineh, in the Fayum, at Asuan, and in Nubia, we find whole cemeteries in which the sarcophagi are made of baked clay.  Some are like oblong boxes rounded at each end, with a saddle-back lid.  Some are in human form, but barbarous in style, the heads being surmounted by a pudding-shaped imitation of the ancient Egyptian head-dress, and the features indicated by two or three strokes of the modelling tool or the thumb.  Two little lumps of clay stuck awkwardly upon the breast indicate the coffin of a woman.  Even in these last days of Egyptian civilisation, it was only the coarsest objects which were left of the natural hue of the baked clay.  As of old, the surfaces were, as a rule, overlaid with a coat of colour, or with a richly gilded glaze.