According to those who see an official character in the stamps, they were affixed by magistrates and testified to the payment of a tax others think that the stamps were makers' marks and at the same time equivalent to a stamp affixed after official verification of the contents. But it was more likely that the stamping was a private affair, allowing the makers to advertise their products; at the same time these signs permitted the manufacturers, in their workshops, to follow the course of the commercial operations through which the amphorae should pass. Moreover, when once stamping became the custom (the stamping of the amphorae must have been copied from the stamping of bricks, the object of which was to protect the owner rather than the maker against theft), its value as an advertisement and as a control over the work was soon appreciated. It was in fact a precautionary measure, and a safeguard against possible fraud: the stamp indicated the month of manufacture, and consequently before the manufacturer put on the market the articles manufactured at that date, it was easy to ascertain whether a theft had taken place. The moulds for the stamps were probably made of wood.

BIBLIOGRAPHY. On this question a very rich bibliography exists. See in the last instance: MARTIN P. ÑILLSON, Timbres amphoriques de Lindos, Copenhagen, 1909; BLECKMANN F., Zu den rhodischen Eponymer Helios priestern in Klio, XI (1912), p. 249 sq.; H. VON GAERTRINGEN, Berliner Philo'og. Wochenschrift, 1913, p. 12 sq. For the Bibliography referring to Egypt; BRECCIA, B. S. A., 9 (1909), p. 74-85. Add: PREISIGKE F., Sammelbuch griech. Urkunden aus Aegypten, passim; PAGENSTECHER R., Die Griechisch aegyptische Sammlung E. von Sieglin, p. 152 sq.; BRECCIA, Rapport sur la marche du Service du Musée (1919 20).

Glass-case B (to the left of the entrance). Some mirrors, a cyathus or simpulum, a small vase in the shape of a spoon with a fairly deep bowl and a long handle; it was used to scoop up the wine out of the vessel to fill the cup. Some lamps made of bronze. Other domestic utensils: keys, clasps, spoons, etc.

In the middle compartment, a certain number of stone polishers used by goldsmiths and jewellers.

In the lower compartments, a collection of leaden cinerary

urns.

On the small column B1. Bronze Helmet. B2. A large Oinochoe. B3. Candelabrum.

Glass-case C. (Upper shelves). Terracotta figurines found in a rubbish heap in the Moharrem Bey quarter.

Shelf a. A Series of lamp-handles with decorations in relief: 1. A Gorgon's Head; 2. The serpent Agathodemon; 3. Isis suckling Horus; 4. Bust of Serapis; 5. A marine or river god with an extremely bushy and long beard.

Shelf b. Grotesques, see Nos. 1, 2, 3, 4: Animals and Animals' Heads. 5. Monkey holding up a basket with left hand raised to shoulder; 6 and following, Stove handles in the shape of a ram's head, horse's head, etc.

In the middle compartment some dozens of lamps of the Roman period: 1. Hercules in the garden of the Hesperides ; 2. Mercury; 3. Actaeon defending himself against his dogs; 4. The fabulous horse Pegasus; 6. Grotesque; 7. Lamp with three burners, a caricature of two old persons kissing one another (fig. 128).

Fig. 128.

The horizontal glass-case RR encloses part of the funerary articles found on the mummies at Wardian (Western Necropolis in Alexandria). Rings, a chain made of gold and precious stones, gold earrings, a silver diadem, fragments of a bronze necklace, bracelets, tongues and fingers in gold leaf, as well as many other ornaments and amulets made of various materials. The other compartment of this glass-case contains engraved stones and cameos: see No, 2431, Cornelian, Serapis, full-face with nimbus; No. 2435, Hematite, Serapis seated to left, placing his right hand on Cerberus; No. 2439, Jasper, Roma Nicephorus standing to the left; No. 2441, Lapislazuli, Nero's head to left with a crown of laurel; No. 2505, Cameo found in pieces at the so called Pompey's Pillar in 1896: bust of Minerva with the aegis; Nos. 2506, 2522, 2528, Gnostic stones. Abraxas or Abrasax. Up to the present time the Abraxas are the only artistic products of Gnosticism that exist. The signs engraved on these stones have a very obscure, often quite an unintelligible meaning, and a large majority of these amulets probably have no meaning at all. The Basilides and Gnostics taught that there was one supreme god and an infinitude of secondary divinities and magic numbers, the most important of all being 365 or Abraxas. The name itself contains the number 365 counted within it, and the word Abraxas was the name of the su

preme deity itself. In reality these gnostic stones were ta lismans. Their representations and inscriptions are very varied and complicated and of a fantastic imagination that probably defies explanation. Simple souls believed that these talismans exercised a divine influence and considered their inscriptions as the name of God. Often there is no connection whatever between the inscriptions and the figurines engraved on the stones so frequently found in Egypt.

