Glass-case F. and horizontal glass-case S.

Fig. 133.

Collection of frag

ments of glazed pottery of the Hellenistic and Roman periods. Notice No. 1 in glass-case F. (others at the side, and 1-15 in glass-case S.). Numerous fragments of a class of greenglazed, partly gilded vases known as Sacrifical vases of the Queens of Egypt; these are probably vases that a potter put on the market either as a proof of sincere devotion to the royal family, or in the hope that their subject might facilitate the sale of his wares. They were in form of an oinochoe and were evidently copies of metal originals. At the spot where the handle joins the body a Silenus mask is attached in relief (Glass-case F. 4, 5, 6, others in glass-case S.). On the pear-shaped body of the vase there is a figure of a woman turned to left, draped in a chiton and a short mantle, wearing the frontal diadem of queens and goddesses; in the bend of her left arm she carries a cornucopia; in her extended right hand is a patera which she is holding reversed

over a large square altar with acroteria; to the right, behind the queen is a small conical column, enwreathed with garlands (see Glass-case S. No. 10). An inscription is engraved on the front of the altar (Glass-cases Nos. 5-6) Oeur évεoyεtor, and at four centimetres above the altar a second inscription in honour of the queen Βασιλίσσης Βερενίκης, ἀγαθῆς τύχης (Glass-case S. 7, 8, 9 etc.). The following should be noticed among the other fragments in Glasscase F. shelf C. 7: a fighting scene. A warrior, who has probably fallen from his horse (observe the horse in full flight, on the left hand), armed with a shield and with a sword, tries to defend himself against an elephant who is pursuing him and lifting up its trunk at him. The body of the elephant is covered with rich trappings, which proves that this is no hunting scene.

Fig. 135.

BIBLIOGRAPHY. On the subject of glazed pottery in Egypt at the Graeco-Roman epoch; FLINDERS PETRIE, Roman Glazing Kilns (Studies, p. 34-37) Memphis, I、 p. 14-15, pl. XLIX; Meydum and Memphis. P. 41-43 Amarne, p. 25; ZAHN R., Glasierte Tongefässe im Antiquarium (Amtliche Berichte aus d. Kunstsammlungen, Juli 1914, No. 10); BIENKOWSKI, Bull. de l'Acad. des Sciences de Gracovie, April-June, 1912; BRECCIA, Necropoli di Sciatbi, p. 187, no. 614; REINACH AD., La mort de Brennus, étude sur quelques figurations des Gaulois dans l'art hellenistique, t. XXI, Mon. Piot, p. 196 sq.

8. Fragment of a Skyphos. A centaur in profile to right, with front feet raised, lifts up a large stone in his right hand to strike down a warrior whom he tries to hold fast with his left. The warrior, armed with a shield and a sword, has his right arm raised above his head in order to strike hard, but he seems to be on the point of succumbing. Beautiful workmanship, in high relief. (Observe the elegant floral decorations of many of the other fragments).

In the lower compartment, two long sections of two leaden water pipes (Diam. o m. 14; o m. 09) and several terracotta pipes.

Glass-case G. This glass-case contains part of the funerary furniture from the Necropolis at Chatby (see p. 88), the most ancient necropolis of Alexandria, dating from between the end of the IV and the first half of the III century B. C. Amongst the pottery notice the elegant black varnished cups (1-2) with the long bâtonnet » handles, attached to the vase only by their lower ends (fig. 132); some kantharoi (fig. 133) of the same type (3); some skyphoi (4-5). Amongst the terracotta figurines, see No. 6, the four which have been placed round the cinerary urns in the same po sition in which we discovered them; 7. A wreath of arti

ficial flowers in painted terracotta (fig. 134); 8. Laurel wreath; 9. An ivy wreath in gilt bronze and terracotta ; 10. A cinerary urn in its case formed of two large terracotta basins; 11. Childs' Bath used as a sarcophagus; 12. Sarcophagus for a child made out of a large terracotta drain-pipe; 13. Cinerary urn of terracotta covered with a coat of gilding; 14-15 etc. Tear-bottles, small dishes, alabaster cups.

Glass-case H. Ten cinerary urns, hydriform, of the type of the Hadra Vases; 5. Decoration or olive of laurel branches; 6. Sprays of ivy. Urn No. 7, contains the ashes of a certain Glaucias; No. 8. bears on its front surface racing scene in the stadium.

Glass-case K. Cinerary urns of which the date of burial can be fixed with precision, see the Greek inscription painted on the body of the urns. 3. Urn of Menecles, a Cretan, cavalry leader: died in 281-0 B. C. (the 5th year of the king, that is to say of Ptolemy Philadelphus); Philon has undertaken his funeral; 4. The personage whose ashes are enclosed in the urn was a native of Pamphylia: he died in 278-7 B. C.; 6. The urn of Thales, native of Cyzicus, religious envoy, died in 278-7 B. C.; 8. Urn of Attalos, native of Acarnania.

Glass-case L. (Chatby Necropolis). Cinerary urns decorated with olive branches and sprays of ivy in black, before the final baking (see Nos. 1, 2). Cinerary urns covered with a coating of white-wash and decorated with a polychrome painting in «< gouache », Nos. 3, 4. Wreath of flowers and ribbons; 5. Funerary monument, breastplate and shield; 6. Breastplate and shield (fig. 38, p. 85); these last contain the ashes of soldiers. Terracotta figurines: 7. Young woman with a large conical hat (petasos) on her head (fig. 135). Painted stelae. 8. A warrior taking leave of his two sons.

To the left of the door into the garden: Large sarcophagus in white marble, breadth, 1 m. 98, height (without the cover) o m. 98 (fig. 136). It has a very heavy cover with ridge down centre and with acroteria at the four corners. The front of the sarcophagus is decorated with festoons of flowers and of fruit (wheat-ears, poppies, and grapes) suspended from nails to which bucrania are attached; an enormous bunch of grapes hangs from the lower part of each festoon, while the upper space within the festoons is decorated with rosettes or (in the case of the central one) with a Gorgon's head. From the Western Cemetery (Wardian). Above this sarcophagus: Mosaic representing the personification of the legend of the river Alpheus (the young man to the left) pursuing the beatiful nymph Arethusa (fig. 137). Arethusa was a nymph of Elis, where Alpheus was the river-god. He fell madly in love with Arethusa, who, wish ing to escape his pursuits, took refuge at Syracuse in Sicily. A picturesque fountain called by the name of Arethusa exists at Syracuse up to our own days. This legend is founded on the belief of the ancients that the fountain of Arethusa in Sicily is the mouth of the Alpheus, the largest river of the Peloponnesus which mysteriously disappears underground.

To the right of the door: Another sarcophagus of the garland type. The dimensions are smaller than those of the preceding, and the festoons in front are supported by genii standing on a cubic base. Each of the semicircular spaces formed by the festoons bears a Gorgon's head. As I have already rearked in discussing the sarcophagus of Ariadne, almost all the sarcophagi found in Alexandria are of this type, decorated with festoons of flowers. A great number can be seen in the garden. Besides, the Alexandrians really had a craze

for flowers, which formed one of the most essential elements of all their decorative arts.

Above this sarcophagus, several portraits of mummies, in encaustic painting on wooden tablets. From the Fayum.

Glass-case N. Middle Compartment: A series of labels or tickets for mummies, in sycamore wood. « Towards the Graeco-Roman epoch it became customary to have burial establishments in which families deposited the mummies of their dead relatives and charged certain undertakers with the task of looking after their preservation and of celebrating the usual feast in their honour in exchange for payment of a more or less considerable sum according to the nature of the maintenance required; in order then to avoid con