Fig. 104.

centre of the cornice of the capital (25a, 62, 65); the volutes are often divergent (34, 37, 40). Sometimes vine. leaves are mingled with acanthus leaves (62). The material is very often white limestone, sometimes nummulitic limestone; and all retain more or less evident traces of polychromy. In many of the capitals one may some times see, specimens

of Egyptian architectural types and sometimes a mixture of Greek and Egyptian motifs. The most interesting specimen in this respect is capital No. 2 (on a small cement column). This may be described as Corinthian, but, mixed to a few acanthus leaves and the corymbs we find the lotus and the papyrus as well as the uraeus serpent (fig. 105).

Pseudo-door of a tomb; two

9. Limestone coated with stucco. Cornice of a door. On the concave moulding two Horus falcons, facing each other, and behind them two crowns of Lower Egypt. Above, a frieze composed of uraei. Traces of painting. 10. Limestone, height o m. 75. columns composed of sheaves of papyrus and lotus, with lotus-shaped capitals, support a high cornice, crowned by a frieze of uraei. In the centre is the frame-work of a door in the Egyptian style. 8. Limestone, height, o m. 80. Sacrificial Altar. The base is supposed to represent a quadrangular edifice larger below than at the top. On the front surface is a halfopen door with two leaves; to the left a niche; to the right a wide-open door.

Fig. 105.

In a wooden frame: 68 and 69. Several fragments of small cornices in stucco, decorated with reliefs representing either griffins confronting each other, with a conventionalised palmette between them, or winged sphinxes, also confronted, or bucrania and palmettes. Fairly fine work of the Ptolemaic period.

29. The front side of a sarcophagus decorated with a fresco painting. One nail placed in the centre and one at each

end support a long rich festoon of flowers bound by a thin long ribbon. In the central portion is a comic mask suspended to the ribbon. In the space within the two loops of the festoon, two cocks are painted, vis-à-vis, ready to attack one another. A clever bit of work (2nd century A. D.). No. 50. Another portion of the same tomb represents an architectonic perspective.

Above, on the walls:

68. White marble. Cornice of a portico, dedicated (to an Emperor?) by the city, ó[s].

69. Shaft of a column in limestone encased in a fine coating of stucco, smooth in the upper part and fluted in the lower. The Corinthian capital, decorated with leaves and stalks of acanthus and with corymbs, is well-preserved and retains evident traces of polychromy (red, yellow, blue). From Alexandria. (Hadra) (fig. 106).

Capitals No. 3, and 70-71 also retain very marked traces of polychromy.

ROOM 16.

At the entrance: Two lion's heads forming water spouts.

To the right of the entrance:

1. Placed upon the shaft of a granite column (height 1 m. 45, diam. o m. go) bearing a Latin inscription in honour of Titus) Longaeus Rufus, prefect of Egypt in 185 A. D., are two large capitals of Corinthian type, in nummulitic limestone (width of each side at the top 1 m.), the lower half decorated with acanthus leaves, the upper half with confronting volutes. In the middle of the upper edge is a large open flower. The corners are each decorated with a large leaf curled over into volute. From Alexandria.

4 (3876). White marble, o m. 45. Torso of a nude male statue (end of a chlamys visible on the left shoulder) representing a divinity or a hero. The muscles of the chest and abdomen are rendered with force and truth. The head and the arms were worked separately. The back was not worked; it is cut vertically and shows a square cavity. The statue must have formed part of a group, probably placed on the tympanum of a temple. From Alexandria.

5 (3868). White marble, 1 m. 10. Torso of a statue of a Maenad almost nude. The nebris (fawn skin) is fastened on her right shoulder and covers only her right breast, part of her body and her left thigh. The artist has sought to represent a woman in the first flush of youth. Her breasts are round, well-shaped, erect and firm, her forms elegant, slender and at the same time robust.

6 (3863) White marble, 1 m. Torso of an unfinished statue of a god or of a hero. He is almost nude; the chlamys which is clasped on his right shoulder was thrown over his

back. One can still see the points fixed by the sculptor to guide the workmen when rough-hewing the statue. From Alexandria (from the excavations for the foundations of the Zizinia Theatre).

On the marble bracket above the previous statue :

7 (3874), 8 (3903), 9 (3801). Three headless statuettes of A

lexander with the aegis. The Conqueror as a deified hero is wearing a large aegis fastened to his right shoulder, leaving uncovered his legs below the knees, and his right side and right arm. No. 8 is the best example, also in the best state of preservation. From Alexandria.

BIBLIOGRAPHY. PERDRIZET P., Un type inédit de la plastique grecque, Alexandre à l'égide, in Monuments et Mémoires Piot, t. XXI, ler fasc.

does not belong to it. Statue of a woman dressed in a tunic fastened by a girdle under her breasts; she is also wearing a mantle. She is standing upon a pedestal holding a cornucopia in her left arm. (Isis-Tyche ?).

BIBLIOGRAPHY.

REINACH S., Répertoire, III, p. 79 5.

12 (17838). On a column of greenish granite: Coarse-grained white marble. Remarkable bust of Demeter-Selene, with diadem and veil; two horns on her forehead. Her head is inclined to the right of the spectator, her large eyes are well formed, the pupils marked by a circle, and the iris hollowed out (fig. 107).

13 (3875). Coarse-grained white marble, height 1 m. 30. Statue of a draped woman. The tunic is bound by a girdle below the breasts, the mantle is thrown round the body with a graceful movement. The lady is represented with her right foot advanced in the act of walking; with her right hand she holds up her tunic so as not to let it trail on the ground. The right arm was worked separately. From Alexandria (Sidi-Gaber).

BIBLIOGRAPHY.

REINACH S., Répertoire, II, 662,4.

14 (3871). Fine-grained white marble, height 1 m. 15. Young nymph who, with her two hands, must have been holding the handles of a vase resting on the tree-trunk before her. From Alexandria.

BIBLIOGRAPHY.

BRECCIA, B, S. A., 7, p. 72, fig. 24.

15 (3879). Coarse-grained white marble, height 2 m. 10. Statue of a Roman lady dressed in chiton and himation. She is standing upright, facing the spectator. The weight of her body rests on her right leg, her left is drawn back. This is a funerary statue. It was discovered in the cemetery attached to the quarters of the Roman Legion encamped at Nicopolis. (Mustapha Pacha).

Torso

16 (3880). Fine-grained white marble, height o m. 63. of a young man as a hero, the body almost nude, the chlamys thrown over his back. This fragment of a statue reveals a remarkable delicacy of execution.