Glass-case D. In the upper compartment a series of small votive altars in terracotta and limestone. No. 1, on shelf a,

should be noticed; its exterior surface is decorated with a festoon of flowers upheld by Cupids; 2. The four faces of the pillar bear busts in relief of Isis Hecate, of Isis, and of Harpocrates; No. 3 bears two ears on one of its faces in order to invite the divinity to listen well to the prayer.

Shelf b. Remains of Pelves that is to say « Basins » intended

for heating water in, for the washing of linen, clothes, feet, etc. The mark of the factory is engraved on the edges of the vessels. (See BRECCIA, Rapport 1919-20). Shelf c. and middle compartment, two Egg jars : Arretire Pottery. Many of these vases bear the mark of the factory: Avili; Primi; Atilii; C. Murri; C. Chresti, etc., and its lo

cal imitations (terra sigillata) Κέρδος; Χαρις ; Σαραπις, etc. On a raised base at the eastern end of the room is placed a colossal statue carved out of a porphyry monolith. It is the largest existing statue in this material. The head and the right arm are lacking. Height 2 m. 83. It represents either an Emperor (D.ocletian according to Nerutsos), or a Christ as Pantokrator accord

Fig. 130.

ing to Strzygowski. Male figure seated on a throne with a back, dressed in a tunic and himation. This work may date from the 4th century A. D. It was found in Alexandria almost in front of the Attarine Mosque, on the south side of the street. Gift of the Zogheb family.

BIBLIOGRAPHY.

STRZYGOWSKI, Koptische Kunst (Catalogue Général du Musée du Caire), p. 1-6; REINACH S., Répertoire, II, 631,1.

In front of this statue, placed against its raised base, is the

only white marble

sarcophagus decorated with a mythological subject in relief, discovered in Alexandria (fig. 129). The typical sarcophagus of Alexandria is the sarcophagus with garlands (see in this same room the two sarcophagi to right and left of the door leading into the garden). The front face is divided into two scenes, the smaller one to the right, the other to the

left. In the small picture, a woman (Bacchante) is seen carrying two torches, to light the way for Hercules, who is drunk and stumbling and walks with difficulty supported by two Fauns; a third Faun carries over his shoulder the club abandoned by the god. The marble projects somewhat at the left of this scene and this projection separates the two scenes. Beyond this projection the prow of a boat emerges to indicate that the meeting between the sleeping Ariadne and Dionysos followed by his band of companions is taking place in the island of Naxos, where Ariadne has disembarked alone when coming from Crete in pursuit of Theseus. The Athenian had failed to keep his promise of marriage to her and had left Crete secretly after his exploit

Fig. 132.

against the Minotaur. Ariadne, madly in love, set sail alone to rejoin him; but, tired by the long voyage, she rested in the Isle of Naxos, She is represented plunged in a profound sleep (see the figure of Hypnos, god of sleep, standing to the right of Ariadne, bending over her and caressing her with his right hand) lying on a low bed, on her left side. In consequence

of the movements unconsciously made in her sleep, she is half uncovered. Dionysos surprises her in this provocative attitude and is profoundly struck by her beauty, which also excites the lively admiration of his companions (Pan, Silenopappus, Fauns, Faunesses). By significant motions they all express their enthusiasm and their request not to wake the beautiful sleeper. The end of the story is well-known: Dionysos marries Ariadne. On the lateral surfaces of the sarcophagus are represented Fauns and dancing Maenads on the right (fig. 130), and on the left a vintage scene (unfinished) (fig. 131). We have here an evident allusion to the Dionysian mysteries which helped to spread in the ancient world the idea of a happy immortality. Vintage scenes, Bacchic emblems, or the figure of Dionysos himself call to mind the production of wine, the beverage of immortality, which was offered to those who were invited to the ceremonies of the mysteries. In spite of rather careless execution and inequalities which catch the eye, this piece of work is