55. To the right of Bes, a small nude woman is seen, playing on the sistrum and tambourine. 60. Black granite (fig. 77). A head full of expression, representing a priest, analogous to no. 42: both are crowned with a diadem of two lotus flowers, fastened at the top of the forehead. (See other similar heads in the same glass-case). 61. Eleven plaques in yellow limestone, intended for the decoration of a temple at Athribis (Benha). They consist of fragments of bas-reliefs en creux. By the side of the human figure seated toward the left there are traces of Greek letters; the head of the figure is crowned with many symbols, crocodile, ichneumon, ram, etc., of exquisite workmanship, surmounted by the crown of Ammon. In front of this personage, the god Horus is represented, with a human body and a hawk's head, in profile to the right. Above his head are the horns of an ox and an enormous solar disc, from the front of which protrudes a uraeus. Between and above these two figures, a sphinx, in profile to left, and a falcon, with the double crown of Upper and Lower Egypt, are represented in smaller proportion. 62. Yellow limestone. Pretty little Naos, unfortunately in a poor state of preservation, but giving an exact idea of certain constructions of the Hellenistic epoch. It is dedicated to Isis who is represented in high relief, in the centre of the niche, sitting on a throne and suckling her son Harpocrates. The sides of the throne are formed by two sphinxes. Two high columns, with flower capitals, support a very lofty pediment, divided into two sections, one of which is decorated with a winged solar disc. There is a denticulated frieze above, which supports the coping, consisting of an arched cornice, in the centre of which is depicted the solar disc. A little behind, two columns with papyrus-shaped capitals, surmounted by abaci with Hathor heads, support an architrave on which is a uraeus frieze. Further behind still is the true cella whose entrance is flanked by two pedestals on which two sphinxes face one another: the entrance has only an architrave above it crowned by a denticulated frieze. A demotic inscription is engraved on the base of the Naos. Yellow limestone. From Kôm-el-Hawalid. 66. (Above glass-case A). Slab of yellow limestone, on the front face of which a long serpent is carved, in profile to right. The serpent's body is coiled round six times and its head is surmounted by the plume, symbol of truth. Good workmanship. From Alexandria. 69. (Glass-case A). Light yellow limestone, height o m. 50. Statue (unfortunately headless) of a woman, who is represented standing up with her back to a pillar, her hands hanging down by her sides, her left leg in advance of the right. She is dressed in a tight tunic which does not hide, but rather accentuates the lines and the charms of her beautiful young body, soft yet firm, elegant yet robust. The artist has worked according to the canons of Egyptian art, but evidently was under the influence of Greek art. (See MASPERO, Art en Egypte, p. 261) (fig. 78-79). 70. White limestone. 71. Marble. Two Osiris-Canopic Jars, covered with amulets in relief. 75. Yellow limestone, height o m. 43. Funerary stela, of the Graeco-Roman epoch, representing the deceased standing upright in the middle of a naos of Egyptian style. 76. Yellow limestone. A naos in which is a divinity with a woman's bust and floating hair, her lower part is in the form of a serpent raising itself up on its tail. 77. Greenish granite, height o m. 27. The torso of a statue of a woman, the rounded and soft workmanship of which may be compared with that of no. 69. 78. Black granite. Beautiful statue of a goddess or of a priestess of Isis. The shawl which covers her shoulders forms the Isis knot » on her breast. From Fuah, Garbieh. 79-80. Large blocks of limestone, resting on the ground. Gigantic foot-prints are carved on them. These foot-prints were dedicated to some divinity (Serapis, Isis) as ex-votos for a pilgrimage accomplished, or for benefits received: though more often they represented the idea of the religious value of the foot or of the foot-print as a manifestation of divinity. See in the Revue L'Homme préhistorique (1914), an Le pied divin en Grèce et à Rome >. BIBLIOGRAPHY. article by W. Deonna In the middle of the room, a mosaic has been placed, which was discovered in the Moharrem-Bey quarter of the town. PICTURES 1-5: To those who already know the mural paintings of Pompeii the fragments arranged here will seem very poor; nevertheless these same poor fragments are of considerable importance, not only because they form vestiges of a branch of art which must have been very flourishing at Alexandria (see Anfuchy Necropolis), but