clad in a tunic of fine material with innumerable vertical folds. The mantle, of which one end lies on the left shoulder, descends behind the back, is drawn over the right hip, gathered up together in front and held in place by the left hand. In consequence it does not cover the right arm and breasts, permitting us to observe that the short sleeve of the tunic has its edges not sewn together but merely fastened by several clasps.

7. Height o m. 90. Young woman standing upright. The weight of the body rests on the right leg, the left leg is bent back sideways. She wears a tunic and mantle, the right end of which is thrown over her left shoulder; the right arm, which was raised in order to carry out this movement, is bent against her bosom and caught in the folds of the material. The pose is graceful and elegant, but the workmanship is heavy and without finesse.

In the middle of the room, on a high base:

I (3608). White marble, height 1 m. 90. Statue of an Emperor. The scarf of a commander lies across his breastplate which is not decorated with reliefs. The head of Septimius Severus has been inserted into the shoulders but does not belong to this statue.

BIBLIOGRAPHY. REINACH S., Répertoire, III, 160,3.

-

2. White marble, height o m. 7i.

Base of a Statuette of the

Goddess Isis dedicated by a certain Dioscorus, his wife, and

his children, for benefits received. two serpents are carved in relief. el-Chaaran. (Mariut).

Near the entrance of room 14:

On the sides of the base From the island of Mahar

3. Limestone, height o m. 62, width o m. 40. Funerary Naos with lotus columns. At the entrance were two figures in high relief, which to-day are in a bad state of preservation. To right and left on the side walls, are two Anubis dogs as guardians, carved in high relief; on the back part of the naos is a representation of a door standing ajar. (See SCHREIBER, Kôm-esch-Schukâfa, p. 174-175).

ROOM 14.

All that could be saved of the so-called Mosaic of Medusa has been arranged in the pavement in the middle of this room. The mosaic stood originally on the Mount of Olives (Gabbari) and a description of it was published in the Rev. Arch., 1846. At that time it was in a state of perfect preservation. All that now remains (length 2 m. 24, width 2 m. 20) formed part of the central compartment of the three which composed the entire mosaic. In the centre a head of a winged Medusa (now altogether vanished) surrounded by an aegis or Gorgoneion. This mosaic, composed of small polychrome cubes, is of fairly good workmanship.

Against the wall at the back:

1 (3661). White marble, height 1 m. 82. Statue of a Roman orator or writer. To his right is a cista filled with several volumina (papyrus rolls). He is holding a roll or a mappa in his left hand. The weight of the body rests on the right leg, the left is bent and slightly in advance of the other. He is dressed in a tunic and a large mantle (toga) which envelops the body, leaving part of the breast uncovered. His right hand, on a level with his breast, is resting on the folds of his toga. This statue was found at Aschmouneïn (Hermopolis Magna).

In this room and in the next are exhibited most of our fragments of architecture, almost all of which unfortunately come from accidental finds. Except for the funerary stelae, none of the other fragments have been found in situ with the rest of the edifice of which they formed part.

On the whole, we notice that marble was not frequently employed; we may even say that it was a rarity, and that the materials most often used were nummulitic limestone and soft yellow limestone like that of Mex.

Nummulitic limestone, on account of its irregular surface and the difficulty of giving it a polish, did not allow of delicate detail, so it was covered with a layer of stucco and then decorated with the help of polychromy. This technique was also used for the Mex limestone. This limestone, which is coarse, lent itself nevertheless to the utmost exigencies of the sculptor's hand and thus enabled the architect to employ a some

what intricate style of decoration, in which polychromy could be used with the happiest effect.

BIBLIOGRAPHY. SCHREIBER, Kôm-esch-Schukâfa, Chap. XIX; DelBRUECK, Hellenistische Bauten in Latium, Strassburg, 1912, II, p 142; 149; 157 sq.; 164 sq.; 166 sq. See also: E. WIEGAND, Baalbek und Rom, die römische Reichskunst in ihrer Entwickelung und Differenzierung, in Jahrbuch des Institute, XXX (1914) par p. 37 and foll.

2-4 (3664, 3668, 3671). Limestone. 2-3. Two capitals and a portion of half-columns which correspond. 4. Couple of half-columns and capitals of the same type. The columns are formed of sheaves of papyrus and lotus stalks, and the capitals, of the blossoms of the same plants. This floral type of column and capital was much employed in the GraecoRoman period. Traces of polychromy (light red, yellow). From Alexandria, (rue Sultan Hussein, ex-rue d'Allemagne, foundations of the Maison Levi et Francis).

5 (18873). Limestone and plaster. Upper part of a niche or edicula with small, carved, hexagonal compartments; the cornice is decorated with a frieze of long denticles and with a graeca. From Alexandria (Mafrusa).

6. Limestone, height 1 m. 38. Door of a loculus (fig. 102), in imitation of a temple entrance. While the pediment is in the Greek style, all the rest recalls Egyptian art. Two columns support a frieze with a double epistylium, the upper half of which is decorated with winged agathodemons in relief, placed to the right and left of a bouquet of lotus. The pediment is triangular, without acroteria. The façade of an Egyptian temple is represented in relief on the slab which fills the doorway; it is surmounted by a high frieze of uraei to front, their heads ornamented with the solar disc. In the centre of the façade is a pretty bunch of five lotus flowers. Below this door is the limestone table, reconstructed as it stood in the tomb; it must have served for the reception of funerary offerings. From Mafrusa (Western Cemetery). Two alabaster Sphinxes (length o m. 56) have been placed on this table, the one is holding an altar between its front paws, the other a seated statuette of Osiris. A third Sphinx, of marble, formed part of a cubic block which was used to support the large sarcophagus exhibited in room 17, to the left of the door opening into the garden-courtyard.

High up, in the middle of the wall, fragment of the cornice of an edifice, decorated with lozenge shaped mouldings.

Glass-case B. Capitals, volutes of capitals, cornices with remains of polychromy (blue, pink, yellow). From Alexandria. Two Corinthian capitals very well carved, with remains of polychromy. From Alexandria. 3. Papyrus-shaped Capital.

Glass case A. 1-2 (top shelf).

In the centre of the wall to the right of the entrance:

10 3640). Limestone, height o m. 80, width o m. 70. The closing slab of a loculus. It bears, in relief, the representation of a double folding door, each half divided into two panels; on each panel is a knocker shaped as a lion's head holding a ring.

ROOM 15.

At the entrance of room 15. Green granite, height o m. 50. Capital of a Corinthian type with smooth leaves and volutes. Ptolemaic period. From Alexandria (Native Hospital).

It is easy to observe in the rich collection of capitals placed together in this room that the Corinthian type with its secondary varieties absolutely predominates (fig. 103, 104).

Few Ionic capitals are met with in the architecture of small

even rarer.

Fig. 103.

edifices (no. 45), though we have some beautiful examples in monumental architecture (see room 16). Doric capitals are The Corinthian capital is of the Hellenistic type: the lower half decorated with acanthus leaves and the upper with two volutes opposed to one another. A stalk passes between the two corymbs supporting a full-blown flower in the