also because the Pompeian paintings in their origin and development must have been greatly influenced by the different kingdoms which were formed at the dividing up of the empire of Alexander the Great, and doubtless more especially by Alexandria itself. Besides, some of these fragments are fairly pretty. (See Pictures 3 and 5 in particular). ROOM 12. PORTRAITS AND SMALL SCULPTURAL WORK. Nearly all the Sculptures in the Museum have been collected together into Rooms 12 and 16. On account of lack of space, we have been obliged to place the colossal statue of Hercules in the middle of the Rotunda in the gallery that crosses the garden, and the colossal head of Marc Anthony in the garden itself. Unfortunately, for fear of breakage, we have been obliged to leave in Room 4 the funerary group in nummulitic limestone, in which Queen Berenice may perhaps be recognised as Niobe. The group of Dionysus and the Faun, discovered recently, has been placed in Room 20. As an introduction to this section the visitor might read in this Guide the paragraph on Alexandrian art, page 40. All the sculptures in the Museum belong to the Hellenistic and Roman epoch (from the III century B. C. to the III century A. D.). It is difficult sometimes to give its date with absolute precision, or even with approximate certainty, but in many cases again the approximate date of origin seems evident and can be affirmed without much danger of error. Our description begins at the wall to the right of the entrance. 16 (3241). White, coarse-grained Fig. 80. almost horizontal, the upper is pronouncedly semi-circular. The nose is straight, the mouth small and slightly open, the rounded lips well formed. The hair is thick, but merely sketched, somewhat curly, and hanging down on the temples. In spite of the calm of its look, this beautiful head expresses energy, one might even say passion. I believe it belongs to the IV century B. C. One is tempted to compare it with the works of Scopas. From Alexandria (?). 16a (19118). (On the large capital, at the side). Coarse-grained white marble, height o m. 31, of the face o m. 25. In spite of the poor state of preservation of this head, it is easy to see in it a portrait of Alexander the Great. The portraits of Alexander, according to the description Plutarch has left us, can be recognized by at least three essential characteristics, namely: 1. by the long hair falling over the forehead; 2. by the slightly upturned gaze (ävw ẞhéлɛiv); 3. by the pose of the head and the neck (κλίσις τραχήλου). His forehead is almost divided in half by the strong projection made by the lower portion. His eyes are deep, the eyebrows accentuated. The pupil of the eye is not marked. A cylindrical hole in the top of the head no doubt held some ornament attached to the diadem. Evidently this is a fragment of a statue. It seems to me to show the influence of the school of Scopas. From Alexandria (Rue Rosette). 17 (3242). Red granite, height o m. 34, of the face o m. 25. Schreiber recognises this as a Head of Alexander the Great, belonging to the Hellenistic epoch, and probably influenced by some statue of the Conqueror carved by Lysippus. But the work derives also from Egyptian art. Granite, to begin with, is a material employed almost exclusively by the native sculptors; and it was not usual in Greek art to carve the eyeballs of a different material and inlay them in the hollows of the eye. What was inlaid here has disappeared and we see nothing but the hollows (same technique in head No. 33 in green granite of Alexander IV, posthumous son of the Conqueror, and in No. 60, in red-coloured granite, head of Ptolemy Philopator). On the top of this head there is a large hole, which must have been used to fix an ornament: Schreiber thinks a uraeus serpent, but it would more likely be an Ammon crown. From Alexandria. BIBLIOGRAPHY. SCHREIBER, Studien ueber das Bildniss Alexanders des Grossen, p. 46 and following. m. 25. Head a 18 (3244). Fine-grained white marble, height o of a young warrior (fig. 81-82). He is turned exactly fullface, and is looking straight in front of him. He wears helmet with a chin strap. This helmet-cap forms an angle at the top of his forehead, but adheres closely to his head, leaving his ears exposed. Some long fine tresses fall on to his forehead from below the helmet. The forehead, triangular in outline, is characterised by a marked projection at its junction with the nose. His eyes are deep-set, the arch of the eyebrow is emphasised, the hollow which separates the eyes and the nose is fairly deep. The small mouth, slightly open, has not been cut in a straight line, but in a double curve. The face is oblong. The structural build of the head is based |